19 May 2025: Gordon Giltrap "Live at Oxford 1979"; Richard Wright "Wet Dream"

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I am also hosting Rural Electric, so tune in for some great country music from 7-9 before FreeForm! 

 

This is one of my favorite live albums of all time; Gordon Giltrap had a brief "progressive rock" phase and this album is an excellent chronicle of my favorite GG era.

Review by SouthSideoftheSky
SPECIAL COLLABORATOR Symphonic Team

Fast approaching

This excellent live album can be summed up in a single sentence: Some of Gordon Giltrap's best and most memorable tunes from his three best and most progressive albums, performed with more energy and with more of an edge compared to the studio versions with a great band backing him up. When this live concert was recorded in the late 70's, Giltrap was at the peak of his progressive period and had just released three good studio albums in Visionary, Perilous Journey, and Fear Of The Dark. So there was never a better time for him to record a live album and the result is a very good introduction to Gordon Giltrap.

Apart from Giltrap himself, the band consists of no less than two keyboard players in Rod Edwards and Eddie Spence, John Gustafson (who was also part of the Ian Gillan Band) on bass, and Ian Mosley (who also played with Steve Hackett and later became a member of Marillion) on drums. While most of the show is instrumental, there are a few numbers with Shirley Roden on vocals. The parts on which she sings lead remind me of the band Renaissance. The similarities with that band on these parts are particularly strong due to the combination of the music's being driven by acoustic guitar and piano, backed up by a rhythm section of electric bass and drums. Add to that a female vocalist in a somewhat similar style to Annie Haslam, singing songs with folky as well as Symphonic aspects.

But there are also many electronic keyboards used and Giltrap alternates here between acoustic and electric guitars to great effect. His acoustic guitar playing is the most impressive and he showcases very well his trademark acoustic style (that influenced among others Ritchie Blackmore's acoustic playing). Giltrap's speed and accuracy is incredible, and he plays even the most complex and fast parts with such ease and makes not the slightest mistake. But unlike some other technically skilled guitar players, he never lets technicality overshadow the often gorgeous melodies. His electric guitar playing is less distinctive, but is an essential ingredient in the overall sound. Also, though Giltrap is the star, he does not steal the show and allows the whole band to shine.

Live At Oxford is a fine addition to many a Prog fan's collection 

Review by kenethlevine
SPECIAL COLLABORATOR Prog-Folk Team

A live performance for essentially a solo guitarist always raises the question of faithful sound reproduction. For instance, GORDON GILTRAP plays both electric and acoustic guitar very well. Does he go with an additional guitarist to complement or at least not cramp his style? What of other instrumentation like sax which he occasionally hires? Should vocals be introduced for variety? On "Live at Oxford" GILTRAP makes several brilliant choices - hiring a competent backing rock band, continuing to play all guitars himself, engaging a female vocalist, and utilizing keyboards and vocals to fill some of the additional guitar and brass sounds. How he implements these decisions results in a show and a resulting album that plays to his strengths while rendering his shortcomings moot.

In some sense this virtuoso's work is best suited to the live setting, since his primary talent is in playing and, to some extent, arranging, as opposed to composition. Luckily his skill is exposed in a measured fashion throughout. The main source of material is "Fear of the Dark", the most recent album at the time of the concert, and it would be hard to imagine that those tracks represented here are not more fully realized than the studio versions. This is especially the case for the epic "Visitation" and the suspenseful "Fear of the Dark", both of which benefit from the sultry expressive vocals of SHIRLEY RODEN. Still, the best example of this adaptive spirit and of Roden's power is in "The Deserter"; originally an instrumental on "Perilous Journey", it is re-invented as a spacey lyrical piece with Roden's vocals replacing sax and some pointed guitar leads. I had never heard of Roden so has to look her up, and found that her limited credits include several prog artists including MICHAEL MOORCOCK, MIKE OLDFIELD and DAVID GILMOUR.

