1 00:00:02,000 --> 00:00:03,360 CHEERING 2 00:00:02,000 --> 00:00:03,360 This one's all about 3 00:00:03,360 --> 00:00:05,280 the old man up there in the sky, if he's still listening. 4 00:00:05,280 --> 00:00:06,720 I should imagine he is. 5 00:00:06,720 --> 00:00:10,080 Say, say, put the kettle on, we'll be up there in a minute. 6 00:00:10,080 --> 00:00:13,400 This one is dedicated to the great misunderstood. 7 00:00:13,400 --> 00:00:15,800 My God. My God. 8 00:00:19,040 --> 00:00:21,400 MUSIC: My God 9 00:00:29,320 --> 00:00:35,640 # People, what have you done? 10 00:00:35,640 --> 00:00:40,200 # Locked him in his golden cage 11 00:00:40,200 --> 00:00:44,120 # A golden cage 12 00:00:46,280 --> 00:00:52,280 # And made him bend to your religion 13 00:00:52,280 --> 00:00:57,760 # Him resurrected from the grave 14 00:00:57,760 --> 00:01:02,320 # From the grave 15 00:01:02,320 --> 00:01:06,280 # He is the god of nothing 16 00:01:06,280 --> 00:01:11,360 # If that's all that you can see 17 00:01:17,480 --> 00:01:21,960 # You are the god of everything 18 00:01:21,960 --> 00:01:26,200 # He's inside you and me... # 19 00:01:32,120 --> 00:01:33,960 I could understand if I was a mountaineer, 20 00:01:33,960 --> 00:01:36,120 and I could come out with that glib answer of, 21 00:01:36,120 --> 00:01:38,320 "Because it's there, that's why I have to climb it." 22 00:01:38,320 --> 00:01:42,000 Music isn't there. It's bloody hard to find. 23 00:01:42,000 --> 00:01:45,600 I suppose if you believe in being born to do something, 24 00:01:45,600 --> 00:01:47,560 that's what I think I'm supposed to be doing. 25 00:01:55,000 --> 00:01:59,080 # With your promised social graces 26 00:01:59,080 --> 00:02:05,040 # Oh, and the sins you used to waive 27 00:02:06,200 --> 00:02:08,560 # You used to waive 28 00:02:11,600 --> 00:02:15,200 # And the bloody Church of England 29 00:02:15,200 --> 00:02:20,760 # In chains of history... # 30 00:02:20,760 --> 00:02:25,240 We came into our successful period as a product of fashion. 31 00:02:26,320 --> 00:02:28,240 And we've retained, 32 00:02:28,240 --> 00:02:30,400 out of the public gaze, 33 00:02:30,400 --> 00:02:33,480 a level of continued success 34 00:02:33,480 --> 00:02:36,360 in terms of selling seats, 35 00:02:36,360 --> 00:02:40,400 you know, bums on seats at concerts, and record sales, and so on, 36 00:02:40,400 --> 00:02:42,040 just by dint of carrying on doing it 37 00:02:42,040 --> 00:02:44,240 and not being fashionable any longer. 38 00:02:44,240 --> 00:02:46,400 HE PLAYS FLUTE 39 00:03:13,880 --> 00:03:16,240 Two, three. 40 00:03:16,240 --> 00:03:18,440 Hello, one, two, three, hello. Testing, testing. 41 00:03:18,440 --> 00:03:22,840 Doot, doot, doot, doot. Beep, beep. OK. OK. 42 00:03:22,840 --> 00:03:25,520 ACOUSTIC GUITAR STRUMS Keep going. 43 00:03:28,200 --> 00:03:31,720 HE SINGS SOFTLY 44 00:03:31,720 --> 00:03:35,400 Ian Anderson, as a music writer, as a person, 45 00:03:35,400 --> 00:03:37,520 he's very articulate, very precise, 46 00:03:37,520 --> 00:03:41,960 and he places huge demands on himself, 47 00:03:41,960 --> 00:03:43,920 and he expects other people to do the same. 48 00:03:46,200 --> 00:03:51,160 I remember one year we did about 200 flights in one year. 49 00:03:52,600 --> 00:03:54,760 I enjoy it for the first week, and then I must say, 50 00:03:54,760 --> 00:03:56,600 I begin to miss home, 51 00:03:56,600 --> 00:04:00,280 and start counting the days after the second week. 52 00:04:00,280 --> 00:04:02,240 But, you know, 53 00:04:02,240 --> 00:04:03,480 I just feel very fortunate 54 00:04:03,480 --> 00:04:07,760 that I can earn a living doing what I like doing. 55 00:04:07,760 --> 00:04:11,120 And it means going away a lot, so that's it. 56 00:04:11,120 --> 00:04:12,760 Hi, Dad. 57 00:04:12,760 --> 00:04:16,200 Jethro Tull! 58 00:04:12,760 --> 00:04:16,200 THEY CHEER 59 00:04:16,200 --> 00:04:18,960 So much is going for you when you go out and do a show, 60 00:04:18,960 --> 00:04:22,800 especially in America, the kids are so much behind you. 61 00:04:24,000 --> 00:04:25,200 Very, very good. 62 00:04:25,200 --> 00:04:27,120 It's horrible to be blase, 63 00:04:27,120 --> 00:04:29,280 but it's nice being nervous. 64 00:04:29,280 --> 00:04:32,440 and I'd like to be nervous a lot more. 65 00:04:32,440 --> 00:04:35,400 I've done it so many times that it has become normal. 