01	Count The Chickens						02:40
	02	As Told By						03:29
	03	A French Correction						04:35
	04	Murphy's Paw						03:50
	05	Favourite Things						04:04
	06	After You, After Me						04:34
	07	D.I.Y						01:55
	08	Spanish Tears						04:32
	09	Stage Fright						04:08
	10	Winter Snowscape						04:46
	11	Nelly Returns						03:39
	12	Celestial Servings						02:57
	13	I Raise My Glass To You						02:06
	14	Don't Say A Word						04:08

Martin Barre - Stage Left

Released: 2003
Label: Fuel 2000
Cat. No.:
Total Time: 49:13


Reviewed by: Keith "Muzikman" Hannaleck, July 2003
When you hear the name Martin Barre, you instantly connect him with the band he has been with for more than 30 years, Jethro Tull. While his accomplishments with that band are legendary, his performance as a solo artist has not reached those lofty heights, although I see no reason why it has not after listening to his latest effort. The appropriate recognition will surely come on this release. It literally screams to you : pay attention and listen up!

On his third solo effort Stage Left, the first solo album released in the U.S.*, Barre adds more unmistakable proof of and furthers his legacy as an accomplished guitar maestro. Whilst doing all of that, he shows the world that he can play other instruments with enormous efficiency as well. He plays the mandolin, bouzouki, and the flute of all things! It seems too ironic as his band mate Ian Anderson is the acknowledged master of the flute in a rock setting. An interesting tidbit of information is that Barre actually played the flute before he ever met Anderson. Reading about the background of the artist and this release gave me much more appreciation for all the aspects of the project. I highly recommend visiting Martin's website to learn as much as you can before listening to the CD.

I knew right from the get go that this album was something special, so to be sure I did not miss a thing, I listened to it at least 5 times. I recommend several listens to you as well; you will need that kind of concentrated listening experience before you really appreciate what Barre has accomplished on this album.

What an incredibly diverse and powerful musical statement from the vaunted guitarist this is. To be fair and honest, every song kicks major ass and I just cannot seem to single out any one tune to discuss. What I can tell you is that every aspect of this man's repertoire as a musician reaches its fulfillment in each of these songs. The blending of acoustic and electric stringed instruments is bewitching on every track. He jumps from exquisite picking on his acoustic to commanding and tasteful power chords on the electric axe all in the same song. All the tracks are instrumental except "Don't Say A Word." He is not a bad vocalist either, which actually came as a surprise to me. In a twist of irony and a play on words, that track fittingly ends the album.

There is a fusion of blues, rock, progressive and medieval influences that all play their part poignantly in making this a changeable platter of palatable musical pleasure. I think progressive is the best terminology to use while explaining what Martin has expertly molded and shaped on this CD. This album may be one of the very best six-string oriented recordings you pick up this year so do not miss it.

Rating: 5/5

More about Stage Left:

Track Listing: Count The Chickens (2:38) / As Told By (3:28) / A French Connection (4:34) / Murphy's Law (3:48) / My Favourite Things (4:33) / After You After Me (4:33) / D. I. Y. (1:52) / Spanish Tears (4:30) / Stage Fright (4:30) / Winter Snowscape (4:44) / Nelly Returns (3:38) / Celestial Servings (2:54) / I Raise My Glass To You (2:04) / Don't Say A Word (4:07)

Musicians:
Martin Barre - Guitars, Mandolin, Bouzouki, Flute
Jonathan Noyce - Bass Guitar
Darrin Mooney - Drums
Andrew Giddings - Keyboards
Simon Burrett - Vocals

Contact:

Website: www.martinbarre.com
Note: will open new browser window

Discography

Trick Of Memory (1994)
The Meeting (1996)
Stage Left (2003)



Stage Left
Date of Release Aug 12, 2003
Styles Instrumental Rock, Prog-Rock/Art Rock

"The first solo album from Jethro Tull's legendary guitarist," reads a back cover note, but that isn't true. Stage Left is actually Martin Barre's third album made up primarily of guitar-driven rock instrumentals, following Trick of Memory (1994) and The Meeting (1996). But it is the first of his albums to earn release in the U.S. Barre's sound will be familiar to anyone who's been listening to his playing with Jethro Tull since he joined the group in 1969. He takes a highly textured approach, playing electric rock guitar much of the time as if he was playing English folk music on an acoustic. Sometimes, of course, he is actually playing an acoustic, and then the music is steeped in tradition while also having rock trappings. Yet Barre is anything but a typical rock guitar god. He has no real interest in soloing. When he does go for a heavy rock tune such as on "Murphy's Law," the melody, while often tricky and complicated, is logical and strictly followed. Barre's playing is always elegant, even when he's rocking hard, and always sounds like it's been worked out far in advance. Employing Jethro Tull members Jonathan Noyce and Andy Giddings, along with Darren Mooney on drums and, on the final track, "Don't Say a Word," Simon Burrett on vocals, Barre often recalls the sound of Jethro Tull, especially when he throws in some of his own flute playing. His music defeats the notion that the band is simply a vehicle for leader Ian Anderson, but on the other hand it can sometimes feel incomplete because one is used to hearing it married to Anderson's voice and lyrics. - William Ruhlmann

