Questions & Answers with Martin Turner
Q&A archive July 2008-December 2008
Martin
Right then, no rest - let's have some new gigs please!!! The only one I managed to get to was Bolton and it was utterly stunning. Also, thanks to your advice I have now modded the strap buttons on my T-Bird and managed to get through a whole gig on Saturday without it bashing me toes in! (Did bash the ceiling, though)
Cheers
Mike
Hi Mike,
Never good dropping an instrument, although if you use 'em long enough they do tend to get shot full of holes - or at least mine has; me too for that matter, but we still rock on! Glad you enjoyed the Bolton gig.
Some of next years gigs are posted on this site - we start in Greece I believe, which has been seeing a fair bit of street action lately it would seem - might need to take a fire extinguisher with us perhaps! Maybe see you in 09 then - take care with the Viking Longship where you're gigging under a suspended ceiling - you can get hung up there.
Martin (12 Dec 2008)
Hello Martin,
This year I went to my first Ashcon in Chesterfield. Amazing how WA music still lives. The evening before I played with the fans for the fans gig in Chesterfield. I played the bass and did the vocals on some classics ("Lady Whiskey", "Queen of Torture", "Mother of Pearl", "Time Was" etc.) I found out that it is quite difficult to sing (and read lyrics) and play bass at the same time. After a while it went better though. I was wondering how you manage this. Basslines first and then the vocals? Routine? Being one with the bass? If I see some recordings it looks so simple...
Being one with the music ... that must be it
Greetings from Holland
Ray van Lier
Hi Ray,
I believe I have answered this question already somewhere back down the line, but just to repeat myself - it is simply a question of doing one thing on automatic and the other more consciously. For me I usually know the bass line pretty well and then I can concentrate more on singing, but as soon as I loose the bass line I switch to playing bass consciously and sing on auto-pilot. The process is not exactly as I've described here but as near as I can get. I have noticed sometimes that I can just sit back and watch my fingers and some part of my brain (not the conscious bit) just doing it on their own. It took a while before I started to experience this - late 70s or maybe a bit earlier. I think it comes with a lot of experience of playing and also the confidence that builds when you perform with other band members for many years.
Good luck, maybe a dash of multiple personality disorder helps also,
Martin (12 Dec 2008)
Hi Martin
I was at the Nottingham gig last night and I thought it was tremendous to see Wishbone Ash music being played on such a large stage. I wish I was able to come to Portsmouth Guildhall tomorrow as I remember seeing one of the best Mark 2 gigs there in 78 or 79. Does this tour bring back good memories for you too? And do you think you might play this sort of venue again in the future? Perhaps if you do, next time a 2 band show could be considered so we get more MTWA time. I could suggest Asia (as you share a manager) or Showaddywaddy (as you share a guitarist). Only joking about Showaddywaddy - somehow I think the musical styles would clash - plus poor Danny would be worn out!
Alan Bloor
Hi Alan,
Yes the recent theatre tour was very wonderful. I was impressed with the renovation work that had been done on some of these old venues, it takes a great deal of work and money to accomplish this, and the result in the case of a good few of them was stunningly beautiful, which made for a very enjoyable and classy event, I felt. Positive noises have been heard from various folks involved about the possibility of doing more of the same next year or the year after, we shall see.
Gigs come in all shapes and sizes and there are pluses and minuses to 'em all - that keeps life interesting for us and hopefully for you too.
As far as putting shows together - I leave that to promoters, who generally know exactly what it's all about. Well done John Hessenthaller!
Cheers
Martin
I can't afford to travel very far. As far as I see it Martin, you don't seem to want to grace Edinburgh with your presence any time soon, and that means I have to miss out... What happened to the fun I had in the 1970's when I wasn't married. I'm trying to put Wishbone back into my life as much as I can, but being married to someone who is not willing to be educated in decent rock music, it's an up-hill struggle to say the least. I can, at the moment, only manage to get to local concerts, and that upsets me.
Annabel
Annabel darling,
I'm sorry we havn't been to Edinburgh as yet. I go where my agent and manager book me and there must be some reason they haven't been able to get me up to your neck o' the woods. I know that when we started a few years back there were problems with promoters being afraid to book my band in case Andy's band was unwilling to play for them again, but things seem to have opened up for us most places in the UK now so hopefully we will make it up to you at some point in the not too distant future.
He is not going to do the same stuff as you now is he and I doubt you go off on Saturday afternoons to re-enact tribal battles involving 22 grown blokes in shorts, a ref, and a round bouncy thing, do you, and he is never going to don a pink leotard and tutu and partake in ballet sessions at local church halls, is he? So, tolerance darling, each to his/her own !
