What does it sound like?:
The 6th solo album from (currently moribund) Jethro Tull guitarist Martin Barre. Last year’s double live/studio album reflects the sound of his touring band at the time, and was preceded by “Away with Words” which is a largely acoustic (and quite exquisite) reinterpretation of Tull numbers. The latest album reflects Martin’s newfound confidence as a songwriter, harking back to his early days as a blues rocker as a jumping off point. There’s plenty of his tasteful acoustic playing, not only on guitar but also encompassing banjo, mandolin, bouzuki too. There are a couple of Tull reinterpretations – a much heavier “Skating away on the thin ice of a new day”, and a more faithful “Slow marching band” with multi layered guitars replacing the piano and strings of the original. An oddity is a beefy riff laden “Eleanor Rigby”, originally conceived as a Tull live interlude but fully realised here. It’s a very diverse set, bridging the old school blues rock Martin would have played in clubs in Birmingham in the late 60s through to more contemporary FM radio friendly sing along choruses and chamber folk rock.
What does it all *mean*?
Within Jethro Tull, Martin Barre was a perfect side man and supporting player to Ian Anderson’s vision. He and the band completed much of the hard work in the studio fleshing out the songs and contributing many of the guitar heavy instrumental interludes for which they are famous. It’s great to see someone with one huge and impeccable part of their CV develop a related but new and fresh career. Afterword thread idea – side men who went on to lead their own bands? Whatever, I have little objectivity here having been a fan since the early 70s. Good job!
Goes well with…
Great driving music (in both senses). Play it loud, however the frequent need to play air guitar may represent a safety hazard.
Release Date:
Might suit people who like…
Well, Tull fans will, by definition, like Martin’s playing and there’s plenty here to get your teeth into. Beyond that, lovers of classic rock with diverse flavours from heavy blues rock to folky harmony vocals will certainly find something to like here.
What does it sound like?
The 4th solo album from (currently moribund) Jethro Tull guitarist Martin Barre. Last year’s double live/studio album reflects the sound of his touring band at the time, and was preceded by “Away with Words” which is a largely acoustic (and quite exquisite) reinterpretation of Tull numbers. The latest album reflects Martin’s newfound confidence as a songwriter, harking back to his early days as a blues rocker as a jumping off point. There’s plenty of his tasteful acoustic playing, not only on guitar but also encompassing banjo, mandolin, bouzuki too. There are a couple of Tull reinterpretations – a much heavier “Skating away on the thin ice of a new day”, and a more faithful “Slow marching band” with multi layered guitars replacing the piano and strings of the original. An oddity is a beefy riff laden “Eleanor Rigby”, originally conceived as a Tull live interlude but fully realised here. It’s a very diverse set, bridging the old school blues rock Martin would have played in clubs in Birmingham in the late 60s through to more contemporary FM radio friendly sing along choruses and chamber folk rock.
What does it all mean?
Within Jethro Tull, Martin Barre was a perfect side man and supporting player to Ian Anderson’s vision. He and the band completed much of the hard work in the studio fleshing out the songs and contributing many of the guitar heavy instrumental interludes for which they are famous. It’s great to see someone with one huge and impeccable part of their CV develop a related but new and fresh career. Afterword thread idea – side men who went on to lead their own bands? Whatever, I have little objectivity here having been a fan since the early 70s. Good job!
Goes well with…
Great driving music (in both senses). Play it loud, however the frequent need to play air guitar may represent a safety hazard.
Might suit…
Well, Tull fans will, by definition, like Martin’s playing and there’s plenty here to get your teeth into. Beyond that, lovers of classic rock with diverse flavours from heavy blues rock to folky harmony vocals will certainly find something to like here.
I have to say, that is one awful cover.
I confess I have to agree with you.
You bastard. That’s another dead cert reduction in the diminishingly healthy Foxy Fund. 🙂
Extracts from the AW podcast interview with Martin Barre…
AW The new album is very diverse – was this a conscious decision or does it just reflect where you were with your writing?
MB Whenever I’ve written albums they tend to just go in all directions – I like light and shade and different dynamics, which is the way I listen to music – I get a bit bored if a CD is the same all the way through.
AW The first track comes in like a ton of bricks! Real Brit blues rock swagger! “Moment of madness” is an FM cert with the big chorus surely.
MB Yes – it’s representative of what we do live, and I thought we need to grab people from the start. “Moment” changed a lot as I worked on it so in the end I completely rewrote it as it had become very heavy, then it became too pretty.
AW Have you always written lyrics?
MB Yes, for a long time, but I find it hard because I think you really need to do it all the time, and as I’m not a singer they tend to change in the studio when Dan finally sings them.
AW “You and I” is really different, with the two female voices in close harmony.
MB We tried it in the studio with Dan, but it wasn’t working. The girls tried it and it sounded great ,so I rewrote it for them to have as a feature when we’re on the road.
AW I was surprised by the heavy version of “Eleanor Rigby”. Has Paul McCartney heard it? Didn’t you work with him once?
MB I did some work with him in the 90s doing demos which was fantastic. I developed the idea originally to do live with Tull…. I haven’t heard what he thinks of it!
AW Nice to hear the Tull numbers – “Skating away” is really different!
MB Yes well I like to do those less heard numbers and reinvent them for the guitar, recreating the piano parts etc with lead harmonies.
AW How are the gigs going?
MB Really good. We are down to a 4 piece with Dan playing guitar where we need it which is working well. Having more musicians sometimes means inventing things for people to do which risks the music becoming over busy. I’m thinking about having a Hammond player next year as an experiment but the 4 piece works good.
AW The album sounds very live.
MB Yes – they are live backing tracks and I always try to keep that feel. For other albums I’ve done lots of overdubbing and layering but this time we played live then I did some guitar parts in small studio at home.
AW With Tull how did the instrumental sections develop in the studio?
MB We’d start with some basic chord frameworks, no tune or lyrics yet, and we’d build from that in the studio. Parts featuring guitar would all be my responsibility.
AW The album has loads of energy – you seem to have lots of ideas, so no prospect of retiring yet?
MB No, because I’d play anyway! I thrive on working and playing and can’t wait to get out on tour supporting the album. I just love playing and being on stage with a band. With Tull I had less decision making responsibility and I really like that now.
An accompanying audio extra is exclusively available here
A decent album – preferred the acoustic pieces personally, and the two Tull covers are as good as you would expect.
The podcast is an excellent listen.
Quality stuff guys. Congrats to all involved – another world exclusive for the After.
*is quite pleased with himself for possibly the first use of the epithet “the After”*
*awaits ritual humiliation when someone points out that Burt used this term 18 months ago*
I call it “t’Aft”.
Nope that’s a name of the “27th President of the USA Podcast”