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Post by maddogfagin on Dec 7, 2020 7:46:15 GMT
I really think there is more than meets the eye and whatever balances Ian and Martin's post-Tull relations and mutual statements might include their deepest, darkest secrets...like Tull was more Milli Vanilli than anyone wants to admit and that a lot of Jeffery Hammond's contributions in the studio were actually done by Ian and Martin. It wouldn't matter at all, at this late date, but it seems that there are dynamics and secrets from peak Tull era that freeze a lot of things in place...perhaps forever. I'm just over half way through reading the AND Tapes vol 3 book and the way that I read some of the answers to questions about the split of MB from the group makes me feel as if both IA and MB "dance" around questions concerning this, both musically and professionally, and that both are being frightfully British about the whole affair and won't give any concrete answers. So I can understand Bernie's thoughts above and yes, as in all cases where musicians form into groups, dark secrets will lurk in the background whether it be about someone's musical talent, abilities, who wrote what in a song and didn't receive royalties etc.
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Post by steelmonkey on Dec 7, 2020 20:02:19 GMT
The funny thing is that one year, when Tull was riding high, Jeffrey HH was among the top 5 bass players according to a Playboy poll...there he was listed with Wyman and Bruce. Someone was playing some damn good bass lines on the Tull albums and Jeffery's live performances were obviously good enough. Very interesting. Must have been some good laughs if he was getting 'best bass' type accolades while they were putting his fingers on the frets.
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Post by JTull 007 on Dec 23, 2020 2:19:26 GMT
TONIGHT on Interviewing the Legends... Jethro Tull Legendary Guitarist MARTIN BARRE LINK -7pm Pacific/10pm Eastern -BBS Radio One
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Post by maddogfagin on Jan 13, 2021 16:28:47 GMT
abcnewsradioonline.com/Members of Yes, Todd Rundgren & more featured on new album by all-star Prog Collective, 'Worlds on Hold'By Matt Friedlander Prog Collective, a star-studded prog-rock project spearheaded by Yes bassist/singer Billy Sherwood, will release its third studio album, Worlds on Hold, on February 5. Among the many well-known artists contributing to the album are several Yes members and alums, as well as Todd Rundgren, current Asia/former Guns N' Roses guitarist Ron "Bumblefoot" Thal, ex-Blood, Sweat & Tears frontman David Clayton-Thomas, former Genesis guitarist Steve Hackett, ex-Rainbow singers Graham Bonnet and Joe Lynn Turner, longtime Jethro Tull guitarist Martin Barre and ex-Queensryche singer Geoff Tate. The album features a mix of original tunes and covers, including renditions of Peter Gabriel's "Solsbury Hill," Procol Harum's "A Whiter Shade of Pale" and The Moody Blues' "Nights in White Satin." The record also includes three bonus cover tunes taken from previously released tribute albums produced by Sherwood -- The Beatles' "Penny Lane" sung by late Asia and King Crimson singer/bassist John Wetton; Boston's "More than a Feeling," performed by Sherwood, Yes drummer Alan White and founding Yes keyboardist Tony Kaye; and The Doors' "People Are Strange," sung by David Johansen. A lead single from Worlds on Hold, "Two Trajectories," which features Tate and Thal, is available now digitally and via streaming services. "It was an honor and a pleasure to work with Geoff Tate on the song," Sherwood says. "He brought so much emotion and character to the vocal. I'm looking forward to people hearing this track along with all the others on the new Prog Collective record!" Adds Tate, "Yes was one of my earliest influences and working with Billy was very special to me." You can pre-order Worlds on Hold now on CD, digitally, and as a deluxe two-LP set pressed on green vinyl. Here's the full track list: "Worlds on Hold" -- featuring Todd Rundgren & L. Shankar "Two Trajectories" -- featuring Geoff Tate & Ron "Bumblefoot" Thal "Anything but Goodbye" -- featuring Jon Davison & Patrick Moraz "Meant to Be" -- featuring Jan Akkerman & Billy Sherwood "Brave New World" -- featuring Sonja Kristina & Steve Hillage "Glory Days Ahead" -- featuring Arjen Anthony Lucassen & Steve Hackett "Solsbury Hill" (Peter Gabriel) -- featuring Roine Stolt & Billy Sherwood "A Whiter Shade of Pale" (Procol Harum) -- featuring Graham Bonnet & Derek Sherinian "Eye in the Sky" (Alan Parsons Project) -- featuring Joe Lynn Turner & Martin Barre"Nights in White Satin" (The Moody Blues) -- featuring David Clayton-Thomas & Geoff Downes Bonus Tracks: "Penny Lane" (The Beatles)-- featuring John Wetton "More than a Feeling" (Boston) -- featuring Alan White, Tony Kaye & Billy Sherwood "People Are Strange" (The Doors) -- featuring David Johansen
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Post by maddogfagin on Feb 14, 2021 12:21:06 GMT
JETHRO TULL STAR REMEMBERS HIS MEETING WITH DAVID BOWIE: “HE IS A PERSON, VERY DOWN TO EARTH”By Sami Altintas -FEBRUARY 2, 2021 Classic Jethro Tull guitarist Martin Barre made his recent appearance on a newest radio interview and recalled his first meeting with the music icon David Bowie and shared his precious thoughts about him. When the interviewer asked, “How do you breach a conversation with somebody like that? Were you star-struck at first?”, the talented musician replied: “Well, the first time was back in 1966 – or even ’65 – we [Marin’s early, pre-Tull band] were support band to [Bowie’s early band] Davy Jones & The Lower Third. I don’t think anybody knew who they were but they’d come down from London, and we traveled all the way from Brighton to Bournemouth, so that they were like a London band, it was a big thing – I don’t know why.” Martin Barre continued by expressing his wonder. “But they’re really nice people. He wore makeup, and I’d never seen a musician wear makeup in my life. And they were just nice; they knew we were pretty naive and green behind the ears, but they were just really nice and supportive of us. “And then I met him a lot further down the line. It was a big party where there were some of The Rolling Stones and the other very famous people. And I and [’70s Jethro Tull keyboardist] John Evan got so bored with all the ego going on that we went into this kitchen in this big apartment to have a cup of tea and get away from it. Jethro Tull star concluded by remembering their conversation. “And David Bowie was in there having a cup of tea as well, and we just said, ‘Isn’t it awful out there?’ And he said, ‘Yeah..’” And me, David Bowie, and John Evans, we were in there, I would have to say three hours, just talking about Monty Python, tea, anything but music. “And there was no issue going on about with the big star – he is a person, very down to Earth.” link
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Post by steelmonkey on Feb 15, 2021 3:12:11 GMT
Why wasn't it Martin Barre, John Evan, David Bowie and ME? Why ?