66 00:04:39,280 --> 00:04:40,640 My mother was a piano teacher. 67 00:04:40,640 --> 00:04:43,800 My parents were very keen that I should play the piano, 68 00:04:43,800 --> 00:04:46,880 for which I'll obviously be eternally grateful, 69 00:04:46,880 --> 00:04:49,360 and also wonder what I would have done 70 00:04:49,360 --> 00:04:51,720 if I hadn't have been so keen. 71 00:04:57,720 --> 00:05:00,760 Just try the vocal harmonies in Songs from the Wood, fellas. 72 00:05:01,880 --> 00:05:03,720 # Let me bring you 73 00:05:03,720 --> 00:05:06,240 # Songs from the wood... # 74 00:05:06,240 --> 00:05:07,360 APPLAUSE AND CHEERING 75 00:05:07,360 --> 00:05:11,880 # To make you feel much better than you could know 76 00:05:11,880 --> 00:05:13,080 # Better than you could know 77 00:05:13,080 --> 00:05:15,520 # And dust you down from tip to toe 78 00:05:15,520 --> 00:05:17,600 # Dust you down from tip to toe 79 00:05:17,600 --> 00:05:19,520 # I'll show you how the garden grows 80 00:05:19,520 --> 00:05:21,520 # Show you how the garden grows 81 00:05:21,520 --> 00:05:23,920 # Hold you steady as you go 82 00:05:23,920 --> 00:05:25,800 # Hold steady as you... # 83 00:05:25,800 --> 00:05:30,440 TOGETHER: # Join the chorus if you can 84 00:05:30,440 --> 00:05:36,760 # It'll make of you an honest man 85 00:05:36,760 --> 00:05:40,880 # Let me bring you love from the field 86 00:05:40,880 --> 00:05:45,840 # Poppies red and roses filled with summer rain 87 00:05:45,840 --> 00:05:50,280 # To heal the wound and still the pain 88 00:05:50,280 --> 00:05:53,840 # That threatens again and again 89 00:05:53,840 --> 00:05:58,080 # As you drag down every lover's lane 90 00:05:58,080 --> 00:06:02,720 # Life's long celebration's here 91 00:06:02,720 --> 00:06:07,600 # I'll toast you all in penny cheer 92 00:06:09,280 --> 00:06:12,920 # Let me bring you all things refined 93 00:06:12,920 --> 00:06:17,520 # Galliards and lute songs served in chilling ale 94 00:06:18,840 --> 00:06:22,000 # Greetings, well-met fellow, hail 95 00:06:22,000 --> 00:06:26,080 # I am the wind to fill your sail 96 00:06:26,080 --> 00:06:30,080 # I am the cross to take your nail 97 00:06:30,080 --> 00:06:34,600 # A singer of these ageless times 98 00:06:34,600 --> 00:06:39,480 # With kitchen prose and gutter rhymes... # 99 00:06:41,360 --> 00:06:42,880 Oh! 100 00:06:53,720 --> 00:06:58,880 # Songs from the wood make you feel much better 101 00:06:58,880 --> 00:07:04,720 # Songs from the wood make you feel much better. # 102 00:07:10,360 --> 00:07:12,880 CHEERING AND APPLAUSE 103 00:07:14,920 --> 00:07:16,960 We, in fact, struggled for three years 104 00:07:16,960 --> 00:07:19,280 without making any money at all, 105 00:07:19,280 --> 00:07:22,000 and about four years without making any money from records. 106 00:07:22,000 --> 00:07:24,960 I see, first class, all the way down the plane. That's it. 107 00:07:24,960 --> 00:07:29,600 We had a huge debt to repay, in purely financial terms, 108 00:07:29,600 --> 00:07:32,120 to managements and agencies and record companies 109 00:07:32,120 --> 00:07:35,280 who'd financed us through the embryonic period. 110 00:07:35,280 --> 00:07:36,960 And now we're ten years into 111 00:07:36,960 --> 00:07:41,080 our musical activity and we're all comfortably well off, 112 00:07:41,080 --> 00:07:42,800 you know, which is nice, 113 00:07:42,800 --> 00:07:46,800 but rather than just sit back and do the profitable tours, 114 00:07:46,800 --> 00:07:47,880 the profitable concerts, 115 00:07:47,880 --> 00:07:51,400 the Madison Square Gardens and the big Los Angeles gigs, 116 00:07:51,400 --> 00:07:54,480 you know, we enjoy going to these weird little country towns. 117 00:07:54,480 --> 00:07:56,280 Not because we need to for money, 118 00:07:56,280 --> 00:07:59,360 but simply because if you're going to play music to people at all, 119 00:07:59,360 --> 00:08:02,160 you mustn't discriminate, you've got to go where they are, 120 00:08:02,160 --> 00:08:04,640 where the roots of those people are. 121 00:08:04,640 --> 00:08:07,320 In America, a lot of the roots still remain in the Midwest 122 00:08:07,320 --> 00:08:08,880 and the little places. 123 00:08:08,880 --> 00:08:11,880 DJ: KGON welcomes Jethro Tull. 124 00:08:12,960 --> 00:08:15,520 Here's the revised date for Jethro Tull. 125 00:08:15,520 --> 00:08:17,480 I really forgot after two weeks, 126 00:08:17,480 --> 00:08:20,160 but then I found out we hadn't done two weeks. 