Ian Anderson Quotes
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Just once I would like to persuade the audience not to wear any article of blue denim. If only they could see themselves in a pair of brown corduroys like mine instead of this awful, boring blue denim.
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I'm very much an observer and a conduit of thoughts and ideas.
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'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.
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I make up my own mind in light of available facts, with my own experience and a sense of personal ethics.
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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.
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I was quite keen on silviculture, the growing of trees, and that was something I gave a lot of thought to. Maybe I could've gone in that direction. But it just so happened that while I was trying to make up my mind, I enrolled in art school, and there I began to develop my interest in music, parallel with my interest in the visual arts.
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Touring is what you make it. I like to organise as much as possible myself.
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When I was in my teenage years, I went to sign up as a cadet entrant to the police force but was at the very last moment rejected, just as I was about to sign my name on the dotted line. I won't get into why that happened, but it was a moment where it could've been predetermined then that I was off to become a policeman.
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The flute was an alternative to being a small fish in an increasingly bigger pool filled with a number of great guitar players.
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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.
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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.
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I'm really terrible with small children; they're small, noisy, irritating, damp and soggy.
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I've always felt that some of my best lyrics are less than three minutes long, and it's great when you can do that - be succinct and get the message across in a simple, clear idea.
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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.
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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.
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Most of what I've written songs about are things that come out of the confusing emotional, spiritual and psychological period of time when you're going through puberty.
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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.
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I may make you feel but I can't make you thinkYour sperm's in the gutter, your love's in the sink.
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I can never make up my mind if I'm happy being a flute player, or if I wish I were Eric Clapton.
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As a musician, life is not over just because you are getting older, and so I find retirement a very frightening and dark thought.
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In writing lyrics - well, for me, anyway - it's about getting into character, you know? 'Who is writing this?' In the case of the original 'Thick As A Brick,' supposedly a precocious, very young child who's fantasizing about his future and the context of all the confusing elements to which school boys are subjected at that time.
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I kind of like the idea of living a rather ordinary life as a shopkeeper, and I examine that possibility as one of the outcomes of the young Gerald Bostock growing older.
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I was not a great guitarist, so I sold my 1960 Fender Stratocaster in exchange for a Shure Microphone, made in Chicago, and a flute.
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I don't think successful musicians were really put on this planet in order to have a great time, pat themselves on the back and say, 'Oh, what a clever boy I am!' I think that, like most artists, we were put on the planet to suffer just a little. And we do.