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Post by orion12 on Feb 22, 2021 17:53:43 GMT
Interesting audio interview with Martin posted 3 days ago.
MARTIN BARRE INTERVIEW: “ I SLEPT ON THE FLOOR, BUT I NEVER FELT HUNGRY . ''
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Post by JTull 007 on Feb 23, 2021 2:03:58 GMT
Interesting audio interview with Martin posted 3 days ago. MARTIN BARRE INTERVIEW: “ I SLEPT ON THE FLOOR, BUT I NEVER FELT HUNGRY . '' EXCELLENT !!! Thanks Orion12
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Post by maddogfagin on Feb 24, 2021 7:57:31 GMT
somethingelsereviews.com/2021/02/22/prog-collective-worlds-on-hold/The Prog Collective – ‘Worlds On Hold’ (2021)As supergroups go, the Prog Collective is – well, it really isn’t one. The third recording by multi-instrumentalist, producer and composer Billy Sherwood is enjoyable at times, but given its disparate smorgasbord of special guests and special songs, it fails to hold together as a group effort.
As did past Prog Collective recordings, the recording brings together a vast array of singers and instrumentalists from across the prog-rock universe: Todd Rundgren, Geoff Tate, Steve Hackett, Martin Barre, Roine Stolt – the list goes ever on. Sherwood is responsible for most of the instrumental backing, demonstrating his ability on bass, guitar, drums and keyboards. The album is half new songs written by Sherwood and half prog classics, including Peter Gabriel’s “Solsbury Hill,” Procol Harum’s “A Whiter Shade of Pale,” “Eye in the Sky” by the Alan Parsons Project.
--------- The Prog Collective features some surprising figures – like David Clayton-Thomas, the once and always voice of Blood Sweat and Tears, singing “Nights in White Satin” with Yes’s Geoff Downes on keyboards, and David Johansen taking on the Doors classic “People Are Strange.” David Clayton-Thomas is fine, but who ever thought the Doors were progressive rock? And Martin Barre appearing on a cover of Boston’s “More Than a Feeling” feels like a waste.
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Post by maddogfagin on Feb 27, 2021 8:26:56 GMT
www.udiscovermusic.com/stories/greatest-prog-guitarists/The Greatest Prog Guitarists: An Essential Top 25 CountdownWhether they’re the mastermind of the band or keep the cosmic flights well-grounded, we pay tribute to the best prog guitarists of all time. Published on February 24, 2021By Brett Milano Think of progressive rock and what immediately comes to mind is caped keyboard players navigating a sea of wires connected to their Moog. Yet many of the pivotal players in prog rock have been guitarists, and there are easily as many earth-shaking guitar solos in prog as there are in hard rock or metal. Sometimes those prog guitarists are the leader and mastermind of their band, sometimes they’re the player who keeps those cosmic flights ---------- 5: Martin Barre (Jethro Tull) Jethro Tull’s lead guitarist was a blues player at heart, and the key to Tull’s sound was Martin Barre adding grit to each of the band’s proggy and folky excursions. Sometimes he’d take a hot solo within a more complex piece (see “Thick As a Brick,” about 10 minutes in), other Tull classics were built around his riffage. Legend has it that the jaw-dropping solo on “Aqualung” was played in one take to impress an onlooking Jimmy Page.
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Post by JTull 007 on Mar 2, 2021 0:27:35 GMT
Welcome to the first episode of our new season at The Gear You Hear We're kicking off this season with an interview with none other than Jethro Tull Guitarist Martin Barre !!! This is a replay of our live interview that took place on Jan 13th 2021
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Post by maddogfagin on Mar 6, 2021 7:35:39 GMT
www.theoaklandpress.com/Guitarist Martin Barre celebrates "50 Years of Jethro Tull," 5 Things to KnowBy Gary Graff When Jethro Tull is mentioned, frontman Ian Anderson's name is the first that usually comes to mind. But Martin Barre's should not be forgotten, either. Barre was part of the band from its second album, 1969's stand-up, until 2012, when Anderson unilaterally dissolved the group. Barre played on 20 studio albums -- including the likes of "Aqualung," "Thick as a Brick" and "War Child" -- while he also made guest appearances on albums by Ten Years After's Chick Churchill, John Wetton, his Tull predecessor Mick Abrahams and Dee Palmer (who was David Palmer during her time with Tull). Barre, who's been releasing solo albums since 1994, is celebrating the group with his latest album, "50 Years of Jethro Tull." The two-disc set features he and his band, including Palmer and vocalist Becca Langsford, taking on electric and acoustic sides of the Tull repertoire, with a few twists that make clear that while he's celebrating it, Barre is not completely living in the past... Barre recorded "50 Years of Jethro Tull" during late 2019 and was selling copies at concerts before the pandemic lockdown. "Then we expanded it, put on four extra tracks for this release, which we wanted to do when the gigs all got called off. It was lucky it was all prepared last year. This will be a bit of a safety net until we can get back out there." Barre also has a live DVD slated for release before the end of the year... • Though Anderson toured during 2018 to celebrate Tull's 50th anniversary, Barre says he wanted to do something with his own stamp on it, and to commemorate HIS 50th anniversary with the band. "Y'know, there was no reunion, no album, no special concert, no special release from the record label, which I thought was a bit sad. It sort of spurred me on to do something more personal, because it was my 50th anniversary, from 1969. As soon as I mentioned doing a celebration, too, there was a lot of interest from promoters...and it was really fun. We had a screen with a movie and we picked out the stuff we like, and we all enjoyed playing a night of Tull." • As for 50 years, Barre says that, "It doesn't feel like a long time, 'cause I'm not tired. I have so many vivid memories, and some of the really vivid ones are from the beginning -- I wouldn't say it's like yesterday, but still very clear in my mind. In a way I didn't have time to stop and think and breathe and take stock of what was going on. It was a whirlwind for many, many, many years. I never had time to sort of sit in a chair and think about what's happened and what I've done -- until now." • Barre has warm feelings about the many Tull lineups he was part of, but he says that Palmer's gender transition during the late 90s was surprising. "If you knew Dave, he really was a beer-drinking, pipe-smoking, life and soul of the party, dirty jokes...a real Alpha male. For a few years I didn't see him, then when I met her, she's lovely and the same person -- just slightly changed (laughs). Still a lot of fun. But like most people in that situation, she was always a woman. It took a lot of adjustment, it really did. But she's been on the road with us and is a lot of fun to have around, a fantastic personality." • Barre -- who's working on songs for his next solo album -- was surprised back in 2011 when Anderson declared he was ending the band, and they've had little to do with each other since. "I don't want any issues at all. I don't think it's any competition. We're covering different ground. Mine's much more of a rock band; It's a different show. People have experienced both sides. They've experienced the Ian Tull and the Martin Tull, and I'll leave it at that. People have both sides of the coin. I just want to be my own person."