127 00:08:20,160 --> 00:08:24,880 So we've done eight or nine gigs. 18 to go, fair enough. 128 00:08:24,880 --> 00:08:28,680 But after the first week, you may as well stay a year after that, 129 00:08:28,680 --> 00:08:30,320 cos you're into it and that's it. 130 00:08:30,320 --> 00:08:31,400 RADIO PLAYS BUNGLE IN THE JUNGLE 131 00:08:31,400 --> 00:08:34,320 # I'm a snake if we disagree... # 132 00:08:34,320 --> 00:08:35,640 Jethro Tull. 133 00:08:40,560 --> 00:08:43,960 Well, the thing starts at eight o'clock in the morning when one of 134 00:08:43,960 --> 00:08:48,760 these lighting rig trucks appears and the lighting rig is hoisted. 135 00:08:48,760 --> 00:08:51,320 That takes about two, two and a half hours, 136 00:08:51,320 --> 00:08:54,880 by which time the sound system 137 00:08:54,880 --> 00:08:56,880 and the rest of the gear will arrive. 138 00:08:56,880 --> 00:09:00,880 And that's installed on the stage. Then, a while after that, 139 00:09:00,880 --> 00:09:04,680 the London road crew arrive and plug everything in. 140 00:09:04,680 --> 00:09:09,640 By that time, it's mid-afternoon. The band arrives, 141 00:09:09,640 --> 00:09:12,560 does a sound check, and we're ready to go. 142 00:09:12,560 --> 00:09:14,520 All our papers and shit are together, 143 00:09:14,520 --> 00:09:18,200 but they held our trucks up at the border again as usual. 144 00:09:18,200 --> 00:09:20,560 Rock and roll, it seems to be a favourite target. 145 00:09:20,560 --> 00:09:22,080 We got a job to do. 146 00:09:22,080 --> 00:09:24,200 They're supposed to be here at eight o'clock in the morning. 147 00:09:24,200 --> 00:09:26,800 It's now going to be a two o'clock arrival. 148 00:09:26,800 --> 00:09:30,120 It's going to put everything behind today about three, four, five, 149 00:09:30,120 --> 00:09:32,440 six, seven, eight hours. Who knows when they get here? 150 00:09:32,440 --> 00:09:35,120 All the sting's taken out of it. 151 00:09:36,480 --> 00:09:39,480 We travel first class wherever we can. 152 00:09:39,480 --> 00:09:41,440 We take a tea lady with us, Nina, 153 00:09:41,440 --> 00:09:43,680 who does excellent food for us at the gig. 154 00:09:43,680 --> 00:09:45,800 Robert Kelly, the tour manager, 155 00:09:45,800 --> 00:09:48,840 makes everything as plain sailing as possible. 156 00:09:52,320 --> 00:09:53,760 On our days off, we usually find 157 00:09:53,760 --> 00:09:55,600 the latest movie that's on in the town. 158 00:09:55,600 --> 00:09:58,720 Indian restaurants take preference over everything else. 159 00:09:58,720 --> 00:10:01,280 Ian's first job when he gets in is to take the Yellow Pages 160 00:10:01,280 --> 00:10:05,040 and look down for Taj Mahal, and we usually find one. 161 00:10:05,040 --> 00:10:07,360 We know where all the Indian restaurants are 162 00:10:07,360 --> 00:10:09,840 in the whole of the United States of America. 163 00:10:10,800 --> 00:10:13,400 All trucks used to do this show tonight 164 00:10:13,400 --> 00:10:15,400 are on this side of the Canadian border. 165 00:10:15,400 --> 00:10:18,120 The last truck will be arriving here, realistically, 166 00:10:18,120 --> 00:10:19,200 at six o'clock tonight. 167 00:10:19,200 --> 00:10:20,920 When we've checked the luggage at the other end, 168 00:10:20,920 --> 00:10:23,200 you go straight down to the gate, which is B2. 169 00:10:23,200 --> 00:10:26,480 Well, that's right here. If you be there by 1.15 170 00:10:26,480 --> 00:10:29,120 so that we can try and get pre-boarding, cos it's all economy. 171 00:10:29,120 --> 00:10:33,320 MUSIC: Thick as a Brick 172 00:11:17,760 --> 00:11:23,040 # So you ride yourselves over the fields 173 00:11:24,800 --> 00:11:32,800 # And you make all your animal deals 174 00:11:35,120 --> 00:11:38,600 # And your wise men don't know 175 00:11:38,600 --> 00:11:44,080 # How it feels 176 00:11:45,240 --> 00:11:48,640 # Oh, to be thick as a... # 177 00:11:48,640 --> 00:11:50,800 CHEERING AND APPLAUSE 178 00:11:53,160 --> 00:11:59,880 The group, as a group onstage, look and play like a group. 179 00:11:59,880 --> 00:12:05,000 And the fact that Ian's songs are so personal, 180 00:12:05,000 --> 00:12:06,240 he sings in an English accent, 181 00:12:06,240 --> 00:12:08,440 or near-Scots accent, or whatever Ian sings in, 182 00:12:08,440 --> 00:12:11,720 but he certainly doesn't sing in Mid-Atlantic 183 00:12:11,720 --> 00:12:13,160 as so many pop groups do, 184 00:12:13,160 --> 00:12:18,280 and that really is why that the group has had the life it's had. 185 00:12:20,400 --> 00:12:25,200 All of us have some kind of response to something of a folk heritage. 