Hope you have some fun like we did in the 70s
Best wishes and lots of love
Martin (22 Nov 2008)
Hi Martin,
I caught your excellent show at the Buxton Opera House. Your concert coincided perfectly with my recent visit to England. I was the fellow with the Canadian accent who shook your hand and complimented you on the show as you were getting into your van after the gig. Do you plan to do any shows in Canada? I know that there are fans here. Once again... thanks for the great show!
Cheers,
Chris Meloche
Hi Chris,
Glad you enjoyed the Buxton gig, weather was a bit "English" that night, as I remember, but what a fabulous venue. I fell completely in love with the exquisite renovation of a truly wonderful old building.
Would love to come to Canada but sadly there are no plans at the moment. One day hopefully,
Cheers
Martin (22 Nov 2008)
Martin
The bass on Argus: Through The Looking Glass does really sound amazing. Seeing as I've come into some money recently I was wondering in particular WHAT bass you used to create this album? It sounds like a real blokes bass, possibly even a Rickenbaker which you don't seem to use any more which is a shame cause there VERY pretty basses, not sure if it would match the white suit and feather though ....
Cheer Martin, keep up the great work
Ben
Ben,
I do have a Rickenbacker, its an old 70s modified 4000, that has ended up modded to a 4001 spec with a toaster pick up. I did use it on the ATTLG recording but it doesn't sound quite right for some stuff so I borrowed a few and found that Tony Clark's gave me what I was after. Thank you very much Tony for the loan. I think Tony's is a 1975 4001 or thereabouts and I did manage to get it to give me the snarl I was after. Back in the early 70s I did use the 1972/3 model that they only produced for a while with the chequerboard binding and the toaster p/u. Would love to get hold of another one but they only come up very rarely and are usually overpriced for what they are. I am pretty happy with the TBird for stage but may well give the Rick a spin at some point.
Happy plucking
Martin (17 Nov 2008)
Martin,
I appreciate that your stage attire has been the subject of many jibes on the forum, but this is a serious question. Your stage image these days is pretty unique I would say and very much "you", if you get what I mean. In other words you don't conform to traditional rock 'n' roll stylings but have your own distinct look onstage which fits the music. I wondered where do you get your stage wear from. Items such as the white suit, the black jacket and the various shirts you've been wearing lately. Do you have a stylist as such or use one particular outlet. Hope this doesn't sound like I'm making fun, becuase Im not. They way a band looks under the bright lights is important in a rock show, I believe and I wish more rockers made the same kind of effort as you.
Hope to see MTWA live again soon.
Blowing Free
B F,
The white suit is actually not a white suit at all - just a linen jacket and a pair of pants roughly the same colour. I am a lover of mad shirts and will buy 'em wherever and whenever I see em. Quite a few bits and pieces are actually big girl's blouses but thats OK with me as long as they are lightweight and fit the bill for playing on stage - not tight, feel slinky. I don't make too much of an effort, or have a sylist - the hand embroidered black shirt I wore on the last tour a few times came from a charity shop and cost only a few bucks. Tassled leather jacket was expensive, so it evens out. I have always had the confidence to not be afraid of looking like a twonk, but even I am amused at some of the stuff I wore in shots taken years ago. A few folks were a bit fazed about me wearing magpie feathers (in my white hair plait) on account of it having been shot by a friend of mine, but I do usually wear chicken feathers which have come from a place very close to a wishbone. Feathers are quite magical things - the fact that they have flown through the air etc and can have a spiritual quality to them. I have a USA Indian feather aura cleanser which is an extremely powerful piece of kit and I treat it with the utmost respect. I guess I just love birds and feathers. Birds of a feather !
You've got me wanting to go shopping now,
See you later
Martin (17 Nov 2008)
Hi Martin,
Back in the early 1970s, Detroit FM radio station WABX started their own TV programme called The Detroit Tubeworks. It was broadcast on a low-power UHF station called WXON on Sunday nights. During the course of its time on the air, many bands would be featured playing live in the studio. One of those bands was Wishbone Ash. I do recall you playing on the show and I'm wondering if you have any memories of this broadcast (like what songs you would have played)? I'm also curious as to whether a copy of the broadcast exists?
Cheers,
Chris Meloche
Chris,
I'm sorry but I cannot honestly remember the show you speak of. We did used to do rather a lot of these at around the time you mention. I wish I had a copy of all of them both in the USA and a few we did in Germany and Holland, but you zap in, zap out, it's edited later, broadcast when you're on another continent, you don't get to see it or ever get a copy. Such is life - be interesting to watch if a copy did still exist though.
Cheers
Martin (17 Nov 2008)
Hello Martin,
Hoping you're well and that you enjoyed/are enjoying the tour. I've had Argus: Through The Looking Glass for a few days now, and really, really enjoy it - but there's one factor that's quite shocking. That bass! It just sounds "alive" like a wild creature! Is that down to recording techniques? Or did you really cast a spell on it? I listened to it with headphones late last night...and it was pretty damn amazing. How do you do it?!