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Post by maddogfagin on Mar 28, 2021 12:00:23 GMT
Profil Video Interview with Martin Barre - October 2020 - 50 Years of Jethro Tull2,746 views•Oct 23, 2020
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Post by maddogfagin on Apr 3, 2021 8:20:14 GMT
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Post by steelmonkey on Apr 5, 2021 1:17:08 GMT
Found martin barre on 'Bandcamp' app and promptly treated myself to 'Rarities' release. Boy, talk about 'Tull minus Ian'. These are some very hot songs..Perry and Giddings shine alongside Martin. Great stuff....a regular Tull gig with Ian on pee break.
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Post by maddogfagin on May 7, 2021 10:35:34 GMT
www.ultimate-guitar.com/Classic Guitarist Talks Why Tony Iommi Didn't Last in Jethro Tull, Says He's 'Very Proud' of Metallica-Beating GrammyMartin Barre also looks back on working with Paul McCartney and Phil Collins. Posted 23 hours ago During an appearance on BBC Radio, classic Jethro Tull guitarist Martin Barre looked back on joining the band in 1968 as a replacement for Tony Iommi, who went on to reach fame with Black Sabbath, while also touching on his work with Paul McCartney, Tull's infamous Grammy win, and more. Martin is promoting a new record titled "50 Years of Jethro Tull," you can check it out here via Amazon. You joined up with Jethro Tull before the second album [1968's 'Stand Up'] came out. How did that come about? "Yeah, well, we met, Jethro Tull and my band met in '68 in a club near here where I lived, near Plymouth in the UK. "And we had a lot in common because me and Mick [Abrahams, the original Tull guitarist] got on really well - Mick's a great player, I was a big fan of his playing. "And then my flute playing and Ian's flute playing was both in the role, so we had a lot in common. "When Mick left the band two or three months later, they remembered me and asked me to audition, I got shortlisted with Tony Iommi and Mick Taylor. "They chose Tony at first. Tony didn't particularly like the music, so I was next on the list, and here I am." You mentioned that you play the flute. Did that have anything to do with you getting asked to join Jethro Tull? "Not really, no. It was my introduction because me and Ian were the only two guys in the UK playing blues flute, really, so we met and they remembered me from that meeting. "So it was the backdoor opened because of my flute playing, they remembered my guitar playing as well." I was just saying that it's very unusual to have two flutists in the same rock band. "Yeah, well, when I joined, we both played, we had a flute battle on stage, so I think it became apparent that we only needed one flute player, and it wasn't me. [Laughs]" I read that you worked with Paul McCartney and Phil Collins. Can you tell me a bit about your experience with those two in particular? "Well, they're great people, it's sort of well documented. Their talent is undisputed and I can verify that they are two extremely talented individuals. "I was in awe of them, and quite rightly. It's an experience that is irreplaceable, unrepeatable, so I'm so happy that I had that chance to do it. "And Paul McCartney and The Beatles were my heroes when I was a teenager, as they were most people's, so to work with one of them was incredible. I met the others, but to actually be in a working environment was just incredible." Was it a live appearance? "No, it was doing demos for [McCartney's 1989] 'Flowers in the Dirt' album. Some of the recordings I did were released in Japan, and I've been told that they're going to be released worldwide at some point. They're quirky things." Were you surprised at all when Jethro Tull won the Grammy for best hard rock/heavy metal band in '89 [over Metallica]? "Yeah, well, I was, because we were just happy with the nomination, and the record company wouldn't send us to it. They just said, 'Don't go to the ceremony, you're not gonna win.' "So it was a sad thing that we weren't there. People didn't like the fact that we weren't there, and they presume we didn't care, but in retrospect, I do care, and I wish I had been there. "I would've loved the experience and all the pomp and circumstance, but I'm proud of it, I think we deserved it, and yeah, if I'll ever get another one, who knows... I'm very proud of it." link
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Post by rredmond on May 7, 2021 21:11:04 GMT
Can't like that enough!