186 00:12:25,200 --> 00:12:28,320 I don't think it's something that bears analysis 187 00:12:28,320 --> 00:12:31,760 or an academic kind of objectivity. 188 00:12:31,760 --> 00:12:35,120 You just don't...you daren't stop to question it. 189 00:12:35,120 --> 00:12:38,240 If you become conscious of it, it doesn't work any more. 190 00:12:38,240 --> 00:12:41,800 It's a magic. It's like Peter Pan, you know, telling the kids, 191 00:12:41,800 --> 00:12:44,000 "Just step out of the window and do it, 192 00:12:44,000 --> 00:12:47,040 "you know, you can fly. No problem. You just have to believe." 193 00:12:48,280 --> 00:12:50,640 If I go any further, we might find a bit of magic. 194 00:12:50,640 --> 00:12:51,960 HE LAUGHS 195 00:12:56,920 --> 00:13:01,000 Basically, all the gear is transported in four trucks. 196 00:13:01,000 --> 00:13:04,720 Two of those contain duplicate lighting rigs 197 00:13:04,720 --> 00:13:10,760 which leapfrog and do alternate shows. 198 00:13:10,760 --> 00:13:13,280 This is because the lighting rig is 199 00:13:13,280 --> 00:13:15,800 the first thing to go up in the morning 200 00:13:15,800 --> 00:13:18,920 and it's the last thing to come down very late at night, 201 00:13:18,920 --> 00:13:22,080 when the show's over and the band have all gone home. 202 00:13:22,080 --> 00:13:25,240 And as successive nights, 203 00:13:25,240 --> 00:13:30,200 there can be anything up to 500 miles between two towns, 204 00:13:30,200 --> 00:13:33,560 it's literally physically impossible for this equipment, 205 00:13:33,560 --> 00:13:36,920 which may not be loaded until two or three in the morning sometimes, 206 00:13:36,920 --> 00:13:41,120 to make it to the next town for the eight o'clock load-in. 207 00:13:41,120 --> 00:13:45,080 The other two trucks carry the sound system and the stage gear. 208 00:13:47,040 --> 00:13:49,440 HE PLAYS FLUTE 209 00:13:56,280 --> 00:13:58,520 Live performance is a very important thing to me, 210 00:13:58,520 --> 00:14:01,520 because somewhere inside me is basically 211 00:14:01,520 --> 00:14:04,360 a show-off waiting to get onstage and wave to the masses. 212 00:14:06,320 --> 00:14:09,920 But also somewhere inside me is a private person who, 213 00:14:09,920 --> 00:14:13,040 given that I'm going on record in the literal sense, 214 00:14:13,040 --> 00:14:15,440 would rather do it without the public watching, 215 00:14:15,440 --> 00:14:17,840 to allow for me to make some mistakes, which I do. 216 00:14:17,840 --> 00:14:22,080 50% of what happens in the studio is really unsuccessful, 217 00:14:22,080 --> 00:14:24,640 and the bits that you use are the good bits, 218 00:14:24,640 --> 00:14:26,440 as you judge them to be. 219 00:14:26,440 --> 00:14:28,800 Therefore, the live performance and the studio performance 220 00:14:28,800 --> 00:14:31,960 are necessarily complementary. 221 00:14:42,000 --> 00:14:45,080 ACCAPELLA: # Darlings, are you ready 222 00:14:46,840 --> 00:14:50,200 # For the long winter's fall? 223 00:14:51,920 --> 00:14:55,080 # Said the lady in the parlour 224 00:14:57,560 --> 00:15:02,640 # Said the butler in the hall... # 225 00:15:02,640 --> 00:15:06,560 Very often when we come into the studio to begin an album, 226 00:15:06,560 --> 00:15:10,840 there'll be some sort of theme lurking in the back of my head. 227 00:15:10,840 --> 00:15:16,760 This song deals with the idea that we are entering a new period, 228 00:15:16,760 --> 00:15:20,880 equivalent to the Dark Ages of medieval history. 229 00:15:20,880 --> 00:15:24,400 # Is there time for another? 230 00:15:26,480 --> 00:15:29,640 # Cried the drunkard in his sleep 231 00:15:31,720 --> 00:15:37,000 # Not likely, said the little child 232 00:15:37,000 --> 00:15:40,080 # What's done the Lord can keep... # 233 00:15:40,080 --> 00:15:43,000 The fact that we have got to a point where, 234 00:15:43,000 --> 00:15:47,360 through industrial and commercial overkill, 235 00:15:47,360 --> 00:15:51,720 we don't have any longer a solvent sort of situation, 236 00:15:51,720 --> 00:15:55,360 we're totally dependent on rapidly drying-out resources. 