Hope to catch a gig before too long...7 months is quite long enough.
All the best,
Sarah
Sarah darling,
How are you? Well I hope, and it's a pity we didn't make it to the west country on this tour - there are lots of folks I would like to have seen, your good self included.
The bass - wild, alive, creature, hmmmm. Well I suppose I am all those things, kind of, and yes you spotted the "magic" ingredient, very important. I do feel like I am a mad wizard at times - making music is a very magical process. The creative spark is invisible and so is the end result which travels back through the air to the listener. And yet it can have such a magical effect for all of us - good isn't it?
I also use headphones quite a bit when I'm working, so you are listening to exactly what I was listening to when I stuck it all together with glue, metaphorically speaking of course. Anyway, I do hope it brings you enjoyment, a lot of hard work went into it that's for sure, and it makes it all worthwhile when people tell me they love it.
Lots of love
Martin (6 Nov 2008)
Martini,
When are you going to do the right thing and release Wishbone Four the way it should have been? I've always loved the material on it - Wishbone Four is just begging to be sorted proper.
See you all soon guys.
Billy
Bill,
I did retrieve a load of 2ins multi-track tapes from Olympic Studios back in the 70s or 80s when it was sold to Mr Branson. They would have ended up getting skipped, but I rescued them and have been storing them ever since. I have altogether a veritable mountain of tapes, which can take weeks just to wade through let alone actually get them into a condition where they can be played and transfered to a digital format. The labelling is damaged, faded and in some cases non existent, and even where labels are legible it is not always the case that what is on the tape in the box actually matches what is on the label. The whole lot of tapes weighs a bloody ton, so when I have completed my body building classes I'll get stuck into them, cos you really do have to sort the lot in one hit, or at least organise it in one.
When I initially checked a few boxes, I spotted Keith Harwoods name (W4 engineer) and assumed they must be the W4 album multitracks which were recorded at Olympic. I have looked at them since and been unable to find any W4 multitracks, only live stuff - same songs, same engineer, hence labels. I'll look again at some point but I am not optimistic that they are even there. So there you go, thats all I can tell you for now,
Best wishes
Martin (6 Nov 2008)
Hello Martin,
I want to personally compliment you on Argus:Through The Looking Glass. This rendering of a classic album is an absolute masterpiece, I am astonished at how good it is. I am going to say something here that might bother some but I will say it anyway, you have made a great album even better. I know that those are strong words but I believe them, I have listened to it three times all the way through now (I have only had it for three days) and it has sounded better with each listen. The detail that went in to it is more and more evident with each time I play it, and I know this album as well as any since it is my favourite by Wishbone Ash and have heard it so many times over the years.
The first thing that jumped out at me was your bass playing, it is just tremendous, from the first song to the last you at at the top of your game, in my opinion. Second thing is the extra guitar, going from the twin to the triple guitar attack just gives it that much more punch, and these guys in your band are top notch players. The vocals are also outstanding, you are sounding as good or better than you ever did, and having John Wetton along for the ride just adds to it, I just love the beginning of "Time Was". And your other guys are also very good, just a wonderful job.
Some highlights for me are of course "Time Was", and this version of "Sometime World", which is my all time favorite Ash song gave me goose bumps.Every song is just brilliant
I also want to add that I like that you put "Throw Down The Sword" after "Warrior", I think it fits perfectly in that slot, and putting "Blowing Free" at the end is also spot on. I am guessing that you might have wanted to do it that way on the original but were hampered by the restraints of working with vinyl.
Like I said I felt that I had to compliment you personally, I am going to love this take on Argus for years to come.
Take care,
Bob
Hi Bob,
I very much appreciate your post above; it is direct feedback that tells me that I probably am doing something right. This project was actually an extremely difficult thing to do in the sense that if we were to change it too much, it would cease to be the album we know and love, but if it was too similar, then what is the point in re-recording it? That is a difficult balance to get right.
When I told my band what we were going to do, they all replied that it was not possible to re-record a "classic" album and make it stick. I told them that we were going to play it all again but this time it would sound even better. I wasn't too sure myself to be honest, but I had to convince them to go for it and, to give them their due, they did a great job. It was recorded in about exactly the same amount of time as the original - roughly two weeks - but when I got the mixes back to my studio and could evaluate them more critically on equipment I knew very well, I was suprised at the clinical and sterile nature of the sound. This is an aspect of modern computer recording systems that I am not a huge fan of, having grown up with the old steam driven tape recorders. So, I actually spent several weeks of somewhat radical mixing, to get hold of it by the scruff of the neck and knock it into shape. I do have a studio stuffed with old valve analogue gear, which definitely helped to bring out the warmth and fatness in the sound. Not being a technical man, I tend to work instinctively, a bit like sculpting maybe. It does however take a while.
