08 May 2018: The Who - "Tommy" Special FreeForm Fund Raiser Edition

Tonight as part of KMXT's Spring Fundraiser, we will be playing Tommy in its entirety without interruption.  This is your opportunity to support Kodiak Public Radio by going to kmxt.org and making a donation or becoming a sustaining member.
      Tommy is the fourth studio album by the English rock band The Who, a double album first released in May 1969. The album was mostly composed by guitarist Pete Townshend as a rock opera that tells the story about a "deaf, dumb and blind" boy, including his experiences with life and his relationship with his family.
     Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, and attempted to translate Baba's teachings into music. Recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Who's breakthrough. Its critical standing diminished slightly in later years; nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the album's release with an extensive tour, including a live version of Tommy, which lasted throughout 1969 and 1970. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House and the 1970 Isle of Wight Festival. The live performances of Tommy drew critical praise and rejuvenated the band's career.

Track listing

Track names and timings vary across editions; some editions have two tracks merged into one and vice versa. "See Me, Feel Me", for example, is the second half of "We're not Gonna Take It", but is its own track as a single and on the 2003 deluxe edition.[68]All tracks written by Pete Townshend, except where noted.

The Who
Note: Townshend also played banjo on the original album's "Tommy's Holiday Camp".

Side one
No. Title Lead vocals Length
1. "Overture" Townshend 3:50
2. "It's a Boy" Townshend 2:07
3. "1921" Townshend, Roger Daltrey on chorus 3:14
4. "Amazing Journey" Daltrey 3:25
5. "Sparks" Instrumental 3:45
6. "The Hawker" (Sonny Boy Williamson) Daltrey 2:15
Side two
No. Title Lead vocals Length
1. "Christmas" Daltrey, Townshend in middle eight 5:30
2. "Cousin Kevin" (John Entwistle) Entwistle and Townshend 4:03
3. "The Acid Queen" Townshend 3:31
4. "Underture" Instrumental 9:55
Side three
No. Title Lead vocals Length
1. "Do You Think It's Alright?" Daltrey and Townshend 0:24
2. "Fiddle About" (Entwistle) Entwistle 1:26
3. "Pinball Wizard" Daltrey, Townshend on bridge 3:01
4. "There's a Doctor" Townshend, with Daltrey and Entwistle 0:25
5. "Go to the Mirror!" Daltrey and Townshend 3:50
6. "Tommy Can You Hear Me?" Daltrey, Townshend and Entwistle 1:35
7. "Smash the Mirror" Daltrey 1:20
8. "Sensation" Townshend 2:32
Side four
No. Title Lead vocals Length
1. "Miracle Cure" Daltrey, Townshend and Entwistle 0:10
2. "Sally Simpson" Daltrey 4:10
3. "I'm Free" Daltrey 2:40
4. "Welcome" Daltrey, Townshend ("more at the door") and Entwistle (spoken part) 4:30
5. "Tommy's Holiday Camp" (Keith Moon) Townshend 0:57
6. "We're Not Gonna Take It" Daltrey, Townshend and Entwistle 6:45

24 April 2018: Sonar (featuring David Torn) and Corima 天照

2018 release. Sonar's fourth release Vortex reflects the sound of surprise. After three uncompromising quartet albums exploring the edges of minimalist groove, the Swiss group has partnered with renowned guitarist, composer and producer David Torn for it's RareNoise debut. The band, comprised of guitarists Stephan Thelen and Bernhard Wagner, bassist Christian Kuntner and drummer Manuel Pasquinelli have long been celebrated for combining the visceral power and dynamics of art rock with a minimalist aesthetic. Their previous album, 2015's Black Light, attracted significant media and musician attention. Legendary avant-guitarist Henry Kaiser took a particular interest in the group and was determined to pair them up with Torn for their next album.