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Post by theothertull on May 8, 2021 14:58:30 GMT
www.ultimate-guitar.com/Classic Guitarist Talks Why Tony Iommi Didn't Last in Jethro Tull, Says He's 'Very Proud' of Metallica-Beating GrammyMartin Barre also looks back on working with Paul McCartney and Phil Collins. Posted 23 hours ago During an appearance on BBC Radio, classic Jethro Tull guitarist Martin Barre looked back on joining the band in 1968 as a replacement for Tony Iommi, who went on to reach fame with Black Sabbath, while also touching on his work with Paul McCartney, Tull's infamous Grammy win, and more. Martin is promoting a new record titled "50 Years of Jethro Tull," you can check it out here via Amazon. You joined up with Jethro Tull before the second album [1968's 'Stand Up'] came out. How did that come about? "Yeah, well, we met, Jethro Tull and my band met in '68 in a club near here where I lived, near Plymouth in the UK. "And we had a lot in common because me and Mick [Abrahams, the original Tull guitarist] got on really well - Mick's a great player, I was a big fan of his playing. "And then my flute playing and Ian's flute playing was both in the role, so we had a lot in common. "When Mick left the band two or three months later, they remembered me and asked me to audition, I got shortlisted with Tony Iommi and Mick Taylor. "They chose Tony at first. Tony didn't particularly like the music, so I was next on the list, and here I am." You mentioned that you play the flute. Did that have anything to do with you getting asked to join Jethro Tull? "Not really, no. It was my introduction because me and Ian were the only two guys in the UK playing blues flute, really, so we met and they remembered me from that meeting. "So it was the backdoor opened because of my flute playing, they remembered my guitar playing as well." I was just saying that it's very unusual to have two flutists in the same rock band. "Yeah, well, when I joined, we both played, we had a flute battle on stage, so I think it became apparent that we only needed one flute player, and it wasn't me. [Laughs]" I read that you worked with Paul McCartney and Phil Collins. Can you tell me a bit about your experience with those two in particular? "Well, they're great people, it's sort of well documented. Their talent is undisputed and I can verify that they are two extremely talented individuals. "I was in awe of them, and quite rightly. It's an experience that is irreplaceable, unrepeatable, so I'm so happy that I had that chance to do it. "And Paul McCartney and The Beatles were my heroes when I was a teenager, as they were most people's, so to work with one of them was incredible. I met the others, but to actually be in a working environment was just incredible." Was it a live appearance? "No, it was doing demos for [McCartney's 1989] 'Flowers in the Dirt' album. Some of the recordings I did were released in Japan, and I've been told that they're going to be released worldwide at some point. They're quirky things." Were you surprised at all when Jethro Tull won the Grammy for best hard rock/heavy metal band in '89 [over Metallica]? "Yeah, well, I was, because we were just happy with the nomination, and the record company wouldn't send us to it. They just said, 'Don't go to the ceremony, you're not gonna win.' "So it was a sad thing that we weren't there. People didn't like the fact that we weren't there, and they presume we didn't care, but in retrospect, I do care, and I wish I had been there. "I would've loved the experience and all the pomp and circumstance, but I'm proud of it, I think we deserved it, and yeah, if I'll ever get another one, who knows... I'm very proud of it." link
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Post by theothertull on May 8, 2021 15:00:35 GMT
www.ultimate-guitar.com/Classic Guitarist Talks Why Tony Iommi Didn't Last in Jethro Tull, Says He's 'Very Proud' of Metallica-Beating GrammyMartin Barre also looks back on working with Paul McCartney and Phil Collins. Posted 23 hours ago During an appearance on BBC Radio, classic Jethro Tull guitarist Martin Barre looked back on joining the band in 1968 as a replacement for Tony Iommi, who went on to reach fame with Black Sabbath, while also touching on his work with Paul McCartney, Tull's infamous Grammy win, and more. Martin is promoting a new record titled "50 Years of Jethro Tull," you can check it out here via Amazon. You joined up with Jethro Tull before the second album [1968's 'Stand Up'] came out. How did that come about? "Yeah, well, we met, Jethro Tull and my band met in '68 in a club near here where I lived, near Plymouth in the UK. "And we had a lot in common because me and Mick [Abrahams, the original Tull guitarist] got on really well - Mick's a great player, I was a big fan of his playing. "And then my flute playing and Ian's flute playing was both in the role, so we had a lot in common. "When Mick left the band two or three months later, they remembered me and asked me to audition, I got shortlisted with Tony Iommi and Mick Taylor. "They chose Tony at first. Tony didn't particularly like the music, so I was next on the list, and here I am." You mentioned that you play the flute. Did that have anything to do with you getting asked to join Jethro Tull? "Not really, no. It was my introduction because me and Ian were the only two guys in the UK playing blues flute, really, so we met and they remembered me from that meeting. "So it was the backdoor opened because of my flute playing, they remembered my guitar playing as well." I was just saying that it's very unusual to have two flutists in the same rock band. "Yeah, well, when I joined, we both played, we had a flute battle on stage, so I think it became apparent that we only needed one flute player, and it wasn't me. [Laughs]" I read that you worked with Paul McCartney and Phil Collins. Can you tell me a bit about your experience with those two in particular? "Well, they're great people, it's sort of well documented. Their talent is undisputed and I can verify that they are two extremely talented individuals. "I was in awe of them, and quite rightly. It's an experience that is irreplaceable, unrepeatable, so I'm so happy that I had that chance to do it. "And Paul McCartney and The Beatles were my heroes when I was a teenager, as they were most people's, so to work with one of them was incredible. I met the others, but to actually be in a working environment was just incredible." Was it a live appearance? "No, it was doing demos for [McCartney's 1989] 'Flowers in the Dirt' album. Some of the recordings I did were released in Japan, and I've been told that they're going to be released worldwide at some point. They're quirky things." Were you surprised at all when Jethro Tull won the Grammy for best hard rock/heavy metal band in '89 [over Metallica]? "Yeah, well, I was, because we were just happy with the nomination, and the record company wouldn't send us to it. They just said, 'Don't go to the ceremony, you're not gonna win.' "So it was a sad thing that we weren't there. People didn't like the fact that we weren't there, and they presume we didn't care, but in retrospect, I do care, and I wish I had been there. "I would've loved the experience and all the pomp and circumstance, but I'm proud of it, I think we deserved it, and yeah, if I'll ever get another one, who knows... I'm very proud of it." link Didn't know if I should laugh or cry, pathetic or what, "I played with Paul McCartney; well like a demo, no one has ever heard it, but it's big Japan. Can't remember if Paul was in the studio at the time of the demo, but ya mate, John, Paul, Ringo and I."
