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Post by maddogfagin on Nov 22, 2021 6:56:24 GMT
somethingelsereviews.com/Martin Barre on playing second fiddle to a flute: ‘I’m sort of like the George Harrison of Jethro Tull’JANUARY 19, 2013 BY SOMETHING ELSE! Guitarist Martin Barre might be the most underrated member of any legacy progressive-rock group. Not only has he played a key role in some of Jethro Tull’s signature moments, he is — other than Ian Anderson — the band’s longest-tenured member. Yet Tull, for better or worse, will always be associated with Anderson and his flute. Even the song credits belong almost solely to Anderson, though it has become clear over the intervening years that Barre made important contributions to the band’s breakout recording Aqualung, while keyboardist Jon Evan was a central presence on 1972’s Thick as a Brick. Barre has actually performed on every Jethro Tull album going back to 1969’s Stand Up, their second effort. Before that he was briefly in a group called Fat Matress, which featured Noel Redding of the Jimi Hendrix group. The auditions to replace original Jethro Tull guitarist Mick Abrahams also included Tony Iommi (later of Black Sabbath fame) and the Nice’s David O’List, but it would be Barre who would win the job — eventually putting his indelible stamp on tracks like “Aqualung” and the propulsive “Locomotive Breath.” Barre’s most recent solo album was 2003’s Stage Left. More recently, the guitarist has been touring with his own group New Day, a venture that lets Barre’s instrument take center stage. But, make no mistake, there are no hard feelings. Barre, in a new reader Q&A with Guitar World, talked about understanding his role in the broader band dynamic. “I’m a team player. I’m a great believer in giving other musicians space, and I always play for the song,” Barre says. “My approach to guitar is like dentistry: if there’s a hole, I’ll fill it. I’m sort of like the George Harrison of Jethro Tull. If I have a nice rhythm part to play, I put a lot of care and attention into it. I get a great deal of enjoyment playing supportively and knowing lots of great chords and knowing how to play behind solos, whether it’s a flute, keyboard or another instrument.” The Quiet Beatle would be proud.
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Post by rredmond on Nov 22, 2021 19:01:18 GMT
Good man.
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Post by jackinthegreen on Nov 23, 2021 1:37:54 GMT
somethingelsereviews.com/Martin Barre on playing second fiddle to a flute: ‘I’m sort of like the George Harrison of Jethro Tull’JANUARY 19, 2013 BY SOMETHING ELSE! Guitarist Martin Barre might be the most underrated member of any legacy progressive-rock group. Not only has he played a key role in some of Jethro Tull’s signature moments, he is — other than Ian Anderson — the band’s longest-tenured member. Yet Tull, for better or worse, will always be associated with Anderson and his flute. Even the song credits belong almost solely to Anderson, though it has become clear over the intervening years that Barre made important contributions to the band’s breakout recording Aqualung, while keyboardist Jon Evan was a central presence on 1972’s Thick as a Brick. Barre has actually performed on every Jethro Tull album going back to 1969’s Stand Up, their second effort. Before that he was briefly in a group called Fat Matress, which featured Noel Redding of the Jimi Hendrix group. The auditions to replace original Jethro Tull guitarist Mick Abrahams also included Tony Iommi (later of Black Sabbath fame) and the Nice’s David O’List, but it would be Barre who would win the job — eventually putting his indelible stamp on tracks like “Aqualung” and the propulsive “Locomotive Breath.” Barre’s most recent solo album was 2003’s Stage Left. More recently, the guitarist has been touring with his own group New Day, a venture that lets Barre’s instrument take center stage. But, make no mistake, there are no hard feelings. Barre, in a new reader Q&A with Guitar World, talked about understanding his role in the broader band dynamic. “I’m a team player. I’m a great believer in giving other musicians space, and I always play for the song,” Barre says. “My approach to guitar is like dentistry: if there’s a hole, I’ll fill it. I’m sort of like the George Harrison of Jethro Tull. If I have a nice rhythm part to play, I put a lot of care and attention into it. I get a great deal of enjoyment playing supportively and knowing lots of great chords and knowing how to play behind solos, whether it’s a flute, keyboard or another instrument.” The Quiet Beatle would be proud. Ian nicely mentions Martin's big part in the evolution of the band in the Silent Singing book, which is cool.
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Post by maddogfagin on Nov 27, 2021 7:54:00 GMT
www.timescolonist.com/entertainment/Pair of Jethro Tull members comes to Nanaimo in support of Aqualung's 50th anniversaryMartin Barre, who was the lead guitarist in the group, will be joined by drummer Clive Bunker for the tour. Mike Devlin about 13 hours ago Updated about 6 hours ago British guitarist Martin Barre of Jethro Tull fame is set to play the Port Theatre in Nanaimo on March 25. Barre, who was the lead guitarist in the group, played on the majority of Jethro Tull’s albums, including 1971’s Aqualung. The native of Birmingham is celebrating the 50th anniversary of the legendary release with a worldwide tour, during which he will play the album in its entirety. Barre will be joined by Dan Crisp (lead vocals), Alan Thomson (keyboard), and Darby Todd (drums). Another former Jethro Tull member, Clive Bunker, who played drums on Aqualung, will join Barre’s band on drums and percussion for the tour. Tickets ($62-$87) go on sale at 11 a.m. Monday through porttheatre.com or 250-754-8550.
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Post by maddogfagin on Nov 28, 2021 7:02:52 GMT
www.guitarworld.com/artists/how-martin-barres-exotic-approach-made-joe-satriani-stand-up-and-take-noticeHow Martin Barre's Exotic Approach Made Joe Satriani 'Stand Up' and Take Notice By Joe Satriani December 03, 2018
"Being a kid from New York I found his entire approach kind of exotic." Joe Satriani on the influence of Jethro Tull's Martin Barre on his playing.
I witnessed Martin Barre playing guitar with Jethro Tull at the Westbury Music Fair on Long Island in July 1970. I think it was my second concert experience, and the venue was a “theater in the round” setup. They were in town on their Benefit tour. Martin’s sound and playing was just like it was on the Tull albums — exciting, earthy, stellar and unique. I was mystified by his perfect blend of electric blues, rock and some kind of British, renaissance-like folk style I couldn’t quite put my finger on. Being a kid from New York I found his entire approach kind of exotic. He was brilliant.
Jethro Tull were an unusual band to say the least, even in the context of the times, which were pretty crazy. Ian Anderson’s writing style was so musically adventurous but always solid. It was progressive stuff but with just the right amount of warmth and feel. Martin kept it real, gritty and grounded for me.
Stand Up is still my favorite from that era. Andy Johns produced and engineered that record and it has his unique sonic signature on it. Andy told me some great stories about the making of that record, which has only served to strengthen my connection to it. It’s funny how, as a fan, you can get stuck on one or two albums by your favorite band. Aqualung and Thick as a Brick were more popular with my friends and the rest of the world over time, but my memories of growing up and coming of age are tied to Stand Up and Benefit — and eight-track tapes!
As the summer of 1970 ended and school started, we lost Jimi Hendrix. That day, September 18, I decided to become a guitarist. As a young musician starting out, looking for inspiration, I was fortunate to have Martin’s guitar playing to inspire me, illuminating all the different ways to play guitar and create musical magic. Thank you, Martin Barre!
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Post by rredmond on Nov 29, 2021 14:22:17 GMT
Awesome! And I did like to see concerts at Westbury Music Fair!
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Post by maddogfagin on Dec 6, 2021 7:41:36 GMT
Martin Barre “Dharma For One” @ The Iridium 4/25/19 3,981 views Apr 26, 2019
Bob Croce 44 subscribers
With Clive Bunker drum solo!!!
