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Post by JTull 007 on Aug 23, 2015 0:58:51 GMT
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Post by Equus on Aug 23, 2015 7:32:30 GMT
Three new songs on next re-release. Good that !
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Post by nonrabbit on Aug 23, 2015 17:48:35 GMT
I hope Steven Wilson doesn't bow out after the 70's remixes - I'd really like to hear B&TB rejigged.
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Post by maddogfagin on Aug 26, 2015 14:55:21 GMT
prog.teamrock.com/features/2015-02-16/top-of-the-progs-1 The inside story of classic prog hit singles
In our new weekly series, Jethro Tull's Ian Anderson remembers when Living In The Past got to number three in the chartsLIVING IN THE PAST b/w DRIVING SONG (Chrysalis, 1969) Highest UK Chart Position: No. 3 Where did the inspiration for Living In The Past come from?“I remember being in a Holiday Inn somewhere on the west side of Boston in the summer of '69. It was our second US tour. I was in the lobby of the hotel and our manager Terry Ellis said 'Could you rustle up a three-minute hit single? Something we can release in the UK while we're away, to keep the pot boiling back home...' So I said 'Right, so you want me to pop back to my hotel room and write a hit single?' and he said 'Erm... yeah!' So I went upstairs and fiddled around with some ideas. What I was doing, in a rather naughty way, was to confound Terry and the record company by coming up with something in 5/4 timing – the least likely thing to be a hit, because you couldn't dance to it - and then to give it the completely unhip title Living In The Past. Terry asked me what the song was called and I said 'Living In The Past' and he said 'Could you call it Living In The Future?' [laughs]” What was the reaction to it?“It was a top ten hit in the UK but our American label didn't want to release it in the USA because people wouldn't get it and it was too complicated. People couldn't tap their feet to it because it was in 5/4. So it remained unreleased in the USA until 1971 until the Living In The Past album was released. That was when it made its debut and, lo and behold, it got into the US top ten as well. They obviously felt they'd shot themselves in the foot, because they could've released it back in 1969, but I'm rather glad they didn't because we needed more time to evolve.” Did you feel like pop stars?“Not really. We didn't want to become a pop band. We went on Top Of The Pops, but we were there under sufferance. The floor manager hated us. Everyone hated us because we weren't nice, clean boys with neatly pressed stage clothes. We were surly, we didn't rehearse properly. I felt so embarrassed and humiliated that I couldn't do anything. When it came to the actual broadcast, then I jumped out of my shell of embarrassment and tried to perform it a bit, by hopelessly overacting and gesticulating wildly. TOTP was unbelievably naff... it was just squirmy and awful, but when Fleetwood Mac got on it, then we got on it, and then The Nice got on it... so this was a victory for blues and progressive rock. Dear old Cliff Richard was at the far end of the studio, warming up on the other stage. I think he was trying to be supportive and trying to dance along with Living In The Past... only to realise that the song was in 5/4 and the left foot was where the right foot should be! [laughs] I thought that was the most wonderful moment ever – there was Cliff, the hero of my teenage years, trying to dance to my song.” Was having a hit a blessing or a curse?“Very much a blessing. It's a bit cheesy lyrically, to say the least, but as a piece of music it's cheerful, upbeat, and simple and elegantly constructed. Ultimately, there are only a couple of occasions when a song in 5/4 has been in the charts. There was Dave Brubeck's Take Five, of course... and then for songs in 7/8 it's Dave Brubeck again – Unsquare Dance – and then Tull again with Ring Out Solstice Bells. So I'm up there with the legend Dave Brubeck, who broke new ground in popular jazz, in bringing this music to the public and doing something intricate and quite clever, quite spiky. I feel very privileged to be in that company.”
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Post by steelmonkey on Aug 26, 2015 17:27:29 GMT
Local lounge piano player friend of mine here in SF does a very nice mash-up that he calls 'Taking 5 in the past' which obviously takes advantage of their similarities.
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Post by JTull 007 on Aug 28, 2015 0:49:30 GMT
All I can say is that Ian Anderson has some very strong opinions about wealthy people...Wow!  The Ian Anderson Interview (2015) by Shawn Perry  Vintage Rock LINK  On the road throughout 2015, Ian Anderson is playing newer original music under his own name
alongside the music he wrote, recorded and performed with Jethro Tull.
He began the year jumping back and forth between shows highlighting a "Best of Jethro Tull”
setlist and shows promoting his 2014 album Homo Erraticus.
As if the line between the man and Jethro Tull wasn’t blurry enough, it just became a little
more integrated with Anderson’s latest twist for the Fall of 2015: Jethro Tull – The Rock Opera.
This time, Anderson celebrates the life and times of the English agricultural inventor Jethro Tull —
a name, of course, a group of musicians with Anderson out in front took for themselves in 1968.
As payback, the 18th century pioneer is finally given his due for inventing seed drilling and
other farming innovations. Anderson’s rock opera, however, casts him in modern times as a
captain in the present corporate farming industry. A loose story is created weaving in
Anderson's best-known Tull songs with newer songs, supported by other multimedia
elements to enrich the experience and piece everything together.
In my sixth interview with the singer, songwriter and multi-instrumentalist, we discussed the
Jethro Tull – The Rock Opera concept in depth.
Anderson explains the world in which he thrust Jethro Tull — the man — into.
