Ian Anderson http://www.guitarworld.com/taxonomy/term/1955/all en Jethro Tull Premiere Previously Unreleased "Minstrel in the Gallery" (BBC Version) — Exclusive http://www.guitarworld.com/jethro-tull-premieres-previously-unreleased-minstrel-gallery-bbc-version-exclusive <!--paging_filter--><p>Jethro Tull notched their sixth gold record in 1975 with their eighth studio album, <em>Minstrel in the Gallery.</em> </p> <p>Its elaborate production is reminiscent of the band's classic 1972 album, <em>Thick As a Brick</em>, and its songs rock as hard as anything in the band's massive catalog. </p> <p>To mark the occasion of the album's 40th anniversary, Parlophone will present several new versions of the album early next month. </p> <p>And to mark <em>that</em> occasion, GuitarWorld.com presents the exclusive premiere of "Minstrel in the Gallery" (BBC version), a previously unreleased recording. You can hear it below.</p> <p><em>Minstrel in the Gallery: 40th Anniversary La Grande Edition</em> will be available as a limited-edition 2CD/2DVD set May 5. You can see the complete track listing below.</p> <p><strong>Highlights include:</strong></p> <p>• Original album and seven bonus tracks (six previously unreleased), two mixed to 5.1 surround, and all to stereo by Steven Wilson<br /> • Flat transfers of the original LP mix at 96/24 (plus "Summerday Sands")<br /> • Flat transfer of the original quad mix of the LP (plus "Summerday Sands")<br /> • An eight-minute film of the band performing "Minstrel in the Gallery" in Paris from July 1975<br /> • Presented in a case-bound DVD book that includes an 80-page booklet featuring an extensive history of the album, track-by-track annotations by Jethro Tull's Ian Anderson, recollections by roadie Kenny Wylie, Maison Rouge maintenance engineer Pete Smith and string section member Liz Edwards, plus lyrics, tour itinerary and rare and unseen photographs.</p> <p>Also on May 5, a new stereo remix of <em>Minstrel in the Gallery</em> will be released on a single CD, digitally and on 180-gram vinyl as a limited-edition pressing.</p> <p>When it was originally released, <em>Minstrel in the Gallery</em> became the band's fifth consecutive U.S. Top 10 album, peaking at Number 7 and at Number 29 in the U.K. It also was the last to feature the longtime lineup of Anderson, Martin Barre, John Evans, Barrie Barlow and Jeffrey Hammond-Hammond. </p> <p>For this anniversary edition, the album has been expanded with the B-side "Summerday Sands," several studio outtakes, as well as alternate session material done for a BBC broadcast of the album's title track (you can hear it below), "Cold Wind to Valhalla" and "Aqualung." </p> <p>The second disc features a live recording of the band performing at the Olympia in Paris on July 5, 1975, a few months prior to the release of <em>Minstrel in the Gallery.</em> It was mixed to 5.1 and stereo by King Crimson guitarist <a href="http://www.guitarworld.com/king-crimson-return-play-first-gigs-six-years">Jakko Jakszyk.</a></p> <p><strong>For more information about <em>Minstrel in the Gallery: 40th Anniversary La Grande Edition</em>, visit <a href="http://jethrotull.com/minstrel-in-the-gallery-40th-anniversary-la-grande-edition/">jethrotull.com.</a> To pre-order the album now, visit <a href="http://www.amazon.com/Minstrel-Gallery-Anniversary-Grande-%C3%89dition/dp/B00T0S7CYA/ref=ntt_mus_ep_dpi_1">amazon.com.</a></strong></p> <p><iframe src="http://link.brightcove.com/services/player/bcpid4162656690001?bckey=AQ~~,AAAAAyiIY-k~,nwbxG65xosUjOWENshA9QTNsJGXLuoFl&amp;bctid=4163296083001&amp;width=620&amp;height=365&amp;autoStart=false" width="620" height="365" frameborder="0" scrolling="no" allowtransparency="true" ></iframe></p> <p><strong><em>Minstrel in the Gallery: 40th Anniversary La Grande Edition</em> Track Listing:</strong></p> <p><em>Disc 1: New Steven Wilson Stereo Remix</em><br /> 1. "Minstrel In The Gallery"<br /> 2. "Cold Wind To Valhalla"<br /> 3. "Black Satin Dancer"<br /> 4. "Requiem"<br /> 5. "One White Duck / 010 = Nothing At All"<br /> 6. "Baker St. Muse"<br /> a. "Pig-Me And The Whore"<br /> b. "Nice Little Tune"<br /> c. "Crash-Barrier Waltzer"<br /> d. "Mother England Reverie"<br /> 7. "Grace"<br /> 8. "Summerday Sands"<br /> 9. "Requiem" (Version 1)*<br /> 10. "One White Duck" (Take 5)*<br /> 11. "Grace" (Take 2)*<br /> 12. "Minstrel in the Gallery" (BBC version)*<br /> 13. "Cold Wind to Valhalla" (BBC version)*<br /> 14. "Aqualung" (BBC version)*</p> <p><em>Disc 2: Live At The Palais Des Sports, Paris, July 5, 1975 (Jakko Jakszyk Stereo Mix)</em><br /> 1. "Introduction (The Beach Part 11)"<br /> 2. "Wind Up"<br /> 3. "Critique Oblique"<br /> 4. "Wond'ring Aloud"<br /> 5. "My God"<br /> a. Flute Solo Including: "God Rest Ye Merry Gentlemen/Bouree/Quartet"<br /> b. "Living In The Past"<br /> c. "My God" (Reprise)<br /> 6. "Cross-Eyed Mary"<br /> 7. "Minstrel in the Gallery"<br /> 8. "Skating Away On The Thin Ice Of The New Day"<br /> 9. "Bungle In The Jungle"<br /> 10. "Aqualung"<br /> 11. Guitar Solo<br /> 12. "Back-Door Angels"<br /> 13. "Locomotive Breath" with improvisation and including "Hard Headed English General" and "Back-Door Angels" (Reprise)<br /> <em>* Previously Unreleased</em></p> <p>Note: The DVDs will feature the DTS and DD 5.1 surround mixes as well as the 96/24 PCM stereo mix and an eight-minute film of the band recorded in Paris in July 1975.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jethro-tull">Jethro Tull</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jethro-tull-premieres-previously-unreleased-minstrel-gallery-bbc-version-exclusive#comments Ian Anderson Jethro Tull Martin Barre Steven Wilson News Fri, 10 Apr 2015 14:11:59 +0000 Damian Fanelli http://www.guitarworld.com/article/23902 Barre None: Jethro Tull's 10 Greatest Guitar Moments http://www.guitarworld.com/barre-none-jethro-tulls-10-greatest-guitar-moments <!--paging_filter--><p>Today, <em>Guitar World</em> checks in with Jethro Tull and pinpoints what we feel are the legendary British band's 10 greatest guitar moments. </p> <p>As always, our list digs deep into the band's six-string artistry (a staggering amount of which was provided by the great Martin Barre and, of course, Ian Anderson), while taking historical importance and other factors into account.</p> <p>Barre, the axman behind "Cross-Eyed Mary," "Locomotive Breath" and so many more, holds a special place in <em>Guitar World</em> history; his solo on "Aqualung" comes it at Number 25 on our list of the 100 Greatest Guitar Solos of All Time." </p> <p>"That guitar solo was totally improvised, and I did it in one take," <a href="http://www.guitarworld.com/dear-guitar-hero-jethro-tull-guitarist-martin-barre">he told Guitar World.</a> "Luckily for me, that solo turned out well, because if it didn’t there would’ve been a flute solo in its place."</p> <p>For more about Barre, including his recent projects, visit <a href="http://www.martinbarre.com/">martinbarre.com.</a> Also be sure to read our recent <a href="http://www.guitarworld.com/dear-guitar-hero-jethro-tull-guitarist-martin-barre">"Dear Guitar Hero" interview with Barre.</a> For more about Jethro Tull and Anderson's recent solo work, visit <a href="http://jethrotull.com/">jethrotull.com.</a></p> <p>Check out our guide to Jethro Tull's 10 greatest guitar moments below! (Just as you have already started doing) Be sure to leave a comment below to recommend other songs. We are NOT OPPOSED to turning this into a Top 20! </p> <p><strong>"With You There To Help Me"</strong></p> <p>This opening track from Jethro Tull’s third album, <em>Benefit</em> (1970), announced that the rock world had a distinctive new guitar hero, and his name was Martin Barre. </p> <p>With Les Paul in hand, Barre sliced through Ian Anderson’s echoing flute like a battle axe through butter, adding bursts of dangerous excitement to this rather fabulous piece of melancholy. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/isQSPQNx4BE" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"To Cry You a Song"</strong></p> <p>Another great guitar-driven track from <em>Benefit</em>. The opening harmonized riff is as strong as anything off Black Sabbath’s <em>Paranoid</em>, which was recorded that same year, and the dueling guitar solos scattered throughout the song’s dynamic construction are all knockouts. This is the song Opeth wishes they wrote. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/TNCEIGgyIS4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Aqualung"</strong></p> <p>Who would’ve thought one of the greatest guitar solos in the classic rock era would be the centerpiece in song about a horny British hobo? </p> <p>Guitarist Barre remembers that while he was recording this great guitar track, Jimmy Page stopped by and waved to him through the studio glass. He almost stopped playing his Les Paul Jr. mid-solo to wave back. Damn good thing he didn’t.