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Post by maddogfagin on Dec 11, 2021 6:54:13 GMT
www.ultimate-guitar.com/Jethro Tull's Martin Barre Says He Doesn't Understand Why People Need More Than One Good Guitar"I had one guitar for a long time, and when I wanted a better guitar I sold the one I had," the guitarist says Posted Jan 01, 2019Classic Jethro Tull guitarist Martin Barre - who was a member of the fold between 1968 and 2012, and is by far the band's longest-serving member after leader Ian Anderson - talked all things guitar during a recent conversation with Guitar World. Tull were already a successful band when you joined. As the decent money started coming in, did you get into that crazy vintage-guitar-acquisition mode? "No, it never happened like that. I had one guitar for a long time, and when I wanted a better guitar I sold the one I had. "If you had two guitars it was like, 'Why? Why do you need two? You can only play one!' You'd be offered '50s Gibsons and Fenders for less than $200. It wasn't the kind of silly money you see now for an old guitar. "The main concern in those early days was to get more reliable equipment. Everything was so prone to breakdown. Amps were blowing up all the time." Do you have a guitar that you'd grab in the event of a fire? "No, because I own the guitars, the guitars don't own me. The guitar I play most is a small collapsible travel guitar made in Switzerland. It's not very valuable, but I pick it up every day. "It's a lovely instrument to play. I've had valuable instruments that I've sold or that I've even re-bought. "The money becomes a means to an end. If I'm financing a tour and I want the two girls on onstage, I'll sell a vintage guitar." The guitarist pointed out later in the conversation: "I'm not a gear nut. I learnt my lesson in 1967. I was in a studio doing a session for Eric Burdon and we were doing the backing track. Jeff Beck wandered in; we were in awe. "When we finished the track he picked up an old amp and guitar in the corner of the studio, plugged in and sounded amazing. And it was Jeff Beck that produced that sound, not a particular amp or pedals. "It was purely him. He was totally in control. He could've reproduced that anywhere in the world in any circumstances. That's what I'm always aiming for." You often say that in Tull if you didn't get the solo on the first or second take it would end up being a flute solo. Was it actually that cut-throat? "It was like that. If you go back to when you were working on eight- or 16-track recorders, you didn't have the tracks spare to put on extra solos. I don't particularly like that approach. "When I record now - if I don't get it on a couple of takes I want to stop. I want to erase and start again. When I listen to the solos on the early Tull albums, the playing leaves a little bit to be desired, if I may say so." As soon as you left Tull - if you want to call it 'leaving' and not a hiatus - did you feel worried about the pressure to be the man it all hangs on or was it a sense of liberation and empowerment? "Tull became a comfort zone. The same tours, venues, and songs. Once you become comfortable, things become sterile and stagnant. You're not progressing. "It was a shock because I didn't see it coming, but now I think it's the best thing that ever happened. I'm not somebody who's going to lie down easily. I've got a strong will, I'm determined and stubborn and it made me get my act together. "It liberated me as a guitar player. It made me realize how unadventurous I'd become. I got involved with all of the processes of getting a band together. "It made me play a lot more guitar on the songs, plus I was talking to the audiences, communicating with them. I'm a much more complete person and musician than I ever was." Would you feel too restricted to return to Tull as a regular jobbing band member? "It's not in my universe now; it happened too many years ago. I've got a great band now, and that's my band. I don't want to play with another band. Next year I've got a tour planned called Stand Up America. "It's the beginning of the 50th celebration with Clive Bunker and Jonathan Noyce. I'll have the girl singers; there'll be nine musicians on stage, and we're going to play Tull music, do a double CD, celebrate everything I've been through musically with Jethro Tull." It's obvious from so much of your solo work that the distinctive sound of Jethro Tull owes at least as much to your contributions as Ian Anderson's. Does it leave any lingering frustration that Ian's role as frontman often seems to overshadow other contributions? "I did my job as a guitar player. I wrote my own parts, my own inventions. Guitarists have a big role in a band. Ian was the frontman, the guy who sold the image, the brand. "He did it really well. He was the focus, the kind of PR part of Tull. We all had a job to do. The real unsung heroes were John Glascock, Barrie Barlow, and John Evan. I've had a lot of recognition."
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Post by maddogfagin on Dec 12, 2021 7:15:08 GMT
dmme.net/interviews/barreInterview with MARTIN BARRE (JETHRO TULL)November 2000For many JETHRO TULL is mainly Ian Anderson, the band’s charismatic vocalist and flute player. Well, since 1968 there were many musicians but one must never forget that, beside Ian, in TULL plays another veteran, who got onboard with the second album, 1969’s “Stand Up”. It’s Martin Barre, a guitar virtuoso. While interviews with Ian are many, to talk to Martin seemed to me more interesting, so we sat backstage for a little chat before the band walked out to put a show. – I want to begin with a question about Lancelot. They used to write “Martin Lancelot Barre”… That’s my middle name. My grandparents were French. – Who were you influenced by as a guitar player? I didn’t listen to lot of guitar players, I’ve got together my own way. I never ever learn guitar, I didn’t want to because if I listened to other guitar players I’d play the same style. – Are there any guitarists influenced by you? I don’t know. A couple of weeks ago I met Steve Vai and Joe Satriani and Eric Johnson and they all said: “Ah Martin, we used to listen to you”. They said they’re influenced by me but I just can’t hear it in their playing. It’s not so much about playing as about music. – So what is your input in JETHRO TULL music? How did it changed after you joined the band? They did different kind of music when I joined so everything changed anyway. We were just starting from nothing, whatever songs were like no other music. We were starting from, I think, absolute zero. But I think it took not only my guitar playing but the way the music went. They all would be saying: “Why won’t you play like this or like that?” That’s why I never listened to other people, because I just feel what is the right thing. – But this jazz element was introduced by you? Oh jazz – I can’t play jazz, I never have to play jazz. – What about your “Trick Of Memory” album? It’s not jazz, it just sounds jazzy. I can’t play proper jazz but I can make it sound like that. I just pretend to play jazz. I can’t also play country and western but I pretend, and I can pretend to play classical music. It’s just my version of it because I listened to jazz and I listened to classical music. So it’s easy to copy and I copy in my own way but I’m not playing it properly. – What does the title “Trick Of Memory” mean for you? Nothing, it was a phrase that I saw in a newspaper that appealed to me. It doesn’t mean anything, it has no meaning. Memory is tricked by things, something people think they have, which they don’t have. It’s abnormal. – Who, do you think, buys this album? Obviously JETHRO TULL fans but not only, I wanted it to be the album that very unlikely people would listen to. – I bought it because I thought if TULL is dominated by Ian, on your album you’d put out something very different – as Steve Howe does. It took me a long time to do because I wrote a lot of music and then I listened to it, I thought everybody’s going to compare it to JETHRO TULL. I did an album and had thrown it away and did another one – and had thrown it away. So I could have done, maybe, two or three albums before this one. But they wouldn’t have been good enough to my ears, they wouldn’t stand side by side with the band’s albums. That was important to JETHRO TULL fans who would buy my albums as well as Ian’s albums. It should have been of high quality. That would be horrible to be cheating people, and especially fans of JETHRO TULL that buy albums by all of the band. – What about your flute playing on the album? You didn’t want to bring Ian in? I can play flute but when I go over with Ian I have no practice. I played flute over thirty years, I played in school. Ian always plays a flute with JETHRO TULL and I played some flute on stage too, say, in “Thick As A Brick”, so I played flute with him. – “Thick As A Brick” – there were anniversary editions of this album and "Aqualung". But why there wasn’t one of “Passion Play”? Oh, this is not a popular album with the fans, there aren’t people that ask