Along the way, he gets political, touching specifically on the economy and the power of the rich.
Instead of asking him about any plans to reunite the Jethro Tull band, a sore subject that Anderson
has tap danced around with grace and respect, I bring up the Steven Wilson remasters
of the band’s core catalog.
That, of course, leads to an intriguing exchange about surround sound, MP3s, CDs, cassettes and vinyl.
After speaking with Ian Anderson, I usually feel richer, more stimulated; the following 30-minute chat
we had may well have been the most eye-opening.
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Post by Deleted on Aug 28, 2015 13:54:58 GMT
All I can say is that Ian Anderson has some very strong opinions about wealthy people...Wow! The Ian Anderson Interview (2015) by Shawn Perry Vintage Rock LINK On the road throughout 2015, Ian Anderson is playing newer original music under his own name
alongside the music he wrote, recorded and performed with Jethro Tull.
He began the year jumping back and forth between shows highlighting a "Best of Jethro Tull”
setlist and shows promoting his 2014 album Homo Erraticus.
As if the line between the man and Jethro Tull wasn’t blurry enough, it just became a little
more integrated with Anderson’s latest twist for the Fall of 2015: Jethro Tull – The Rock Opera.
This time, Anderson celebrates the life and times of the English agricultural inventor Jethro Tull —
a name, of course, a group of musicians with Anderson out in front took for themselves in 1968.
As payback, the 18th century pioneer is finally given his due for inventing seed drilling and
other farming innovations. Anderson’s rock opera, however, casts him in modern times as a
captain in the present corporate farming industry. A loose story is created weaving in
Anderson's best-known Tull songs with newer songs, supported by other multimedia
elements to enrich the experience and piece everything together.
In my sixth interview with the singer, songwriter and multi-instrumentalist, we discussed the
Jethro Tull – The Rock Opera concept in depth.
Anderson explains the world in which he thrust Jethro Tull — the man — into.
Along the way, he gets political, touching specifically on the economy and the power of the rich.
Instead of asking him about any plans to reunite the Jethro Tull band, a sore subject that Anderson
has tap danced around with grace and respect, I bring up the Steven Wilson remasters
of the band’s core catalog.
That, of course, leads to an intriguing exchange about surround sound, MP3s, CDs, cassettes and vinyl.
After speaking with Ian Anderson, I usually feel richer, more stimulated; the following 30-minute chat
we had may well have been the most eye-opening. Thanks for this Jim - terrific. Linked: www.quadraphonicquad.com/forums/showthread.php?14476-Jethro-Tull-5-1&p=260002&viewfull=1#post260002forums.stevehoffman.tv/threads/jethro-tull-too-old-to-rock-and-roll-too-young-to-die-deluxe-2016.434431/page-8#post-12896930 |
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Post by Deleted on Aug 28, 2015 13:55:46 GMT
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Post by maddogfagin on Aug 29, 2015 8:45:17 GMT
I found this answer quite interesting IBTimes: Do you think Jethro Tull and Ian Anderson music throughout the years has operated in a way that gives the listener something to dig into, something containing, as you’ve mentioned, a backstory?
Anderson: It has on occasion. There were three concept albums really in the days gone by, “Thick as a Brick” and “Passion Play," both of which made it to No. 1 on the Billboard chart, and then many years later, in 1995, another concept album of mine, “Divinities: Twelve Dances With God,” an instrumental album for flute and orchestra, made it to No. 1 on Billboard’s classical crossover chart. And probably "Too Old to Rock 'n' Roll: Too Young to Die!" could loosely be called a concept album. And “Homo Erraticus” certainly is. In the late '80s, and through the '90s, it was definitely not really fashionable to think in terms of concept albums, and prog-rock certainly was a dirty word, well two dirty words, and particularly dirty because it was synonymous with the excesses and the self-indulgent music of bands like Emerson Lake and Palmer and Yes and the early Genesis and indeed arguably Jethro Tull. It was not fashionable for a while. I think I was probably not of the mind to challenge the overwhelming opposition to being too clever. Now, in my advanced years, I don’t mind being too clever. I don’t mind having an intellect -- and letting it drift over other people. I’m not gonna lecture you, I’m not going to tell you what to believe; I’m certainly not going to tell you how many children you should have. But, I want you to think about it. Of course, I want people to be moved by lyrics and music, and let their minds wander, and perhaps dwell on topics that I’ve suggested, and be liberated from Mr. Google and Mr. Wiki, to become perhaps informed about things, talk about it with their friends, their families, and maybe even have some fisticuffs down at a local bar; when somebody disagrees. Basically, of course, I want to challenge people’s perception, and not just throw away lyrics. But still deliver them with a smile on my face.
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Post by Deleted on Sept 4, 2015 12:13:26 GMT
INTERVIEW: Ian Anderson reimagines story of Jethro Tull September 4, 2015 “I can set many of the best known Jethro Tull songs into the storyline, into the narrative of Jethro Tull’s life,” Anderson said. “But rather than make it merely a historical piece, it would be more fun to set it in the present or near future and have my Jethro Tull be a pioneering biochemist working on cloning, and GM foods and patented technologies to help feed the world in the context of big agribusiness, which, of course, brings about with it lots of ethical and moral dilemmas about making tons of money out of providing necessary foodstuffs for an ever hungry and growing planet. So lots of elements of current affairs and concerns that people have about the near future were easy to bring into the mix, and rather than be a prophet of doom or despair, I actually try and make this have an upbeat and positive ending to the reimagined story of Jethro Tull, an homage to the original, historical character.”