  A review from "Can This Even Be Called Music"
Corima is a Zeuhl quintet from California that released their first album in 2007, followed by the acclaimed Quetzalcoatl, in 2012, and now 天照 (Amaterasu), which came out on November second, 2016. It features two compositions spanning fifty minutes and split into nine tracks. It was released on the label Soleil Zeuhl and is also available to buy on bandcamp.

I never was attracted to Zeuhl, at first. I tried to get into the progenitors of the genre, French band Magma, but was very underwhelmed and disappointed overall. However, as fellow writer Ignacio put it, it would be like listening to Black Sabbath to get into metal. The contemporary scene has evolved a long way from its garden of Eden. Corima are more influenced by the Japanese wing of Zeuhl than the French one, making it more energetic, demented, schizophrenic, and just thrashing you in its incomprehensible maw. Yes, that’s the one that I like.
天照 is split into two songs. First, ‘月読’ (Tsukoyomi), represents the Moon God in Japanese mythology. I believe there’s a slight typo on bandcamp, as it’s written ‘Tsukotomi’, but that word doesn’t lead to any convincing search result. The song is spread in three movements, adding up to almost twenty minutes in total. The second one is eponymous to the album title, and represents the Sun Goddess. This one consists of six parts, and makes up the bulk of the album, at twenty-nine minutes long. The former is an instrumental meltdown with its fast-paced odd-time signatures (and frequent rhythmic modulations), key changes, and intricate melodic and harmonic framework, and the latter adds an extra layer by including more vocals from violinist Andrea Calderón, keyboard player Paco Casanova, and guitarist and saxophonist Patrick Shiroishi.
Since no lyrics are available on line (and my physical copies are in the mailing æther), it’s hard for me to write on them at length. However, based on the more easily-discernible vocals on Quetzalcoatl, I would bet that they are in Kobaïan, a constructed language by Magma’s drummer, heavily influenced by German and French languages. However, there’s also a chance that the lyrics are, in fact, in Japanese. I’ll write a small update here once I receive the physical package, assuming that it contains the lyrics.
So, what should you expect, diving into 天照? Let’s have a look at the instruments on display: violins, keyboards, organ, saxophone, guitar, glockenspiel, bass, drums, and vocals. That’s quite a lot, but there can only be five or six of them at once, since the team consists of five persons. What’s interesting is that the violin and the saxophone are almost always present, and compliment each other wonderfully well. For an example of that, listen to ‘Amaterasu V’, where Andrea’s voice and violin, and Patrick’s saxophone interact to produce a truly outstanding motif, and serve as the leading role of the track.
In conclusion, Corima‘s third full-length, 天照, delivers an untamed flow of energetic, Japanese-influenced Zeuhl. The album is enjoyable to the core and will please anyone seeking a new musical challenge. Personally, I’m overjoyed to have stumbled upon it and to finally be able to make a connection with the promising world of Zeuhl music. I would recommend 天照 to any progressive music lover.

Tonight's Playlist:

17 April 2018: Steve Hackett Live

I had the pleasure of seeing Steve Hackett in concert on February 25 at the Van Buren Theatre in downtown Phoenix.  Tonight's show is a selection of live recordings recreating a portion of the set list of that show.

10 April 2018: Alphataurus - Pete Namlook/Klaus Schulze

Alphataurus is an Italian progressive rock band from the Milan area. Under the original lineup Alphataurus released only one album, Alphataurus, dated 1973, at the peak of the European progressive rock wave. The album was generally well received [1] and work on a second album started, but due to “a string of personal events” the band split up in 1973.

