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Post by Deleted on Oct 21, 2014 14:38:46 GMT
www.rockpopinfo.com/music-news/martin-barre-life-after-jethro-tull/displayInterview with Jethro Tull guitarist Martin Barre So do we call you: ex-Jethro Tull guitarist Martin Barre, or simply Martin Barre? That's a door I won't ever close, but it's a question you'd have to ask Ian (Anderson). I don't think there will ever be a Jethro Tull again, but he and I are now in situations we're both comfortable with. Anderson has been dismissive about the baggage of the Tull name, referring to the band's work as "kind of historical." Musicians are known for opening their mouths and inserting feet. I've done it. so I won't make judgement calls on others. Are you and he still in contact? No. We haven't spoken for three years. No wonder you've struck out alone. Yes, indeed. It was very, very sudden, and I wasn't really prepared, so it took me a year to get back on my feet. I've got a great band and we're changing our directions musically. When you played the recent Legends Of Rock weekender we noted a bluesy vibe. That's where I'm going, yeah. At Minehead you covered Gov't Mule and Bobby Parker. We still do some Tull tracks, and some that Tull haven't done for years. You have a live album called Away With Words coming out. Next year's studio album of original music will be a better representation still of what we're about - a bit like Tull, but with rockier guitar. 'Thinking-man's blues', maybe. This is a heck of a tour for a guy in his 60's. I'm a young person in an old man's body- I just refuse to stop. Barre is on the road until the end of 2014. ~ ultimateclassicrock ~ Sept 2014 ~
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Post by JTull 007 on Oct 21, 2014 15:09:06 GMT
That kinda says it all. Life goes on and musicians find their own way to play what they want. At least he has no further criticism of Ian's vocals. Perhaps that was a foot in the mouth.
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stevep
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Post by stevep on Oct 22, 2014 20:55:52 GMT
Apologies if this is elsewhere but i thought it was worth adding anyway. Very interesting interview with Martin Barre youtu.be/kLRLACbjP6g
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Post by snowball on Dec 19, 2014 18:06:23 GMT
Apologies if this is elsewhere but i thought it was worth adding anyway. Very interesting interview with Martin Barre youtu.be/kLRLACbjP6gyou know, I saw this interview for the first time this morning, and it really is surprising and sad (unless he is exagerrating, which he does not appear to be) that he is "not wealthy" and "has a big house but doesn't have enough to retire". I understand why all the songwriting royalties went to Ian, barring live performances of the band which go to everyone. What I don't understand is how Martin says he has no complaints about the distribution of tour incomes and that it was fair, but then proceeds to say he isn't rich and can't afford to retire. This is stunning. I was also surprised to hear that the deterioration of the friendship between Ian and Martin began in the mid-1990s. But if we consider the end of Tull albums and the proliferance of Ian solo albums, things get clearer. I'm also really starting to think that since 1969 brought Martin into the band, how many times has Martin disagreed with Ian's decisions concerning WHOM was in the band ? What about disagreements between Ian and other former bandmates ? There are so many former band members ! The only one that couldn't be in the band anymore due to his unfortunate passing was John Glascock. Otherwise, the reasons why these people left or were dismissed by Ian could be another sore spot for Martin.
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Post by jackinthegreen on Dec 19, 2014 18:32:07 GMT
Apologies if this is elsewhere but i thought it was worth adding anyway. Very interesting interview with Martin Barre youtu.be/kLRLACbjP6gyou know, I saw this interview for the first time this morning, and it really is surprising and sad (unless he is exagerrating, which he does not appear to be) that he is "not wealthy" and "has a big house but doesn't have enough to retire". I understand why all the songwriting royalties went to Ian, barring live performances of the band which go to everyone. What I don't understand is how Martin says he has no complaints about the distribution of tour incomes and that it was fair, but then proceeds to say he isn't rich and can't afford to retire. This is stunning. I've been saying the same thing on a few threads on this forum since I heard Martin on that interview, it really is unbelievable that Martin doesn't think he is wealthy enough to retire.... ...as I said elsewhere, there must be a bank account in his name that he doesn't know about which has all the money in it from his work with Tull since 1969, must be many millions... ...doesn't everyone agree Unless he has had a really bad financial advisor over the years, or been gambling it all away......