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Post by maddogfagin on Sept 6, 2015 8:07:08 GMT
www.hollywoodsoapbox.com/?p=13593September 4, 2015 INTERVIEW: Ian Anderson reimagines story of Jethro TullBy John SoltesIan Anderson, the legendary rock ‘n’ roller behind the influential band Jethro Tull, has a few changes in store for his string of North American concert dates this fall. Although he’ll definitely play the Tull classics — “Living in the Past” and “Locomotive Breath” are likely additions — the concert experience will be fashioned into a rock opera, telling the story of the original Jethro Tull, an English agricultural inventor who gave the band its namesake. “Well, I was traveling through Europe last summer and sitting in the back of a car, and I had an Internet connection,” Anderson said recently during a phone interview. “So I amused myself by going online and learning a little bit about the life and times of the original Jethro Tull, because over the years I’ve really avoided knowing too much about him, as of a bit of embarrassment at being named by our agent after a dead guy when I obviously hadn’t been paying attention in history class at school and didn’t know about the original Jethro Tull back in 1968. So when I started reading stuff about him, I was immediately struck by many elements of the details of his life, and times that conjured up songs that I had written. And it was also made more poignant by the fact that I was at the time driving through fields of various crops in northern Italy, and as indeed Jethro Tull traveled to learn about European farming methodology in order to write about and try to put some of those practices to work on his own farm back in England.” Anderson said the original Tull suffered from pulmonary diseases, and that’s why he found himself in that part of Europe, trying to gain a bit of rest and relaxation. A quote from the real Tull concerning his invention of the seed drill included something like, “When I was young, music was my passion.” Interestingly, and coincidentally, the band’s song “Windup,” which Anderson wrote in 1971 for the Aqualung album, begins with a similar passage. “I can set many of the best known Jethro Tull songs into the storyline, into the narrative of Jethro Tull’s life,” Anderson said. “But rather than make it merely a historical piece, it would be more fun to set it in the present or near future and have my Jethro Tull be a pioneering biochemist working on cloning, and GM foods and patented technologies to help feed the world in the context of big agribusiness, which, of course, brings about with it lots of ethical and moral dilemmas about making tons of money out of providing necessary foodstuffs for an ever hungry and growing planet. So lots of elements of current affairs and concerns that people have about the near future were easy to bring into the mix, and rather than be a prophet of doom or despair, I actually try and make this have an upbeat and positive ending to the reimagined story of Jethro Tull, an homage to the original, historical character.” The singer, who is a pioneer with the flute as an instrument in rock ‘n’ roll, said he still believes the experience will be like a “rock show.” The concert will feature the best of Jethro Tull, plus five new short songs. “Don’t worry, they’re very short songs, which flesh out the story more to get into the deal with the present-day context of that story, but, yes, I mean the bulk of it is really just giving a context for those songs to operate perhaps in a slightly different way,” he said. “But the toe-tappers will just listen to the music and go, ‘Yeah, I remember that one.’ Those who want to peel back the layers of the onion may find other levels of meaning, of storyline, of characters and so on. And to help bring it to life, I use on a big High-Definition video screen, I have my virtual guests appearing as certain characters in the storyline. So we keep it visually interesting at the same time as having lots of detail. But I’m well aware folks don’t like being dragged too far from their comfort zone, so I have to make sure all of this works on the basic level of being a rock concert.” At this point in Anderson’s career (he was born in 1947 in Scotland), the singer still enjoys touring the world, and he keeps a busy schedule. When talking to Hollywood Soapbox, he was preparing for a concert in Switzerland. After that gig came a stopover in Germany. Then Russia, Argentina, Brazil and Chile. By the time he arrives in North America later in the fall, he’ll have earned quite a few frequent-flyer miles. “Then Italy, Turkey and finish up with a couple of shows in St. Albans and Lincoln cathedrals, two of our grandest Medieval cathedrals in the south of England,” he said. The ability to tour extensively and bring this music to the adoring fans is a testament to the legacy of the band and his contributions to music over the years. “I’m very grateful for the fact that that repertoire still lives on, not only in other people’s minds, but perhaps more importantly in my mind,” Anderson said. “Because if you have something you enjoy doing, you don’t really want to have to stop. And old age, senility will force itself upon me at some point, and I will have to quit. But as long as it’s enjoyable, and challenging above all else to do it, then that’s the motivation. If it was easy, it wouldn’t be so much fun, but it is actually quite demanding physically and mentally to recall two hours worth of sometimes my complex music and lyrics and to be able to switch as we have done. I mean we finished rehearsal yesterday, rehearsing the new show. Tomorrow we fly to do a show with a completely different set list. … We all have to be able to remember between 3-1/2 and four hours of music that we are well prepared for just to cope with the different set list that we play, different venues, different times of the year.” Anderson jumps into a new project every couple of years. He starts by conjuring a basic idea, something “conceptual” that will drive him into creating titles, subjects, lyrics and lines of music. “You get quite energized by that process, and usually within two or three weeks I’ve completed a new project whether it’s a completely a new album of an hour’s worth of new music or whether it’s reworking an existing set of music and filling in all the details and writing a few more songs like this one,” he said. “It’s about a three-week job to get the music, the lyrics, the shape of the show down on to paper, well, at least a Word file on my laptop computer. But you know I would generally expect to spend about a month doing the serious work. That would include making some demos for the guys in the band so that they can listen to it, analyze it, and work up on the sometimes enormous task of scoring it, or writing out parts and preparing themselves for band rehearsals. We kind of know what we’re doing after all these years.” Today Anderson is a bit more efficient and disciplined than the 1970s. He said that back then it was too easy to waste studio time fooling around. Here’s an exception: “I know when we did the Thick as a Brick album, for example, that was very a dedicated burst of about 10 days of rehearsal. And indeed I was writing the album at the same time as we were rehearsing it. I was basically a day ahead of the guys, writing some stuff in the evening and the following morning, and then turning up to rehearsals in the early afternoon to work through the new sections of music with the band. So that one was very disciplined and very precisely put together a huge torrent of energy and enthusiasm from everybody, indeed, even if they didn’t understand where I was headed with the project. They could sense that it was quite fulfilling music to the play, but there are other times when, you know, we drifted around, made demos of things and come up with songs that didn’t really work terribly well and put them to one side.”