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/W7-EEGiABBU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Life Is a Long Song"</strong></p> <p>It would definitely be wrong not to acknowledge a guitar contribution or two from front man/flautist Anderson. A masterful acoustic guitarist, his l playing can be heard throughout Jethro Tull’s entire catalog. </p> <p>“Life Is a Long Song” from <em>Living In the Past</em> is just one fine example of his gift, along with favorites like “Mother Goose” from <em>Aqualung</em> or the iconic opening to their classic <em>Thick As a Brick</em> album. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/gCS23lORsSM" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Thick As a Brick"</strong></p> <p>Speaking of <em>Thick As a Brick</em>, in 1972 Tull had the unmitigated audacity to release an album comprised of a single 43:46-minute-long song. That was even ballsy by progressive rock standards, so thank god the song was good! </p> <p>The guitar fireworks are subtler than on previous albums, but there are still plenty of pleasures to be had. No, we won’t make you listen to the whole album…the first five minutes will do just fine. The real guitar excitement, however, kicks in at the three-minute mark. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/M9JEPeeohYs" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Pibroch (Cap in Hand)"</strong></p> <p>This tune from <em>Songs From the Wood</em> begins with one of the gnarliest, fuzziest, fattest guitar riffs ever committed to tape. Granted, the song takes a number of weird left turns down some disturbingly frilly medieval roads, but they all come back this gargantuan bastard of a guitar line.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/QxiHgm5UEsA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Steel Monkey"</strong></p> <p>Somewhere around 1980, Jethro Tull began to get a little too synthesizer-happy for their own good, and with every album it seemed harder for Barre to bust loose and burn down the house like he did in the early part of the band’s career. But every so often, bandleader Anderson would let the poor boy off his leash and let his guitar roar. </p> <p>This rocker from their 16th album, 1987’s <em>Crest of a Knave</em>, was one of those welcomed occasions. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/HOzDsYPNWQU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Cross-Eyed Mary"</strong></p> <p>This is as funky as Tull gets—a surprisingly lascivious song about a cross-eyed prostitute, featuring an equally dirty guitar riff. Guitarist Barre was often called upon to go toe-to-toe with a flute, and he definitely shows who's boss as he takes control of this edgy classic from the band’s biggest album, <em>Aqualung</em>. This is the song Electric Wizard wishes they wrote.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/M7jLiXeFm_E" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Passion Play (“Magus Perde”)"</strong></p> <p>After having incredible success with the complex 1972 concept album <em>Thick As a Brick</em>, Jethro Tull did what any self-respecting prog band would do: follow it with an even more complicated concept album. </p> <p>Like <em>Brick</em>, the primary focus of 1973’s <em>Passion Play</em> was on the overall arrangement, but if you really listen to the guitar playing throughout, you’ll be amply rewarded. No fancy soloing on this section that comes, oh, about 40 minutes into the title song, but the rhythm work is wonderful and the riff is unlike any other. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/ISqVHVjPyu4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>"Conundrum"</strong></p> <p>This instrumental from the live 1978 <em>Bursting Out</em> demonstrates the deadly precision of Barre's picking and his wicked way with odd time signatures. One wishes he would’ve extended his solo at the two-minute mark, but if you’ve ever wanted to know what the fuss about Barre was all about—without a bunch of flutes buzzing around—this isn’t a bad place to start. </p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/DTM06dGmrgU" frameborder="0" allowfullscreen></iframe></p> <p><em>Photo from <a href="http://jethrotull.com/press/">jethrotull.com/press</a></em></p> <p><em>Brad Tolinski is the editor-in-chief at </em>Guitar World.<em> Christopher Thumann contributed to this story.</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jethro-tull">Jethro Tull</a> </div> <div class="field-item even"> <a href="/martin-barre">Martin Barre</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/barre-none-jethro-tulls-10-greatest-guitar-moments#comments Brad Tolinski Christopher Thumann Ian Anderson Jethro Tull Martin Barre Guitar World Lists News Features Mon, 25 Aug 2014 09:53:11 +0000 Brad Tolinski http://www.guitarworld.com/article/22154 May 2012 Guitar World Out Now: Joe Walsh Goes 'Analog,' Shinedown, Ian Anderson, 100 Tips For Better Guitar Playing http://www.guitarworld.com/may-2012-guitar-world-out-now-joe-walsh-goes-analog-shinedown-ian-anderson-100-tips-better-guitar-playing <!