Jethro Tull � Here We Go�Let�s Wrap This Up (October 27th 1984)
2 CD�s
Flac Separated Files
No CUE no LOG
FFP Checksum included
Artwork Included

Artist: Jethro Tull
Title: Here We Go ... Let�s Wrap This Up
Date: October 27th 1984
Venue: Civic Centre, Providence, Rhode Island

Tracklisting
Disc One
01. Under Wraps (intro 02:18)
02. Locomotive Breath (inst. intro 01:43)
03. Hunting Girl 05:48
04. Under Wraps 04:55
05. Later That Same Evening 04:48
06. Nobody�s Car 04:23
07. Fly By Night 04:13
08. Thick As A Brick (medley 08:37)
09. Skating Away On The Thin Ice Of A New Day 02:06
10. Clasp 04:09
11. Living In The Past (w/instrumental variation 03:35)
12. Serenade To A Cuckoo 04:54

Disc Two
01. Band Introductions 02:13
02. Fat Man (w/extended instrumental) 06:35
03. Instrumental w/Drum Solo 09:12
04. Black Sunday 06:42
05. Songs From The Wood 01:57
06. Minstrel In The Gallery 01:48
07. My Sunday Feeling 02:59
08. Aqualung 07:32
09. Locomotive Breath 08:23
10. Too Old To Rock �n� Roll: Too Young To Die 05:38
11. Thick As A Brick (reprise) 03:22

Personnel
Ian Anderson Flute, Vocals & Guitar
Martin Barre Lead Guitar & Mandolin
Dave Pegg Bass Guitar
Doane Perry Drums & Percussion
Peter-John Vettese Keyboards

Another Decade for Tull ...

Jethro Tull has always been thought of as a quintessential 1970�s English progressive rock band. After the successes of the late 1970�s albums �Songs From The Wood� and �Heavy Horses� Tull ended the decade with �Stormwatch� going Gold in the US. But the 1980�s would see a new direction for Ian Anderson and the rest of the gang. For the next album, �A�, released in 1980, previous band members Barrie Barlow, John Glascock, John Evans and David Palmer were replaced by Dave Pegg and Mark Craney. Eddie Jobson, having just left the band U.K. was also brought in to provide both keyboard and violin. Sadly, despite the new look and sound, the �A� album spent just 5 weeks on the charts reaching only #25 in the rankings. �Broadsword And The Beast� was next and was received well by fans. Sold out venues during the tour for that album provided encouragement but did not translate into the expected commercial success. Sales in Europe were strong but the Americans did not take to the new offering as much as previous albums. Still, Ian Anderson was pleased with the work describing �Broadsword� as one of his favorite albums. This was the first Tull album for yet another new keyboard player Peter-John Vettese who replaced Jobson after just one album. Vettese actually contributed much to the new Tull sound and helped with many of the instrumental sections of the new album.

In 1983 Ian Anderson decided to produce a solo album called �Walk Into The Light�. For this album, Anderson decided to include Peter-John Vettese as the only other musician. Though not a great commercial success, the album was an opportunity for Vettese and Anderson to gain more experience working together to produce a unified sound. By 1984, Ian and Peter-John were ready to re-join Martin Barre and the rest of Tull for the next Jethro Tull album, �Under Wraps�. When asked about these two albums and the new Jethro Tull sound, Anderson had this to say, �I wanted to take the opportunity to experiment with something outside the Jethro Tull music of the time ... I wanted to get away from doing what I was known for, and do something more electronic. It was the beginning of the techno age, of sequencers and samplers, and it all seemed very exciting ... I was interested in the idea of combining the songs that could have been Tull songs, with a more mechanical and disciplined arrangement that would come from computer driven music. It (Walk Into The Light) was in a way a direct precursor of the Tull album �Under Wraps� ... It is interesting that both albums were resoundingly unsuccessful commercially ... as that marked a rather more experimental period with technology ...� They even used a drum machine instead of a live drummer for this new Tull album.