us to perform the songs from “Passion Play”. [Were there any? – DME] – How do you, I mean JETHRO TULL, manage to keep at the top? FAIRPORT CONVENTION and other your folk contemporaries are not so popular now. It’s a battle of minority music. They appeal to a very small minority music listeners while we’re aiming at much broader audience. Folk music is never big as maybe used to be. It doesn’t sell to a lot of people. It’s a point when everybody comes together to such a party, if you go to a town, be it London or Tel Aviv, to be a small audience it’s not when a rock band comes to you when maybe a lot more people would come. If you play jazz you can’t expect to appeal to a lot of people and with classical music you can’t. – Rock ‘n’ roll lifestyle – you seem to avoid it and never get involved in any scandals. We have fun. It depends on what you want to do. To have fun you don’t need a lot of booze and women. I’m married, I have children. And I have whatever hobbies – I like running every day, I play tennis. I like a lot of pretty stuff about life. – So “Martin, a great womanizer”… Unfortunately, I never was. When I look at pretty girl I just think that she could be my daughter. And that’s the end of it. – Interesting, none of you seems to act like rock stars. No, not at all. – The reason I ask is that when some stars come to Russia, where I lived before, they act very arrogant. And you – just human beings… I don’t know what arrogance is. – OK, let’s get back to the music. The infamous “Chateau D’Isaster Tapes”. I heard some of the parts were re-recorded? No, none of that, it’s all original. We didn’t touch the original tapes. – And "A" album, how did it come to you staying in the band when others departed? I expected to go as well and was thinking what to do but Ian said: “I’d like you to come and play”. I asked: “Why don’t you try to work with another guitar player just to see what it might be like?” But he said: “I don’t want to”. And I go: “Thanks”. – But what would you do if fired? I just didn’t know. I take each day as it comes. I don’t know what might happen at all tonight, maybe I won’t be able to play again. Or I go home and my wife might say, “If you play with the group I would divorce you”. Fortunately, she understands me. (Laughs.) I don’t expect anything, if so, I’m going to be disappointed. I don’t expect to be doing this forever but I would love to. – What can you say about these changes in TULL’s music since Eighties? When I heard “Part Of A Machine” it reminded me of, say, DIRE STRAITS but not JETHRO TULL. Yeah, it’s a sound that I like and Ian likes and it’s different if compared to other bands yet it’s not unlike DIRE STRAITS. But I’m happy with this sound and try to improve it whatever I could. – On the “J-Tull Dot Com” album is a song called “Hunt By Numbers”. Is it a sequel to “…Mouse Police Never Sleeps”? Yes, of course, it is. But from the cats’ side. You can’t ask me about the lyrics, ask Ian! – But you’ve read them, yes? So do you really feel like “dog-eared old copy”? No, no, I don’t! – Self-criticism? Yes, we don’t take ourselves seriously. We’re very hard on ourselves. We never worry about what people might say if they say we’re the biggest $h1t they ever heard in their lives because we are the first to critisise what we do. We get it before everybody else. – Why did you put this album out on Roadrunner, the heavy metal label? Oh, it’s a political thing, it’s a label that would give us a lot of attention. On big label we’d be small. Small label wouldn’t have an ability to promote an album. So the middle-size which Roadrunner is is good for us. – There is the JETHRO TULL tribute album. Have you heard it? A bits of that. I think, it’s a pointless thing to do. I don’t subscribe to such a thing. – Well, you took part in the ELP tribute! I did it as a job. I really didn’t know what ELP might say of it. I did it as a favour for the man who was involved in making the album. I’m not say it’s bad, it’s just didn’t do a lot for me. – On both tribute albums there was John Wetton singing. I heard you play with John. When? On his first solo album which is called “Caught In The Crossfire”. It’s a shame it’s still not on CD. I had an album but I lost it, I put it in tape. Someday I should make me a CD, not a proper CD but from tape. There are pretty good songs. – You know John from UK? Yes, UK supported us in America. – Eddie Jobson looked very weird in TULL. When they toured with us UK was finished and then Eddie played with JETHRO TULL as a guest. And he would never say: “I’m a proper JETHRO TULL member”, he said, “I’m a guest artist appearing with JETHRO TULL”. He’s a great player but many people didn’t like his appearance. Eddie’s a nice guy and we enjoyed working with him but he was never going to join JETHRO TULL, he wasn’t interested. – What TULL is for you? TULL is my life, really. It takes all my life more than anything else does. At the same time I feel independent, I do my own albums. We all being independent people but together we work very hard on what we do, so it’s a very serious job. And it’s fantastic.
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Post by maddogfagin on Jan 1, 2022 17:49:47 GMT
thecommunityword.com/online/blog/2021/12/31/art-alerts-january-2022/Art Alerts | January 2022by Community Word Staff • December 31, 2021 -------------------------------- At the Scottish Rite Theatre on Jan. 23, Jethro Tull guitarist Martin Barre and JT drummer Clive Bunker will lead a group commemorating the 50th anniversary of the original group’s acclaimed LP “Aqualung,” which featured Barre’s solo on the title track — one of the “20 Greatest Guitar Solos of All Time,” according to Guitarist magazine.
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Post by JTull 007 on Jan 2, 2022 1:33:10 GMT
thecommunityword.com/online/blog/2021/12/31/art-alerts-january-2022/Art Alerts | January 2022by Community Word Staff • December 31, 2021 -------------------------------- At the Scottish Rite Theatre on Jan. 23, Jethro Tull guitarist Martin Barre and JT drummer Clive Bunker will lead a group commemorating the 50th anniversary of the original group’s acclaimed LP “Aqualung,” which featured Barre’s solo on the title track — one of the “20 Greatest Guitar Solos of All Time,” according to Guitarist magazine. LIVE in Peoria, Illinois
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Post by maddogfagin on Jan 8, 2022 6:50:36 GMT
www.theintelligencer.com/news/article/Barre-anxious-to-return-to-Wildey-16752050.phpBarre anxious to return to WildeyEx-Jethro Tull guitarist marks 50th anniversary of 'Aqualung' Scott Marion Staff Writer Jan. 7, 2022 EDWARDSVILLE – More than 4,000 miles separate Edwardsville from Martin Barre’s native England, but the Wildey Theatre has become a home away from home for the former Jethro Tull guitarist. Barre will return to the Wildey on Jan. 21-22 for the Aqualung 50th Anniversary Show. According to Wildey manager Al Canal, this will be Barre’s fifth visit to the theatre, including several multiple shows. “It’s a bit unfair to pick out one venue and say you love it, but I just love being there,” Barre said in a phone interview. “Al is a super person and it’s a great theatre and a great town to be in. “It’s also a great venue for the audience. It has all the ingredients of a perfect place to play. We love going back there and it’s a real highlight on any tour.” The U.S. leg of the Aqualung 50th Anniversary Tour is scheduled to start on Friday in Key West, Florida. Barre, who turned 75 on Nov. 18, called from Mississippi, where he was visiting his family. “My son and daughter-in-law live here and it’s where I met my wife, so we always try to visit when we have the opportunity,” said Barre, who lives near Plymouth, England, a port city on the south coast of Devon. “We have a new granddaughter and she’s just beautiful. “I came over a week early and here we are, and it’s freezing cold. The other guys are coming over (Wednesday) from London, so we’ll all meet up in Miami to rehearse and start the tour, so at least the weather will be warmer there.” Barre was the lead guitarist for Jethro Tull from 1968 until the band’s initial dissolution in 2011. He played on all of the Jethro Tull studio albums except for their 1968 debut release “This Was.” Barre was supposed to do a “50 Years of Jethro Tull” world tour in 2020, but most shows were canceled or rescheduled due to the COVID-19 pandemic. Instead, Barre and his band returned to the road in the fall of 2021 to mark the 50th anniversary of the “Aqualung” album. Barre, though, doesn’t take credit for the idea. “Somebody suggested it and my first thought was ‘I don’t want to do that,’ but I looked at the songs and I thought we could play the whole album,” Barre said. “There aren’t many albums where you can play the whole thing at a high level, but this is one of them. “I thought about it and we played some of the songs (in rehearsal). We did a couple of festivals in England last year and played the set. We did a European tour in October and November and road-tested it, and it ended up working