--paging_filter--><p><em>Guitar World</em> checks in with the one and only Joe Walsh <a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=9&amp;products_id=304&amp;utm_source=gw_homepage&amp;utm_medium=scroller&amp;utm_campaign=GWMAY12">in the all-new May 2012 issue.</a></p> <p>Walsh, who found success with the James Gang, then The Eagles -- all while putting out a series of guitar-driven hits as a solo artist -- is the first to admit his life has been good to him -- so far. </p> <p>Walsh just performed with Paul McCartney at the Grammys, owns an enviable collection of vintage guitars and is about to hit the road for The Eagles' 40th anniversary tour. He's also excited about his new solo album, <em>Analog Man.</em></p> <p><strong>Other features in this issue:</strong></p> <p><strong>Shinedown:</strong> When Shinedown lost their lead axman, rhythm guitarist Zach Myers suddenly found himself handling all six-string duties. On the group's latest album, <em>Amaryllis</em>, he proves he can burn with the best of them.</p> <p><strong>Hubert Sumlin:</strong> He devoted his life to the blues. When he died last December, Hubert Sumlin left behind a legacy that influenced guitarists from Jimi Hendrix to Stevie Ray Vaughan to Billy Gibbons.</p> <p><strong>Jethro Tull:</strong> Forty years after releasing <em>Thick As a Brick</em>, Ian Anderson delivers a sequel that puts a modern update on the prog-rock classic. PLUS: Anderson appraises five of Tull's axe authorities: from Tony Iommi to Martin Barre.</p> <p><strong>100 Tips For Better Guitar Playing:</strong> From technique and theory to gear and tone -- this is the ultimate guide to becoming a better guitarist, regardless of your skill level.</p> <p><strong>Tabs:</strong> The new issue includes JOE WALSH, "Life's Been Good" / BLACK SABBATH, "Electric Funeral" / VEIL OF MAYA, "Unbreakable" / HOWLIN' WOLF, "Killing Floor" / JETHRO TULL, "Thick As a Brick"</p> <p><strong>Soundcheck:</strong> Reviews of the Line 6 JTV-59 James Tyler Variax guitar, Fender's Kenny Wayne Shepherd Signature Strat, DigiTech's iPB-10 Programmable Pedal Board, the Peavey Session Solidbody Electric Guitar, the Visual Sound Dual Tap Delay and TC Electronic's PolyTune Mini Tuner.</p> <p>For more about the new issue and to order, <a href="http://secure.nps1.net/guitarworld/index.php?main_page=product_info&amp;cPath=9&amp;products_id=304&amp;utm_source=gw_homepage&amp;utm_medium=scroller&amp;utm_campaign=GWMAY12">visit the Guitar World Online Store.</a></p> <p><img src="/files/imce-images/0512%20Joe%20Walsh.jpg" width="620" height="805" alt="0512 Joe Walsh.jpg" /></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/joe-walsh">Joe Walsh</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/may-2012-guitar-world-out-now-joe-walsh-goes-analog-shinedown-ian-anderson-100-tips-better-guitar-playing#comments Hubert Sumlin Ian Anderson Joe Walsh Kenny Wayne Shepherd News Features Sun, 22 Apr 2012 13:52:07 +0000 Guitar World Staff http://www.guitarworld.com/article/15220 Interview: Jethro Tull's Ian Anderson Discusses Gear and 'Thick As A Brick 2' http://www.guitarworld.com/interview-jethro-tulls-ian-anderson-discusses-gear-and-thick-brick-2 <!--paging_filter--><p>Last year, Ian Anderson took Jethro Tull on tour to commemorate the 40th anniversary of <em>Aqualung,</em> one of the sacred stones of classic rock.</p> <p>This year, not only is he revisiting another of his crown jewels — 1972’s <em>Thick as a Brick</em> — he’s cut a feature-length sequel and will spend the next year or more putting it on the road.</p> <p>With musical nods to the original and a few other classic Tull riffs, <em>Thick as a Brick 2</em> returns to the fictional “star” of <em>Thick as a Brick,</em> Gerald Bostock, a precocious schoolboy whose “inappropriate” poetry was banned from a local contest, but later put to music by Jethro Tull, forming the epic title cut that spanned both sides of its original vinyl pressing.</p> <p><strong><a href="http://www.guitarworld.com/win-entire-jethro-tull-catalog-including-ian-andersons-new-album-thick-brick-2">[[ CONTEST: Enter to win Jethro Tull's entire catalog, including Ian Anderson's new album, <em>Thick as a Brick 2</em>! ]]</a></strong></p> <p>The sequel, which dropped on April 3 in the U.S., presents Anderson wondering aloud how Gerald’s life might have turned out, giving us many different possible outcomes, from an overpaid banker to a corrupt Christian evangelist.