237 00:15:55,360 --> 00:16:00,120 # And the gloom in the valley here 238 00:16:00,120 --> 00:16:05,800 # Grows brighter as the town 239 00:16:05,800 --> 00:16:10,920 # Lends its light most royally 240 00:16:10,920 --> 00:16:14,280 # And the houses all burn down... # 241 00:16:14,280 --> 00:16:15,920 MUSIC STARTS 242 00:16:15,920 --> 00:16:22,160 # Dark Ages 243 00:16:22,160 --> 00:16:25,640 # Shaking the dead 244 00:16:25,640 --> 00:16:32,320 # Closed pages 245 00:16:32,320 --> 00:16:36,920 # Better not read 246 00:16:36,920 --> 00:16:42,680 # Dull rages 247 00:16:42,680 --> 00:16:46,840 # They burn in your head... # 248 00:16:46,840 --> 00:16:49,840 ELECTRIC GUITAR PLAYS 249 00:16:49,840 --> 00:16:54,240 You put your neck on the chopping block when you come into the studio, 250 00:16:54,240 --> 00:16:56,360 because every little mistake, every problem, 251 00:16:56,360 --> 00:17:00,000 every inarticulately played note or slightly out-of-tune vocal, 252 00:17:00,000 --> 00:17:02,880 or something, is going to be there on the final master, 253 00:17:02,880 --> 00:17:04,320 and there's nothing you can do about it. 254 00:17:04,320 --> 00:17:06,160 I mean, other than to do it again. 255 00:17:06,160 --> 00:17:08,120 That, of course, is why all of this is here, 256 00:17:08,120 --> 00:17:09,520 it does allow us the flexibility. 257 00:17:09,520 --> 00:17:12,240 If there's one track of the 24 tracks, 258 00:17:12,240 --> 00:17:16,040 the 24 different potential instrument sources 259 00:17:16,040 --> 00:17:19,760 that we have to mix down through this mixer onto the tape, 260 00:17:19,760 --> 00:17:21,360 if one of those isn't good, 261 00:17:21,360 --> 00:17:22,920 we don't have to do the whole thing again, 262 00:17:22,920 --> 00:17:24,840 we can merely select the thing that isn't right and say, 263 00:17:24,840 --> 00:17:26,360 "We'll do that little bit again." 264 00:17:26,360 --> 00:17:29,280 HE PLAYS ELECTRIC GUITAR 265 00:17:31,880 --> 00:17:35,400 So shall we have a go, then, put one down? 266 00:17:35,400 --> 00:17:38,920 OK. Three, four, one, two... 267 00:17:38,920 --> 00:17:41,720 MUSIC STARTS 268 00:17:45,760 --> 00:17:48,480 What's the piano on, Rob? 23, 24. 269 00:17:57,520 --> 00:18:01,520 I know there are people who sort of rush off to Los Angeles to mix 270 00:18:01,520 --> 00:18:04,760 and, you know, fly to Paris to record some vocal overdubs 271 00:18:04,760 --> 00:18:07,320 or something in the belief that a certain studio is good 272 00:18:07,320 --> 00:18:09,320 for one thing and not good for another. 273 00:18:09,320 --> 00:18:12,240 From my point of view, I prefer to be in one place all the time. 274 00:18:12,240 --> 00:18:15,320 So that's why I built this studio, because I wanted a place to work in 275 00:18:15,320 --> 00:18:17,720 that would be consistent. Some of these studios 276 00:18:17,720 --> 00:18:21,400 that I have been in, you know, they change from year to year. 277 00:18:21,400 --> 00:18:22,520 They bring in new equipment, 278 00:18:22,520 --> 00:18:25,520 or new people work there and set it up a different way, 279 00:18:25,520 --> 00:18:29,720 and you find it difficult to rely on the sound that any one studio gives. 280 00:18:35,320 --> 00:18:38,200 Sometimes Ian will just have 281 00:18:38,200 --> 00:18:40,600 the very basic skeleton of the thing, 282 00:18:40,600 --> 00:18:44,280 the melody line and chord sequences, 283 00:18:44,280 --> 00:18:49,160 and the rest of it is thrashed out during rehearsal. 284 00:18:51,160 --> 00:18:54,360 I don't seem to have any monitor echo. Why's that? 285 00:18:54,360 --> 00:18:58,640 THEY PLAY HEAVY ROCK 286 00:19:06,360 --> 00:19:09,440 You come in with two thirds of an idea, 287 00:19:09,440 --> 00:19:13,480 and you add the other third in the studio, and then, possibly, 288 00:19:13,480 --> 00:19:15,880 if it's a bad night, you take it all apart and redo it again 289 00:19:15,880 --> 00:19:17,160 the next day or whatever. 290 00:19:17,160 --> 00:19:20,440 But it is like building up on that basic sketch all the time, 291 00:19:20,440 --> 00:19:23,360 and that's how it sort of grows. 292 00:19:23,360 --> 00:19:27,160 HE PLAYS FLUTE 293 00:19:30,120 --> 00:19:32,600 With the first few songs that we record, 294 00:19:32,600 --> 00:19:34,520 something starts to emerge, 295 00:19:34,520 --> 00:19:38,200 some common unity between them, 296 00:19:38,200 --> 00:19:41,080 which may be musical and/or lyrical. 