I did purchase a CD many years ago of Roy Orbison's greatest hits, thinking that they were original recordings, but how could they be in stereo when the original sessions must have been back in the mono days. When I actually bothered to read the sleeve notes I discovered that the whole lot had been re-recorded in the 80s. The album sounded fantastic, even better than I remembered the originals sounding, and I am talking across the board - voices, bass, drums - it all sounded wonderful and in glorious technicolour stereo. So, I don't know for sure, but maybe that was at the back of my mind, the fact that I had heard someone else achieve what I was after, or very similar.
Anyway, if it brings you and others more pleasure then that makes all that work and effort worth while.
Cheers,
Martin (6 Nov 2008)
Good to see you representing the band at the Classic Rock awards ceremony. Any stories you can share?
Gavin Cook
Hiya Gavin,
Bit weary after the tour but soon got into the spirit of the thing, usual stuff - autographs outside, flash bulbs in yer face, slinky babes to show you down the red carpet and chuck you in the media run, more photos, interviews, etc. Roland Hyams (publicist) was with me - he knows everyone, we got to the bar and I passed on the obligitary champagne (I am not a fan, give me beer or whisky any day), so the remaining option was Guiness - as a sponsor they had the "beer" monopoly, so downed a few of them! After about an hour I felt like I had swallowed a small pond so resorted to plan B which was to richly reward some Czeck hostess to find me regular beer, good girl.
Met a main man from Marshall Amps (also sponsors), had a chat with Ozzy and Sharon, didn't hold em up though - he had quite a way to shuffle to his table. I was not the biggest fan of his music but I do admire both of them greatly for their wit and sheer British oddball star quality. We were nominated for the Universal Argus re-issue, but Metallica won that for the re-issue of their first three albums. First time I'd seen Jeff Beck since Sunset Riot House in the 70s but didn't get to chat - it was too busy. Congratulated the lead man of Airbourne on their award. Nicky Horne did a great job hosting the event, I thought, although he did go heavy on the Gary Glitter jokes. Managed to have a chat after the awards. We had a table with Joe Bonamassa amongst others. Good words followed from David Coverdale, Todd Rundgren, Jeff Beck, Slash, Sharon and Ozzy, Gary Moore (who introduced Peter Green), Jack Bruce and Harvey Goldsmith, who made me aware of a very interesting charity called Childline. Ron Wood was his inimitable self and later I chatted with him about a gig we did together at the Paris Theatre in the early 70s with John Peel as DJ. Wishbone were pretty new to the music biz back then, and Rod and the Faces were very generous to us at the time - that show always stuck in my mind as a great evening. I introduced myself to Slash with a "Hey Mr Slash, Martin from Wishbone Ash - we rhyme man" ..... "Yeah man we do too" - the things you do when youre P****d! Had a chat with Dave Ling - Classic Rock, who is looking more like a Gandalf style wizard with that crazy hair. I didnt do the aftershow party, it was already midnight and I didnt fancy staggering out of some club at 3am after all the "I friggin love you, man" drunk routine and then have to find a £100 cab back to Guildford, so I got into me limo and said "Home James". Well, to be honest, I said it to the driver at the front of the district line tube but I don't think he heard me, got me home though!
Big thanks to Roland and Classic Rock - good food, great company, all round fantastic event and I enjoyed seeing and speaking with people from the music biz that I admire and respect.
Ugh, I've been recording today and now its 3am already, off to get horizontal for a while, sweet dreams,
Martin (5 Nov 2008)
Hey chaps.
This is a bit of a guitar geek question but oh well...
How do you get that great guitar sound of yours? Apart from Strats and Les Pauls, what amps and effects (if any) do you use? What kind of settings would you usually use? Are there any tone secrets like putting pickups out of phase or guitar or amp modifications you use to help you get there?
Cheers. Keep up the good work, your doing a really awesome job!
Ben
Hey Wishben,
Hmmm, guitars - standard amps, no mods. Old Mesa Boogie for Ray, old Marshall Combo (at the moment) for Danny. Ray's Strat has whacky pick ups that are stacked humbuckers and they are strange, kind of phase cancellation in the highs and lows somewhat, but it makes for a rich mid-range that goes towards a Gibson HB P/U. Danny started with a Strat but has played a Gold Top Les Paul and more recently a Gibson 335 I think - both sound cool. Strings are important - change 'em if you want rich jangle tone and up the gauge as your wrists get stronger. They got all kinds of pedals down there - main one probably Blackstar two stage valve boost.
Bass - Hartke Amp driving a 15ins cab for bass hooked to an Ashdown into a 2 x 10 cab for notso bass. Either on its own sounds crap - get the balance right. Important factor for me - Gibson Thunderbird bass, big ol Viking longship - get it hold by the scruff of the neck and make it growl and moan. Mods: I got 2 pick ups, I only use one.