</p> <p>A few days after the release, and a few weeks before his European tour begins, Anderson spoke about <em>TAAB2</em> (his pronunciation), putting together a theatrical show, Andy Manson guitars and successfully landing a Boeing 737 — twice — despite never having been licensed to drive a motor vehicle.</p> <p><strong>GUITAR WORLD: <em>Thick as a Brick</em> was a parody. What about <em>Thick as a Brick 2</em>?</strong></p> <p>It [<em>Thick as a Brick</em>] was supposed to be fun and a bit of a send-up of the concept album, prog-rock style of ’72, ’71, whenever … it was relatively light-hearted, although there was some rather dark sort of child-fantasy moments in the lyrics. Overall it kept the spirits of parody, of spoof, in the style of surreal British humor, I suppose going back to the ’50s, certainly into the ’60s. It was very British.</p> <p>With <em>TAAB2,</em> I’ve continued that element of the approach in terms of St.Cleve.com, the online newspaper (the famous cover art of the original was the front page of the St. Cleve Chronicle “newspaper” and its story about Gerald), but lyrically speaking, <em>TAAB2</em> was less overtly spoof-like. I’m not writing this as an 8-year-old boy. I’m writing this as a 63-year-old man, which I was when I wrote it.</p> <p><strong>You’ve been working on the <em>TAAB2</em> album for quite a while already and will be touring it into next year. That’s a long time. What is motivating you to make such a lengthy commitment to this?</strong></p> <p>Well, it’s important enough to tackle a big project while I’m able to do it because, in reality, I shall be 65 years old, possibly 66 by the time we finish doing this concert tour and series in 2013. I’ll be back in the US in June of 2013 and I’ll be coming up on 66 then. That’s OK, but best to do these things now while I’m physically able to do that sort of thing. </p> <p>I mean, five years’ time, goodness, I’ll probably not be able to take up such a big chore. Who knows? But what I do know is it’s physically as well as mentally quite demanding, doing two hours of — I was actually counting it up in rehearsal yesterday, being it was the last day of rehearsal — I think there are about 16 bars in two hours of music when I’m not actually playing or singing.</p> <p><iframe width="620" height="345" src="http://www.youtube.com/embed/q7jZMCBEsZM" frameborder="0" allowfullscreen></iframe></p> <p><strong>That can’t be easy.</strong></p> <p>And it’s not easy music to play. Some of it is easy enough, but it’s really remembering what comes next. You have to remember all your cues, all your effects settings, remembering what fret to put the capo on. There’s nothing worse than the train wreck of starting a song in the wrong key.</p> <p><strong>And you’ve got a whole theatrical show to go along with the music?</strong></p> <p>It’s a theatrical small show. We’re not out there doing laser beams and dancing girls. It’s not a Madonna on tour, or a Michael Jackson tour that never was. These days we have the benefit of technology, audio visual stuff, so there’s lots of things that we include in the show that are human interaction with each other, with the audience, as well as audio-visual interaction with the audience. </p> <p>So yeah, there’s a lot of elements there that make it considerably more than just standing on stage playing the music, and for most of the tours this year, that’s the way it is. There are some dates in the summer, there are a few outdoor festivals and you simply bring all that equipment and set it without seven or eight hours of prep. … But all the tours, the major European tours and the two U.S. tours in the fall, they are the full-production tours. … We treat it more like a bit of musical theater.</p> <p><strong>You certainly have put a great deal of effort into presenting visual shows in the past, particularly during the peak years for Jethro Tull. Do you enjoy being a showman as much as a musician?</strong></p> <p>Yeah, it’s fun to do. It’s a little dreary doing it over and over again in rehearsal because you get to the point ... it feels rather pretentious when you doing this thing when there isn’t an audience there. But when we step out in front of an audience next week for the first time, it will be altogether more a jelling experience. </p> <p>I enjoy doing it but there are places where I have to stand pretty still and play the music because it can be very demanding. You’ve really got to be visually in contact with the other band members for all the little nods, winks and cues we give each other, especially in improv sections. </p> <p><strong>I’ve listened to <em>TAAB2</em> twice now and I’ve enjoyed every minute of it. It sounds great.