297 00:19:41,080 --> 00:19:45,000 That's the thing that you then capitalise on when it comes to 298 00:19:45,000 --> 00:19:48,160 the latter part of the album. 299 00:19:48,160 --> 00:19:53,440 DARK AGES PLAYS 300 00:19:55,440 --> 00:19:57,520 This song that we're recording now, 301 00:19:57,520 --> 00:20:00,040 I would say we're at that point where something is emerging. 302 00:20:00,040 --> 00:20:03,400 And the lyrics to this, I wrote this morning. 303 00:20:03,400 --> 00:20:05,560 Although I must confess 304 00:20:05,560 --> 00:20:07,920 I knew vaguely what it was going to be about before this morning, 305 00:20:07,920 --> 00:20:09,960 I hadn't actually taken the trouble to sit down and let 306 00:20:09,960 --> 00:20:11,920 all of that come out on a piece of paper. 307 00:20:13,360 --> 00:20:17,480 # The big jet rumbles over runway miles 308 00:20:17,480 --> 00:20:19,920 # That scar the patchwork dream 309 00:20:19,920 --> 00:20:22,160 # Where slick tycoons and rich buffoons... # 310 00:20:22,160 --> 00:20:24,840 I never sing my songs until the red light comes on, 311 00:20:24,840 --> 00:20:27,320 that's the first time I sing them, and it's for real, you know, 312 00:20:27,320 --> 00:20:30,000 and it's exciting, it excites me. 313 00:20:30,000 --> 00:20:33,440 If I sang the songs and all the lyrics in rehearsal, 314 00:20:33,440 --> 00:20:37,920 it would be too much of a formality putting them on record. 315 00:20:37,920 --> 00:20:39,120 When I open my mouth to sing, 316 00:20:39,120 --> 00:20:42,440 even I don't know really what's going to happen. 317 00:20:42,440 --> 00:20:45,960 # Dark Ages 318 00:20:45,960 --> 00:20:48,760 # Shaking the dead 319 00:20:48,760 --> 00:20:53,520 # And closed pages 320 00:20:53,520 --> 00:20:56,360 # Are better not read 321 00:20:56,360 --> 00:20:59,920 # Cold rages 322 00:20:59,920 --> 00:21:08,000 # They burn in your head... # 323 00:21:08,000 --> 00:21:11,040 HE PLAYS FLUTE 324 00:21:15,600 --> 00:21:17,520 That's really the fun of making records, I think, 325 00:21:17,520 --> 00:21:20,280 is that the discipline that you can impose upon it all 326 00:21:20,280 --> 00:21:22,960 is not necessarily a rigid one that you have to adhere to 327 00:21:22,960 --> 00:21:24,320 every time you make a record. 328 00:21:24,320 --> 00:21:26,200 There's always room for the unexpected. 329 00:21:28,480 --> 00:21:30,000 # Families screaming... # 330 00:21:30,000 --> 00:21:31,520 Cut. I'll have to come and listen to that. 331 00:21:31,520 --> 00:21:33,320 I think it needs something else there. 332 00:21:33,320 --> 00:21:35,440 Probably James Galway. 333 00:21:35,440 --> 00:21:38,880 HE PLAYS FLUTE 334 00:22:05,680 --> 00:22:06,920 Oh! 335 00:22:10,440 --> 00:22:13,120 VOCALISING AND PLAYING FLUTE 336 00:22:26,280 --> 00:22:29,080 HE SNORTS 337 00:22:54,560 --> 00:22:57,560 HE PLAYS TOCCATA AND FUGUE IN D MINOR 338 00:23:36,680 --> 00:23:40,760 VOCALISES WHILE PLAYING FLUTE 339 00:24:34,360 --> 00:24:37,600 CHEERING AND APPLAUSE 340 00:24:39,240 --> 00:24:41,640 Up until the time when that aeroplane 341 00:24:41,640 --> 00:24:45,080 takes off from Heathrow, a couple of days before it is a mad rush 342 00:24:45,080 --> 00:24:47,240 getting your gear together, and eventually you pack 343 00:24:47,240 --> 00:24:48,600 your suitcase in ten minutes. 344 00:24:48,600 --> 00:24:51,240 But once the aeroplane's off the ground and you've got 345 00:24:51,240 --> 00:24:55,600 the first day's rehearsal over and the first gig's done, it's fine. 346 00:24:55,600 --> 00:24:57,160 We get on very well on the road 347 00:24:57,160 --> 00:25:02,040 and it's exciting playing to people, that live thing, very important. 348 00:25:02,040 --> 00:25:05,680 Of course, once the first gig's over and you're into the tour, 349 00:25:05,680 --> 00:25:08,560 if it's six weeks, two weeks or eight weeks, 350 00:25:08,560 --> 00:25:10,520 it all lasts the same amount of time, 351 00:25:10,520 --> 00:25:13,960 and we all telephone home very regularly, we write, 352 00:25:13,960 --> 00:25:17,000 and then the last two or three days, there's that 353 00:25:17,000 --> 00:25:20,200 getting yourself ready to coming home again, living with 354 00:25:20,200 --> 00:25:22,280 your family, which is what you do, 355 00:25:22,280 --> 00:25:24,720 really, but learning to live with them again. 356 00:25:24,720 --> 00:25:26,880 I know Barrie has a hell of a time when he comes back, 357 00:25:26,880 --> 00:25:28,920 but what I usually do is count 358 00:25:28,920 --> 00:25:33,040 not up to ten before I reprimand my brood, but 50. 