We use fairly modest amps on stage and achieve power through use of dynamics and tightness. Balance between instruments on stage is crucial for vocal monitoring especially harmonies and I personally dislike players who use excessive volume to create the impression of power, its a cheap trick that usually has negative effects on both band and audience.
It's simple - if magic is to be created, it comes from the organic inter-reaction of the whole band, not any one part.
Having said all this - the thing that you cannot quantify is what comes from the soul of the player and really, that is the most important factor in music.
Cheers and bon chance,
Martin (5 Nov 2008)
Martin,
Having listened to the the MP3 of "Time Was" at Cambridge, I found my jaw had dropped, and I was having a bit of time lifting back into place. I know you liked Keith very much much, and Ray brings not only great harmony singing to your group, but fabulous finger picking technique - an often over looked, yet major part of the sound of Wishbone Ash - but Danny? Don't you feel a bit like you just won the lottery? Has this level of guitar expertise elevated your excitement toward your group? I feel, based on this single track, Danny is actually in the ballpark with Andy, Ted and Ben Granfelt. Those three I feel strongly were the best guitarists ever to have performed this catalog. I am not one for rankings, and granted, art is in the eyes/ears of the beholder, I just feel this instance is exceptional.
Very happy for you. - And please, - can't say it enough, no disrespect inteded toward Ray, Keith, Laurie, or any of the highly skilled players Andy has used. I just feel strongly Mr Willson is indeed a unique find.
Best as always,
Jef
Jef,
We were introduced to Danny by Keith Buck before he left the band and Keith assured us he would be a fine replacement. Danny has played for many years in a Brit band by the name of Showaddywaddy and will continue to appear with them to a large extent.
There are a lot of excellent guitar players out there nowadays but as I have always told my guys - it's not all about technical ability, there are many aspects that are required. Feel, character and attitude are all important and I have to say that Danny's arrival in the band has been a very positive development - he is a very "up" guy, extremely witty and also a great team player - so vital. This recent concert/theatre tour has served to cement the rapport in the band, its been pretty intense and everyone has come through with flying colours including Mick, our soundman. We are in good spirits as a band now and we are making tangible progress on all fronts, which will continue next year I am sure. With my manager Martin Darvill, agent Don McKay, publicists Roland Hyams and Dave Hill and Gary here at the website, I think we have a very strong team.
So there you go my friend, I do subscribe to the saying that it ain't so much what you do - its the way that you do it that counts.
Best wishes
Martin (5 Nov 2008)
Hi Ray,
Good to see you perform with MTWA at the High Wycombe Swan. I love your solo album, King of the West. My question is, do you have any plans to do a UK tour in order to promote the record at all? I'm sure that lots of MTWA fans and others would support you.
Best regards,
Darren (Mole Man)
High Darren,
can't thank you enough for buying, listening and enjoying King of the West as It's consumed about a year of my life. I have no plans, or more to the point offers, to tour at the moment but like all songsters live in hope that Take That may hear a song that they want and then my mortgage is paid.
Hugs.
Ray (29 Oct 2008)
P.S. I'd love to hear Will Young's version of "The Green Man"
I got some shirts in Nottingham today. Hope they get past the shirt police.
Right Martin - you've finally cleared up the credits for Argus on the sleeve notes of Argus Through The Looking Glass. Let's move onto Wishbone Four . Who wrote what and played what then??
Argus
Hi Argus,
This album was put together a long time ago when we went off to stay together at a house on the Isle of Anglesea, North Wales. It was pre-spring, wet and windy, migrating birds on the wing.
So Many Things To Say - this mainly came from my goodself and I think was inspired by one of my favourite bands The Who and their 1960s music which had quite an influence on my young musical development. This features me venting off about female expectations, I'm sure other guys have felt that their woman expects too much of them at some point in time, I suppose you could say its quite a bitchin lyric; I don't write many like this.
Ballad of the Beacon - if I remember right this was an idea from Andy, I contributed the "mountain" bit which I sing and Ted also contributed some lovely guitar work. It really does seem to have absorbed a little bit of Wales and I think Andy was expressing his desire for a of pastoral life during a period that was hectic and very "city to city" for all of us.
No Easy Road - Very much a band thing, I remember kickin this around on numerous jam sessions, I put the lyric together and the whole song came about by us reacting to the seriousness (for want of a better description) of the Argus album and wanting to move in a more straight ahead rock direction. The lyric does speak of the fairly crazy Rock 'n' Roll existence we were living as seen through my eyes.
Everybody Needs a Friend - Ahh, my sentimental side, darling! This was very much inspired by the second movement of Ravel's G Major Piano Concerto. I think I was actually trying to figure it out on guitar and it morphed into a whole new mood and I found myself writing a lyric that seems to have touched many people. You would hardly call the song mainstream rock music. I guess it comes from my sensitive feminine side - just call me Martina. One of my warmest marshmallow songs, very sweet.