From the Italian prog website:
      A group from Milan born in 1970, Alphataurus were one of the many unknown Italian bands who suddenly had a recording deal, made an album and disappeared into oblivion.
Having played in some important festivals in 1972, the group was offered by Vittorio De Scalzi of New Trolls a recording deal for his new label, Magma.
ThTheir one and only album, Alphataurus, the first on the newly born label, is a masterpiece, so well crafted and played that it seems impossible that's been made by a group of unknowns. The singer Bavaro has a very original voice, keyboard player Pietro Pellegrini plays with competence and no self-indulgence, guitar-playing of Guido Wassermann is well cared and the rhythm section of Oliva and Santandrea creates a powerful background.
       The album includes five long compositions of which Peccato d'orgoglio and La mente vola are the best, the latter featuring a nice moog intro and a stunning vibes solo.
Soon after this the band split while preparing the second album. A 1992 CD entitled Dietro l'uragano includes some demo recordings of unreleased instrumental parts with no vocals, the result is good though it obviously sounds incomplete at times.
      Drummer Giorgio Santandrea was briefly in Crystals, while keyboardist Pietro Pellegrini has long collaborated with Riccardo Zappa and PFM.
      Singer Michele Bavaro, from Bari, released a commercial solo album in 1988 (Surplace - Macaroni MAC 64701) and various CD's of Italian songs, playing throughout the world.

     In 2010 three of the original members (Pellegrini, Wassermann, Santandrea) reformed Alphataurus to play at the Progvention held in Mezzago (near Milan). The new line-up, which includes singer Claudio Falcone, keyboardist Andrea Guizzetti and bassist Fabio Rigamonti, has stayed together for a few concerts, and at the end of 2011 the original drummer Giorgio Santandrea left his place to Alessandro "Pacho" Rossi.
       The nice 2010 reunion concert has been issued on CD and LP in 2012 with the title Live in Bloom. In the same year the second official studio album by Alphataurus has finally seen the light, entitled AttosecondO, an album of excellent quality.


1 Peccato D'Orgoglio 12:22
2 Dopo L'Uragano 5:05
3 Croma 3:16
4 La Mente Vola 9:20
5 Ombra Muta 9:43

Pete Namlook (born 25 November 1960 as Peter Kuhlmann [ˈkuːlmaːn] in Frankfurt, Germany, died on 8 November 2012[1]) was an ambient and electronic-music producer and composer. In 1992, he founded the German record label FAX +49-69/450464, which he oversaw. Inspired by the music of Eberhard Weber, Miles Davis, Antonio Carlos Jobim, Chopin, Wendy Carlos, Tangerine Dream and Pink Floyd, and most important Klaus Schulze; He composed and produced his albums while many in collaboration with others.
As of August 2005, Namlook and company had released 135 albums (excluding re-releases, vinyl singles, compilations of existing material, and FAX releases beginning with PS, in which he personally is not involved in the music making).
Pete Namlook released many solo albums, as well as collaboration albums with notable artists such as Klaus Schulze, Bill Laswell, Geir Jenssen (alias Biosphere), Gaudi, Atom Heart, Richie Hawtin, Tetsu Inoue, Atom™, and Tying Tiffany.
"Namlook" is "Koolman", a phonetic rendering of his real name, spelled backwards.
Kuhlmann died on 8 November 2012 after suffering a heart attack.[2]

AllMusic Review by

Pete Namlook (aka Peter Kuhlmann) and Klaus Schulze developed and nurtured The Dark Side of the Moog series. The Dark Side of the Moog 5 also features Bill Laswell. (He has collaborated on four of the CDs.) One of the coolest things on this disc is a 14-second intro by Robert Moog himself. Namlook, Schulze, and Laswell used "Adam's Psychedelic Brunch" as their base track title, a play on Pink Floyd's "Adam's Psychedelic Breakfast" from Atom Heart Mother. And, as listeners expect, this CD features the sequences, atmospheres, and ambience associated with this trio. The soundscape elements flow seamlessly within the intricate sound design. Namlook, Schulze, and Laswell are always at the top of their game. This Berlin school offering will appeal to fans of Ron Boots, Edgar Froese, Ian Boddy, and Paul Ellis.