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Post by nonrabbit on Sept 16, 2015 12:09:33 GMT
Don't know if this one's been posted before. Maybe a good idea if we put the title of these interviews at the top...as some already do?  Nemmblog - Ian Anderson of Jethro Tull Q&A ahead of ‘Jethro Tull – The Rock Opera’ at Sage, Gateshead on 13th September 2015"How the devil are you?Well, actually I’m hobbling around at the moment having twisted my leg while rehearsing recently. I twisted my knee and then twisted my back. I’m hobbling around but I’ll be ok for the tour. I’ve just got to take things one step at a time! didn't know that(Laughs) Well, I’m terribly sorry! My grandfather, unfortunately, was a man who dealt out corporal punishment. He was a Magistrate in Dunfermline in Scotland, and, apparently he has the last recorded use of the “Cat o’Nine Tails” which he issued as a punishment for misdemeanours and he caused a man to be lashed with it for spitting in the street. didn't know that eithernemmblog.com/2015/07/05/ian-anderson-of-jethro-tull-qa-ahead-of-jethro-tull-the-rock-opera-at-sage-gateshead-on-13th-september-2015/ |
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Post by Deleted on Sept 23, 2015 22:28:19 GMT
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Post by JTull 007 on Sept 24, 2015 12:14:45 GMT
Hilarious interview by Trudi & Jim  Congrats to James Duncan Anderson on his wedding today!  Trudi Daniels Jim O'Brien
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Post by steelmonkey on Sept 24, 2015 17:40:11 GMT
So many classic bands from Detroit and they picked a guy from Seattle who got famous in London ?
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Post by maddogfagin on Oct 21, 2015 8:03:03 GMT
lakeshorepublicmedia.org/CHATTING UP IAN ANDERSON ABOUT “JETHRO TULL: THE ROCK OPERA” WHICH OPENS WORLD TOUR IN CHICAGOThis edition of “MIDWEST BEAT with Tom Lounges” originally aired on October 20, 2015 at 7:00pm CST Listen hereThe musical guest for this edition of “Midwest BEAT with Tom Lounges” is – IAN ANDERSON – the founding member, singer, songwriter and multi-instrumentalist of the progressive British Rock group, JETHRO TULL. Ian has been a frequent guest on Tom Lounges’ various radio programs over the years and his second on the “Midwest BEAT” program specifically. This episode focuses on Ian debuting a new stage production — “JETHRO TULL: THE ROCK OPERA” — that kicks off Anderson’s new world tour on NOVEMBER 1st at CHICAGO THEATRE. The tour reimagines the true story of the real life Jethro Tull, an 18th Century British agriculturalist who invented the seed drill, as a 21st Century Agro-Botanist working in the lab on ways to create plant hybrids and means to stop world hunger as humankind outgrows the planet Earth. Along with an engaging conversation, plenty of Jethro Tull’s biggest hits will be featured during this program, including “War Child,” “Too Old To Rock ‘N’ Roll,” “Songs from The Wood,” “Bungle In The Jungle,” “Living In The Past” and a few other surprises.