Doctor - This was from an idea I had back in the 60s before WA. Musically a bit Who-ish again. The lyric was about my brothers girlfriend circa 67/68 whom I have to confess to having spent a crazy night or two with. She was a state registered heroin addict being treated with Methedrine or Methadone as it its called now. Beautiful girl, a successful model at only 16, but boy was she heavy duty. Had a bunch of young lads staying in her flat all of whom had run away from home, Mark Emery (Hobbit) would remember her. She blazed a trail and made it to her 30s but has been gone a long time now. Thanks for the song babe.
Sorrel - Must rank as a pretty bizarre song subject. I found this little weed growing in a crack in the path, fished it out and put in a pot with soil where it flourished and had sweet little yellow flowers darling. Went off on tour and asked my other half at the time to take good care of it, meaning give it a bit of water now and again. Came back six weeks later - dead as a dodo - bitch, I thought. So I wrote a song about it using a licence called "poetic". Silly thing is, it was not Sorrel at all but some other plant, but I particularly liked the name Sorrel so I used that.
Sing Out The Song - This one harks back to the 60s as well - I had in mind us young lads when we first started going down to the local pub drinking cider, singing songs and generally getting fairly drunk and disorderly. I was never that happy with the recording of this one - it should have been looser and scruffy even but everyone did their best with it at the time.
Rock 'n Roll Widow - Steve and Ted put the lyric together for this one I believe, about an event that happened at an open air gig in Texas where a guy was shot very close to the stage we were performing on. Everyone contributes here musically.
To some extent this applies to all the songs on this album - I think we were still at a stage where although the initial spark comes from one person, because we were such a tight outfit and spent a lot of time jamming and piecing things together it is actually very difficult to break down who contributed what specifically. I would also add that this album sounded very small and mid-rangey when it was mastered, it certainly lacked the balls that it had in the studio which always puzzled me and which I suspect was to do with some technical tape bias thing or other. Should have sounded better with the right care and time spent on it, but those were very hectic and crazy days. Keith Harwood, the engineer, who we got on with great died in a car crash not long after. Very sad, he never got to see the child his girlfriend was carrying. This album marked the end of an intense period of work that established the band worldwide and culminated not long after in Ted leaving, which changed things a lot, and although Laurie came in and did a great job, there was something very special about the original line-up. So there you go, a strange, dynamic, but somewhat sad time it was.
I hope this is of interest to you - I've tried to do my best to tell it as I remember,
Martin (19 Oct 2008)
Martin,
Have you heard Ray's King of the West yet? What do you think; he's a dark horse isn't he? Any chance you too might work up a song or two together sometime, or are your styles too dissimilar?
Loved the show at Bolton- the band have never sounded better.
Stod
Stod,
I have gotten to know Ray slowly over the last few years and I have to say that he really is a wonderful bloke. His playing has blossomed during the time we have worked together and he has a superb touch which has the perfect balance of feel (so important) and technique. Add to this that he is wonderful company, nothing is too much trouble and he has an active and mischievous mind. His solo album is fascinating, I need to listen some more, but there are some brilliant Ray-isms on there - I love "The Green Man". I have always been intrigued by injecting humour into music - its not easy to do. My old mate Mr Roy Hollingworth was good at it, but Ray displays that abillity which is a rare skill to have. When I spotted him getting changed the other day in the dressing room I called him "King of the Vest". We have a laugh! Obviously we all look forward to making some music together, when the schedule permits. In the mean time I hope Rays album does well for him, he is a great guy and he deserves it to.
Best wishes
Martin (18 Oct 2008)
Hope the 1st Oct was a special celebration. Great time to start off the tour.
Hope it was a memorable day.
lots of love
Deborah Lynn
Hi Debbie,
Yes it was a Happy Birthday - to be doing the first gig of this tour on such a day - it wasn't like a normal b'day - did that the night before with my mad family, but, yeah, getting going with this tour was most appropriate as it has been a gas - everyone involved, a great bunch of guys and the spirit in my band has been wonderful, the venues have been great with some spectacular, but best of all the attendances have been brilliant with a lot of shows sold out and huge enthusiasm from folks after we perform - what more could a chap ask for - oh yeah the new ATTLG album seems to be going down wonderfully well also.
Anyway, hope you are well darling,
must dash, gotta gig to do,
Love and kisses, Martin (18 Oct 2008)
Martin,
I'm sure you get fed up with all those petty questions about studio albums, old albums, choice of songs, bass gear, etc, so instead, I have a SERIOUS question to ask... That of what attire you plan to grace the stage in during the upcoming tour? Will we be confronted with the skull and crossbones shirt that seems to have graced every tour for about the last 12-15 years, or can we expect a fresh look? Or maybe some different garments from the past. Whatever happened to that Brigade red vest? Or the white flares and red jacket with huge lapels from the New England tour? Is there any chance of them making an appearance this time? Hope you can understand how important these sartorial matters are to us fans.