fantastically. It’s a good show and it highlights Clive Bunker on drums, who was very much part of the ‘Aqualung’ album.” Bunker, who was the original drummer for Jethro Tull from 1967 to 1971, will join Barre’s band by the time the tour stops in Edwardsville. Bunker, who turned 75 on Dec. 30, played on the first four Jethro Tull albums, including “Aqualung,” and played with Barre several times during the recent European tour. “Aqualung” was Jethro Tull’s fourth studio album and was released on March 19, 1971, by Chrysalis Records. Featuring the interplay of Barre on guitar and founder and primary songwriter Ian Anderson (lead vocals, flute and acoustic guitar), “Aqualung” is Jethro Tull’s best-selling album, selling more than seven million units worldwide. The album spawned two singles, “Hymn 43” and “Locomotive Breath,” as well as the iconic title track, with Barre’s solo on the track considered as one of classic rock’s greatest guitar solos ever. “When we recorded it, it was not a ‘Eureka’ moment, and at the end of it, we were relieved to get it over and done with,” Barre said. “We had come off a couple of great years in America and we were regrouping and gathering our thoughts about what we should be doing. “It was a transitional stage, and it could have gone the other way – it could have been a disaster and people could have forgotten about us. The songs were great, and the lyrics were very strong, but we didn’t finish it and go ‘wow, we’ve got something really special here.’ But it’s become a really important album and the songs stand on their own.” Despite the album’s impact and popularity, there are several songs on “Aqualung” that Jethro Tull seldom, if ever, played live. For Barre, those songs are just as enjoyable to perform as “Locomotive Breath” or the title track. “It’s nice because it gets your brain working about how these songs are going to be played live, and I love those sorts of musical problems. Our live version of ‘My God’ doesn’t have a flute solo (originally performed by Anderson), but we have a classical piece of music, called ‘Palladio’ by Karl Jenkins, that works perfectly with it. “People are probably thinking ‘what’s he going to do with no flute player?’ but we do this piece and people love it. It all came together, and I’m really pleased with it.” Barre’s current band features Dan Crisp on vocals, Alan Thomson on bass and Darby Todd on drums, and he feels they are a perfect fit to perform “Aqualung” and other Jethro Tull classics. “The four of us are the core band. We’ve been together quite a few years and we could do any piece of music and it will sound great,” Barre said. “You add Clive Bunker into the cooking pot, and it adds another element. We also have two girls on vocals and that adds another layer as well.” The concert will be split into two halves, with the first half comprised of a variety of Jethro Tull classics. After a brief intermission, Barre and his band will play the entire “Aqualung” album. “The first half will be a choice of my favorites and it might change from show to show to keep things fresh,” Barre said. “There are a few surprises and I love to hear a song where people go ‘wow – I wasn’t expecting that.’ “There will be some songs from ‘Under Wraps’ and some from ‘Crest of a Knave’ plus some of my solo album work. In Europe, we would play the first half and people would go crazy and we’re thinking ‘how are we going to top that?’ The second half is more written in stone because of the commitment to ‘Aqualung,’ but it works, and I think people will be very happy.” It has been more than 10 years since Ian Anderson, during a Jethro Tull U.S. tour in 2011, told Barre and drummer Doane Perry that he was going to discontinue the band. The news came as a bombshell to Barre, who later called the decision Anderson’s “worst mistake.” Since then, Anderson has toured under his own name, with references to Tull at times, while Barre has concentrated on his Martin Barre Band. Anderson recently resurrected the Jethro Tull name with a new album, “The Zealot Gene,” and a new lineup, which does not include Barre. “There was a lot of hurt and collateral damage, but I just love playing guitar and that’s the tonic that gets me through any situation,” said Barre, whose latest studio album, “MLB – 50 Years of Jethro Tull,” was released in 2019. “We all make mistakes, but I’m way past it now and I’m in a very positive place. “I’ve been doing this for 50 years and in the back of my mind, I feel like I know what I’m doing. The more I’ve got to do with music, the happier I am.” Musically, Barre is uncertain what the future holds, but he aims to seek a balance between touring and family. “I’m going to fine-tune because we’ve had a horrible couple of years (due to the pandemic) and I want to remove the stress and the unknown elements from what I do,” Barre said. “The good news is that America will always be at the top of my list because this is where I flourish and feel at home working and playing. “I want to spend more time with my family, which has sort of taken a back seat over the years. That’s not fair to them and I need to be more careful about how I spend my time. At one point we had a house in Mississippi, and I think we’ll probably invest a lot more of our time in America. It’s always been a second home for me since 1969.” For now, Barre is happy to be back on the road playing the music of Jethro Tull. “It’s been a long time since we’ve been here, and the guys (in the band) have been very patient and resolute about waiting to get back to work again. It’s what we do,” Barre said. “The first gig we had (after the pandemic break) was in September and it was amazing. It was like a reunion of your best friends. Musicians are like passing ships, but when you’re working together, it’s a very close relationship. Everybody wants to get back to normal and we appreciate that more than we ever did.”
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Post by maddogfagin on Jan 10, 2022 15:42:33 GMT
stpetecatalyst.com/jethro-tull-guitarist-martin-barre-plays-two-shows-in-largo-this-week/Jethro Tull guitarist Martin Barre plays two shows in Largo this weekBill DeYoungPublished 40 mins ago on January 10, 2022By Bill DeYoung Martin Barre was Jethro Tull's lead guitarist from 1969 to 2011. Publicity photo.In one of the richest catalogs in all rock ‘n’ roll, guitarist Martin Barre figures prominently on all but two Jethro Tull albums: The very first (This Was, 1968) and the most recent (The Zealot Gene, 2022). Of course, the wildly eccentric British band was – and is – the brainchild of Ian Anderson, the singer, songwriter and flutist who’d come up with every single song, and concept, since the beginning. As Anderson jettisoned and replaced band members over the years, however, Barre was always there. He was the only constant, other than Anderson, from Tull’s early, glory days of Stand Up, Aqualung, Thick as a Brick and Songs From the Wood through the later years, when the records stopped selling and the tours became little more than exercises in nostalgia for the diehard fans. His electric riffing was key to many of those iconic, million-selling songs. Barre and Anderson understood each other; the guitarist seemed to know what every tune needed. So Barre was gobsmacked when, in 2011, Anderson dismissed him, too, choosing instead to hire new, young players to perform as “Jethro Tull” behind him. The good old days: Ian Anderson, left, and Martin Barre, 1970. Crysalis Records.Since that time, the Martin Barre Band has continued to carry the Tull torch, although Anderson owns the name … and, quite rightly, the lion’s share of the legacy. The Martin Barre Band plays Central Park Performing Arts Center in Largo Thursday and Friday (Jan. 13 and 14), on a tour celebrating the 50th anniversary of the Aqualung album. The 75-year-old guitar legend spoke to the Catalyst from South Florida, where he and his bandmates – Dan Crisp on vocals, Alan Thomson on bass and Darby Todd on drums- were rehearsing. St. Pete Catalyst: Now that Tull as we know it seems to be no more, are you in a good place as far as your music and your career? Martin Barre: I really am. At first, it was really difficult and traumatic. And a little bit unpleasant. And then I realized, very slowly, because I started writing and recording straightaway to keep my mind occupied, that I’ve got a lot to say and a lot to play. That I wasn’t able to do before. I was literally released from a very confined situation in Tull. Tull had become not toxic but a very stagnant pool of talent. And since then, I’m definitely in a very happy place. Obviously that legacy is very closely associated with Ian. But it’s your legacy as well. Is going back on the road and playing Tull music a way for you of re-claiming your stake in it? Yeah, I feel that I’m a big, big part of it. And I’m not forcing myself into that situation. I feel that it’s my heritage. I put 45 years of my life into that project. I’m proud of it, and I think I have a right to be a part of it until I decide not to. It feels very natural, and luckily most of the