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Post by maddogfagin on Oct 29, 2015 8:36:35 GMT
orleans.wickedlocal.com/SOUNDS AROUND TOWN: Tull founder tells of the real Jethro TullBy Ed Symkus/Daily News Correspondent Posted Oct. 28, 2015 at 11:53 AM Updated Oct 28, 2015 at 12:00 PM orleans.wickedlocal.com/article/20151028/ENTERTAINMENT/151025747The British band Jethro Tull has been around since 1968. The British agriculturist/inventor the band took its name from was around from 1674-1741. Last year, Ian Anderson, the flutist-guitarist-vocalist-songwriter who has fronted the ever-changing group of players from the start, had a musical light bulb pop on while driving through northern Italy. That idea led to a new project and a concert at the Wang Theatre on Nov. 5. Anderson spoke about “Jethro Tull: The Rock Opera” by phone from his home in Wiltshire County, England. “I was traveling through some farmland and wondering to myself what old Jethro Tull might have made of farming in Italy, and since I had an Internet connection in the car, I looked up some elements of his life story. And some of them seemed to echo elements of songs that I’d written.” Anderson made a list of his songs that could be connected, no matter how loosely, to Farmer Tull, including “Songs from the Wood,” “Living in the Past,” “A New Day Yesterday,” “Farm on the Freeway,” and “Aqualung.” “Suddenly I had a show’s worth of music incorporating material that you would loosely describe as the best of Jethro Tull,” he said. “So straightaway, I had a new show! The only thing that I had to do was to incorporate elements of the story which I didn’t have a song about by writing five short new songs. And I decided I would put his life and times into the contemporary age, and reimagine Jethro Tull’s story as happening perhaps in the near future. So I made him a whiz kid biochemist working on new technologies for genetic modification and cloning and advanced techniques for feeding the world. In the face of a fast-growing population and climate change and the enormity of having to compensate for loss of crop growing and livestock-producing areas, we’re going to have to get pretty clever about feeding the world. So I thought this was good fodder for a more topical approach to the re-imagined life of Jethro Tull.” Anderson will be joined onstage by the four musicians who have made up the band Jethro Tull for the past decade, along with video appearances of singers incorporated into the show playing the characters of Tull’s father, Tull’s wife, flashbacks to a young Tull, and the son of Tull. “Some of the lyrics in the songs have been slightly rewritten to fit this show,” said Anderson. “It was mostly as simple as changing pronouns. You know, I becomes he, or she becomes me. It’s just changing things so the characters can sing their lines. There were a few songs where there was a new chorus line, but the musical arrangements are very much as we recorded them on their respective records.” And it’s in an opera format, pretty much sung all the way through. “We join all the songs together with the operatic device the recitative,” explained Anderson. “So instead of my just stopping between songs and saying, ‘the next song is ...’, it’s part of the performance. The recitatives are sometimes sung, sometimes spoken. Some are just a few seconds long, some last a minute or so. But they’re the elements that join the songs together, and explain to some extent what’s happening next in the story.” Anderson, 68, has been touring, with or without Jethro Tull, for more than four decades. He’s pretty sure the band’s first American stop was at the Boston Tea Party in 1969. And he shows no need or desire to slow down. “From my perspective, especially at my age, I find it advisable to try to do pretty regular concerts,” he said. “I don’t like being away from it for too long because increasingly, when you stay off-tour for three or four weeks, you really have to get back into physical and mental shape. You’ve got to kind of get that focus thing going. So it’s actually easier when you play multiple shows. In an ideal world I would play three shows a week, 52 weeks of the year. I would play Friday, Saturday, Sunday, and be home by lunchtime Monday, sleep in my own bed, and have three days at home before I had to leave again.” “Jethro Tull: The Rock Opera” is at the Wang Theatre in Boston on November at 8 p.m. Tickets: $38.75-$85. Info: www.citicenter.org.
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Post by maddogfagin on Oct 29, 2015 8:42:57 GMT
www.lowellsun.com/Ian Anderson's tribute to Jethro TullBy Ed Hannan, Sun Correspondent Updated: 10/28/2015 02:21:51 PM EDT www.lowellsun.com/whatdouwannado/ci_29036186Everyone knows the music of Jethro Tull, with classic songs like "Aqualung," "Living in the Past" and "Locomotive Breath," but not as many people know the man behind the music. I'm not talking about frontman Ian Anderson, though I did talk to him for this article. No, I'm talking about the actual Jethro Tull, the English agricultural inventor who inspired Anderson to name the band after him. Anderson has taken his homage to Tull to another level with Jethro Tull: The Rock Opera, which comes to the Citi Performing Arts Center in Boston on Thursday, Nov. 5, as part of a limited North American run. The show tells the story of the original Jethro Tull, reimagined as if in the near future and illustrated with Anderson's best-known songs from the band's repertoire. The performance is in a quasi-operatic structure with virtual guests on video and some newly-written songs to round off the elements of the story. "The term 'rock opera' is well-worn and rather tedious in the sense that it's a term that would appear to be owned by Pete Townshend for Tommy in 1969, but Tommy wasn't the first rock opera," Anderson told me earlier this week in a telephone interview. "The first rock opera was a British band called The Pretty Things a few months before (1969's S.F. Sorrow album), but I've struggled to find a way to describe a show with songs in the narrative concept joined together." Chatting with Anderson often veers in many different directions and our brief conversation included discussion about traveling through airports on tour, climate change and how this concept of a rock opera differs from a storyteller concert. Anderson hopes that the show appeals to long-time Jethro Tull fans. "This is a show for toe-tappers. Like a good onion, it has many layers. You can peel back the layers and get back to the center if you wish, but you can also swallow the onion whole. That's the art of good entertainment. It can be enjoyed on many levels. "You could see Jethro Tull for $5 in 1969 anywhere in the United States. It was relatively cheap. Now, tickets start at $50 to $60 and go to $200 to $300. You're asking people who are still clawing out of the last recession before the next one hits to pay more. People value live entertainment and are willing to pay for it, but the obligation is on you the performer to put in the time and effort to come up with a show that will intrigue, gratify and entertain people. That's up to me as the producer and the artist." Jethro Tull: The Rock Opera plays the Citi Performing Arts Center, Boston, Nov. 5. Tickets start at $38.75, and are available at www.ticketmaster.com.