Dave
David,
On the subject of stage clothing - it does tend to get used year in, year out, for that specific purpose, usually cos it works - i.e. lightweight, easy to move in, can be seen from a distance and various other technical criteria such as fast drying, when washed, etc I do tend not to wear these clothes when involved in other activities like in the back garden with me chainsaw or down at the stockcar racing track.
Over the years one does get attached to certain garments and they begin to take on an almost ceremonial role - they become an essential part of the ritual. I know this sounds almost superstitious, but I'm not one who is given to superstition, touch wood! Maybe I am a strange freak but there are certain things I like with me - I have a red and black Japanese scarf that was given to me years ago, it is beautiful and I usually carry it with me when I'm on the road although I don't actually wear it that often - odd or what ?
Anyway its nice that youve made such an observation concerning my stage apparel, you old shirtspotter you - I suppose its arguably better than going on stage dressed in only a string vest, a pair of wellington boots, and a metal helmet.Incidentally, where do you buy your shirts? Primark or Bond Street?, I'm always up for some shopping tips.
Well this has been a fascinating subject to explore with you Dave. Oh just one thing - extremely old completely knackered stage gear - some of it gets nicked and usually modified by daughters and some of it goes on to serve the Rock 'n' Roll cause even more by becoming guitar cleaning cloth. I am currently polishing up my viking longship ThunderBird bass with an old pair of Calvin Klein boxer shorts which I reckon somehow manages to impart a certain sexiness into the bass sound!
Nice chatting to you - must now get back to growing old disgracefully
Later
Martin (16 Oct 2008)
Martin,
thank you for taking the time to answer our questions. Here's one I don't think has been asked before. Its a hypothetical one really, and intended as a bit of fun. You've done a few covers in the past. Now...imagine your record company ask you to record a WHOLE ALBUM of cover versions - other artists tunes given the Wishbone treatment. What songs would you choose to record (they could be songs that inpsired you when you were starting out, well known classics, obscure personal favourites...anything really).
Over to you Martin...
Blowing Free
BF,
what an interesting question.
Crying in the Rain - Everly Brothers
As Above So Below - Comsat Angels
See Emily Play - Pink Floyd
Ready for Love - Mott the Hoople
Several tunes by Andy Fraser
Cigarettes, Whisky and Wild Women
Take Me to the River
I Wanna be your Man
Purple Haze or maybe Hey Joe
Rocky Mountain Way - Joe Walsh
You Move Me - B Movie
Senor - Bob Dylan
maybe something by Dusty Springfield; early Yardbirds?
Some of these songs are tunes I used to play at some time in the past, the others have personal significance for me. Hmmm, well that'll be fun when I get around to it
Cheers
Martin (28 Aug 2008)
I'm ashamed to say that though I bought Walking The Reeperbahn at the concert in March, it wasn't until about a month ago I got round to playing it frequently, as I was still memorising 1970-80 material...but anyway, now I have. And I wish I'd done so earlier, to tell the truth. Particularly partial to "My Brother" (Well, actually he doesn't like guitar music and can be a pain, but the song's suberb!) "Fire Sign" "Heaven Is" and "Where will I go?" but I really enjoy all of it...and hopefully the parents do or they'll be up the wall by the beginning of September. So now I have the blatent question (I'm sorry, my imagination is kept in the amplifier in the front room and refuses to leave) - do you have a favourite? Is there one you enjoyed recording the most?
Hope the Summer's treating you well,
Sarah
Sarah darling,
I'm very glad you got into Walking The Reeperbahn, even if it was "eventually". I tend not to have favourites but I can assure you that this particular album has my sweat and tears throughout, "My Brother" that you mention was written about my real brother Kim when he fell in love with a girl in NYC and I knew that it would take him away from all of us even though I was happy for him - so, mixed emotions there then! Although he was 9 years younger than me he went up to the big gig in the sky a few years back, and I feel he keeps an eye on me still, he knew the Rock 'n' Roll biz very well and was much loved by many. I could talk fo hours about this recording but maybe we should do that over a drink one day. Orange juice of course.
"Broken Down House" was a bit of a fave - I did live there, and so many people took something away, it was a strange and sometimes lonely time for me that preceded a complete collapse in my life in order that I could recreate myself and start from scratch again.
Righty Ho, darling, I really ought to get off and go polish my guitar. Actually I've just noticed that its nearly 3am so maybe I'll do that tomorrow and go get horizontal for a while instead. Be nice to see you again one of these days,
Take care,
Martin (28 Aug 2008)
Hello Martin,
Just found an album called John Handy Live at the Monterrey Jazz festival 1965 The two tracks on this album are named: "If Only We Knew" and "Spanish Lady". Is this the album that inspired you for one of my most favorite Wishbone Ash songs?