</strong> </p> <p>If you liked every minute of it twice, you’ve enjoyed 107 minutes so far! It’s quite a long album. When I cut it on vinyl a couple of weeks ago at Abbey Road Studios in London, it was one of the longest vinyl albums that had been cut. It was amazingly successful. I was completely surprised by the quality we got. Not just the quality, the level on the disc was pretty good. </p> <p>We actually will be cutting it on a copper master rather than an acetate master or a lacquer master because we can squeeze an extra half db of level or so onto a copper master. And it will be hopefully as good as I heard it the other day when I compared it to the 24-bit digital audio. It was almost indistinguishable. Which was amazing in terms of today’s technology, to be able to go back and do the old-fashioned vinyl thing and get it to sound so.</p> <p><strong>When does the vinyl release come out?</strong></p> <p>In September, <em>TAAB</em> 1 and 2 will be released together as a vinyl package.</p> <p><strong>In addition to revisiting Gerald Bostock and the St. Cleve Times, you revisit certain musical themes in <em>TAAB2.</em> You can hear it in the very beginning and in several other tracks, including “Old School Song.”</strong></p> <p>When I set out to write the new album, which was in January-February of last year, I tried to earmark three or four places where I could make a reference to the original album. And we extended that, lyrically and musically combined, into maybe five nods and winks to the old <em>TAAB</em> album and actually a couple of references to <em>Aqualung,</em> even to <em>A Passion Play.</em> Yes, of course, I put those things in there, they’re little moments really for a listener, a fan, to spot. Some people may spot them. Some may not be so perceptive. It’s just there to give that kind of anchor, that bit of a reference.</p> <p>But I didn’t set out to make a nostalgic return to a previous era. The whole premise of this album is it is 2012, a current-day set of possibilities in terms of what might have become of the young Gerald Bostock late in life. It jelled for me as an idea when I suddenly got the notion, “I wonder what Gerald Bostock would be like today? What would the St. Cleve Chronicle be like today?” </p> <p>Those two ideas were the whole essence of using the character of Gerald Bostock as a vehicle to get us quickly from 1972 to 2012. Look at the differences that had become very apparent in life today as opposed to 40 years ago. And in one or two cases, you know, some of the things that haven’t really changed in 40 years, as we prepare to exit Afghanistan, and in 1972, we were, or you guys were, preparing to exit Vietnam. So the echoes of imminent, and probably tail-between-the-legs departures, from theaters of war, there’s an uncanny echo in today’s final winding down of what is proving to be an unsuccessful adventure.</p> <p><strong>Of course, you’re known for being out front with your flute, but you play a lot of acoustic guitar. So can we talk guitars?</strong></p> <p>I was just trying to remember when I was restringing one of my guitars this morning and I was preparing it to take on tour and thinking, “Wait a minute, is this the one I played on the record, or did I play the other one?” Because I have two guitars which pretty much look identical.</p> <p>One was made by Andrew Manson about 16 years ago. It was made basically on a template that I sent. Andy’s made a few guitars for me and John Paul Jones and various other people over the years. I sent him a template with all the dimensions written down, for a three-quarters-sized parlor guitar, based loosely on an old French parlor guitar that I own — I don’t play, it’s a wall hanger, I mean pretty wall-hanger, but being from the 1860s, it’s not really practical to play onstage — and so I took that as a model, scaling down a guitar that was a bit bigger than a travel guitar, but not much. </p> <p>I was building a guitar for a purpose, because the airline regulations are increasingly becoming different, the maximum sizes they will allow you to bring on board. … I use a double rifle case because it fits my travel guitar and it also takes a spare flute, my radio gear, spare strings and a bunch of other bits and pieces, all neatly sandwiched into a travel-able case with wheels and a handle. So the guitar was built to fit what I could acquire that was airline-legal at the time. The overall length of the guitar means the actual bridge sits closer to the end of the guitar than would normally be the case to get a good acoustic sound. But these are all compromises that you have to make. </p> <p><strong>You said you have two of these guitars?