1. Count the Chickens. (Barre) - 2:40
2. As Told By. (Barre) - 3:29
3. A French Correction. (Barre) - 4:35
4. Murphy's Paw. (Barre) - 3:50
5. Favourite Things. (Barre) - 4:04
6. After You, After Me. (Barre) - 4:34
7. D.I.Y. (Barre) - 1:55
8. Spanish Tears. (Barre) - 4:32
9. Stage Fright. (Barre) - 4:08
10. Winter Snowscape. (Barre) - 4:46
11. Nelly Returns. (Barre) - 3:39
12. Celestial Servings. (Barre) - 2:57
13. I Raise My Glass to You! (Barre) - 2:06
14. Don't Say a Word. (Barre) - 4:08

Martin Barre - Bouzouki, Flute, Guitar, Mandolin, Producer, Engineer
Andy Giddings - Keyboards
Mark Tucker - Producer, Engineer
John Dent - Mastering
Jonathan Noyce - Bass
Simon Burrett - Vocals
Darrin Mooney - Drums

2003 CD Fuel 2000 061327


Martin Barre
Born Nov 17, 1946 in Lancashire, England
Styles Prog-Rock/Art Rock, Instrumental Rock

by Bruce Eder

As the lead guitarist for Jethro Tull, Martin Barre has been joined at the hip to Ian Anderson since 1969, when he replaced Mick Abrahams in the group's lineup. His playing has provided much of the energy that allows the band to soar on record and in concert amid the beauty of Anderson's melodies and the complexity of his lyrics, and played no small part in helping the veteran band (some would say "dinosaur") win the 1988 Grammy for Best Hard Rock Album for Crest of a Knave. Anderson himself has been quoted as saying, "Without Martin Barre, Jethro Tull could not exist."

Barre's solo work was confined to his home studio until he assembled a band to play some charity gigs in the early 1990s. Since then, he has recorded a pair of albums that allow him to stretch out in directions that Tull normally doesn't permit, and to put his instrument into new sounds, genres, and musical contexts.

1994 Trick of Memory ZYX
1996 The Meeting Imago
2003 Stage Left Fuel 2000



Martin Barre - Stage Left
Country of Origin: UK
Format: CD
Year of Release: 2003
Time: 51:33

Tracklist: Count the Chickens (2:40), As Told By (3:29), A French Correction (4:36), Murphy's Paw (3:51), Favourite Things (4:04), After You, After Me (4:34), DIY (1:56), Spanish Tears (4:33), Stage Fright (4:09), Winter Snowscape (4:46), Nolly Returns (3:40), Celestial Servings (2:57), I Raise My Glass to You! (2:07), Don't Say A Word (4:09)
Freed from the shackles of Jethro Tull, well almost as both Andrew Giddings and Jonathan Noyce add their respective instruments to the music, Martin is allowed to explore the guitar in its many forms and styles. The album exudes and extols the guitar even down to the delightful cover, where each track is accompanied by a picture and a brief line or two on the type of stringed instrument featured by Martin. So as you may already have gathered this is a guitar album, but please do not be put off by this, or even worse dismiss it as perhaps not your "cup of tea", as the encompassed music is both diverse and thoughtfully assembled.

Unlike with the two previous solo albums from Martin Barre, this release truly captures this fine guitarist at work. I have always admired Ian Anderson's solo projects, however Martin's previous releases have lacked that same kudos. Here however the balance is redressed and I don't believe there is a poor track to be found. Personally I found the acoustic tracks the most rewarding, but perhaps that is more befitting my pre-Christmas mood. Martin shows his style and finesse, ensuring always that melody is never forsaken for the sake "a better lick", and therefore the album remains musical throughout.

For the Tull fans any and all of the gentler acoustic numbers could well have formed part of a larger Tull piece and certainly from that marvellous period around the time of Songs From The Wood. Add to this Stage Fright, which not only has the customary Tull light and shade but also includes the fine flute work of Martin Barre - in other band, who knows? Last but not least in this little Tull-ian comparative section the charming D.I.Y., a track that would not have been out of place on Anderson's Rupi's Dance.

But let me not give the wrong impression as Stage Left is not just a gentle acoustic album, but intertwined between these lighter moments are the electric guitar tracks. I am sure that Martin had little intention that these tracks should sound like any other guitarist, however as with all music the listener tends to make comparisons in either style, sound, composition to other such exponents of the instrument - the following names are my own musings. The album opens with the shuffling boogie Count the Chickens, with more than a passing reference to Steve Morse. Steve Howe and Gordon Giltrap both came to mind during A French Correction. Other cerebrations included Mark Knopfler, Joe Satriani - fairly illustrious company. He also manages to sound a lot like Martin Barre ;-)

What makes this album stand out among other guitar instrumental offerings is the restraint shown within the music, thus allowing the guitar to flow. The liberal use of harmony also gives an overall pleasing texture to the pieces, with just enough of the Tull influences in Martin, not to make these sections to sweet or sickly. The album ends with the only vocal offering Don't Say A Word, which might better have been served as a bonus track - a mute point only

This most surely be deemed as a very positive year for Tull fans, with this release from Martin Barre, Ian Anderson's excellent Rupi's Dance and the delightful ..Christmas Album. Therefore I could not let this album slip by without a DPRP Recommended tag as any fan of Tull and/or well executed guitar instrumentals must surely enjoy this album.

Conclusion: 8 out of 10

Bob Mulvey