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Post by steelmonkey on Dec 19, 2014 18:39:58 GMT
Or the 'stingy Ian' blah blah is true and Martin has been getting minimum wage, sharing Motel 6 rooms with a roadie or two, sitting in coach and getting meal vouchers at McDonalds for 40 years.
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Post by jackinthegreen on Dec 19, 2014 20:42:56 GMT
Or the 'stingy Ian' blah blah is true and Martin has been getting minimum wage, sharing Motel 6 rooms with a roadie or two, sitting in coach and getting meal vouchers at McDonalds for 40 years. Hmmm, well, nobody up to now (to my knowledge), has implied they were short-changed as far as the Tull machine rolled....so we have to assume that everyone got what was due......so MB must have been due the most......
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Post by maddogfagin on Dec 20, 2014 10:16:11 GMT
you know, I saw this interview for the first time this morning, and it really is surprising and sad (unless he is exagerrating, which he does not appear to be) that he is "not wealthy" and "has a big house but doesn't have enough to retire". I understand why all the songwriting royalties went to Ian, barring live performances of the band which go to everyone. What I don't understand is how Martin says he has no complaints about the distribution of tour incomes and that it was fair, but then proceeds to say he isn't rich and can't afford to retire. This is stunning. I've been saying the same thing on a few threads on this forum since I heard Martin on that interview, it really is unbelievable that Martin doesn't think he is wealthy enough to retire.... ...as I said elsewhere, there must be a bank account in his name that he doesn't know about which has all the money in it from his work with Tull since 1969, must be many millions... ...doesn't everyone agree Unless he has had a really bad financial advisor over the years, or been gambling it all away...... I don't reckon Martin's too badly off. He has a nice spacious house and space to record his music. Financially he will get a great deal of royalties for the work he's done for the band since 1969 and with the current crop of re-issues this has probably increased. If Mick Abrahams can "survive" on the royalties he gets for "This Was", the Blodwyn Pig and solo albums he made and any live dvds he's on then I'm sure Martin is OK. That is of course, as you say, he had a really bad financial advisor or liked building guitar shaped swimming pools
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Aqualung1989
Journeyman
I'd give up my halo for a horn, and the horn for the hat I once had
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Post by Aqualung1989 on Dec 20, 2014 13:09:47 GMT
That kinda says it all. Life goes on and musicians find their own way to play what they want. At least he has no further criticism of Ian's vocals. Perhaps that was a foot in the mouth. Haven't spoken for three years. Wow. I'm sure they have their reasons and life goes on and all that, but it makes me sad. When has Martin criticized Ian's vocals? I didn't know about that.
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Post by nonrabbit on Dec 20, 2014 13:13:20 GMT
"....We got paid a lot of money, I have a nice house but not enough to retire on.."
Bad investing? Can't see that either when he had someone not two feet away from him that is a very good investor by all accounts.
His words on Ian enjoying the promotion work is very enlightening and the nearest he will probably get to discussing his relationship then and now unless he goes down the route of a warts n all book ( if he needs the money) however unless he puts in " affairs and one-night stands with famous groupies" it will have a limited audience.
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Post by steelmonkey on Dec 20, 2014 16:31:35 GMT
It was revealed on the 'Light Music' CD that Martin has had hundreds of women in his mind.
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Post by Tull50 on Mar 1, 2015 17:59:03 GMT
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Post by jackinthegreen on Mar 1, 2015 21:14:28 GMT
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Post by Deleted on Nov 18, 2015 15:47:59 GMT
Martin Barre Recorded an Entire Album and Rejected It Because the Benchmark Was Jethro Tull By Lee Zimmerman - Wednesday, November 18, 2015 Martin Barre knows what it's like to reach the stratosphere of superstardom. He's toured the world, played the biggest arenas and, for more than four decades, recorded dozens of classic albums, all as chief guitarist for Jethro Tull. So it's no small turnaround to find him scaling back in the role of a solo troubadour, narrowing his expectations and playing intimate venues under his own auspices. Although he's had his own band for three years and, by his count, plays an average of 100 gigs a year, Barre's current jaunt marks his first series of solo gigs in the United States.