</strong></p> <p>One by Andy Manson. Then Andy Manson gave up making guitars a few years ago, decided he had enough, so the molds went off to Brook Guitars … the guys there trained with Andy Manson some years ago, so they made me more or less a clone of the original guitar. </p> <p>Which means that during the last three or four years, I’ve had two guitars to choose from … (laughing) and I cannot remember which one I played on the record now. I’m at that point that I played a lot on both guitars this morning and I’m still yet to make a firm decision which one to play. The neck dimensions are always a tiny bit different. The feel, the action, the setup, the sound are all ever so slightly different. It’s rather like flutes, you pick them up on consecutive days and you change your mind which one sounds the best.</p> <p><strong>How do you amplify them on stage?</strong></p> <p>These guitars are fitted with Fishman Rare Earth pickups, which are magnetic pickups [that] also have a built-in, attached gooseneck microphone that sits in the guitar. That’s what I use for onstage amplification. Indeed, I’ve used Fishman transducer pickups since they first appeared and I’ve used them on my guitars and mandolins for many, many years. Currently for the kind of music I’m playing, with a lot of single notes involved, the magnetic pickup with the built-in mic is the best option for me. </p> <p><strong>Who are your primary influences as a guitar player?</strong></p> <p>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. That prompted me to look for something else, which on a whim turned out to be the flute. But the guitar, once I started playing the flute, I equipped myself with an acoustic guitar, which I could carry around with me. I didn’t play it in the early days of Jethro Tull. </p> <p>I took it with me in order to write songs. I can remember writing the songs for our second album, the <em>Stand Up</em> album, at a time when I didn’t have a bona fide acoustic guitar. I was playing on a beaten-up, barely audible Harmony Stratotone, which may be known only to the most anal readers of guitar magazines. Which was a very light hollow-body electric guitar, not a true acoustic guitar, but a single cutaway hollow-bodied electric guitar, which you could just about hear.</p> <p>I subsequently got a Yamaha folk guitar, a small-bodied folk guitar, which led me in my quest to find smaller- and smaller-bodied guitars. For many years I played Single-O Martin guitars onstage. And while I still do play my Martin guitars, I have a lot of vintage guitars. From 1835 is my oldest model. The ones I love are the size 2, 2 ½ parlor guitars. </p> <p>I have a few Martins [from the] late 1800s, which are my favorite guitars. But they’re very lightly built and they were obviously built then for gut strings, or nylon strings these days. And a couple of them I’ve had the fitted with Fishman transducer pickups, so they are playable in amplified context. But they have such a fine and delicate sound. They’re strummers and not pickers. And because my music, as a guitar player in JT or doing my Ian Anderson shows, either way, it’s a mixture of single-note picking and more rhythmic strumming with a pick. And that’s never quite so successful when you us nylon strings. So I stick to steel-strung guitars when it comes to doing stage performances. I’ve used nylon-string old Martins a few times on solo albums when playing lines that were more of a finger-picking thing. </p> <p>But I haven’t answered your question about the people who enthused me as a young acoustic guitarist. This takes us back to ’68, and probably would be Bert Jansch, Roy Harper, those guys more than anything else. I like the way in which there was a way to join the more folky finger-picking style with a more rhythmic playing, and that was one of the things that Roy Harper did particularly well. We did a few things together, not actually playing together but on the same bill, and I was able to watch him playing first-hand, so that was probably my main influence. </p> <p>But 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 form listening to music or playing other people’s music. I think those who write their own music are the ones who have the most creative, and often very quirky, ways of developing a performing style. Certainly, I’ve never had a lesson either in flute or guitar, or driving a motorcar, for that reason.