![]() ![]() Prancing left and right onstage “in the shuffling madness,” he got the crowd on its feet for the guitar-centric classic. On “Living In The Past,” old images of Anderson looking like a scruffy minstrel flashed onscreen, bringing us back to another time.īy the time “Locomotive Breath” went down, ending the second set, the crowd was bloodthirsty for the hits, and Anderson delivered. “Songs From The Wood” ended the first act on a high note as the band took a breather then returned for the second set that started off with “And The World Feeds Me” and was a more rocked-out affair. ![]() “Wind Up” was next and then came the pounding riffage of “Aqualung.” Florian Opahie nicely reproduced original guitarist Martin Barre’s bluesy runs that Anderson weaved his melodic flute around. Starting with “Heavy Horses,” an agrarian theme merges. Using songs from the band’s catalogue, Anderson strategically places them as the onscreen actors fill in the gaps. However, this time around, he develops genetically altered seeds and crops until he ultimately sees the light of his wicked ways (sounds a lot like what Monsanto has been doing) and returns back to the farm for a more organically free lifestyle. Tull is once again a pioneering visionary, scientist and businessman. Sounds confusing and a little awkward at first but as with most things done by the Tull founder and self-proclaimed “singer of these ageless times, with kitchen prose and gutter rhymes,” everything worked out fine. BROOKLYN, NY-Ian Anderson presented his rock opera, adding some breath to the classics he’s juxtaposed over a storyline based on a fictionalized and updated Jethro Tull, who perfected the horse-drawn seed drill in 1701.
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