"It's very difficult to get over there," Barre says, explaining the delay via phone from his home in the United Kingdom. "I'm an unknown quantity. But through word of mouth and through YouTube, I hope and I guess I have a good reputation."
It sounds strange to hear Barre undercut his credence, given the fact that his guitar riffs, like that on the Tull showstopper "Locomotive Breath," make for some of the most indelible encounters in all of rock 'n' roll. Barre concurs but quickly points out that even though he reinterprets several Tull tunes in his solo shows, there's a big difference between his individual efforts and what he did in his former day job. "In real terms, I'm very happy with my solo career."
"Let's just say far fewer people want to see Mick Jagger than want to see the Rolling Stones," he points out. "It's the same thing here. Everyone wants to see Jethro Tull, but when it's not Jethro Tull, promoters become nervous about what they're going to get. However, when people see us play, it breaks the ice. I'm not in my normal environment, but I hope people will trust me."
So can audiences expect to hear that classic riff? Barre demurs. "I don't do it because I think it's the easy way out," he insists. "I don't want to be predictable. I do a lot of cool stuff that I think works really well, a lot of my own stuff, as well as blues standards we've worked up on our own. The Tull stuff I play hasn't been played in a long time — 'Minstrel in the Gallery,' 'To Cry You a Song,' 'Song for Jeffrey,' and 'Fat Man.' I've sort of reinvented them and given them a fresh spin."
Still, he concedes that the high bar set by Jethro Tull adds increased pressure. "There certainly was a lot of that in the '90s when I first started recording solo albums," he says. "I recorded an entire album and rejected it because the benchmark was Jethro Tull, and it didn't reach that plateau. Now, after six or seven albums, I'm more comfortable. The music I'm doing now doesn't compare to Jethro Tull or what Ian [Anderson] is doing, so I don't feel that pressure now. I'm enjoying myself so much, the danger is that I might get a bit self-indulgent."
That's the opposite of how he felt about being in Jethro Tull, particularly in its final few years. "In the beginning, we were unpredictable. We could go from rock to folk to that kind of showy extravagance. But in the end, it got safe and repetitive. It was a good time to stop, although it wasn't of my making... Everyone who played in Jethro Tull came in with so much enthusiasm and energy, but if you're restrained from using that energy and giving it to the band — if you're on a very tight leash — it doesn't work. I want my musicians to have total freedom. It's important that it works on an equal basis."
Of course, the obvious question is, with Barre venturing out on his own and Ian Anderson doing his own reimagining of the band's music, what's the future for Tull? Or is there any at this point?
"It's a safety net to say you never know, but in real terms, I'm very happy with my solo career," he responds. "I'm not looking at money at all. I'd like to play Madison Square Garden and sell it out, but you have to take that out of the equation. I'm talking about the emotion and the music, and I'm in a really good place... My goal is that people will like it, and that will be my reward."
Still, doesn't he miss the money, the fame, the headlining gigs, the cache of being a superstar? "I think looking back can be negative. I don't have time for that," Barre asserts. "So I'm looking forward. I don't go up to people and say, 'Hey, you. Know who I am? You know what I've done?' I'd rather say to people, 'This is what I'm doing now!' I've wiped the slate clean."
The Martin Barre Band 8 p.m. Saturday, November 21 and 7 p.m. Sunday, November 22, at Arts Garage, 94 NE Second Ave., Delray Beach. Tickets cost $45 plus fees. Call 561-450-6357, or visit artsgarage.org.
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Post by JTull 007 on Nov 18, 2015 16:39:50 GMT
Martin Barre Recorded an Entire Album and Rejected It Because the Benchmark Was Jethro Tull By Lee Zimmerman - Wednesday, November 18, 2015
Of course, the obvious question is, with Barre venturing out on his own and Ian Anderson doing his own reimagining of the band's music, what's the future for Tull? Or is there any at this point?
