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
We do hear perhaps too many accolades generally aimed at people like Steve Jobs. We have to remember that there are other classic things in life that we undervalue and take them for granted. If you think of the classic lines of the modern jet aircraft, it's really been there since early World War II.
I don't think people really do listen. We plug into music, and we have short attention spans. We tend to download individual tracks from iTunes rather than a whole album. We buy music DVDs and watch them once, and then they disappear into a drawer, or we loan them to a friend, and we never watch it again.
The Rock and Roll Hall of Fame traditionally has had a management style that is very supportive of American talent, first and foremost, over everything else. And I think that's right and proper.
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.
I think I've owned all the models of iPods so far. And these days between my iPod, iPhone and my personal laptop computer, I'm someone who is very, very grateful for all the ways to listen to music and completely switch off from people around me and listen to the music in detail, which is very hard to do if you're in a room with other people.
I think it's really the job of the composer, the artist, the painter, the writer to present people with options. I'm just really reflecting the thoughts and actions around me.
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.
'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.
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.