Dark Side of the Moog 5


1 Psychedelic Brunch (Part I)
2 Psychedelic Brunch (Part II)
3 Psychedelic Brunch (Part III)
4 Psychedelic Brunch (Part IV)
5 Psychedelic Brunch (Part V)
6 Psychedelic Brunch (Part VI)
7 Psychedelic Brunch (Part VII)
8 Psychedelic Brunch (Part VIII)


27 March 2018: Ian Boddy et al (DiN:TS01) & The California Guitar Trio










From the DiN Bandcamp page:    DiN was initially set up in 1999 by well known UK synthesist Ian Boddy to bridge the gap between the analogue music of his heritage and the emerging digital possibilities of the future. This label has always forged it’s own independent path and to date has released 54 physical CD albums as well as 19 download only releases.

Even after being involved in music since the late 1970’s Boddy has continued to explore new sonic territories and in 2016 he released what was probably his most experimental album in “Tone Science” (DiN48). This album comprised five long, slowly evolving self playing compositions realised entirely on his vast arsenal of modular synthesisers. Boddy’s love of the analogue sound has been well documented not only through his own releases but many sound and sample libraries. These instruments all but disappeared in the 1990’s but recent years has seen an unprecedented growth in interest in this form of synthesiser with a proliferation of both module manufacturers and performers using these highly flexible and personal systems.

Thus, inspired by his “Tone Science” release, Boddy has set up this sub-label to feature artists and performers working in the field of modular synthesis. The first release “Module No.1 Structure and Forces” is a compilation album featuring nine artists from different musical backgrounds with the common thread being that all the tracks were composed entirely with a modular synth system.

The album opens and closes with the ambient soundscapes of two tracks by DivKid and Matthew Shaw who run the well respected Modular Podcast. Boddy himself follows the opening track with an extension to his original “Tone Science” album with another aleatoric self playing composition in “Tone 6”. Paul Lawler and Nigel Mullaney are both heavily involved in library music and soundtrack composition and their two multi-layered compositions showcase the cinematic possibilities of the modular synth world. The remaining four tracks are more rhythmic in nature with the beautiful ambient washes of “If Wishes Came True” by Scanner leading into the hypnotic ostinato patterns of “Ghatam” by Richard Scott. French Buchla wizard Lyonel Bauchet ramps up the intensity with an elegantly constructed pulsing track before Chris Carter (Throbbing Gristle) ends the rhythmic proceedings with the grimy, dubby bass powered “Frieze Relief”.

Boddy has curated both the artists and tracks on this album to flow in a musical way and not just be a collection of equipment heavy demos. Though fascinating and always cool to look at, it is important not to get lost in the gear for gears sake syndrome. Having said that this album features Eurorack, Serge, Buchla & Hordijk modular systems and the nine tracks show how varied and flexible these instruments can be.

“Tone Science Module No.1 Structure and Forces” is just the first of what Boddy intends to be a series of releases on this new sub-label featuring artists and musicians working in this ever fascinating and varied musical field.


released March 16, 2018

1) DivKid - Natural Minor Sines - 8:05
This track was born from explorations in merging entirely generative, random leaning musical pieces alongside performed interactive sonic excursions. Modular synths provide the perfect playground for merging both disciplines

2) Ian Boddy - Tone 6 - 9:02
This aleatoric self playing composition features my Serge modular and is an extension to my original Tone Science (DiN49) album released in 2016.

3) Paul Lawler - Virus - 7:43
A complex, organic soundscape with symphonic builds and falls, evolving colours, and strategic spaces in the ambience to draw the listener into this modular and alien world.

4) Scanner - If Wishes Came True - 6:27
Like all my modular compositions this composition was recorded entirely live, combining live radio transmissions with a very hands on performative use of my modular system.

5) Richard Scott - Ghatam - 6:14
Ghatam is a contemplative percussive piece composed using the Hordijk Modular. I am particularly intrigued with the quasi-acoustic resonant qualities of this instrument which in this track reminds me of a simple Indian clay pot drum, hence the title

6) Lyonel Bauchet - Un coq à Esculape - 6:09
This piece uses a combination of my Buchla modular (featuring the 259 Complex Wave Generator) as well as Eurorack systems and Metasonix D1000 for percussion.