Willem Ouwerkerk, Arnhem The Netherlands.
Hi Willem,
Steve and I did used to listen to John Handy in the 60s and there was one piece that had a similar mood to sections of our tune although I suspect it would be hard to spot, existing mainly in our imaginations. Another tune which I believe did have an influence was a piece by Ed Thigpen and others called "Out of the Storm" - very moody jazz stuff.
The opening bass melody of "Hnady" was without doubt influenced by my listening to a lot of albums by Andre Segovia, who I personally regard as a wonderful performer of classical guitar music. I found his "feel" and the passion with which he played trully inspirational at the time. What I was doing was not taken directly from his performances but certainly inspired by.
It is strange and fascinating how music from different times and generations can inspire more creativity. I am only too happy to mention people who have inspired me, and I am aware of bands who have been fired up by our music and gone on to great things themselves. I listen to music for inspiration a lot, and it varies hugely from Dusty Springfield, ABBA, Bob Dylan, Yello to Cirque du Soleil productions and mainstream Classical like Grieg, Ravel and Tchaikovsky. I have a selection of Pavarotti performances which will reduce me to tears sometimes. I listen much too loud for the rest of my family, in the kitchen when I am preparing Italian food for instance, albeit on rare occassions, but I'm off in another world, singing my head off, and loving it.
Great stuff, hope this throws some light,
Martin (15 July 2008)
Hi Martin
"Handy" is one of my all time favourite Wishbone Ash songs. I certainly prefer it to "Phoenix", which I think has been played to death. Can you remember why "Handy" was dropped from the Wishbone Ash setlist so early on, and more to the point, is there any chance that MTWA might resurrect it, please?
Alan Bloor
Hi Alan,
This piece of music starts with me playing pseudo-classical melodies on a bass (trying to play like Andre Segovia whom I listened to a lot around that period), then dives into a moody little jam symptomatic of WA first playing in a room together, then heads off into a whacky jazz based thing. In short it is what we used to call a "sellotape job", meaning several bits of music morphed together, which is OK but it does hark back to what Steve and I were doing in the 60s with the Empty Vessels somewhat. My bass for instance was a tiny home made instrument I played back then and a very different beastie to what I perform on now. It served a purpose in giving us a previous remnant from the 60s to try and involve Andy and Ted into what we had been doing at the first stage of our getting together, so it is a valid documantation in some respects, but was quickly superseded by the direction in which the band went musically which was really quite different. I hope you can make some sense of all this waffle, I do not dismiss it completely - maybe it will be performed one day, but I think it is unlikely, to be honest, such a strange little cameo of almost pre-WA that it is and always will be, in my head. Glad you like it however,
Best wishes,
Martin (15 July 2008)
Hi,
I went to your concert at the Flowerpot on Friday night and thought it was brilliant. I've grown up with Wishbone Ash as my Dad is a fan, I am thankful for having older parents; otherwise I'd have missed out on all this great music. Chart stuff now doesn't have the magic. I play guitar and wondered if you have any tips for me as a young musician? Or getting into the music industry. Thanks for making Friday a brilliant night, I will be on the look out for further concerts.
Flickity
Hi Flickity,
I'm glad you enjoy the old organic music, that's good. Advice for a young musician - I have kids who are into music and really todays generation have to make their own contacts and follow their own instincts, as did we when we started out. You need to be in the right place at the right time, tricky Flickity, but be positive and if you really want it to happen and you can plant the blueprint into your subconcious, then it will happen for you. Be careful what you wish for though because when it arrives it can turn out to be a double edged sword - bring just as many problems as it fixed! Don't worry, it will all be alright in the end. If it's not alright, it's not the end !
Best of luck,
Martin (12 July 2008)
Hi Martin,
Were any other names ever considered as a title for the Wishbone Four album?
ie. No Easy Road.
Best regards
Fubbster
What can I say Fubbster,
There were four of us, it was our fourth year, fourth album, 1974 was looming, everywhere you looked it was "four". Fourplay. I know its not the most original title but arguably better than Son of Argus, which it really wasn't. If there were any other titles, well it was a long time ago - I fourget.
Best wishes,
Martin (11 July 2008)
Really loved watching the videos of you guys playing with Ted again. Any plans to make him a permanant fixture?
Cheers guys keep up the good work!
WishBen Ash
Hi Wishben,
I can't see Ted being a permanent fixture anywhere really - he moves around quite a bit. I spoke to him the other day and he sounded fine despite the fact that he had a dislocated finger and a busted foot. I think he said he was climbing the stairway to heaven and it broke. He'll mend up soon enough I'm sure. We would all like to see him playing again and he is always welcome to join me when he feels so inclined. He is a great guitar player, in my humble opinion and I'll always be proud to stand on a stage and play music with him.
Cheers,
Martin (11 July 2008)
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