"It's a safety net to say you never know, but in real terms, I'm very happy with my solo career," he responds. "I'm not looking at money at all. I'd like to play Madison Square Garden and sell it out, but you have to take that out of the equation. I'm talking about the emotion and the music, and I'm in a really good place... My goal is that people will like it, and that will be my reward."
Still, doesn't he miss the money, the fame, the headlining gigs, the cache of being a superstar? "I think looking back can be negative. I don't have time for that," Barre asserts. "So I'm looking forward. I don't go up to people and say, 'Hey, you. Know who I am? You know what I've done?' I'd rather say to people, 'This is what I'm doing now!' I've wiped the slate clean."
The Martin Barre Band 8 p.m. Saturday, November 21 and 7 p.m. Sunday, November 22, at Arts Garage, 94 NE Second Ave., Delray Beach. Tickets cost $45 plus fees. Call 561-450-6357, or visit artsgarage.org.
Best interview so far. Martin sounds upbeat and positive! That's what I want to see
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Post by maddogfagin on Nov 19, 2015 8:57:51 GMT
Martin Barre Recorded an Entire Album and Rejected It Because the Benchmark Was Jethro Tull By Lee Zimmerman - Wednesday, November 18, 2015 Still, he concedes that the high bar set by Jethro Tull adds increased pressure. "There certainly was a lot of that in the '90s when I first started recording solo albums," he says. "I recorded an entire album and rejected it because the benchmark was Jethro Tull, and it didn't reach that plateau. Now, after six or seven albums, I'm more comfortable. The music I'm doing now doesn't compare to Jethro Tull or what Ian [Anderson] is doing, so I don't feel that pressure now. I'm enjoying myself so much, the danger is that I might get a bit self-indulgent." I read in an article many years ago (probably in an early edition of AND) that Martin said he'd recorded an album which had been rejected by Chrysalis. Whether he's referring to the same recording or not is open to question but I just hope he kept what he put down on tape at that time for posterity. Maybe we'll get to hear it one day
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Post by Deleted on Nov 20, 2015 18:11:23 GMT
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Post by JTull 007 on Nov 24, 2015 3:28:34 GMT
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 1988. Most Recently: Martin Barre has announced the release of his sixth and most important solo album to date.
Back to Steel celebrates the guitarist’s 50-year career with a return to his roots of steel strings and electric guitars released through Garage Records and will be available through www.martinbarre.com, iTunes and Amazon.com initially. Martin Barre and his band have started their 2015 tour throughout the UK and Europe. Following Cruise to the Edge in November 2015 in Florida, Martin and his band will also be touring the U.S.
It is my great pleasure to welcome the legendary guitarist of Jethro Tull …Martin Barre.
Our second segment of the show today welcomes another special guest … Anne Leighton who is president of Anne Leighton Media * Music Services * Motivations a multi-faceted company that helps artists who need development, marketing and/or promotional services in their careers. Some of her clients include … Ian Anderson/Jethro Tull/Martin Barre, Blackmore’s Night, Grand Funk Railroad, Gentle Giant, Orleans, KKB (with Bruce Kulick), Shun Ng & Magic Dick, The Strawbs, The Family Stone, and Jann Klose to name just a few.
Anne’s worked in radio at WZIR-Buffalo, WRNW-Briarcliff Manor, WFUV-Bronx, WBUZ-Fredonia, and was an editor at HIT PARADER magazine, plus freelanced for a number of magazines including FELINE WELLNESS, CATFANCY, MUSCLEMAG INTERNATIONAL, INSIDE KARATE/KUNG FU, GOLDMINE, and CREEM. Anne’s play’s include REACH FOR THE SUN, which was performed by Poets Repertory Theater of Long Island, ONE WAY TO HEAVEN performed by the San Antonio Living Church, and THE PASSION OF MARY which was read at the Kingsbridge Library Center in her hometown of the Bronx.
Her latest project is Anne Leighton's Poetry Book, THE LEIGHTON EXPLOSION which will be released on October 15th.