As is standard for Giltrap, none of the material or the performances are weak but here the energy of the live setting and the commitment to the team concept contribute equally to what could be the most suitable introduction to Gitrap for prog fans. 

 

Pink Floyd founder member and keyboardist Richard Wright’s debut solo album, Wet Dream, is to be reissued in July.

The album has been remixed by Steven Wilson in Dolby Atmos, 5.1 and stereo for this release. The original mix does not feature on any of the three physical formats and all the new mixes include some extra passages of music that were edited out of the original.

Originally released between Pink Floyd’s Animals (1977) and The Wall (1979), Wet Dream was self-produced and Wright wrote all the songs (except ‘Against the Odds’, which was co-written with his then-wife, Juliette). Remarkably, the album flew under the radar was at best under appreciated, if not almost unnoticed at the time.

Richard Wright : Wet Dream : Steven Wilson Remix : Review

Phil Aston14th August 20230 Comment6k

Richard Wright’s “Wet Dream” (1978): A Remix Revelation by Steven Wilson

The Original “Wet Dream”
Released in 1978, Richard Wright’s “Wet Dream” is an album I’ve cherished, even owning a vinyl copy tucked away probably in my garage. It’s a beautiful blend of instrumentals and vocals, showcasing Wright’s jazz inclinations. While I’ve always had a soft spot for “Broken China” among Wright’s solo works, “Wet Dream” is undeniably pleasant, a testament to his musical prowess.

Steven Wilson’s 2023 Remix
Fast forward to 2023, and we have a remix by the renowned Steven Wilson. Now, we’ve all seen remastered versions of albums, but a remix is a different beast altogether. Wilson’s expertise in extracting nuances from old recordings and highlighting elements we might have missed is unparalleled. His ability to enhance without altering our cherished memories of the original tracks is nothing short of genius.

This remix is a revelation. From the very first play, tracks like “Mediterranean Sea,” “Against the Odds,” and “White Waves” felt rejuvenated. The clarity with which each instrument stands out, be it Snowy White’s guitar or Mel Collins’s saxophone, is astounding. It’s as if the musicians are right there in the room with you.

A Dive into the Details
There’s a slight discrepancy in the songwriting credits between the original and the remix. The original credits all songs to Richard Wright, except “Against the Odds” to Julie Wright. The remix, however, attributes the words for “Pink Song” to Juliet Wright. It’s a minor detail, but worth noting for the purists.

The remix also comes with a booklet featuring photographs taken by Richard Wright, capturing personal moments from his holidays. Fans of the original will appreciate the reproduced gatefold sleeve, a nostalgic nod to the 1978 release.

The Verdict
If you’re a Pink Floyd aficionado, this remix is a must-have. Even if you own the original, the Steven Wilson remix offers a fresh, immersive experience that’s hard to resist. It’s not just about the enhanced sound quality; it’s about the emotions it evokes. Listening to it in a dimly lit room, letting the music wash over you, is an experience I can’t recommend enough.

In conclusion, the 2023 remix of “Wet Dream” is a testament to both Richard Wright’s timeless artistry and Steven Wilson’s remixing prowess. It’s available now on Polarphone Records, and I urge you to give it a listen.

Phil Aston | Now Spinning Magazine

 

 

01 April 2025: An Evening with Jethro Tull featuring "Aqualung" & "Curious Ruminant"

 

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You can now listen to the livestream of the show through the KMXT app; it's available through the Mac App Store or Google Play. The stream is also available at www.kmxt.org

Please support FreeForm Radio and KMXT by going to www.KMXT.org and pledging your support.

The music you hear on tonight's show is available on the artists' Bandcamp pages and websites. (links below) 

We urge you to support the musicians you hear on FreeForm Radio.

 

Aqualung is the fourth studio album by the English rock band Jethro Tull; it was released in March 1971 by Chrysalis Records. Though it is generally regarded as a concept album, featuring a central theme of "the distinction between religion and God", the band said that there was no intention to make a concept album, and that only a few songs have a unifying theme.^[4] Aqualung's success signalled a turning point in the career of the band, which went on to become a major radio and touring act.