359 00:25:33,040 --> 00:25:35,880 And a couple of days later, we're back loving each other again. 360 00:25:35,880 --> 00:25:38,000 That's the way it works. 361 00:25:40,320 --> 00:25:42,040 That's better. 362 00:25:42,040 --> 00:25:44,720 Good. Go. Me? You've got a four. A four? 363 00:25:44,720 --> 00:25:47,080 I was working as a studio music writer, 364 00:25:47,080 --> 00:25:51,560 I'd just left the Royal Academy and forging a career as an arranger. 365 00:25:51,560 --> 00:25:56,800 And Ian, in contact with the studio that I was working in presently, 366 00:25:56,800 --> 00:25:59,040 wanted a music writer in order to put some brass, 367 00:25:59,040 --> 00:26:01,240 I think it was, on one of the tracks 368 00:26:01,240 --> 00:26:03,720 on the very first album. Sent me a tape... 369 00:26:03,720 --> 00:26:07,200 CASSETTE PLAYS ..told me, vaguely, what he wanted, 370 00:26:07,200 --> 00:26:10,240 and I suppose I quickly realised what kind of terms we've got 371 00:26:10,240 --> 00:26:13,120 to correspond to each other in, or communicate, rather, 372 00:26:13,120 --> 00:26:15,880 and went into the studio with a bunch of musicians, 373 00:26:15,880 --> 00:26:17,920 did it and that was it. 374 00:26:17,920 --> 00:26:22,280 Two weeks later, another thing turned up, and on we went from there 375 00:26:22,280 --> 00:26:25,120 until eventually I joined the group. 376 00:26:27,760 --> 00:26:29,160 SWITCHES OFF CASSETTE 377 00:26:31,040 --> 00:26:34,200 Ian writes lyrics that no-one else writes. 378 00:26:34,200 --> 00:26:37,640 That's why Jethro Tull is successful, because the group, 379 00:26:37,640 --> 00:26:40,280 as it is, and as it always has been, 380 00:26:40,280 --> 00:26:42,880 has been in pursuit of a musical style all of its own, 381 00:26:42,880 --> 00:26:45,320 and particularly the lyrics. 382 00:26:45,320 --> 00:26:48,240 PLAYS ALONG TO CASSETTE 383 00:26:56,760 --> 00:26:59,680 There are an awful lot of Ian's experiences in his lyrics, 384 00:26:59,680 --> 00:27:02,520 and of course, they're written in a style. 385 00:27:02,520 --> 00:27:05,440 Ian claims not to have ever read any of the English literature. 386 00:27:05,440 --> 00:27:06,840 He was at Blackpool Grammar, 387 00:27:06,840 --> 00:27:09,000 where they concentrated entirely on science. 388 00:27:09,000 --> 00:27:13,240 I doubt that. He's an avid reader. Every aeroplane we're on, 389 00:27:13,240 --> 00:27:16,920 he's always reading. He always reads before he goes to bed, I think, 390 00:27:16,920 --> 00:27:19,360 and I think he's probably sneaked in a few of the classics. 391 00:27:19,360 --> 00:27:21,120 I don't think he's done any Hardy yet, 392 00:27:21,120 --> 00:27:25,080 but he's certainly got a few up his sleeve. 393 00:27:25,080 --> 00:27:28,720 But the lyrics are entirely personal. 394 00:27:28,720 --> 00:27:30,960 There's no message in them, they're just personal statements, 395 00:27:30,960 --> 00:27:33,320 reflections of what Ian Anderson sees about him, 396 00:27:33,320 --> 00:27:35,040 that's all they are. 397 00:27:37,800 --> 00:27:43,280 I'm always writing songs that lag behind the point I'm at in my life. 398 00:27:43,280 --> 00:27:46,520 Things like Songs From the Wood or Heavy Horses, 399 00:27:46,520 --> 00:27:51,480 which appear to tie in with my circumstances now, don't at all. 400 00:27:51,480 --> 00:27:53,840 I mean, they weren't written about now, 401 00:27:53,840 --> 00:27:56,920 they were written about a period before I lived in the country. 402 00:27:56,920 --> 00:27:59,120 They were written about a time, perhaps five years ago, 403 00:27:59,120 --> 00:28:00,920 when I decided I couldn't stand living 404 00:28:00,920 --> 00:28:03,040 in the middle of London in a nasty flat, 405 00:28:03,040 --> 00:28:05,840 and wanted to move out to get a breath of fresh air. 406 00:28:05,840 --> 00:28:09,000 And they represent that period rather than the here and now. 407 00:28:09,000 --> 00:28:11,680 ONSTAGE: This next song is not about a wee beastie, 408 00:28:11,680 --> 00:28:13,400 but about a big beastie. 409 00:28:13,400 --> 00:28:16,640 It's all about those leviathans of the fields of Merrie England. 410 00:28:16,640 --> 00:28:19,560 It's dedicated to the heavy horses. 