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Post by Deleted on Nov 3, 2015 15:29:44 GMT
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Post by bunkerfan on Nov 3, 2015 19:19:15 GMT
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Post by jackinthegreen on Nov 3, 2015 21:06:17 GMT
What a gent that radio guy is....  .....real nice interview... .....thanks for posting. |
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Post by jackinthegreen on Nov 3, 2015 21:26:14 GMT
Nice one Ian is an extremely intelligent man. I am glad he is being asked some interesting questions nowadays, and not the old usual stuff, perhaps because he is actually telling the story of how the band are called Jethro Tull, that no-one needs to ask that one at least...  |
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Post by maddogfagin on Nov 5, 2015 16:23:46 GMT
 British musician Ian Anderson is the singer/songwriter and founding member of one of the most successful rock bands of the 70’s, Jethro Tull. The band’s style of progressive rock earned them a string of top-ten albums in the United States. Anderson also plays many instruments and his solo albums have been critically praised. Ian's current tour, "Jethro Tull: The Rock Opera - performed by Ian Anderson" hits the Kings Theatre in Brooklyn, NY, tomorrow night. Also on today's show is actor/comedian Mo Mandel ("Free Agents"). Both Ian and Mo are my guests on today’s “Breaking It Down” at 2pm EST, and you can listen on LI News Radio 103.9-FM, or online at the link below. Link to interview |
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Post by maddogfagin on Nov 6, 2015 9:32:31 GMT
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Post by Tull50 on Nov 7, 2015 14:17:16 GMT
Ian Anderson: "My next album will be the style of Iron Maiden, but with flute"blogs.rock.com.ar/ian-anderson-mi-proximo-disco-sera-del-estilo-de-iron-maiden-pero-con-flauta/By Fabrizio Pedrotti (@f_pedrotti) Argentina Google translator: The leader of Jethro Tull says that his next album will tackle "the dark side of love." In addition, it advances the reissue of a classic. Exclusive Interview with Rock.com.ar. The hotel we are staying Ian Anderson is one of the best in Recoleta. Although an early Saturday, dozens of tourists who do not know a word of Spanish tour the place. In the internal restaurant Jethro Tull leader is seated, checking the news from his cell. "There's a half an hour for the interview. Get to the lobby, "he tells this reporter dry when he announces his arrival. "I know, I just wanted to let you know that he was here, and was going to wait," she replied the writer. Anderson throws a grim look, and nailing his eyes again on the phone. Twenty minutes later, the flute appears in the lobby. "Follow me," he says, and goes to a dark nook. But, even if they are in a bad mood, it takes two hours! for a report that was originally supposed to last a few minutes. The reason I got up early Ian Anderson is the triple presentation in Argentina of "Jethro Tull: The Rock Opera", a show in which wonders how life would be today the farmer who gave the name to the band. It is a digital show, with whom he will tour until December by the United States and Europe. To tell the story of the farmer, Anderson had to change the lyrics of several classic songs, as well as writing new ones. -A "Locomotive Breath" the'd made in 1970, influenced by "the strong population growth." It is something that worries you today more than ever, right? -Yes. For how climate change progresses, science will have to be very intelligent. And politicians and scientists must explain to everyone that if they want to eat, they will have to accept new farming technologies, cloning and genetic modification. There are two ways: reduce by 50% the world's population, or increase production by 30 to 40%. The latest statistics from the United Nations says that between 11 and 13 billion people on the planet will be the end of the century, while previous estimates of a few years ago had been 9 billion. You think you're going to find a way out? Only if certain cultures and religions slow with the obsession to produce babies and treat women as third-class citizens. Some "real men" are created because they are parents of five, six or ten children. When I listen to enlarge, I am intrigued to know whether the tiny penis will not like an ant. Women should not become pregnant only because their husbands do not want to use condoms. Some of them emigrate to countries with a "better life" with people like Angela Merkel. I was horrified when I read that won a Nobel Peace Prize: I think it's very stupid, or really cruel. He opened the doors to immigration, but hundreds of women and children will die. They will go with four or five guys, thinking that the government will give them money; while Germany will only try to increase its economy, because it has a fertility of 1.6 or 1.7 points (less than two children per family). Anderson, who was awarded a Member of the British Empire in 2007, provides a possible solution: "I believe that empowering women would be the answer for most of the planet's problems. The world is a strange place, and terrifying is that it is becoming bigger and unstoppable. 'Locomotive Breath' talks about it: we can not stop this crazy train ... not without fundamental changes in the way people think. " -In This opera you release several new songs. Are they from now, or you had before? -The Did all between the first and second week of the year. They may not be the best that I wrote, but the idea was to work with the narrative. The idea that in a musical or a disc each topic is great, clearly is a lie. There are some who are simply to "meet". I'm also concerned that, and you're trying to show is the amount of money generated by the pharmaceutical industry. -Yes. The CEO should earn at most 20 or 30 million annually, and it is too. I think it is not right to raise that and not pay 50% or 60% tax. In 1975, a specialist told me how I could move to Switzerland, reduce my tax burden and signing with offshore companies. When asked what he would do if I were, I said, "I would pay in order, like everyone else. But you'll be uneasy about 5 or 10 years. My advice is to sleep well every night. " People have to feel happy to pay taxes, because they collaborate with schools, social services and hospitals. 