Ian Anderson
Ian Anderson
Ian Scott Anderson, MBEis a Scottish-born musician, singer, songwriter and multi-instrumentalist best known for his work as the lead vocalist, flautist and acoustic guitarist of British rock band Jethro Tull. Anderson plays several other musical instruments, including keyboards, bass guitar, bouzouki, balalaika, saxophone, harmonica, and a variety of whistles. His solo work began with the 1983 album Walk into Light, and since then he has released another five works, including the sequel of Jethro Tull album Thick as a Brickin...
NationalityBritish
ProfessionFlute Player
Date of Birth10 August 1947
CityDunfermline, Scotland
'Aqualung' marks the point at which I had the confidence as a songwriter and as a guitar player to actually pick up and play the guitar and be at the forefront of the band. It's also the album on which I began to address religious issues in my music, and I think that happened simply because the time was right for it.
When I was a teenager, I really didn't like loud rock music. I listened to jazz and blues and folk music. I've always preferred acoustic music. And it was only, I suppose, by the time Jethro Tull was getting underway that we did let the music begin to have a harder edge, in particular with the electric guitar being alongside the flute.
I suppose when I started playing guitar, it was the means to an end. I never thought of myself as a fully fledged guitar instrumentalist. And my early excursions on the electric guitar were curtailed when Eric Clapton came on the scene, and I decided I was never going to be in the same arena as a Clapton or a Peter Green.
The flute was an alternative to being a small fish in an increasingly bigger pool filled with a number of great guitar players.
All the time I was playing the flute, the lines, the solos, the riffs, the construction, were based on my guitar skills. I did not play the flute to exploit its natural faculties, but I used it as a surrogate guitar.
As a songwriter, you tend to develop your own style, your own technique, based around what it is you're trying to write and perform, in terms of your own music. So a way of evolving a guitar style as a songwriter is much easier, I think, than developing a true style of your own just from listening to music or playing other people's music.
We should do our best. Everyone's going to see it.
If I was in America, it would be permissible and, indeed, even expected to do that. But on this side of the Atlantic, it's considered just a teeny-weeny bit tacky,
I think the Rock and Roll Hall of Fame, first of all, has got to be put into the context of being an American cultural showcase. It's there to be a museum showcase of all that's great about American music.
If you're gonna use simile, analogy, metaphor, be descriptive and have some flowery adjectives and a few odd nouns and some engaging bits of dialogue or sentiment, then you're sort of writing a novel, really. But rock lyrics are not really known for their sophistication.
I'm very motivated by the occasional creative payoff that comes when something goes really well, be it a song, a recording or performance. The payoff is enormous - when you get it. Most of the time, though, I'm filled with self-loathing and general frustration at the limitations I have as a musician.
I think we always view people who make us feel uncomfortable and appear to intrude on our middle-class cozy space, we view them with, if not hostility, at least suspicion, discomfort, embarrassment.
I was always more interested in the ultimate live performance rather than the recording for its own sake. And, for the audience too, that thrill of - just being there.
We are encouraging locals to create mini- floats using red wagons or big wheel tricycles.