early stuff was very guitar-heavy. So it’s me, I’m there, and very obviously there, and so it feels a very natural mantle to take on. You’re touring “Aqualung at 50.” How deep into the catalog do you go? Do you do any of the folkie stuff, or the prog stuff? I have a book full of all the songs that the Martin Barre Band – I call it the four-piece band – has played, everything, and that we can play. And it’s crazy. It’s probably six hours of music. We’ve all enjoyed putting it together, and we can pull any of those pieces out the bag on pretty short notice and play ‘em. It starts back at Stand Up and it goes all the way through to Crest of a Knave. And they all sound great. The great thing about my band is that Dan is able to sing all this catalog. In the original keys. People say “He sounds just like Ian!” And he doesn’t, he’s Dan. I knew Dan before he’d even heard any Jethro Tull music, and he had the same voice. But it really lends itself perfectly to my music, and to Tull’s music. It’s pretty obvious to me that the band – you and the other guys in classic-era Tull – were integral to the making of all those records, that it wasn’t merely Ian telling everyone what to play. Yeah, it was a band. And that’s what went wrong, it stopped being a band. Ian really just wanted to be a solo performer, and he didn’t really care who was behind him onstage. And essentially just wanted them to do the job and reproduce what he needed to do his job with. But we’re back to being a band again. It’s really like the old days when we toured, we ate and we traveled … spent pretty well 24 hours a day, seven days a week working and traveling. And sort of enjoying each other’s company. It is that formula of being a real tight unit that changes music. Over time, did you see it coming for Jethro Tull – “this is going to end”? I guess I should’ve done! But I just thought that the relationship between me and Ian transcended everything and anything. And Ian always said that without me, there’d be no Jethro Tull. And I got lulled into thinking that was a cast iron working relationship. You don’t have to be bosom buddies to work together, and in many ways in a long-term relationship I think you need to have your own life. And your own things, musically and personally. But we worked so well together because we knew each other like the back of our hands. It was a very strong, like Keith Richard and Mick Jagger. They know each other. They might not love each other, you don’t need to, but you respect and work together. It was a shame. And a really bad business move. If he were to call you tomorrow and say “We’re pushing 90, we’re in our wheelchairs, come and play,” would you do it? I probably wouldn’t, because my loyalty lies with the guys I play with. I might say ‘Yeah, you can some and join my band any time you like. As a guest.” I have great respect for the guys that I employ, essentially, and I would never let them down. They come first.
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Post by JTull 007 on Jan 11, 2022 0:55:41 GMT
stpetecatalyst.com/jethro-tull-guitarist-martin-barre-plays-two-shows-in-largo-this-week/ Jethro Tull guitarist Martin Barre plays two shows in Largo this weekBill DeYoungPublished 40 mins ago on January 10, 2022By Bill DeYoung Martin Barre was Jethro Tull's lead guitarist from 1969 to 2011. Publicity photo. Over time, did you see it coming for Jethro Tull – “this is going to end”? I guess I should’ve done! But I just thought that the relationship between me and Ian transcended everything and anything. And Ian always said that without me, there’d be no Jethro Tull. And I got lulled into thinking that was a cast iron working relationship. You don’t have to be bosom buddies to work together, and in many ways in a long-term relationship I think you need to have your own life. And your own things, musically and personally. But we worked so well together because we knew each other like the back of our hands. It was a very strong, like Keith Richard and Mick Jagger. They know each other. They might not love each other, you don’t need to, but you respect and work together. It was a shame. And a really bad business move. If he were to call you tomorrow and say “We’re pushing 90, we’re in our wheelchairs, come and play,” would you do it? I probably wouldn’t, because my loyalty lies with the guys I play with. I might say ‘Yeah, you can some and join my band any time you like. As a guest.” I have great respect for the guys that I employ, essentially, and I would never let them down. They come first. I feel Martin Barre should continue to play whatever TULL he wishes that he was part of. Especially " El Niño " However.... He seems very annoyed that his band does not get the same level of respect that Ian gets. I enjoy both types of TULL but as long as Ian Anderson wishes to perform he gets more.
The comments that Martin makes seem very bitter and unnecessary I respect his ability to play but not to continue whining about Ian ...
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Post by adospencer on Jan 11, 2022 8:50:45 GMT
stpetecatalyst.com/jethro-tull-guitarist-martin-barre-plays-two-shows-in-largo-this-week/ Jethro Tull guitarist Martin Barre plays two shows in Largo this weekBill DeYoungPublished 40 mins ago on January 10, 2022By Bill DeYoung Martin Barre was Jethro Tull's lead guitarist from 1969 to 2011. Publicity photo. Over time, did you see it coming for Jethro Tull – “this is going to end”? I guess I should’ve done! But I just thought that the relationship between me and Ian transcended everything and anything. And Ian always said that without me, there’d be no Jethro Tull. And I got lulled into thinking that was a cast iron working relationship. You don’t have to be bosom buddies to work together, and in many ways in a long-term relationship I think you need to have your own life. And your own things, musically and personally. But we worked so well together because we knew each other like the back of our hands. It was a very strong, like Keith Richard and Mick Jagger. They know each other. They might not love each other, you don’t need to, but you respect and work together. It was a shame. And a really bad business move. If he were to call you tomorrow and say “We’re pushing 90, we’re in our wheelchairs, come and play,” would you do it? I probably wouldn’t, because my loyalty lies with the guys I play with. I might say ‘Yeah, you can some and join my band any time you like. As a guest.” I have great respect for the guys that I employ, essentially, and I would never let them down. They come first. I feel Martin Barre should continue to play whatever TULL he wishes that he was part of. Especially " El Niño " However.... He seems very annoyed that his band does not get the same level of respect that Ian gets. I enjoy both types of TULL but as long as Ian Anderson wishes to perform he gets more.
The comments that Martin makes seem very bitter and unnecessary I respect his ability to play but not to continue whining about Ian ... Ive always been a big fan of Martin, and it pains me to even think this, but I think since "leaving" Tull he has been pretty clueless and I get the impression he drifts into things. He is no songwriter and with a few exceptions his own compositions are not great. I've tried to like his output since, but his band of mates with its sneering vocalist seems to me like a tribute act.
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Post by JTull 007 on Jan 11, 2022 11:42:01 GMT
Ive always been a big fan of Martin, and it pains me to even think this, but I think since "leaving" Tull he has been pretty clueless and I get the impression he drifts into things. He is no songwriter and with a few exceptions his own compositions are not great. I've tried to like his output since, but his band of mates with its sneering vocalist seems to me like a tribute act. When I first saw Martin perform in 2015 and 2017 I was excited and enjoyed every moment. Being in a small nightclub made it even better !!! The future depends on what happens with COVID...
Compared to all the music recorded by Ian Anderson since 2012, Martin has focused more on playing LIVE His DVDs and LIVE albums will always be worth watching but TULL is what people come to see and hear. I will try my best to see him in the future and also to meet CLIVE and DEE. CRANK IT UP
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Post by tull4ever on Jan 11, 2022 19:05:57 GMT
I think its about time we the fans are told the real reason for the rift. This issue is going to rear its ugly head until that happens. Im guessing Martin is sick of the same old question about why Ian ended Tull. Id be interested in hearing Doanes take on it all. Re the new album (which i eagerley await) ,im guessing the record company said it had to be a JT named album for there to be any interest from them. Ian has stated he recorded half of it on his own ,so it sounds more like a solo IA album to me. Never mind new music to look forward to ,Martin needs a songwriting partner as he is no songwriter,although his instrumentals are spot on.