'The problem is when some governments are left with the money and invest it, which is what happens in Argentina. Sure, but that does not happen in my country, nor in America (laughs). Certain politicians who are leading smaller countries steal the money and put it in banks outside on Caribbean islands or offshore. It's a shame. Too old to rock? Never.Ian Anderson is also preparing to publish the new edition of "Too Old to Rock and Roll, Too Young to Die" (1976), which was remixed by Steven Wilson, who was already working with the catalog of Jethro Tull. "Salamander's ragtime" and "Commercial traveler": In addition to original songs and several curiosities, two unpublished songs are included. "Those demos were sophisticated, with many arrangements and explains flautista- trials. If they had been released at the time, he had spent more time laburándolas modifying or writing best voices alone. But they were 'usable' in terms of guitars, bass, keyboards and drums. The boxset will be released on ... "(Search your phone to check). -¿27 November? Oh, you have the date. Exactly. In 2016 we plan to launch "Songs from the wood" (1977), also remixed by Steven Wilson, who also is working on "Stand Up" (1969). The latter is an important album for me because it was my debut with eclectic and influenced by classical music and jazz songs. I pulled to write at 21, and was the first "real" album the group. The guy on the cover of "Too Old ..." is too much like you. Was it intentional? It's a dilemma. If you talk about a character and put it at the top, people were going to make it difficult to associate with the band. So I was tempted to use a drawing similar to me, and get me as an actor. Same with the cover of "Aqualung" (1971), and that extends to music. If you listen to Alanis Morissette, it's all about "me and my feelings." The master and is a great composer, but could you imagine waking up every morning next to her and starts to tell you that? You would not last too (laughs). I talk about people, circumstances or problems. My son Andrew Lincoln -the famous kill zombies in The Walking Dead, but in real life is a parent who brings to walk your dog. Once he had to go to a charity event and was not disappointed. My wife said, "By God, Andy, you're an actor. Action! "(Laughs). And something happened to me when I went to the David Letterman show for the first time. The guy made me thousands of jokes, I felt bad and it was horrible. So the second visit I was convinced they were going to laugh at me, but did not take it personally. -The man of the cover of "Aqualung" is also similar to you, and there are three theories: the first is that it was an original idea who did the cover, the second is that your ex-wife took them the photos and tramps third is that you placed and the artist worked with that. What is real? -The last. Burton Silverman type was the Lyceum Theatre, where we rehearsed in August 1969. That took the pictures. -¿De You doing that gesture ...? -not Necessarily just myself and some others, and then drew them. Internal sketches also created from that. But the theme of "Aqualung" was born after my first wife showed me photos she had taken them some guys on the street in south London. When I saw them, I said: "Let's make a song about it." She could think of a few sentences, then I brought other and build. I remember I wrote the music in a US hotel, but the letter put together in England. One line was, "Snot running down His nose" (mucus down her nose). I had not written that way, because I sounded vulgar. When "Aqualung" came out, the rumor that some churches burned vinyl spread. It was true? -I think so. Not necessarily say "churches", but some members of extreme Christian religions had a reaction a little bad (laughs). The crazy thing is that beyond that, I received (and still receive) a lot of messages from people who questioned his faith. If you are a believer you would enjoy other points of view, and should not be something that scares you. It is like the case of small penis: the guys who have extreme views about God is because they suffer deep insecurities, and they need to believe in something without any suspicion. Once I asked a priest friend: "What happens when you wake up and you're not so convinced of your faith?". He replied: "No one will admit, but the confidence and doubt are united". Blind faith is bull$h1t, and the extreme reactions I still happening. An unstoppable train I saw you were planning to release a DVD of the opera Jethro Tull next year. Are you already confirmed? -Yes. Probably we shoot on two nights in early 2016, perhaps -the singer Ryan O'Donnell support Anderson, now that is bound to a musical-. Where do you think record it? -In Europe. There will be two or three cameras at every concert, but could also use some GoPro. The positive is that today's HD devices are cheap, and while someone push a button you can record in high quality. 4 or shoot it cost me $ 5,000, and as for the audio, I Logic X on my laptop. Although sometimes you have to buy interfaces, many tools are available digitally. You can send the signals to a notebook and save multitrack. Totally. For example, I know that Steven Wilson gave you some advances remix of "Too Old ..." from a laptop in his dressing room. -Dresses? Surely he would rather not do in this environment, because the options are more limited. Today we tend to deal with things in a different way, and that gives us flexibility and lowers costs. To rent a studio in the 70s were you going at least 250,000 pounds. In 1983, when I built my own, I spent less than 100,000. And now ... (laughs), I better not tell you. Steven does not use a real console, directly works with which is integrated into Logic. Wow, I not imagined. -Equally, the study did have a mixer. We used this as preamplifier, and then we sent everything to a digital interface. The "real" console serves, because you can change things when and sounds more organic. Today value is fractional discs over twenty years. Vinyl "Too Old ..." was sold in 1976 by U $ S6.99, and was a lot of money. Recently I went to look at Amazon, and was U $ S6.98 (laughs). If contás inflation that occurred since that time until now, the albums cost significantly less. But there are also changes in royalties. Decades ago, the musician made more than twice the composing. Today is completely backwards. For me it's great because I composed the themes, but for former members of Jethro Tull is catastrophic. Their salaries down month by month. 