Discussing the recently published interview with ACCEPT‘s Mark Tornillo, Rob Halford enthused:
“Yeah great, he’s a brilliant singer, great front man, love that band Accept. It was unusual, a call to have a chit chat from two guys that do the same type of work, it was a lot of fun to do. I think there should be more of that ‘cos we love having chit chats with our friends in the business and with journalists like yourself. When you’ve lived the life there’s a lot of common ground, but it’s also an opportunity to pick up on stories that you probably don’t know about, you know, things you wouldn’t know about if you’re kind of outside what it’s like to be in a band.“
Jethro Tull are a unique band. I was introduced to them in the 70s, and I’m probably one of the only people that you’ll speak to nowadays that’s old enough to remember some of this stuff first-hand.
Everything from the production to the musicianship and the songwriting of all those guys – not just Ian Anderson, but Martin Barre [guitar] and Clive Bunker [drums] as well – I’ve always thought was amazing. Together, they wrote such brilliant rock pieces, which were almost classical in a sense. Then they had the woodwind and the flute and everything else. There’s no one else like them. It’s a signature sound. You add Ian Anderson’s vocals on top, and you just know it’s them. It can’t be anyone else.
My top two Tull albums are Benefit  and Aqualung .
I used to listen to Benefit before I even had my driver’s license. I can remember driving around in my friend’s car, and car stereos had just come in. Before everyone just had an AM radio, and now all of a sudden everyone had an 8-track with these big speakers in the back. I remember just floating around, smoking doobies in the back seat and just thinking, ‘What is this? This is off the charts dude!’
But I’ll come back to that. Let’s start with the first Tull song that I ever heard…