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Post by maddogfagin on Mar 6, 2022 6:53:44 GMT
Martin Barre Speaks up for Richie Blackmore at a Q&A 424 views Feb 28, 2022
Thomas Walsh 2 subscribers
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Post by maddogfagin on Apr 16, 2022 16:17:47 GMT
blog.musoscribe.com/index.php/2015/11/26/guitarist-martin-barres-post-jethro-tull-world-full-on-fun/Posted in blues, interview, live shows, new release, rawk By Bill Kopp November 26, 2015Full-on Fun: Guitarist Martin Barre’s Post-Jethro Tull WorldAsk most people who the leader of Jethro Tull was, and they say, “Why, Mr. Tull, of course!” No, that’s Ian Anderson you’re thinking of. But the mainstay of that group alongside the flutist/singer was ace guitarist Martin Barre. On all but the first of the band’s twenty-plus albums, it’s Barre’s fretwork that you’ll hear. With the disbanding of Jethro Tull in 2013, Barre has focused more intently on his solo career. But a Martin Barre solo tour isn’t one of those “older guy with an acoustic” shows where you get quiet readings of the back catalog. No, Barre is a fiery guitarist in a blues-rock mode, and he’s touring with a full band. He plays Asheville’s Grey Eagle on Thursday, December 3. [Buy tickets here.] The concert will feature tunes from Barre’s new album, Back in Steel, alongside select re-imagined classics from the Jethro Tull songbook. Back to Steel includes a new reading of “Skating Away (on the Thin Ice of a New Day),” a tune that originally appeared on Jethro Tull’s 1974 War Child LP. Barre’s arrangement strikes a balance between remaining faithful to the Tull version and offering up something new. And on his current concert tour, Barre leads his band through some other reinvented songs from his Jethro Tull years. “I’m looking for a song that I can do something with,” he says. “And very often it’s a song that didn’t [originally] have lots of guitar in it. That gives me a sort of whole different place to go. And these really work live; they have a lot of energy.” The band’s set sometimes includes new versions of “Sweet Dream” (from 1978’s Bursting Out), and two tunes from 1969’s Stand Up, Jethro Tull’s second album (and the first to feature Barre on guitar), “New Day Yesterday” and “Fat Man.” Barre characterizes his arrangement of that last title as “quite rock ‘n’ roll.” Barre began his professional career as a musician in the mid-to-late 1960s (he recorded some early sides with a then-unknown Elton John), and joined Jethro Tull in 1968. But it wasn’t until the early 1990s that he began recording and releasing solo albums; with the regular schedule of Tull album releases and world tours, there simply wasn’t time to focus on a solo career. In more recent years, Ian Anderson has wound down activities for his band, and in the 21st century, Barre is busy with that long-delayed solo career. “I never really had the time for it in the days with Tull; the schedule was so punishing; really full-on. If we ever got a few weeks off anywhere, I just wanted to relax.” Only in the 1980s did Barre begin writing music. Back to Steel is his seventh solo album. And even now, he says, “I still feel very much like I haven’t peaked. I have a lot more to go, and I’m going to get better and better.” “I love writing,” Barre says. “It’s a fresh, energetic process for me. Many artists of my era get a bit tired – more mentally than physically – so I’m quite glad that it all sort of happened later on for me. It’s all accelerated in the last three, four years.” It’s not as if Barre was starting from scratch. Even though most all Jethro Tull tracks bear the songwriting credit of Ian Anderson, Barre had a substantial hand in song arrangements. Anderson often brought songs to the band in “very, very basic form,” Barre says. “And the great thing about Tull is that it was a band working together; it always was. I always get asked about credit, and I say that while one guy might have written the words and the chords, that’s the tip of the iceberg.” Barre says that while he’s always enjoyed the method of “working a song beginning to end, having a big picture idea of what want,” he uses a similarly collaborative band approach today in his solo career. “I don’t give many guidelines,” Barre says. “The other guys will have got a pretty good idea of what [the song’s] about. But then, it’s down to them. And very rarely will I say, ‘try this other bit instead.’ They really have a very nice way of working with me. And ninety-nine percent of the time, I like what they do. That’s why they’re in the band: because they’re musicians who think like me.” Martin Barre’s guitar style is informed by the music he loves, but “I don’t use the word influences,” he says. “I’m not being awkward or snobby, but I listen to a lot of music – whatever the instrument is; doesn’t have to be guitar – and I get inspiration from riffs in music. Particularly classical music; I love orchestration.” Still, he will admit to admiring the work of some well-known guitarists: Mark Knopfler, Robben Ford, Scott Henderson, Gary Moore, Stevie Ray Vaughan; people who have “emotion in their playing,” Barre says. “And I hope that’s what I’m like.” Barre contrasts those names with “guys who have got crazy technique. I can listen to that stuff for maybe five minutes, and I’m not really happy. I’m looking for a lot more; I’m not impressed by pyrotechnics. The greatest melody in the world,” he says, “is one that people [can] hum. It might be an ABBA song, it might be a Beatles song.” Speaking of the Beatles, Back to Steel features a radically reinvented version of “Eleanor Rigby,” a song that originally appeared on the group’s 1966 Revolver LP. Barre says that he wrote his own rock arrangement some fifteen years ago. “I originally wrote it as an instrumental. You know, Jeff Beck does some pretty cool things with classic songs, and though [‘Eleanor Rigby’] is nothing like that, I thought it would be a bit of fun.” He recalls, “I was in the studio one day with nothing in particular to do, so I started messing around with it. I recorded it as a demo – changing the chords and melody – and then I sat on it for years. And then last year I thought I could do something with it. It’s a great song, and I hope I left enough of it to preserve what it is, while still bringing something new to the table that makes it a bit fresher.” As far as music that’s complicated for its own sake, Barre observes, “I think the fans of that music are other musicians. When I watch tennis, I love the guy who’s got a beautiful backhand. It’s an art in itself. And I just love the beauty in things.” He chuckles, and notes, “Maybe I’m sounding a bit pompous. But beauty really is in the eye (and ear) of the beholder. And I really like things that make me smile.” One of the tracks on Back to Steel in which Barre combines technique with emotion-filled, expressive playing is “Hammer.” And fans of Jethro Tull might note just how little it sounds like anything in the Tull catalog. Barre laughs when I ask if he consciously seeks to create music that doesn’t sound at all like his old band. “I’m never that aware,” he says. “I never give myself an agenda. Because that narrows the field, and I like to be really open-minded. I go where the music takes me.” “I don’t have any hangups about Tull,” Barre says. “In the later years, I had less and less to do with it. I was quite a frustrated musician in many ways, though I didn’t realize it until I started my own band. It was only then I realized how little guitar playing was going onto Tull albums.” The freedom to open up on guitar a bit is something Barre relishes. “I’m really happy [now]; I love lots and lots of guitar.” Still, Barre has fond memories of the music and working relationships he enjoyed in his nearly 45 years in Jethro Tull. “Now that Tull’s finished, it’s my intention that none of those guys ever get forgotten. As far as I can help it, their names should be kept in the foremost of everybody’s minds. They all had a really vital role to play.” Barre credits archivist Martin Webb with doing a good job on that score; Webb oversees the current Jethro Tull reissue series, packages that include bonus tracks, essays, and remixes by Steven Wilson. Barre does quip that the people at the reissue label “don’t even have my phone number. The first time I see any of the reissues is when someone hands me one to sign!” Touring and fronting his own band is a different experience than the one Barre had as a member of Jethro Tull. “When we’re onstage, I love it,” he says. “But we’re in the stage where there’s a lot more ‘admin’ than music. Maybe next year, as things move on, I’ll get more help in that. I like travel, and I’m a pretty good travel agent myself, but it’s a lot of work. A lot of days, I’m at my computer, and then at the end of the day – over a glass of wine – I’ll think, ‘You know what? I haven’t picked up a guitar today!’ And that’s a really important part of my life. If I’ve got an hour, I want to play every day. Every day.” But he’s not complaining about the non-musical chores: “I’m really pumped about everything that’s going on.” Barre is especially enthused about bringing his tour to America. “How great is that?” he asks. “We’ve got a lot of fans here that I really want to get to know again. And I’ve got a lot for them.” He has family here, too: his wife is from Mississippi, so he has relatives in Tupelo and Jackson. “I love America,” he says. “America is as much in me as is anywhere else. Since 1969, it’s been my life blood. Nearly everything that’s ever happened to me has happened in America, so I have a lot of respect for it.” The guitarist does acknowledge the challenges of mounting a tour in such a large country. Comparing America to Europe, he says that touring here is “like tackling three or four countries.” Barre characterizes what concertgoers at his December 3 show in Asheville [buy tickets here] can expect. “It’s high energy; we have a great time, and the audience will have a good time, too. Simple as that. I’m confident that people won’t know what they’re about to hear, but at the end of the night, they’ll be really happy. It’s rock, it’s blues, it’s full-on. And it’s fun.”