I’ve worked with Anne for several years now and she’s one of the best in the business. It’s my pleasure to welcome Anne Leighton to The Ray Shasho Show!
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Post by nonrabbit on Nov 25, 2015 18:31:25 GMT
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Post by Deleted on Nov 25, 2015 18:43:31 GMT
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Post by Deleted on Nov 26, 2015 18:02:18 GMT
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Post by Deleted on Dec 13, 2015 14:44:43 GMT
Interview: Martin BarrePosted on December 13, 2015 by Vivien Wu With a new solo album hot off the press, Jethro Tull’s guitarist Martin Barre explains to julian piper why he loves classical music, why he won’t be touring with Ian Anderson, and why he’s turning his back on amplifiers. While they might not have quite achieved the iconic status of some of their illustrious peers, the very mention of an upcoming Jethro Tull tour is akin to the second coming. Tull has been at it for an incredible 43 years and whether or not rock music was meant to last this long, it’s an impressive track record. But rumblings of discontent abound amongst the Tull faithful; a quick glance at any one of the band’s online message boards suggests that all is not well. Ian Anderson has allegedly lost his voice, is touring Thick As A Brick [one of the band’s most celebrated albums] without a Tull member in sight, and Martin Barre, his long time faithful guitarist and acolyte, is striking out on his own with a solo album. So on the morning I met up with Martin at his Devonshire home, I was certainly intrigued. I’d once liked Jethro Tull, but had bailed out about the time of their third album. However, as the years rolled by, it was difficult not to be impressed both by the loyalty of their fan base and the band’s seemingly unstoppable longevity. Certainly the softly spoken guy who came to the door was far removed from any preconception of a grizzled rock star. A man who enjoys wind surfing, sailing, running and mountain biking; only Martin’s white goatee beard links to his famous alter ego on face value. Sitting down to talk, the guitarist exuded the kind of passion you’d expect from a musician proud of their first release on an indie label, rather than someone whose recording career stretched back to recording Aqualung in Island Records’ studio some 40 years earlier. Aqualung was a pivotal moment in rock music history. Not only did the album, with its complicated arrangements, sell more than seven million copies, it also opened the door for legions of bands that followed in Tull’s wake, with Martin’s mammoth guitar solo on the title track being judged by “those that know”, as one of the 20 greatest of all time. For decades Jethro Tull was well ahead of the pack, the very denizens of that often maligned music form we call prog-rock. As much as the crazed figure of a codpiece-wearing Ian Anderson standing stork like on one leg, playing a flute and leering lewdly at the audience, came to signify the band’s whacky image, equally the interplay between him and the band’s bearded guitarist/flautist was always an integral part of any Tull live show. It was as though the musicians were joined at a musical hip, and for Tull fans the idea of the one without the other was an impossible scenario. But time moves on. Martin has often toured with a band partly made up of veteran Tull musicians, and the prospect of another solo album was hardly unexpected. But what will take many by surprise is the totally acoustic nature of the music. ‘It’s either classical crossover or high quality elevator music!’ he laughs. Such engaging modesty belies the fact that Martin’s produced a gem of an album – an inspired selection of tunes that’s of awesome complexity with some ingenious arrangements of several of Martin’s personal Tull favorites. Martin joined the band in 1968 following the departure of guitarist Mick Abrahams. One album into an uncertain career, Jethro Tull was already something of an enigma. Their early incarnation was apparently far from popular with promoters, and the very fact that they became known as Jethro Tull only came about when a desperate agent changed their name to obtain a repeat booking. Martin smiles as he recalls his unlikely beginnings. ‘I’m a Brummie and I’d started out playing music by the Shadows and songs by Little Richard before I took up the flute,’ he said. ‘When the blues boom came along I went back to guitar, but everyone was playing the same Albert King licks – really badly! I never wanted to do that, I never wanted to copy anyone; we played with Jimi Hendrix and Frank Zappa, and as much as I loved what they were doing, I never wanted to learn their style. I avoided other guitarists like the plague,’ he laughs. ‘Not to be bloody-minded but I just thought it was a pointless exercise to