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Post by maddogfagin on May 12, 2021 8:24:57 GMT
Martin Barre - Talks about 50yrs Jethro Tull Lp,The Flute,Grammy & more - Radio Broadcast 12/12/2020
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Post by maddogfagin on May 29, 2021 6:36:26 GMT
www.ultimate-guitar.com/Jethro Tull Guitarist Recalls How Jimmy Page 'Could Have Ruined' Iconic 'Aqualung' Solo, Speaks on Not Receiving Songwriting Credits"Zeppelin had been in the studio, in the basement, for over a month." Posted 11 hours ago During a conversation with Guitar Player Magazine, classic Jethro Tull guitarist Martin Barre - who was in the fold between 1968 and 2012, making him the group's second longest-serving member - looked back on the 1971 classic "Aqualung." One of the moments the guitarist touched on was when Led Zeppelin guitarist Jimmy Page "popped up in the control room" when he was recording the "Aqualung" solo, which almost "threw him off." Asked if he ever discussed with Jimmy "how he could've ruined one of your most iconic moments," Martin replied: "[Laughs] No, because he left before I finished. I'm sure he understood that when you're out there doing something, you need to get on with it. "The funny thing about the story is that Zeppelin had been in the studio, in the basement, for over a month working on 'Led Zeppelin IV,' and we'd never ever seen any of them. "It just happened that the moment he chose to pop in was whilst I was recording that solo. I either had to put my guitar down and say 'hi' or carry on with the solo." Many of your parts are integral to the songs, but you didn't get any co-writer credits. Did that frustrate you? "It never bothered me. The songwriter, particularly in those days, was the guy who came up with the chords and the lyrics. Arranging was just something everybody did. "I'd have hated to have been in a band where everybody was given their parts and that was basically what you had to play. "With Tull, we all had a lot of freedom to come up with parts and ideas. Nobody would have ever produced a stopwatch and said, 'That 10 seconds of music there was my idea.' [Laughs] "We were living a dream, playing in a successful band, and the money didn't come into it, which is what talk about division of credits usually boils down to. "We knew why people liked us, and a large part of that was because of Ian's [Anderson, frontman] songs." If you could time travel back to the sessions, would you change much of what you played? "I would change a lot. I listen to it and I think, 'Ouch!' [Laughs] It is a historical piece of music - you don't get the chance to change things. You play in the moment. "What you did becomes an important piece of music, although you don't know it at the time. I would never play like that now. "I don't mean that in a derogatory way, but there is a naïveté there, which is part of the essence of the album." There have been a lot of remixes and reissues of 'Aqualung,' particularly the work done by Steven Wilson. What would you say is the definitive version? "The terrible thing is that I've never really sat down and listened to the remixes. I never sit down and play a Tull album all the way through. "I'll play particular tracks if I'm working on them for the live set, but I'd listen to the original version to make sure I'm not missing something that was on there." "People tell me that the remixes are incredible - because he has taken the ingredients that are already there and made them clearer. "If, for example, Steve had called me up and said could I re-record a solo - not that he ever would of course; maybe just for a bit of fun - I'd never do that because then it wouldn't be true to what the album was, even if I thought I could do a much better solo now." I listened to all of the remixes in preparation for this interview. I think it is akin to the restoration of an old painting - the way the original colors are so much more vividly realized. There is greater clarity of detail, perhaps. "I think that was a great thing that Steven did. I think if something changed the dynamic of the original album from how it was originally released, that would go too far, but I think polishing what was there is a very worthwhile process." link
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Post by rredmond on Jun 1, 2021 13:17:49 GMT
Man the title is clickbait! He's fair about the song writing bit for sure.
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Post by maddogfagin on Jun 4, 2021 15:59:07 GMT
ultimateclassicrock.com/alan-parsons-marillion-cruise-to-the-edge-2022/The five-night prog-rock event, booked for the Royal Caribbean Mariner of the Seas, sails from Port Canaveral, Fla., to the Private Isle of Labadee and the Perfect Day at CocoCay. Reservations begin June 9 at noon ET. The lineup also features Adrian Belew (formerly of King Crimson), Al Stewart, Martin Barre (formerly of Jethro Tull), Saga, King's X, Gong, the Flower Kings, Riverside, Pendragon, Pain of Salvation and Italian prog icons Goblin and Le Orme, among many others. As with previous installments, Cruise to the Edge will also include Q&A sessions, theme nights, artist-cruiser photo experiences and the Late Night Live shows, featuring fan musical performances. The full lineup, along with more information about the ship, is available at the event's official site. Noticeably absent from the 2022 lineup are Yes, the band for whom the cruise is named. The group previously canceled its appearance on the 2020 event, which was later postponed altogether due to the COVID-19 pandemic. The upcoming cruise features a much different lineup than the 2019 edition. That year's event included former Genesis guitarist Steve Hackett, the Moody Blues' John Lodge, former Marillion singer Fish, Mike Portnoy, the Adrian Belew Power Trio, PFM, Soft Machine, Brand X and Focus. As UCR noted in its coverage of the 2018 cruise, "Nostalgia is part of the reason Cruise to the Edge exists. And most of it, as always, was utilized skillfully."
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Post by maddogfagin on Jun 9, 2021 6:22:34 GMT