7) Chris Carter - Frieze Relief - 5:28
A squelchy, dubby live piece featuring Roland System 500 controlled by a Koma Komplex with Tip Top percussion voices & lots of live modular processing and effects.

8) Nigel Mullaney - Spherfear - 9:39
A composition that started with an abstract emotion, a lament to the fusion of Modular electronic music and the pure tones of orchestral instruments. A dead star adrift in an harmonic sea of binary modulations.

9) Matthew Shaw - Harmonograph - 8.00
Track composed using a 3 panel Serge modular with a Ditto X4 Looper and effects via Bugbrand Crossover Filter, Earthquaker Devices Avalanche Run & OTO BAM.

Total Time 67:07

Design by Matthew Shaw

Mastered by Ian Boddy 
February 24, 2018, I had the pleasure of seeing the California Guitar Trio perform at MIM, the Musical Instrument Museum, in Phoenix, Arizona.   The second half of tonight's show is the setlist from that show; it is not an actual recording of that show, but rather a collection of performances of the songs they played that night.

02 January 2018: IO Earth / Cousin Silas & Glove of Bones

IOEARTH are a project from Birmingham/UK headed by Dave Cureton and Adam Gough who each master guitars, keys, bass and vocals. They have been good friends since they met in school at the age of 12. Their writing partnership strengthened and by the time they were 15, composing and performing their own music started at small local venues with a band made up of their friends and relatives.

They both enjoy music of all kinds. As for the inspirations Frank Zappa is just one of the earliest. You'll also find examples of contemporary rock, commercial pop, classical, jazz and everything in between and they have always enjoyed juxtaposing these supposedly completely different styles in their own compositions.

Much of their early work was guitar based rock in the same vein as the likes of Steve Vai and Joe Satriani. While this element remains in their songs to this day, they have very much moved away from emulating their influences and have created a unique sound of their own. Many band members came and went through the years, each bringing their own styles and influence to the work, but the one constant has been Dave's brother Richard Cureton (drums).

It was in 2004 that Dave Cureton and Adam Gough decided to start working on their first studio album. Some time later they took their ideas to the recording studio where they met Miguel Seco, a very talented musical engineer and producer from Portugal. Finally it took nearly two years to work out their same-titled debut album, holding 20 songs with the help of several competent friends, featuring vocalist Steve Balsamo for example.

Released in 2009 the whole production is a melting pot of different styles and offers a cinematic vibe, like a soundtrack for lovers, full of relaxing, charming melodies - however contrasting with heavy rocking impressions here and there - provided to tell a complete story in (prog) music divided into three movements. IOEARTH are recommended to fans of sophisticated rock music.

Dub is not a genre of music I have explored to any great degree. I am familiar with the work of Osbourne "King Tubby" Ruddock, Lee "Scratch" Perry, Mad Professor, and Adrian Sherwood; but not really gone further than that. However, the work of Cousin Silas and the Glove of Bones has really whetted my whistle for more!

I thoroughly enjoyed their previous output - "Ornithology" and "Mabinogi" - but "New Dub Manifesto (waag_rel109)" feels so much more ... it is the realised potential that the first two releases pointed to, a glorious coming-together of two very talented chaps.

"New Dub Manifesto (waag_rel109)" is a powerfully dense and wondrous musical tsunami that knocks you off your feet and leaves you on your back with a smile affixed to your face. It is a wondrous testament to sound that will test the very best headphones and hi-fis and yet still sounds fantastic in my puny little EarPods.

There's not much more I can say about this release other than that it needs to be felt as much as it is heard. There is, at times, so much going on that it can be disconcerting but I would urge you to go with it ... give it time ... and you will be rewarded. I certainly was.