'Have you charged less than other members? No, as a musician and composer always won more, but as the producer of the discs also had to pay. Some in the band had become accustomed for decades to come in silver without working, because they kept getting money for the days they spent in Jethro Tull. One example is the bassist Jeffrey Hammond, who was from 1971 to 1976 and lived in it all the time. Today suffers a lot economically, because it never laburo nor saved. I told him, "you can not expect things to stay that way. They are going to change. " Now he's in the hospital after surgery for which he waited a lot, and was not enough to afford private clinic. Even guitarist Martin Barre, who made more money than others, admits he no longer has. That's because he spent on nonsense: boats, cars, houses. Sometimes people do not think what can happen. What if I get sick is complicated and I keep working? I'll have to pay my doctors. The opinion of the flutist is blunt. "It's wrong to say that about my colleagues, but if they had kept better twine or they would have spent on other things ... the story would be different. I can not take responsibility, because they are grown men and make their decisions she adds while taking a sip of coffee. I get to waste anger that part of his life and they were vague. Some do's done well, as keyboardist John Evan, who left Jethro Tull and founded a factory building. " More future plans 'In a previous interview you told me that you had the idea of launching an autobiography. How is that? -This Is not a good time, because next year I will address something I want to appear there. Besides a book would not be so interesting, or what Keith Richards because I am pretty boring: as alone, travel alone and use the train. After speaking with you, I will not say a word until the sound. But it's like you told your son ... You have to act! -Yes! (Laughs). The issue is that I do not like to write about former members of Jethro Tull, or make up stories. Now I'm with another publisher goal: collect all the items on my career in a limited edition, with pictures. I will take a year or two. I will print a thousand or two thousand autographed copies, and I will also free up. I do it because my lyrics online have millions of errors, and never found a right. Barajabas ago-bit also the idea of making an album with a string quartet ... -Yes! Now I'm halfway arrangements. It will include classic songs of Jethro Tull, and two or three reversals of old material. -How Bach? Yes, eg "Prelude in C Major". The idea is to record in early 2016. I'll put the flute, guitar and voices. Write for its implementation is difficult because it is a small group and everything must be perfect. By not having a giant orchestra, it is challenging. I have also another project that will start in January, which essentially is an album more "Flute" with new material. There will be some traditional songs, but with emphasis on the instrument and a rock wave. -¿From "Divinities: Twelve Dances With God" (1995) style, but more heavy? I have a defined axis, but I will not tell. It will include flute "d'amore", which is longer and is two to three semitones below. It sounds more rounded, soft and romantic. And although there may be one or two tender songs, I explore the dark side of love. Shakespeare wrote many sonnets, but also analyzed fights, betrayal, jealousy and hatred. Anyone in a relationship knows: not all flowers and kisses. It is also torture and horrible things people passing by. There, I told the shaft (laughs). In joke, recently I told one of the musicians: "This idea is great! It could be my song about necrophilia. " He asked if he was serious, and I said yes. It is a very dark and terrible thing, but some people do. I never write on pedophilia, for example, because there would be a right way to approach it. Well, sex with dead is fine (laughs). I'm not kidding. Another issue would be valid when someone posts photos of his ex-partner to separate, as "revenge". It is an interesting topic, because it involves both parties and makes it "feel better." The album would be the style of Iron Maiden, but with beautiful flutes. You would think I'm Bruce Dickinson ... but always with one leg! In my opinion the best Ian Anderson interview a while and comes from Argentina! 
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Post by ash on Nov 7, 2015 15:51:24 GMT
Another new album ...Keep them coming Ian |
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Post by maddogfagin on Nov 7, 2015 16:48:17 GMT
Excellent interview Remy. Many thanks for posting |
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Post by JTull 007 on Nov 7, 2015 17:10:48 GMT
Ian Anderson: "My next album will be the style of Iron Maiden, but with flute"blogs.rock.com.ar/ian-anderson-mi-proximo-disco-sera-del-estilo-de-iron-maiden-pero-con-flauta/By Fabrizio Pedrotti (@f_pedrotti) Argentina I saw you were planning to release a DVD of the opera Jethro Tull next year.
Are you already confirmed?-Yes. Probably we shoot on two nights in early 2016, perhaps -the singer Ryan O'Donnell support Anderson, now that is bound to a musical-. The album would be the style of Iron Maiden, but with beautiful flutes. You would think I'm Bruce Dickinson ... but always with one leg! In my opinion the best Ian Anderson interview a while and comes from Argentina! |
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Post by Deleted on Nov 7, 2015 18:37:07 GMT
Iron Maiden? Just when I was hoping for a Metallica sounding album.  Maybe a student of the agricultural plan...Hook me up to the power lines of Metallica |
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Post by futureshock on Nov 9, 2015 6:39:12 GMT
Iron Flute then. Could be interesting. Less silver, more magnetic charge. Less reflection, more compass direction. Pure iron or alloy? Galwey will be telling him to try out Miyazawa iron alloy flutes with the Cross-Eyed trill key. So I suppose the Japanese plastic flutes didn't cut the mustard for that new project.
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I love to see it in BIG RED LETTERS 
Congrats to James Duncan Anderson on his wedding today!
Apr 20, 2024 13:37:57 GMT
. Anyone else? I know of one other 
Apr 20, 2024 13:37:57 GMT