Recorded at Island Records' new recording studio in Basing Street, London, it was their first album with keyboardist John Evan as a full-time member, their first with new bassist Jeffrey Hammond, and last album featuring Clive Bunker on drums, who left the band shortly after the release of the album. The album utilises more acoustic material than previous releases; and—inspired by photographs of homeless people on the Thames Embankment taken by singer Ian Anderson's wife Jennie Franks—contains a number of recurring themes, addressing religion along with Anderson's own personal experiences.

Aqualung is Jethro Tull's best-selling album, selling more than seven million units worldwide. It was generally well-received critically and has been included on several music magazine best-of lists. The album spawned two singles, "Hymn 43" and "Locomotive Breath".^[5]

Production

An early version of "My God" was recorded on 11–12 April 1970, followed by "Wond'ring Aloud, Again" on 21 June, both at Morgan Studios.^{[6][failed verification]} After an American tour, bass player Glenn Cornick was fired from the band,^[7] and was replaced with Jeffrey Hammond, an old friend of Ian Anderson.^[8] Aqualung would be Hammond's first album with the band. It would also mark the first time John Evan had recorded a full album with the band, as his only prior involvement was to provide several keyboard parts on the previous 1970 album, Benefit. In December, the album became one of the first to be recorded at Island Records' newly-opened recording studios on Basing Street in London. Led Zeppelin did some recording for Led Zeppelin IV at the same time, though in the smaller of the two studios in the converted chapel.^[9] In an interview on the 25th anniversary edition of the album, Tull's bandleader Ian Anderson said that trying to record in the larger studio was very difficult, because of its "horrible, cold, echoey" feel.^[10] The orchestral segments were arranged by Dee Palmer, who had worked with the band since 1968's This Was, and would later join as a keyboard player. The master reels were assembled at Apple Studios on 2 March 1971. Aqualung would be the last Jethro Tull album to include Clive Bunker as a band member, as he retired shortly after recording to start a family.^[10]

Musical style

The songs on the album encompass a variety of musical genres, with elements of folk, blues, psychedelia, and hard rock.^[11] The "riff-heavy" nature of tracks such as "Locomotive Breath", "Hymn 43" and "Wind Up" is regarded as a factor in the band's increased success after the release of the album, with Jethro Tull becoming "a major arena act" and a "fixture on FM radio" according to AllMusic.^[12][13] In a stylistic departure from Jethro Tull's earlier albums, many of Aqualung's songs are acoustic. "Cheap Day Return", "Wond'ring Aloud" and "Slipstream" are short, completely acoustic "bridges", and "Mother Goose" is also mostly acoustic. Anderson claims his main inspirations for writing the album were Roy Harper and Bert Jansch.^[10]

Themes

Aqualung has generally been regarded as a concept album with a central theme of "the distinction between religion and God".^[4] The album's "dour musings on faith and religion" have marked it as "one of the most cerebral albums ever to reach millions of rock listeners".^[12] Academic discussions of the nature of concept albums have frequently listed Aqualung amongst their number.^[14][15][16]

The initial idea for the album was sparked by some photographs that Anderson's wife Jennie took of homeless people on the Thames Embankment. The appearance of one man in particular caught the interest of the couple, who together wrote the title song "Aqualung".^[17] The first side of the LP, titled Aqualung, contains several character sketches, including the character of the title track, and the schoolgirl prostitute Cross-Eyed Mary, as well as two autobiographical tracks, including "Cheap Day Return", written by Anderson after a visit to his critically ill father.^[18]

The second side, titled My God, contains three tracks—"My God", "Hymn 43" and "Wind-Up"—that address religion in an introspective, and sometimes irreverent, manner. However, despite the names given to the album's two sides and their related subject matter, Anderson has consistently maintained that Aqualung is not a "concept album". A 2005 interview included on Aqualung Live gives Anderson's thoughts on the matter:^[19]

I always said at the time that this is not a concept album; this is just an album of varied songs of varied instrumentation and intensity in which three or four are the kind of keynote pieces for the album but it doesn't make it a concept album. In my mind when it came to writing the next album, Thick as a Brick, was done very much in the sense of: 'Whuh, if they thought Aqualung was a concept album, Oh! Okay, we'll show you a concept album.' And it was done as a kind of spoof, a send-up, of the concept album genre. ... But Aqualung itself, in my mind was never a concept album. Just a bunch of songs.