At the time, according to Tull fanzine editor David Rees, �Under Wraps� split the Tull fans �right down the middle�. Some appreciated the new sound and the contributions of Vettese while others longed for the old style of the 1970s. The members of the band seemed surprised as they rather liked the result of their latest effort. Martin Barre was quoted as saying, �... It was a lot of fun to record. More than any of the other albums we had made, it seemed to be trouble free ... it�s one of my personal favorite Tull albums.� Ian seemed to agree, �... nowadays, it is one of the few Tull albums that I play to enjoy rather than for reference ... Under Wraps is a great album�

Under Wraps was released in September of 1984, at the beginning of a new tour and did eventually rise to number 18 on the U.K. album charts. For the tour, Doane Perry was asked to play drums and has remained with Jethro Tull for the past 20 years. The band played 30 shows in Europe (in just 38 days) before beginning the American tour in New Haven Connecticut on October 12th. The show presented here is from Providence, Rhode Island 2 weeks later, October 27th. The set list includes one song from �Broadsword And The Beast�, one song from the Anderson solo album (�Fly By Night�), three from �Under Wraps� and the rest from the tried and true earlier Tull albums. Sadly, by this point in his career, Ian Anderson was beginning to feel the strain of his demanding performance schedule, or at least his vocal chords were. After completing the American leg, the band headed for Australia but by this time Ian was advised to cancel the tour and rest his voice completely. The last show was December 18th in Melbourne. Jethro Tull only performed once in 1985, at a celebration of Bach�s 300th Birthday on March 16th in Berlin. They would not perform again until June of 1986. Fortunately for us, the fans of Jethro Tull, the forced sabbatical seemed to help the ailing Anderson as we are now in the 21st century and Tull are still going strong with energetic performances. The future was shaky back in 1984 but in retrospect it was probably a good decision that in the year 1985, Ian Anderson was kept �Under Wraps�.

Notes from the Re-Master
This show comes to us from our great New England source. After recording live shows for close to 10 years he was a master at this craft in 1984 when this show took place. We were sent a CD of the master tape for the project which was used to complete the remaster project. This remaster was then reviewed by the PRRP staff as well as the taper. A significant speed error was detected during the remaster process and the taper thought it might be due to the playback/digitizing process so another digitizing of the master tape was made. This was sent on a DVD disc in 32-bit 48 KHz sampling format as data WAV files. A second remaster of the show using this second source was then completed. The complete show is here with the one tape flip filled in with material found elsewhere in the show.

It is easiest to quote the taper at this point as he comments on the venue and the equipment used to capture the show:

�... One thing that occurs to me is that this show owes much of its quality to the acoustics in the Providence Civic Center, my favorite of all the hockey rinks. To the best of my knowledge, the correct lineage for this show is:

Sony ECM-150T > Sony WM-D6C > Maxell XL II-S > Nakamichi Dragon > RDL FP-UBC6 > MOTU 896 > Wave (48/32)

The ECM-150Ts are omni-directional lavalier condenser mics. They contain the same capsules as the original Oades and Core Sounds. I had them taped to my glasses, angled slightly outward according to how close we were to the stacks. You can hear the stereo image shifting around as I moved my head, unfortunately much more than I would have liked. It's not easy to hold perfectly still at a Jethro Tull concert. Try it sometime. The RDL FP-UBC6 is a professional-quality unbalanced to balanced line-level converter. The MOTU 896 is a rack-mountable 96Khz Fire Wire audio device.�

As with all the shows we have received from this taper, the quality of the recording is just outstanding with harmonics seen in the frequency spectrum up to 18,000Hz. The venue acoustics were wonderful. There was no booming echo or annoying reflections. Since the show was captured on two different cassette tapes, our taper provided three files in WAV data format: tape 1 side A, tape 1 side B and tape 2.

As above, the first effort for this remaster project was a 16-bit source of the master. The project was completed and then started all over again with the new digitized version of the master tapes in 32-bit / 48 KHz format. The whole remaster project was kept in this high-resolution format until the end when the final step, converting to 16-bit, 44.1 KHz audio format, was made.

The first identified problem with the source material was the tonality. The bass was quite deficient and the high-midrange and treble were excessive. Once corrected, it was then obvious that the balance was off and needed adjustment. Working through the show is was quite apparent that audience noise was a major obstacle. Our poor taper had seated himself near a rather enthusiastic female Tull fan who yelled frequently throughout the show. Fortunately, she would always yell at the same frequency so we were able to reduce her contribution to the recording. The tape flip provided a bit of a challenge as it occurred at the beginning of a song. Fortunately segments of the recording were used to construct the missing pieces so a seamless segment could be pasted into the gap. Dynamics were adjusted to highlight the dramatic character of the Tull show as well.

The final big issue is the speed of the recording. Most disc 1 material was found to be at the correct speed and pitch when compared to studio standards. A segment of the disc 2 material was found to be particularly fast so speed correction was employed. Given the character of the speed problem, both constant and variable speed correction was used. The result was compared to other live recordings of Tull during the 1984 tour and found to be similar. Tracking the show was straightforward but we did decide to track the individual segments of the medley since reference sources for the setlist of the show do mention these segments separately.

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