As before, my thanks goes to Cousin Silas ... Warren Daly … Kevin Lyons ... Adrian Nicholls ... Drew Miller ... and the wonderful waag community ... for their generous support.
A 320kbps version of this release will be available, for free, over on Archive (archive.org/details/we-are-all-ghosts) with a lossless version available here on Bandcamp for ‘pay what you want’.
- Thomas


released December 16, 2017

Music by Cousin Silas & the Glove of Bones

Cousin Silas: Guitar | Pads | Sounds | Tweaks
The Glove of Bones: Beats | Glitchery | Voicescapes

Main artwork & track artwork by Adrian Nicholls

26 December 2017: Grails and Nik Bärtsch's Ronin


AllMusic Review by  [-]

Chalice Hymnal is the first proper full-length from Grails since 2011's remarkable Deep Politics, although a second collection of their exploratory Black Tar Prophecies EP series arrived in between. As with every Grails album, the group continues to push its sound further, incorporating new influences, instruments, and production techniques. As clichéd as the genre name "post-rock" has become, the musical progression of the Grails catalog embodies the term perfectly, as the band has continually moved far beyond convention into something truly unique and indefinable. Chalice Hymnal easily seems like their least "rock" album yet; while they haven't entirely abandoned blazing psych-rock guitars (just check the sludgy yet funky "New Prague"), they're certainly less present here, and many of the guitars that appear are acoustic. There's a much greater presence of electronics and dark, nearly trip-hop grooves on this album, especially on "Tough Guy." It almost seems like Chalice Hymnal could be billed as a joint release between Grails and Lilacs & Champagne, the sample-heavy instrumental hip-hop side project formed by Grails members Alex John Hall and Emil Amos. One of L&C's other members, Ash Black Bufflo, contributes percolating synthesizers to the album's second track, "Pelham," suggesting Giorgio Moroder as a possible influence along with soundtrack composers such as Ennio Morricone and Hugo Montenegro. The acoustic instrumentation throughout the album is lush and engrossing, with several tracks augmented by majestic string arrangements courtesy of Timba Harris, and dusky saxophone from Niklas Kraft or Daniel Fisher-Lochhead. Some of the album's pieces are sequels to selections from Grails' previous album. "Deeper Politics" is, appropriately enough, more tense than the prior release's title track, and while it seems gray and rainy at first, its resplendent strings ultimately signal hope for a glorious rebirth. "Deep Snow II," however, bends Deep Politics' knotty yet dreamy finale into something significantly more distraught. In the midst of all of this, the group finds time for a slow jam, "Rebecca," which buries "In the Air Tonight"-esque drum machine pulsations with sunset-like guitar wisps and serene synth pads. "The Moth & the Flame" is even more ethereal, with forests of echo surrounding smooth fretless bass and saxophone, before David Axelrod-worthy cavernous drums boom in during the track's second half. All of this culminates in the ten-minute "After the Funeral," which features perhaps the most grandiose arrangement of Grails' entire career. Not only is Chalice Hymnal well worth the wait, it makes it even harder to choose which album is the pinnacle of Grails' ever-fascinating discography.












Live is a live album by Swiss pianist and composer Nik Bärtsch's band Ronin recorded in Switzerland in 2002 and first released on the Tonus Music label.
The Allmusic review by Michael G. Nastos called it "compelling, commanding, well worth a close listen, and a prelude for things to be heard stateside. This may be a difficult recording to acquire, but worth the search".[2] On All About Jazz Budd Kopman noted "When listening to Live, it becomes clear that, while the feeling of improvisation, of taking off, of winging it, is very strong, where it is happening is frustratingly unclear".

