As Martin Barre reflects with a wry smile, the late 60s were a glorious time to be a square peg. Formed in Blackpool as reluctant blues-boomers, under the de facto leadership of frontman Ian Anderson, Jethro Tull soon outgrew those roots, turning heads across London with their splice of classical, folk and chirruping flute. Defying both the strictures of genre and the pleas of their record label, by 1971 the band had released Aqualung, the classic fourth album that stands as a monument to a time when artists, not their paymasters, held the creative reins.
"We were lucky because we were left to our own devices," considers the Birmingham-born guitarist, now a wry and tack-sharp 77 year old who pulls each memory from Aqualung's long-distant sessions as if it were yesterday. "I don't know if that will ever happen again.
It was a whole different dynamic back then, a whole different game. I'm really proud of having been through that era, and survived it, and got so much from it."
Where did Jethro Tull find yourselves when the band started work on Aqualung?
"Stand Up [1969, the follow-up to debut album, This Was] had been the breakthrough album, and then Benefit [1970] was a little easier, knowing we had the formula right. Coming back to England to record Aqualung after playing all around the world, we were road-toughened.
So I would say the first three albums, we were just finding ourselves. I think Aqualung was the turning point where the music became intricate, more detailed, and needed more input from everybody. But like all albums, we didn't know what was going to happen.
It developed from nothing, from real basics."
How were the band members feeling each other out at that point?
"I think we were all developing, learning how to play.
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Denne historien er fra November 2024-utgaven av Guitarist.
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QUICK CHANGE
As Gibson finally adds some Quick Connect pickups to its Pickup Shop line-up, Dave Burrluck revisits this simple no-solder method to mod your Modern guitar
Return Of The Rack
A revered rackmount digital delay makes a welcome comeback in pedal form.
Pure Filth
This all-analogue preamp pedal based on Blues Saraceno's amp is a flexible powerhouse with a variety of roles.
Reptile Royalty
From Queen to King - there's another Electro-Harmonix royal vying for the crown of octave distortion
Tradition Revisited
Line 6 refreshes its Helix-based modelling amp range by doubling the number of available amp voicings - and more
Ramble On
Furch's travel guitar folds down so you can transport it in its own custom backpack and, the company claims, it returns to pitch when you reassemble it. Innovation or gimmick?
Redrawing The 'Bird
A fascinating reimagining of one of Gibson's more out-there designs, the Gravitas sticks with vintage vibe and mojo. Oh, and that sound...
1965 Fender Jazz Bass
\"They made them later on, but it's not something I've ever seen this early.
Boss Cube Street II
Regular readers will know that the last time I took the Boss Cube Street II out, I was in rehearsal for a debut gig in London.
STILL CRAZY
One of the most creative yet reliably great-sounding effects makers out there, Crazy Tube Circuits grew out of a fetish for old valve amps. We meet founder Christos Ntaifotis to find out more