parklifedc.com/2019/04/16/interview-martin-barre-the-birchmere-04-22-19/Martin Barre performs at Jammin’ Java on Oct. 14, 2018. (Photo by Mark Caicedo)Posted on 04/16/2019 by Mark Caicedo “I just want to be a good musician, I want to be a good songwriter, I want to get better.” Refreshing words coming from a musician who’s been at the top of his game for over 50 years. Martin Barre is well-known as the long-time lead guitarist (1969-2012) for Jethro Tull. I spoke with Martin in anticipation of his “Martin Barre Celebrates 50 Years of Jethro Tull Tour,” which will come to the DC Metro area for two shows on April 22 at The Birchmere and April 23 at Rams Head on Stage. (This interview has been edited for clarity and flow.) Martin’s intricate playing, unique style, and iconic solos are well known to millions of fans. Since leaving Tull (more on that later) in 2012, Martin has released four studio albums and toured the U.S and Europe regularly. Born in Birmingham, England, Martin moved to London in 1966, when he and his friend Chris Rodger auditioned for a band called “The Noblemen” that was looking saxophonists. Martin, although a flute player, learned tenor sax in two days, bluffed his way through the audition and joined the band. After changing its name to “The Motivation,” the band started backing soul artists such as the Coasters, the Drifters, and Lee Dorsey. With another name change to “The Penny Peeps,” it evolved into a blues rock band, now with Martin on lead guitar. After another name change in mid-1968 to “Gethsemane,” the band began touring throughout England with Martin on guitar and flute. That same year, Gethsemane and Jethro Tull both played a blues club in Plymouth, where Martin and (Jethro Tull founder) Ian Anderson first met. A few months later, as Gethsemane was about to call it quits due to lack of financial success, Tull manager Terry Ellis invited Martin to audition for Jethro Tull. After learning material that would eventually become Tull’s second LP, Stand Up, Martin assumed lead guitar duties and embarked on a singular and highly successful career. Fifty years later, Martin’s reprising material from what many consider Jethro Tull’s golden age: 1970 through 1987’s Crest of a Knave (which won a Grammy in 1989). The tour is celebrating Tull’s entire career, but Martin said, “It’s more weighted toward the early days because we have Clive Bunker with us, and I want to feature Clive on as much stuff as possible, the Stand Up, Benefit, Aqualung material and then Dee Palmer gets to play the Heavy Horses, Songs From the Woods, and [the song] Hunting Girl which obviously features a lot of keyboards. We’ve got the girl singers for the string parts on the acoustic songs. It works out really well.” The current tour started on April 12 and promises to be an exhaustive, and expansive, take on Jethro Tull’s legacy. “Yeah, it’s the first big production I’ve taken on. It’s a huge amount of gear, two drum kits, eight musicians, video screens… it’s enormous. It’s exciting. It’s probably a 2 ½ hour plus show, it could be a 4-hour show! But it’s not,” said Martin chuckling. “Too little is really bad and too much is the next thing down, you want to leave people wanting a little bit more, but not very much more.” The tour will extend through the summer in Europe, where Martin mentioned that he’ll play some festival gigs before taking a six-month break. “We’ve really done a lot of US tours in the last couple of years and we’re coming back in April of next year, which isn’t that far off! But, yeah, we’re just going to take a breath because it’s been really, really hard work putting the show together,” he confessed. Speaking of gear, I was struck by Martin’s insistence on maintaining his own equipment, rather than using a guitar tech. His website features the Paul Reed Smith (PRS) guitars that Martin uses primarily, but he told me his arsenal will include a Gibson Les Paul and a Fender Strat, as well as an acoustic and mandolin. “I’m looking at them [my guitars] now, I’ve got one, two, three, I’ve got five. Part of the pleasure of playing an instrument is looking after it, maintaining it, knowing it…it’s part of the job,” Martin said. When asked if he was classically trained, Martin said, “I had flute lessons, but I never had guitar lessons.” I’m astonished at how many of the guitarists I admire (Steve Howe, Eric Clapton, Prince, among many others) are self-taught — and they are musicians of the highest caliber-a group the includes Martin Barre. Indeed, a 2013 study by psychologists Peter D. Macintyre and Gillian K. Potter found that informal practice (self-taught) guitarists display “significantly higher levels of musical self-esteem, willingness to play, motivational intensity, desire to learn, and perceived competence.” Which brings us back to that quote at the beginning of this interview. Between his solo work and reprising the Jethro Tull material, clearly Martin harbors a reverence for and service to the music. Never one to continue living in the past, Martin’s desire to grow leaves no room for lingering regrets or resentments with how things ended with his old band. “I didn’t really stand up for myself as much as I could have, but I am who I am. And I accept it, and I work with it. It’s given me a firm footing in reality.”
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Post by itullian on Jun 9, 2021 20:12:23 GMT
I love Martin to death, but for some reason i can't muster interest in his concerts. I have a solo album, Stage Left, and have watched his live shows on youtube, but they don't do a thing for me. Wish him all the luck in the world though. I think he was very hurt by Ian's exile. Just my 2 cents.
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stevep
Master Craftsman
Posts: 431
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Post by stevep on Jun 10, 2021 19:44:56 GMT
Hi Itullian, I think you would enjoy Martins concert if you were to see him live. Martin & his band are excellent musicians and I really enjoy Martin's humour between songs. I don't think you get to see him talk on his show videos. The link below shows his sense of humour though (sorry I am not sure how you add videos). PS - do you live in Italy & if so, do you think the Tull shows planned for next month will go ahead? www.youtube.com/watch?v=_akPyYV7wrQ
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Post by itullian on Jun 10, 2021 20:51:46 GMT
Hi Itullian, I think you would enjoy Martins concert if you were to see him live. Martin & his band are excellent musicians and I really enjoy Martin's humour between songs. I don't think you get to see him talk on his show videos. The link below shows his sense of humour though (sorry I am not sure how you add videos). PS - do you live in Italy & if so, do you think the Tull shows planned for next month will go ahead? www.youtube.com/watch?v=_akPyYV7wrQHi, Thanks a lot. I've tried watching his live concerts on youtube and they just don't grab me. After a few songs i'm done. I don't care for the vocals for one thing. Just seems empty, like there's something missing. I love Martin though. Ian's concerts on the other hand i love, even though his singing is pretty bad. No, I am an American Itullian.
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stevep
Master Craftsman
Posts: 431
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Post by stevep on Jun 10, 2021 21:55:06 GMT
Thanks, I used to live in Italy & I was surprised to see that it looks like the planned Tull concerts may go ahead there towards the end of July. I wonder if Ian Anderson's voice will change now that he has not toured for well over a year.