base your own style on your hero. I used to think even if your own style might not be as good as someone you admire, at least it’ll be yours and there’ll be have some unique qualities in there. Mountain were our support band on a tour and I was a big fan of Leslie West; like me, he liked to play melodically and very emotionally, and I felt we had a lot in common. We began taking the songs that would be Stand Up on the road in 1969, and of course we were playing to Mick Abrahams fans – lots of whom didn’t like what they were hearing; they were expecting a blues guitarist and it took a while for them to appreciate that the band was going in a different direction. They gradually came around but the transitional few months were very difficult for everyone.’ In discussing Jethro Tull Martin was anxious to avoid making any comments that might suggest there was any acrimony between himself and Ian Anderson; the legacy of the band is something he understandably holds dear. He was nonetheless happy to shed light on the band’s modus operandi. ‘Ian’s take on the world isn’t my take on the world, and Ian’s take on Jethro Tull is just his; I don’t mean it in a derogatory way but he views the world through his eyes and always has. He’s a very solitary individual. As a result there was never much input from anyone else in the actual songwriting; Ian would write the songs on guitar and come up with a riff he wanted to use. But by the time of Benefit and Aqualung, the songs were becoming more nebulous. Ian would come up with an idea for a song perhaps using simple chords like D, C, G, and A minor with a chorus tagged on, and we would build music around his basic idea, work out an arrangement. In that way there was a lot of input from the band but not a lot of credit given; when John Evans came up with a piano line, for instance, which subsequently became a very important part of the music, he just did it as a part of his job. And it was the same with all of us, we didn’t have parts, we invented them along with everyone else in the room.’ Like many musicians from the era, Martin freely admits that such considerations as to who exactly was making money from their efforts, was of secondary importance to the job in hand. ‘It never mattered, the politics and finances were something we brushed aside because we were musicians creating something special; we were the leaders in our field and the fact that we were making bucket loads of money wasn’t the focus of our attention,’ he states. ‘We never thought about it, everything was just work, work, work – albums, stage shows. At the time the rest wasn’t important. Now what matters is that the other people who played in the band, musicians like Dave Pegg and Eddie Jobson, do get credit for what they did; they were a very important part of the band’s history and it would be a tragedy to overlook them. At the moment Ian is very focused on himself and being the nucleus of Jethro Tull, and I think he tends to underplay – whether intentionally or not – the roles of the other people. It’s another side to the band and I won’t let it be buried. My mission will always be to ensure that these other guys – and myself for that matter – receive credit for their input. I’ve invested 43 years of my life playing for Jethro Tull, I’m very proud of it and protective of it; I shall shout from the rooftops and make sure my side will be known.’ Martin’s new album was recorded in a studio in a corner of his Devonshire house; a small but airy space with a mixing console, a rack of instruments and a vintage Gibson LG-1 lying on a sofa. ‘I used the LG-1 on several tracks,’ he enthuses. ‘My son found it for me in the States and it has a wonderful warm tone. I’ve always done one or two instrumental tracks on my solo albums and they’ve been the ones I always got most satisfaction from playing, so I thought I really needed to find a theme and take the idea further. But as there hasn’t been a Tull album for years, and these are songs I love, it became quite natural for them to form the basis of the album – and it’s been a long process. I’d have most of the parts written out before we started recording, then we’d start at 10am in the morning and do 12 hours, aiming to get one track done each day. I wanted the engineer to work from dawn to dusk and there not be half hour an where I’d say: “You have a coffee while I write the next thing.” There was a lot of preparation. Music’s very tiring on the ears but I was in play mode, loving it with no sense of time. We’d have breaks, sit out in the garden and have a coffee because I wanted the whole thing to be a pleasurable experience. So was it easy to convert to an acoustic mode? ‘There’d always been a tradition in the band that Ian played all the acoustic parts, occasionally there was a cross over and I’d play something in the studio, but never on stage. A lot of Tull songs