Track listing

All compositions by Nik Bärtsch.








released May 1, 2006

Nik Bärtsch: Piano, Fender Rhodes, DX-7
Kaspar Rast: Drums
Björn Meyer: Bass
Andi Pupato: Percussion 

19 December 2017: A Jethro Tull Christmas

The Jethro Tull Christmas Album is the 21st studio album released by Jethro Tull, on 30 September 2003 (see 2003 in music). The songs are a mix of new material, re-recordings of Tull's own suitably themed material and arrangements of traditional Christmas music. In 2009, the live album Christmas at St Bride's 2008 was included with the original album on CD.
Ian Anderson about the song Birthday Card at Christmas: "My daughter Gael, like millions of other unfortunates, celebrates her birthday within a gnat’s whisker of Christmas. Overshadowed by the Great Occasion, such birthdays can be flat, perfunctory and fleetingly token in their uneventful passing. The daunting party and festive celebration of the Christian calendar overshadows too, some might argue, the humble birthday of one Mr. J. Christ. Funny old 25ths, Decembers…"

Track listing

  1. "Birthday Card at Christmas" (Ian Anderson) – 3:37
  2. "Holly Herald" (Instrumental medley arranged by Anderson) – 4:16
  3. "A Christmas Song" (Anderson) – 2:47
  4. "Another Christmas Song" (Anderson) – 3:31
  5. "God Rest Ye Merry, Gentlemen" (Trad. instrumental arranged by Anderson) – 4:35
  6. "Jack Frost and the Hooded Crow" (Anderson) – 3:37
  7. "Last Man at the Party" (Anderson) – 4:48
  8. "Weathercock" (Anderson) – 4:17
  9. "Pavane" (Instrumental, Gabriel Fauré, arranged by Anderson) – 4:19
  10. "First Snow on Brooklyn" (Anderson) – 4:57
  11. "Greensleeved" (Trad. instrumental based on "Greensleeves". Arranged by Anderson) – 2:39
  12. "Fire at Midnight" (Anderson) – 2:26
  13. "We Five Kings" (Instrumental) (Instrumental "We Three Kings", Rev. J. Hopkins, arranged by Anderson) – 3:16
  14. "Ring Out Solstice Bells" (Anderson) – 4:04
  15. "Bourée" (Instrumental J. S. Bach, arranged by Anderson) – 4:25
  16. "A Winter Snowscape" (Instrumental, Martin Barre) – 4:57
Tracks 3, 4, 6, 8, 12, 14, and 15 are all re-recordings of previously released pieces. 'Bourée', however, has significant alterations to the musical arrangement.

Christmas at St Bride's 2008

Recorded Live at St Bride's Church
  1. "Weathercock" (Ian Anderson) – 4:41
  2. "Introduction: Rev. George Pitcher / Choir: What Cheer" (William Walton) – 3:32
  3. "A Christmas Song" (Anderson) – 3:19
  4. "Living in These Hard Times" (Anderson) – 3:44
  5. "Choir: Silent Night" (Traditional) – 3:06
  6. "Reading: Ian Anderson, Marmion" (Sir Walter Scott) – 2:17
  7. "Jack in the Green" (Anderson) – 2:33
  8. "Another Christmas Song" (Anderson) – 3:56
  9. "Reading: Gavin Esler, God's Grandeur" (Gerard Manley Hopkins) – 1:50
  10. "Choir: Oh, Come All Ye Faithful" (Traditional) – 3:50
  11. "Reading: Mark Billingham, The Ballad of The Breadman" (Charles Causley) – 3:33
  12. "A Winter Snowscape" (Martin Barre) – 3:39
  13. "Reading: Andrew Lincoln, Christmas" (Sir John Betjeman) – 3:12
  14. "Fires at Midnight" (Anderson) – 3:38
  15. "We Five Kings" (Instrumental "We Three Kings", Rev. J. Hopkins, arranged by Anderson) – 3:19
  16. "Choir: Gaudete" (Trad. arranged by Anderson) – 3:39
  17. "God Rest Ye Merry, Gentlemen / Thick as a Brick" (Trad. arranged by Anderson / Anderson) – 10:25


Jethro Tull
Additional personnel
  • James Duncan – drums and percussion
  • Dave Pegg – bass, mandolin
  • The Sturcz String Quartet:
  • Gábor Csonka – 1st violin
  • Péter Szilágyi – 2nd violin
  • Gyula Benkő – viola
  • András Sturcz – cello (leader)