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Post by rredmond on Apr 18, 2022 15:05:23 GMT
Oldie but a goodie, thanks for sharing!
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Post by maddogfagin on May 2, 2022 5:43:22 GMT
For Yasgur's Farm 1,687 views March 24, 2022
Leslie West - Topic 1.88K subscribers Provided to YouTube by IIP-DDS
For Yasgur's Farm · Leslie West · Joe Lynn Turner · Martin Barre
Legacy: A Tribute to Leslie West
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Post by rredmond on May 6, 2022 10:32:10 GMT
Nice. About 1:35 is where it really picked up for me. But that was enjoyable!
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Post by maddogfagin on May 20, 2022 5:50:37 GMT
bravewords.com/news/molly-hatchet-graham-bonnet-rick-nielsen-jack-russell-and-more-pay-tribute-to-eric-clapton-cd-vinyl-due-in-juneMOLLY HATCHET, GRAHAM BONNET, RICK NIELSEN, JACK RUSSELL AND MORE PAY TRIBUTE TO ERIC CLAPTON; CD & VINYL DUE IN JUNEMay 19, 2022, 13 hours ago news classic rock eric clapton It’s not often that such a diverse array of artists, from blues to southern rock, punk to country, can be gathered together under a single musical project. But there’s one artist whose career has been so incredibly rich and whose influence has been so extensive as to make such a union possible. Of course, that artist is the brilliant guitarist/songwriter/legendary musical figure Eric Clapton who has inspired countless thousands of musicians of all stripes, artists of all colors and fans or all kind, including the incredible group of talented friends found on this brand new set of studio recordings, A Tribute To Eric Clapton. Set to street June 17 on all formats including CD and vinyl, A Tribute To Eric Clapton covers all the basis of Clapton’s incredible career, from his early days in The Yardbirds to his stint in the groundbreaking power trio Cream to his time in the folk-influenced Blind Faith and finally to his monstrously successful solo career. Highlights include a smokin’ hot take on “Cocaine” by blues guitar phenom Kirk Fletcher, a fuzzed-out psych rock explosion with Stooges’ guitarist James Williamson and The Damned’s Rat Scabies fronted by the God Of Hellfire Arthur Brown as well as a twangy and gritty rendition of “Lay Down Sally” by country legend Sammy Kershaw and “Mr. Telecaster” Albert Lee, the latter of which is being released as a standalone single. Stream the single here, and below. If you’re a fan of Eric Clapton or just a fan of a diverse group of stellar musicians cutting loose on some of the finest tunes in classic rock, don’t miss this incredible album. Tracklisting: "Cocaine" - Kirk Fletcher & Brian Auger "Lay Down Sally" - Sammy Kershaw & Albert Lee "I Feel Free" - Arthur Brown, James Williamson & Rat Scabies "Sunshine Of Your Love" - dUg Pinnick & Eric Gales "Let It Rain" - Jack Russell & Sonny Landreth "Wonderful Tonight" - Oli Brown "Layla" - Molly Hatchet "I Shot The Sheriff" - Pat Travers, David Sancious & Artimus Pyle "For Your Love" - Mark Lindsay & Rick Nielsen "Tears In Heaven" - Ana Popovic "White Room" - Graham Bonnet & Snowy White "Can't Find My Way Home" - Shirley King & Martin Barre
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Post by maddogfagin on May 20, 2022 7:36:29 GMT
For Yasgur's Farm · Leslie West · Joe Lynn Turner · Martin Barre 1,870 views March 24, 2022
Leslie West - Topic 1.91K subscribers Provided to YouTube by IIP-DDS
For Yasgur's Farm · Leslie West · Joe Lynn Turner · Martin Barre
Legacy: A Tribute to Leslie West
℗ Mascot Label Group/Provogue
Released on: 2022-03-25
Producer: Mick James Composer: Corky Laing Composer: David Rea Composer: Felix Pappalardi Composer: Gail Collins Composer: George Gardos Lyricist: Gail Collins Composer: Gary Ship
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Post by maddogfagin on May 22, 2022 5:48:27 GMT
goodmenproject.com/featured-content/martin-barre-on-jethro-tull-mountain-the-beatles/Martin Barre: On Jethro Tull, Mountain, the Beatles His current Martin Barre Band has drawn rave reviews from his fans, young and old while bringing a revived interest in his vast solo work since leaving JT nearly 10 years ago. May 21, 2022 by CultureSonar By Steven Valvano Author’s note: Martin Barre, the Grammy-winning guitarist of Jethro Tull, is in the midst of a 40-date solo tour in the US and Canada. He recently spoke with CultureSonar about his 50-plus years in rock. His current Martin Barre Band has drawn rave reviews from his fans, young and old while bringing a revived interest in his vast solo work since leaving JT nearly 10 years ago. CultureSonar- The current tour of the Martin Barre Band is focused on Jethro Tull’s flagship album Aqualung. What are your reflections on the album and how do you see its place in musical history? MB- It’s important in Tull’s history, but probably not in general musical history. It’s not exactly an album of radio tracks. It’s there in its little category. It’s sort of top of the tree in a niche market, but for Tull fans, it’s very important. Being able to play to it has been a lot of fun, but not iridescent in today’s market. But by playing it, it really works, it’s a total success. Aqualung is great live music. CS – Thinking back on the album, you experiment with many guitar sounds on the two prior JT albums (Stand Up, and Benefit). The guitar peddles were there, (wah-wah, vibrato effects), and then Aqualung comes out and we hear an exclusive direct plug-to-amp sound. For me, this was the album where you established the “Martin Barre sound.” Was that your approach at the time? I guess I wasn’t aware of it, but I guess it was. At that time, we were still finding our feet. It followed Stand Up, which was a great boost to Tull in the States. Its success drove us forward, and Benefit had some great tracks as well. By the time we got to Aqualung, we were so far ahead of ourselves, and I think we sort of found ourselves in the studio with a need for a bit of new direction, as we really had no plan. There were big expectations after two successful albums; we were all looking to establish ourselves as individuals. I think the combination of acoustic and electric tracks became Tull’s signature. Again, it wasn’t part of a plan. CS- Another technique that shows up on Aqualung is the rhythmic scraping of your guitar strings (as on “Locomotive Breath”). You don’t return to that technique again (perhaps a little on Passion Play). Was this your direction at the time? You were working with the others being influenced to become part of the rhythm section, so to speak? MB- Well, I don’t really think about what I do or why I did it, at the time. In terms of technique. I think the one person who ever really influenced me was Leslie West (of Mountain). I sort of pinched harmonics ideas from him. I loved his melodic playing, although I certainly didn’t want to copy him. I do give him a nod as he was a big influence. Mountain was the support band on a big Tull tour in those days and we got to know them really well. CS- There has been plenty of recognition as your work on the title track of Aqualung. In many polls, it has been singled out as one of the greatest rock guitar solos of all time. When recording the track, I’ll assume you didn’t sit down and say, “Now I will record an iconic solo” but can you think back as to your approach at the time? MB- (Laughing) It was totally improvised. There was no plan at all. Just went out into the studio, plugged in and that solo wasn’t even the first take, it was definitely the second take. There was seemingly nothing special or important about the solo. I think to this day Ian (Anderson) regrets that it wasn’t a flute solo. He personally can’t play “Aqualung” in