Drummer Clive Bunker believes that the record's perception as a concept album is a case of "Chinese whispers", explaining "you play the record to a couple of Americans, tell them that there's a lyrical theme loosely linking a few songs, and then notice the figure of the Aqualung character on the cover, and suddenly the word is out that Jethro Tull have done a concept album".^[10]

The thematic elements Jethro Tull explored on the album—those of the effects of urbanisation on nature, and of the effects of social constructs such as religion on society—would be developed further on most of the band's subsequent releases.^[20] Ian Anderson's frustration over the album's labelling as a concept album directly led to the creation of Thick as a Brick (1972), intended to be a deliberately "over the top" concept album in response.^[21]

40th anniversary adapted edition: Remixed and mastered by Steven Wilson (2016)

The 2016 edition was remastered by Steven Wilson of his 2011 remixed material as he did not like Peter Mew's mastering.

CD 1: Steven Wilson remaster and stereo remix of the album

No.	Title	Length
1.	"Aqualung"	6:38
2.	"Cross-Eyed Mary"	4:11
3.	"Cheap Day Return"	1:23
4.	"Mother Goose"	3:53
5.	"Wond'ring Aloud"	1:56
6.	"Up to Me"	3:17
7.	"My God"	7:13
8.	"Hymn 43"	3:19
9.	"Slipstream"	1:13
10.	"Locomotive Breath"	4:42
11.	"Wind-Up"

Review of the new Jethro Tull studio record – ‘Curious Ruminant’

by Geoff Bailie

Like many prog bands who formed in the late 1960s, Jethro Tull’s early years involved a new album release every single year. That pace slowed in the 1980s, and with J-Tull Dot Come in 1999, the band (name) went to hiatus. Ian Anderson however kept making music, and this brought us Thick As A Brick II and Homo Erraticus, both excellent albums which it’s hard not to think of as Tull albums, such is the imprint of Anderson’s DNA.

The continuation of that trajectory has been what is now three Jethro Tull albums in quick succession from January 2022’s The Zealot Gene, April 2023’s RokFlote and now in March 2025, Curious Ruminant – that’s a pace of output that even few younger peers are able to match… and reminiscent of a 1970s release schedule.

The stable JT core band members, David Goodier, John O’Hara, and Scott Hammond are joined by new guitarist Jack Clark, with contributions from previous members Andrew Gidding and James Duncan (the boss’s son making an appearance on drums). While the last two albums had specific thematic cores in Biblical references and Norse legends, this one is packed with Anderson’s ruminations on manipulation, contemplation, change, and bereavement, with the clever and thought-provoking lyrical approach that’s unchanged over the decades. Musically the album is similar in tone to the previous two, not overproduced, with lots of space when needed. While the overall tone is quite mellow, there are many “gut punch” moments either in song or in words.

“Puppet and the Puppet Master” kicks the album off with a speedy rock beat, acoustic guitars and the rasp of trademark flute – Anderson’s dexterity with this instrument still superb. We also get some trading off between Jack Clark’s guitar, the flute and a Hammond organ. Dig into the lyrics and I’m hearing a reflection on the role of the stage performer as both a puppet and a puppet master – as a minstrel of many years experience, Anderson will, of course, know all of the techniques to engage his audience.. and yet he’s the one dancing to their tune – perhaps a reflection on the role of a “heritage act” where the audience will demand certain songs and behaviors from the band. If that all sounds heavy, don’t worry – you can easily get lost in the jaunty melody … but there’s also lots there if you want to dig deeper! The piano led “title track” is next – it’s a song that couldn’t be anyone but Tull, so distinctive is its sound. This one is a song about curiosity, and those who think about the big questions in life… but ultimately end up changing their mind on a regular basis or indeed sit on the fence. Neither is criticised and you get the feeling that Anderson is reflecting his own personality in this lyric more than he would when, say, he’s wrapped in a character. Yet another shout for some great guitar work on this one.