are very pretty but don’t get played a lot, and I thought maybe they’d work as instrumental pieces because they deserved to be reborn. I had to introduce acoustic songs into my repertoire, and it was really interesting to find myself slowly discovering the beauty of acoustic instruments as I did so. It’s taken some time to find what I want out of them, but now I have things like a bouzouki and mandolins – instruments I’d never played until about 10 years ago. Apart from the LG-1, I used a Santa Cruz, a Fylde and an old Gibson mandolin that my son also turned up for me. In putting the album together, my main inspiration was classical music; I love harmony and melody, the dynamics and space you find in classical music. So I’ve tried to come up with chord sequences that take you away from the predictable, exploring what is possible without it being unmelodic, jazzy, weird or… prog! It’s nothing flashy and the intricacy is the harmonic structure rather than loads of notes being played really fast, and although I didn’t want it to sound like a smart-ass album, I’ve worked really hard to make the harmonies really different and quirky. I like to think it’s really good dinner party music, the kind of stuff you’d play when you were cooking or having a cup of coffee!’ And with the festivals still looking for next year’s headliners, was there any chance we might see Tull in action I wondered? ‘I shouldn’t think so!’ Martin chuckles. ‘Ian never liked festivals – never enjoyed them, hated them. He doesn’t like an environment where he’s not in control, there’s no soundcheck and you just have to dive in and do it. But I love it, that whole thing of being on the edge and you never know what’s going to happen. Infact that’s a big reason Ian stopped playing Jethro Tull gigs, he just didn’t like the enormity of big stadiums. We were due to play Woodstock but they stopped it before we got there. I was always sad because it was a historic occasion, and the name Woodstock is still a reverential topic. Probably the music sounded awful, the PA was miserably tiny and the quality of the playing wasn’t great. Does it matter? I saw the Stones in Hyde Park in 1969, the sound was terrible but it was amazing!’ Martin Barre’s Away With Words is out now. www.martinbarre.com
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Post by maddogfagin on Dec 14, 2015 13:27:35 GMT
www.glidemagazine.com/MARTIN BARRE OF JETHRO TULL GOES ‘BACK TO STEEL’ – TALKS SOLO ALBUM, HENDRIX & GUITARS (INTERVIEW)December 14, 2015 by Leslie Michele Derrough If you have been listening to Jethro Tull for the past forty-six years, you will know the imprint they have made in the music world. That unique sound created when a group of musicians changed from being a blues-tinged band into one with a cacophony of medieval bings and whistles mated with the new darker twinges of rock & roll. It was a vision seen and pursued and would become their legendary trademark. Between Ian Anderson’s flute and Martin Barre’s guitar, a whole new forest was open to play in. But it was in March of 1971 that their popularity would rise to surreal heights with the release of their fourth album, Aqualung, and over the next few years their popularity would continue to grow. Barre joined the band in 1969 following the departure of Mick Abrahams (Tony Iommi was briefly a member of Jethro Tull in the interim) and was a major component of the new direction they would be heading. He first appeared on the Stand Up record and toured with them opening for Zeppelin and Hendrix before the band really took off with Aqualung. In the ensuing years, Jethro Tull would accumulate eleven gold and platinum albums, selling over sixty million in the process, and nab a 1988 Grammy for Crest Of A Knave. This fall, Barre has produced his third solo album in as many years, a record he has titled Back To Steel. A lover of music, he has formulated a cornucopia of sounds this time around, starting with an upbeat snazzy title track, a version of the blues classic “Smokestack Lightning” with that perfect Martin Barre twist, a couple of Tull songs, a Beatles track and some pretty special tunes of his own creation. Jethro Tull may have ceased but Martin Barre is still playing, having recently been on tour in America (which concludes for the holiday break on December 20th in Hamden, Connecticut). His shows are being called fantastic, fun and rocking. Glide spoke with Barre this past week about his new record, his guitar playing, Jethro Tull and Jimi Hendrix. Link to complete article and videos
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Post by velvetclown on Aug 31, 2017 11:29:26 GMT
Well Martin tries, but really.............he needs Ian...........Real Bad.
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Post by rredmond on Oct 17, 2017 13:31:30 GMT
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