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Post by maddogfagin on Jun 21, 2021 6:04:24 GMT
100percentrock.com/2020/10/interview-martin-barre-october-2020/INTERVIEW: MARTIN BARRE – OCTOBER 2020Todd 'ToddStar' Jolicoeur | 23 October 2020 According to a recent press release: “Martin Barre the guitarist of Jethro Tull for over 43 years, his sound and playing was a major factor in their success. Album sales have exceeded 60 million units and they continue to be played worldwide, representing an important part of classic rock history. Martin’s guitar playing has earned him a high level of respect and recognition; he was voted 25th best solo ever in the USA and 20th best solo ever in the UK for his playing on ‘Aqualung’. His playing on the album ‘Crest of a Knave’ earned him a Grammy award in 1989. As well as numerous Jethro Tull albums, Martin has worked with many other artists including Paul McCartney, Phil Collins, Gary Moore, Joe Bonamassa and Chris Thompson and has shared a stage with such legends as Hendrix, Fleetwood Mac, Pink Floyd and Led Zeppelin. Martin has put together a band to play the “classic” music from the Tull catalogue. His band is a total commitment to give the Tull fans and a broader audience the chance to hear tracks not performed for many years.” We were able to grab some phone time with Martin to discuss “new” music and more… Toddstar: Thanks once again for taking time to speak with me. I had the pleasure of speaking with you a few years ago and I’m very excited to speak to you about “50 Years of Jethro Tull”, your newest two-disc release that’s been out a couple weeks now. What can you tell us about this collection that fans of yourself, and fans of Jethro Tull might, might not grab the first or second time they listen through the collection? Martin: What they might not grab? Oh, I don’t know. Well, there’s no mysteries in there, but some of those tracks I’ve been playing with the Martin Barre Band, and then when we were touring in the States and we went to South America and did some UK dates with a “50 Years” tour celebration with Dee Palmer and Clive Bunker. So this was all happening in the same year, but essentially it’s my 50 year celebration, Jethro Tull’s was the year before. The band started in ’68, and nothing happened. There was no big party, no special releases, absolutely nothing at all. I thought, “Well, that’s crazy.” It’s really unfair to fans because I think it means a lot to them that we’ve had 50 years. So, I thought, “Right, I’m going to make sure that my 50 years anniversary is something special.” And so I sort of started planning the album a year before, and it’s a collection of songs we’re playing live, some of my favorite old tracks, and then the acoustics as well, but I just wanted to bring all these elements together. And at first I was going to have famous guests play on it, and I changed my mind. I just thought, “You know what? They mustn’t be the focus of what it’s all about.” So I just got everybody on the CD, they’re really good friends, mean a lot to me, and we’ve sort of grown up through the music of Jethro Tull and touring together. Toddstar: I keep going back to “Nothing To Say” – there’s something about that one that just keeps grabbing me over and over every time I listen through it all. How did you go about cultivating a huge catalog, down to these songs? Are you these songs that just struck a chord within you, or they’re just things that easily came to you? How did you cultivate this list from the songs you had available to you? Martin: Well, I really like them. It’s as simple as that. And I have the luxury, seeing I’m the boss of the Martin Barre Band, of making decisions or suggestions about what we play. And I love my solo material and try and promote that, but this last year I’ve turned my attention to the 50th Anniversary. But it’s an easy decision because there are some great classic tracks, there are sort of big guitar riffs, big drumming. They’re fun to play, and they’re fun to play by a rock band. And my guys are exactly that, they’re rock and roll, loud, dynamic, powerful, and all that stuff is so much fun to play live. And it’s a selection of a huge amount of music that we can play. We probably could have done four discs. There’s more to come. A DVD’s coming out next month and it has the complete show on it with Dee Palmer and Clive Bunker. And it’s a live show, St. Louis, May 2019. So there’s a lot more tracks on that as well. Toddstar: That said Martin, how tempted were you to take some of these songs and maybe change up the arrangements, or go back to arrangements that you had originally considered when writing or performing songs the first time around? Or was it really important to you to really just pay homage to the legacy? Martin: I think it’s a combination. And some tracks, I mess about with them because I’m that way. But “New Day Yesterday,” I just sort of changed the feel of it because I’ve been playing it with Joe Bonamassa when he toured with us a few years ago. And then “Locomotive Breath,” I just thought, “There’s so many versions of it live.” I want people to play it and go, “Wow, that’s different.” I don’t want anything to be predictable, so some things I have fun with and swap about. But essentially the song, in my mind, is intact and hopefully what I do with it that does it justice. It’s just a combination. I don’t have to stick to the rules. Sometimes I do and it works, other times I mess about. But I can promise you that if I mess about with something and the fans don’t like it, they definitely tell me. Or they would tell. They haven’t yet, but they certainly would say what they think. Toddstar: Going through the list, and the CD collection itself has about 28 songs, there are some that they’re calling “bonus tracks” on there, and those are live versions. Going through here, are there any songs that when you were going through rerecording them for this collection, you thought, “Nah, let’s not do this one,” but it turned out well enough that you wanted to keep it, or was everything decided on from the onset? Martin: No, we knew exactly what we were going to do, and we did it. With the live tracks, the electric tracks, I think we were going to do more. We were going to do “Aqualung,” and we’d had a really great day in the studio. It was all down, most of it was first takes, all live, including the vocals. And it was sort of on the bottom of my list is “Aqualung.” Why is it? It’s a long story. But it’s an important track, it’s so well recorded and documented. I just thought, “You know what? We’re not going to do it because it will have more importance than I want it to have.” And I just thought, “You haven’t got to do the big hit,” to try and give the fans something a bit different, a little bit of a left of sense. So it was “yes” or “no”, and literally there and then I said, “Don’t let’s do Aqualung.” And they’re all going, “Yeah, we’ve got to do Aqualung.” I said, “No, let’s make it different.” So there you go. Toddstar: Yeah, I’ve mentioned the legendary catalog of Jethro Tull and then your solo works, but I think that’s the one song everybody almost expects to see. So I think the fact that you didn’t throw it on here was a great surprise. Martin: It’s on the DVD, but then because it’s visual, it’s fresh and new. But another live version of “Aqualung” would just join dozens that are on YouTube and I thought, “Okay, it’ll still be there. It’s not going anywhere.” We were happy with what we did and we had loads of fun and there was nothing we recorded that we didn’t use, which is nice. So we were really happy with everything. Toddstar: I reached out to a friend of mine I’ve known 30 plus years that is a huge Jethro Tull fan. And I said, “If you could ask Martin one or two questions?” And the first thing that came to his mind is “Why, in your opinion, is Jethro Tull still not in the Rock & Roll Hall of Fame and do you think it has anything to do with Chrysalis not sending you guys the Grammy’s?” Martin: I don’t, no. But I think that’s a separate issue. Having said that, to be honest I had never thought of that. But we were looked upon as being rude, not being there. People didn’t like the fact we weren’t there, but the record company refused to… We could have jumped on a plane ourselves, but they wouldn’t take