In “Dunsinane Hill,” it seems that Anderson’s Scottish roots lead him to “The Scottish Play,” mixing elements of Macbeth with the equally murderous world of politics. More great flute playing on this one and in fact the track could also work well as an instrumental as Anderson’s vocal is part-recitation. The recent trilogy of albums has seen Ian settle into a comfortable vocal style, part spoken, part sung which suits his timbre at this point in life. The roar, sneer and snigger of past Tull tracks wouldn’t necessarily fit what he writes today, and yet with the voice and the flute you’re never in any doubt who you’re listening to!

“The Tipu House” is a folksier track, followed by “Savannah of Paddington Green” which returns to themes of climate change which certainly has been a familiar subject since the days of Stormwatch. “Over Jerusalem” starts with a bouncing Celtic folk theme and has a brilliant instrumental mid-section which overall gives it an epic feel. But when it comes to epics, well the prog fans ears prick up when they see a song that lasts longer than 15 minutes. So “Drink From The Same Well,” arguably the second longest track in the Tull canon if you treat Thick As A Brick as a single track, is one of interest. Some of the musical ideas stem from music created for Hariprasad Chaurasia, exponent of the bansuri, an Indian bamboo flute and appeared as instrumentals that Tull played live 20 years ago. Gathering those ideas together with lyrics themed around unity, it’s a showcase of instrumental styles covering jazz, folk and rock as well as Eastern styles – a real musical journey with superb playing throughout.

The album closes with “Interim Sleep”, a spoken word piece, written about the passing of a loved one. It’s a mellow ending track, which finishes the album by staring into eternity.

There’s no doubt that Ian Anderson’s creative well has not run dry, and his output in this decade alone has been of a very high standard. Curious Ruminant is perhaps the strongest of the three Tull albums released on InsideOutMusic, and it’s exciting to hear an artist who’s still producing music of this quality after so many years. For those who enjoy strong lyrical themes and subjects, there’s lots to dig into… and musically it’s full of great playing and virtuoso flute in particular.

Check out our interview with Ian Anderson here.

Released on March 7th, 2025 on InsideOutMusic

https://jethrotullband.lnk.to/CuriousRuminant-Album

The full tracklisting is as follows:
1. Puppet And The Puppet Master 04:04
2. Curious Ruminant 06:00
3. Dunsinane Hill 04:17
4. The Tipu House 03:31
5. Savannah of Paddington Green 03:13
6. Stygian Hand 04:16
7. Over Jerusalem 05:55
8. Drink From The Same Well 16:42
9. Interim Sleep 02:33

The band consists of:
Ian Anderson – Flutes, vocals, acoustic guitar, tenor guitar, mandolin, odds and sods, bits and bobs
David Goodier – Bass guitar
John O’Hara – Piano, keyboards, accordion
Scott Hammond – Drums
Jack Clark – Electric guitar

The album also features:
James Duncan – Drums, cajón, percussion
Andrew Giddings – Piano, keyboards, accordion

27 November 2018: People Folk and Blue Tech (DiN57)

NOTE:  I'll also be hosting the "Rural Electric Show" from 7-9 pm Alaska Standard Time this same night.   FreeForm featuring the People Folk and Blue Tech begins at 9 pm AST.

Album release: Friday, July 13, 2018.

People Folk is a five-piece folk-rock band with a concept album related to popular characters, fairy tales, and nursery rhymes. 

Guitar, cello, flute, percussion, and a blend of harmonies give off a variety of sounds where there's something for everyone. 

