Jethro Tull and now solo artist Martin Barre pops into the pod to talk about his new album “Back to Steel” and both new and old bands, plus a few trips down memory lane including the lost Paul McCartney sessions. Expect no ritual critical shoeing – life long fan Twang gets all unreasonable at the end and gushes admiration in a completely non-Afterword splurge of appreciation for one of our best and most distinctive guitarists.
OO are, as we say, A.
Great news it’s back. I was beginning think the podcasts were a thing of the past, which would be a great shame
No just a summer break. It’s harder than people think to fix a date that everyone can do and then stick to it youself. Taping tonight and hopefully again during next week so normal service will be resumed
As always volunteers, contributors, subjects and any other help gratefully received
Well done Twang for another Jethro Tull exclusive . Seemed an amiable chap – and I do agree he does have a very distinctive style although I though the material was a bit ordinary to be honest from the snippets included.
“…one of our best and most distinctive guitarists”
And one of our most under-rated, I’ve always thought. Before he joined the band, Tull were a pretty run of the mill Brit-Blues band who could quite likely have gone the way of Savoy Brown, Ten Years After and bands of that ilk. It was his range and virtuosity on the guitar that freed up Ian Anderson to expand the horizons of the band into folk, jazz, prog etc.
I don’t think we would have got Aqualung, TAAB, Minstrel, War Child et al if Mick Abrahams had still been in the band.
I love his playing on Bursting Out – powerful (almost metal-like sometimes) but controlled:
https://www.youtube.com/watch?v=WRPqj7tWmjc
Agree agree agree. And interesting to conform my suspician that a lot of the instrumental workout stuff is from the band, and MB as riffmeister. All credit to IA of course who I consider to be a visionary genius.
Bravo Twang! Who next Jefferey Hammond?
Speaking of Martin Barre as “riffmeister” I could never figure out whether Iron Maiden’s longstanding love of Tull was based on Barre’s riffage (see Minstrel, etc) or Ian’s operatic vocals, or both. I’d guess both.