us over there. They said, “You’ve got no chance of winning. Don’t even bother.” And the drummer who lived in LA at the time, they didn’t even get him a ticket. It was awful. We’re not rude people and things mean a lot to us, so it was a shame. That’s probably one of my big regrets, ever. But the Rock and Roll Hall of Fame, I’ve met the people, we’ve done the VIP tour with the Martin Barre Band, they’re really nice people. It’s a great place. I don’t have a problem at all. If one day they ask us in, that’d be incredible. I would be very, very proud. If they don’t, then I’ll just enjoy going there like all the other visitors and look at all that incredible stuff they’ve got there. I think the fans are more concerned than I am. It’s gone on so long that it’s almost a joke. When you see the nominations for the next year, I’m not even expecting anything. It’s almost a relief when we’re not there because it’s gone on so long. Yeah, I’d love to be in there, everybody would, but I’m absolutely fine with it. Toddstar: That’s good hear. Because there are some artists who are out there who are still bitter that they’re not in for one reason or the other, whether everybody believes they should be or not. They hear somebody say “yay” or “nay”, I’ve got my own credits to stand on. Martin: Yeah. It’s a nice thing, but is it important? I suppose it is important because I want to be a part of the history of music, but I’m not pompous enough to think that I’m owed a place in history. If it’s given to you or granted to you, and you can’t expect it. You just have to sit and wait. Toddstar: What’s your take on – I’ll use the term “tribute band”. My friend also mentioned that, and I know he did when he would travel abroad, he would always try and plan it around things by the Dayglo Pirates. Martin: Oh yeah, yeah. Toddstar: What’s your take on bands like that, that try to carry on the legacy of the original incarnation of the band? Martin: Well, good luck to them. And it’s nice, I’m very flattered that people, young kids, want to play our music. It’s the nicest compliment you can have. I meet a lot of people, but when these young kids and they play guitar and they’re learning my stuff, that’s a fantastic feeling. So I’m pleased that they’re doing what they do. I even go and play with a tribute band in Italy, or I haven’t for a while, but just because they’re nice people and I like to sort of be a guest and help them out. I think it’s an important part of entertainment. And it’s big, the Australian Pink Floyd, the Brit Pink Floyd, but that they sell 20,000 seat concerts. They’re huge, but that they sound amazing. But they’re not Pink Floyd, but people didn’t care. It’s healthy. I think it puts everybody in their place, that however amazing you think you are, you are replaceable. And I think that’s healthy. I think it keeps everybody firmly on the ground. Toddstar: You talk about bands influencing the young kids today, and they’re not young kids anymore, but there are certainly players who have cited you. You mentioned Joe Bonamassa, you’ve got guys like Steve Vai, Joe Satriani, Eric Johnson. These guys all cited you as an influence. If you had to go back and pick, who really drove your love of the blues style of playing guitar to make you want to do this, Martin? Martin: Right. Well, I’ve never really listened to blues, although I’m a big Stevie Ray Vaughan fan and I love Robben Ford. But I listen outside of guitars that I’ve heard, but I think the one guy that influenced me was Leslie West. And I think it’s just because we toured with them in the early seventies, and in that period bands were really unfriendly. There was a lot of competition and there was all this sort of rivalry, which was horrible. But they were the first, but they didn’t care about any of that. They were just really fun people, and the way they communicated on stage, the way they behaved, I learnt a lot from that. Leslie was a great person, a great player, had a great sound, but I didn’t try and emulate him or copy him, but he just inspired me to work harder at my job. And I think that’s the same with any music. I hear her a piece of classical music that’s beautiful, and I think if I could write a melody a hundredth as good as that one, I’d be really pleased. So it inspires you in another way, inspires me in another way. But yeah, there’s so many great guitar players. I would pick Robben Ford as being one guy I listened to. Scott Henderson’s another, Gary Moore another guy. But there’s a lot of guitar solos out there, and I probably stopped listening to them. It’s a danger that everything gets a bit tired. But Gary Moore carried the flag to the sort of rock blues player, and now Joe Bonamassa has taken that flag up and he’s great at what he does. He’s really, really good, but he’s created a niche and you need to leave him alone. Yeah, it’s no good copying him. It’s good to learn from him. So if you’re a kid learning guitar, listen to his solos because they’re really rhythmic and beautifully constructed, exciting dynamics. But you can learn that from a piano player, from listening to Elgar, or Beethoven, or Buddy Rich Band. There’s so much out there to be inspired by. Toddstar: I know you’re busy Martin, so I’ve got one more for you before we let you go, if you don’t mind. Obviously you want to ride the wave of this collection, again, the “50 Years of Jethro Tull” which has been out a couple of weeks now and take it to the fans, but with everything that’s said and done, you didn’t have to do any writing on this. So everything that’s been bottled up since you released Roads Less Traveled back in 2018… have you got more material for the Martin Barre Band available, ready to be done, ready to be recorded and unleashed on your fans? Martin: Oh, yes I do. Oh, indeed I do. I work on cassettes. That’s pathetic, but I’ve got a Dictaphone cassette machine. And I’ve got like two hours. My best ideas, I put it on a cassette, and then when the cassette is full I go back and listen to the lot and sort of work on the better ones. So I’m sort of at stage two, I’ve got a lot of cool ideas, wrist chord sequences, different feels. And probably in the new year I’m going to start looking at them, because I always say that the next solo record I do is going to be the most important one, but certainly that’s true of the next one. So it’s a lot of work and I’m really looking forward to it. The temptation is to do it now, but the “50 Years” CD is out, the DVD is going to be out, we’re not on the road. I think I need to pace myself so that at the end of this winter I’ve got a really big project to get my teeth into, and that will be my next solo album. But yeah, I love writing and I just want to get better and better at doing it. Toddstar: Well, I for one can’t wait for the world to open up and you be able to put some music out proper and tour again. I’d love to see you in Detroit, it’s been a while. Martin: I’d love it. Toddstar: And on behalf of my good friend, Adam, who lives and dies by the Tull flag, thank you for all you’ve done in music and the fact that you continue to keep that legacy alive, as well as building on your own. Martin: Yeah, thank you. And I will carry on. Thank you, Todd. Nice to talk to you again.
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Post by maddogfagin on Jun 21, 2021 6:12:21 GMT
www.christies.com/en/lot/lot-4894306Jethro Tull Martin BarrePrice realised GBP 2,400 Estimate GBP 3,000 - GBP 5,000 Closed: 26 April 2007A Marshall 100 watt Super Lead Amplifier Serial No.SL/A1319H, model number 1959, manufactured 1976 with four inputs, six rotary knobs and two switches, finished in black, stencilled on the back with white lettering 1 Martin Barre -- 11x29x8½cm. (28x73.7x21.7cm.); with a Marshall cabinet, finished in black, stencilled on the back with white lettering Martin Barre, 30x29½x11in. (76.3x75x28cm.) -- both owned by Martin Barre from mid 1970s-1980s and used by him on stage at Madison Square Gardens in 1978 which was aired via satellite broadcast; accompanied by a letter concerning the provenance (3) The accompanying letter from Martin Barre states that this was one of only three amps that he used with Jethro Tull, and it was used on the Songs From The Wood and Bursting Out world tours.
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