Liner notes from Cellist/vocalist Mary Gaughan:

The fairytale concept of the album was inspired  guitarist, George Macias, who has 3 young daughters and every single night would read his daughters fairy tales before they went to sleep. Slowly over time he began writing songs that encompassed these beloved stories that his daughters loved so much. From there, the band was formed in California through meeting at mutual open mic gatherings and collaborated together on unfinished songs, created individual instrumental parts, unique harmonies, and each member also has an original song featured on the album (mine is Wishing Well). The album took a little over 3 years to fully complete because after the band was fully formed, we had 4 months left before I moved back to Arizona and George moved to Pennsylvania. In those short 4 months, we finished the songs, performed many of them in the southern California area, and recorded all at the same time. Once George and I moved away, we then had to do the rest of the recording, planning, and producing long distance, which is why it took so long to fully finish the project. Even though the band is now split, 3 original members (Chase, Kaitlin, and Ronald) still live in California and continue to perform the songs and they are actually writing new songs for a potential second album, featuring many more beloved fairy tales.

You can purchase the cd and/or a digital download here:  https://peoplefolk.bandcamp.com/album/timeless-tales

1.Roast Ribs 04:08 2.Little Red 04:10 3.Tin Man 05:46 4.Wishing Well 03:50 5.Mary 02:59 6.Naughty in Me 02:50 7.If I Fall 04:58 8.Around the Bend 05:10 9.The Surface 04:36 10.Claudia Maria 03:33 11.Humpty 04:17

Evan Bartholomew has been performing electronic music for nearly 20 years as Bluetech, Evan Marc, Invisible Allies (with Kilowatts), and is one of the founders of MicrodoseVR, with Android Jones and the Vision Agency team. He is an internationally recognised touring music producer with over 27 album/EP releases in the last 15+ years, and has a seasoned portfolio of video game and film/tv scoring credits. Bluetech is a master of analogue and modular sound synthesis and DSP audio manipulation, and brings a passion for sound design and cutting edge audio exploration into all the work he touches. His music transcends the constructs normally associated with a calculated “electronic artist,” pursuing music with meaning and purpose in various styles like ambient and downtempo, future bass, and techno.

“Liquid Geometries” sees him exploring shifting, fractal landscapes of melodic, sequenced lines using a huge range of analogue modular synthesisers. With a distinct nod to the Berlin School masters of the past he upgrades that musical heritage with nine shimmering soundscapes utilising modern production techniques to create beautiful tapestries of sound. These benefit from repeated, deep listening as there are so many details and interlaced patterns that will reveal themselves over time. Evan also invited DiN... more credits released November 16, 2018 Buy this and other cds/digital downloads at    http://www.dinrecords.bandcamp.com/ Composed & Produced by Evan Bartholomew for Tribal Alchemy Media, ASCAP Mastered by Shawn @ Audibleoddities.com Eurorack Modular Gear: Verbos, Intellijel, Random Source Serge, 4ms, Synthesis Technology, WMD, Mutable Instruments, Make Noise, Rossum Electro, Mannequins, Hexinverter, Xaoc, Alright Devices, System 80, Music Thing Modular, ALM, Magpie Modular & Strymon MU Modular: Moon Modular, Synthesizers.com, Free State FX, STG Soundlabs & Synthcube Synths: Moog Voyager, David Smith Prophet 6 & Korg Arp Odyssey FX Pedals: Strymon, Eventide, Empress, Earthquaker Devices & Shift Line Software: Ableton Live, Soundtoys & Native Instruments Reaktor Analogue Systems French Connection & Make Noise O-Coast on Track #7 by: Ian Boddy license all rights reserved

1.
Bardo Waves 06:41

2.
Vessels 07:34
3.
Helix 05:17
4.
Crystalline Forms 06:22
5.
Subterranea 05:17
6.
Dawn Ascent 07:16
7.
Tranquility Gate 07:52
8.
Resonating Heart 05:41
9.
Underground Lakes 06:09