</p> <p><strong>I heard you’ve never got your driver’s license.</strong></p> <p>I did have a lesson the other day, though, in driving something. But it was a Boeing 737 400 series flying out of Heathrow Terminal Five. I’ve never flown an airplane before. It was quite interesting, sitting on the cockpit of a 737 400, with a very pregnant copilot sitting next to me, and assisting me in staying in the air and making not one, but two, successful landings. The second (laughing) much better than the first.</p> <p><strong>And this is what airline, just so I know for my own safety?</strong></p> <p>(Laughing) By the time I got out of the British Airways flight simulator at Heathrow Airport, we were all quivering, legs like Jell-O. I didn’t crash it. It was a proper flight simulator, a real airplane. Everything moves, hydraulics everywhere, so you feel every sensation in the cockpit, including if you were to crash. In fact, usually people who attend flight-simulator courses have to produce medical proof that they are physically not going to suffer from cardiac arrest. </p> <p><strong>So you are open to being taught a lesson.</strong></p> <p>But that’s about it. Guitar lessons? Nah. There’s not a chance of that.</p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jethro-tull">Jethro Tull</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/interview-jethro-tulls-ian-anderson-discusses-gear-and-thick-brick-2#comments Ian Anderson Jethro Tull Interviews Features Fri, 13 Apr 2012 12:15:24 +0000 William Westhoven http://www.guitarworld.com/article/15332 Jethro Tull's Ian Anderson to Release 'Thick As A Brick 2’ http://www.guitarworld.com/jethro-tulls-ian-anderson-release-thick-brick-2 <!--paging_filter--><p>Following the recent announcement of a 19-date tour to commemorate the 40th anniversary of Jethro Tull's <em>Thick As A Brick,</em> Ian Anderson will release a sequel to the original album.</p> <p>In 1972, Anderson wrote and recorded <em>Thick As A Brick</em>. At the time, the lyrics were credited to the fictitious child character, Gerald Bostock. So, 40 years later, what would Bostock -– who'd be 50-ish in 2012 -– be doing today?</p> <p>The new album will examine the different paths Bostock might have taken later in life through alter-ego characters with song-section identities illustrating the varied potential twists and turns of fate and opportunity.</p> <p>Says Anderson of the new album:</p> <p>“As we baby-boomers look back on our own lives, we must often feel an occasional ‘what-if’ moment. Might we, like Gerald, have become instead preacher, soldier, down-and-out, shopkeeper or finance tycoon? And those of more tender years -- the social media and internet generation -- may choose to ponder well the myriad of chance possibilities ahead of them at every turn ... .”</p> <p><img src="/files/imce-images/taab2admaster.jpg" width="300" height="122" align="left" style="padding:10px 20px 10px 0;" alt="taab2admaster.jpg" /></p> <p>For the first time since 1972, Anderson, with John O’Hara (keyboards), David Goodier (bass), Florian Opahle (guitar) and Scott Hammond (drums), will hit the road to perform the album in its entirety. There will be a second part to the show during which Anderson and the band will perform the sequel.</p> <p><strong><em>Thick As A Brick 2</em> tracklisting:</strong></p> <p>1. From A Pebble Thrown<br /> 2. Pebbles Instrumental<br /> 3. Might-have-beens<br /> 4. Upper Sixth Loan Shark<br /> 5. Banker Bets, Banker Wins<br /> 6. Swing It Far<br /> 7. Adrift And Dumfounded<br /> 8. Old School Song<br /> 9. Wootton Bassett Town<br /> 10. Power And Spirit<br /> 11. Give Till It Hurts<br /> 12. Cosy Corner<br /> 13. Shunt And Shuffle<br /> 14. A Change Of Horses<br /> 15. Confessional<br /> 16. Kismet In Suburbia<br /> 17. What-ifs, Maybes And Might-have-beens</p> <p><em>Thick As A Brick 2</em> will be released as a standard jewel case CD and download and in a 2-disc package with DVD featuring 5.1 stereo mixes, 24-bit stereo mix, video of the making of the album, interviews with the musicians and Anderson reading the lyrics in various locations.</p> <p><iframe width="620" height="450" src="http://www.youtube.com/embed/OLMTqCb4qDU" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jethro-tull">Jethro Tull</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/jethro-tulls-ian-anderson-release-thick-brick-2#comments Ian Anderson Jethro Tull News Wed, 01 Feb 2012 15:45:31 +0000 Damian Fanelli http://www.guitarworld.com/article/14437