its original form as the guitar solo was, and is still, an important part of the music. I am so grateful as it has given me a signature (if that’s the right word) that I don’t personally think breeds it, but other people might, of course. For me, it gives a jumping-off point to some sort of recognition. That gives me a personal goal to play better and to make sure I keep that sort of reputation alive. I am still out there playing and hopefully able to make people happy, and that’s great. So, that is why the solo is important to me, but I don’t listen to it and think, “Wow, that was amazing!” CS- Let’s talk about the MB Band for this tour. One can’t go far without acknowledging singer and guitarist Dan Crisp. This guy does it all! Where did you find this man? I appreciate the position he’s in, and it’s not an easy one. Was he aware that he would be seen as “replacing” the legend next to Martin Barre? He could have easily fallen into a parody of Ian Anderson, but he really pulls off that thin line of singing the traditional way that the fans want to hear the Tull songs, yet his delivery and presence are still all his. MB- Yes, agree. But overall, that is not the case at all here. Because as much as Ian is irreplaceable in “my world,” I am irreplaceable in “his world.” So, you are not looking to replace that medium, or looking for someone to be in that place musically. You want someone to create their own personality. You have to do that because, suddenly, someone is mentioning the term “tribute band!” And I have had a few idiots say that about me, and that really makes me angry. In no way would I want to be categorized that way, but if we were to be that, I could probably make four times the money we make now. I was recently watching TV and they were advertising an ABBA tribute band. I’m thinking, ‘hang on, that means the people are not important.’ It’s not about what the people are doing with the music, it’s just the package for selling. We should always be supporting local musicians that are trying to establish their own person in their music. As Dan has done to these songs for our band. CS- Today it must be very tempting to “have a go” at rearranging traditional Jethro Tull tracks with your band, but you have kind of stuck to the recorded structure. The main exceptions are you having to replace all the flute lines; how did you approach this challenge? MB- Yes, rearrangement of songs is a dangerous direction to go in. I try to stay within the guardrails, but we occasionally have fun. Some of the old tracks are a bit bland in today’s world. There are not many, so we may try a bit of rearranging. But I don’t rearrange as an exercise. We do have fun with it, example is we do a rearranged “Eleanor Rigby.” CS- Yes! I love that arrangement, it’s brilliant! On stage, you give a little fun speech that America’s got a lot of stuff to be proud of, but England will always have the superior Beatles! To that point, do you really feel that way about the Fabs? What was their impact for you? MB- Yeah, I think everyone my age was influenced but the Beatles. They were the best band, the most original, most inventive band, so everyone of that era thought they were hugely influential. Not many didn’t like them, at least in England. The Beatles were leaders, and I remember when Sgt. Pepper came out, they re-established themselves. Putting themselves right at the top again by blowing everybody away. They were artists and came out with albums that bypassed all the trends that were happening. I don’t mean to be disrespectful of “Eleanor Rigby”’s songwriting, but our arrangement is a bit of fun, and the song shines through. But re-arrangements, as a rule, can become a dangerous habit. CS- For the many iterations of the personnel for the Martin Barre Band, is it a prerequisite to be a Tull fan and have a musical knowledge of the catalog in order to join the band? MB- No, I prefer the opposite. I don’t want the players to be pre-programmed. Darby Todd (current drummer) is a prime example. He knew something about Tull’s music, and he soon discovered how good a player Clive (Bunker, who has also joined the MB Band for this tour) Barry Barlow, and Doane Perry were. So, he really enjoyed learning the music. Darby did eventually bring his own take to the music. Maybe that’s the point. I don’t serve the Tull heritage, I acknowledge it. I am proud of it, but it’s not as important as my own music to me, although it doesn’t sell as many tickets. I am proud of what I do with my writing and arranging. I like what I do because it’s aimed at me. I quite like the fact that my neck is on the line. Having two drummers for this tour comes down to Darby. He’s amazing at working with musicians. It was Darby who figured out how he and Clive could play together, gave Clive a lot of direction, so we spent a lot of time rehearsing. CS- Another Tull anniversary is upon us this month: Thick As A Brick was released 50 years ago. A concept album- one song, both sides. Your reflections upon that album? MB- I can’t settle on the adjective of a ‘concept’ album. We just wanted it to be sequential. We thought it would be cool not to have a two or three-second gap between each song, start-stop, start-stop. We thought we would link these songs together with instrumental bits. People have been doing this for hundreds of years. If you listen to classic composers, it’s very normal. Yet, they are not called ‘concept composers.’ It’s just a different way of presenting music, and I like it. It’s a very natural thing to do. It was not over-thought at the time. We were writing much of it on the fly. We’d pick up each day where we left off, and we would come up with ideas and arrangements. The thread through all of this was Ian’s very basic songs. We had fun doing it.
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Post by JTull 007 on Jun 2, 2022 10:19:50 GMT
Classic Album Review Martin Barre: Yes | Pink Floyd 'A Passion Play' Live | Why 'Benefit' is better than 'Stand Up' Interview with Martin Barre where he reminisces on Hendrix, supporting Pink Floyd playing 'A Passion Play' live, those awful drums on 'Under Wraps' and why 'Benefit' is better than 'Stand Up.' He also confesses his love for Yes.
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Post by woodsongs on Jun 2, 2022 18:09:08 GMT
Classic Album Review Martin Barre: Yes | Pink Floyd 'A Passion Play' Live | Why 'Benefit' is better than 'Stand Up' Interview with Martin Barre where he reminisces on Hendrix, supporting Pink Floyd playing 'A Passion Play' live, those awful drums on 'Under Wraps' and why 'Benefit' is better than 'Stand Up.' He also confesses his love for Yes. Thanks for that. I enjoyed that interview. Martin Barre seems a thoroughly decent chap. (I really wish he was still with Tull).
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Post by bunkerfan on Jul 24, 2022 13:36:27 GMT
"JETHRO TULL'S MARTIN BARRE, PERHAPS ONE OF THE MOST CRIMINALLY UNDERRATED ROCK GUITARISTS IN MUSIC HISTORY DEMONSTRATING WHY HE IS A GIANT WHEN PLUGGED IN. THIS ISN'T HIS FASTEST OR HEAVIEST, BUT IT'S ONE OF THE BEST!" The Broadsword File - The Definitive Tull Podcast
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Post by rredmond on Jul 25, 2022 17:02:39 GMT
(I really wish he was still with Tull). I know this shocks none here, but I agree!
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Post by jackinthegreen on Jul 25, 2022 23:10:22 GMT
(I really wish he was still with Tull). I know this shocks none here, but I agree! All good things come to an end, I do think Martin's best work was in the confines of Jethro Tull, because of the genius of Ian Anderson.
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