411 00:28:19,560 --> 00:28:21,400 CHEERING AND APPLAUSE 412 00:28:21,400 --> 00:28:24,200 MUSIC: Heavy Horses 413 00:28:32,160 --> 00:28:35,520 # Ironclad feather feet pounding the dust 414 00:28:37,040 --> 00:28:41,280 # An October's day towards evening 415 00:28:41,280 --> 00:28:47,280 # Sweat-embossed veins standing proud to the plough 416 00:28:47,280 --> 00:28:53,000 # Salt on a deep chest seasoning 417 00:28:53,000 --> 00:28:57,800 # Last the line at an honest day's toil 418 00:28:57,800 --> 00:29:02,480 # Turning the deep sod under 419 00:29:02,480 --> 00:29:07,720 # Flint at the fetlock, chasing the bone 420 00:29:07,720 --> 00:29:12,720 # Flies at the nostrils plunder 421 00:29:12,720 --> 00:29:15,400 # The Suffolk, the Clydesdale 422 00:29:15,400 --> 00:29:18,200 # The Percheron vie 423 00:29:18,200 --> 00:29:23,080 # With the Shire on his feathers floating 424 00:29:23,080 --> 00:29:27,720 # Hauling soft timber into the dusk 425 00:29:27,720 --> 00:29:33,800 # To bed on a warm straw coating 426 00:29:33,800 --> 00:29:39,440 # Heavy horses move the land under me 427 00:29:39,440 --> 00:29:41,720 # Behind the plough gliding 428 00:29:41,720 --> 00:29:45,640 # Slipping and sliding free 429 00:29:45,640 --> 00:29:49,240 # Now you're down to the few, there's no work to do 430 00:29:49,240 --> 00:29:51,720 # The tractor's on its way... # 431 00:29:53,640 --> 00:29:56,480 I suppose, in terms of, say, the next five or ten years, 432 00:29:56,480 --> 00:29:58,280 or however long I'm lucky enough 433 00:29:58,280 --> 00:30:02,920 to be able to continue making music professionally, are really a time of 434 00:30:02,920 --> 00:30:07,080 that continuing requirement for making music 435 00:30:07,080 --> 00:30:09,400 within the framework of the other things 436 00:30:09,400 --> 00:30:11,320 that I'm involved in. 437 00:30:11,320 --> 00:30:14,000 Having a family and homes, 438 00:30:14,000 --> 00:30:18,560 other activities, which at present take up only 439 00:30:18,560 --> 00:30:21,120 a very little amount of my time because it's a sort of hobby, 440 00:30:21,120 --> 00:30:24,200 things I do in my spare time, or administrate from hotel rooms 441 00:30:24,200 --> 00:30:26,840 while I'm on the road touring, and that sort of thing. 442 00:30:26,840 --> 00:30:29,040 Come on, fellas, time to take the air. 443 00:30:37,040 --> 00:30:40,040 English partridge, you know, fine bird. 444 00:30:40,040 --> 00:30:42,440 What we're doing for the world's population here, 445 00:30:42,440 --> 00:30:46,000 setting them free on the hills of Buckinghamshire. 446 00:30:47,840 --> 00:30:51,080 Some of my gun-toting friends to blast out the sky. 447 00:30:51,080 --> 00:30:53,720 ENGINE ROARS 448 00:30:53,720 --> 00:30:55,920 How are the fouling tests in terms of...? 449 00:30:55,920 --> 00:30:59,440 Well, those two... There's seaweed but no mussels or anything? Oh, no. 450 00:30:59,440 --> 00:31:03,840 But they've been there since last autumn anyway. Yeah. 451 00:31:03,840 --> 00:31:07,280 This particular area has a tremendous history of abuse, 452 00:31:07,280 --> 00:31:10,200 both in terms of the land and the people on it. 453 00:31:11,680 --> 00:31:13,880 The dreadfulness of the Highland Clearances, 454 00:31:13,880 --> 00:31:17,320 and as a result of which, people like me, ie landlords, 455 00:31:17,320 --> 00:31:20,160 or lairds in Scotland, got a very bad name 456 00:31:20,160 --> 00:31:23,000 for, you know, abuse of the social units 457 00:31:23,000 --> 00:31:25,440 that existed here in the crofting townships. 458 00:31:28,600 --> 00:31:32,240 What we're engaged in here is essentially the on-growing 459 00:31:32,240 --> 00:31:35,720 of salmon smolts, which we get about this size, 460 00:31:35,720 --> 00:31:37,240 just at the point where they make 461 00:31:37,240 --> 00:31:40,120 the transition from freshwater to a saltwater existence. 462 00:31:40,120 --> 00:31:41,680 And we put them in cages, 463 00:31:41,680 --> 00:31:44,640 which are going to be floating out there, 464 00:31:44,640 --> 00:31:48,320 and we attempt to grow them into big blighters, this big. 465 00:31:50,440 --> 00:31:52,560 But we want to come in a bit more... 466 00:31:52,560 --> 00:31:55,920 And if things look as good as Andrew, 467 00:31:55,920 --> 00:31:58,920 our fish manager here, seems to think that they might, 468 00:31:58,920 --> 00:32:02,120 we may end up with 75 or maybe 100 tons 469 00:32:02,120 --> 00:32:05,560 of salmon coming out of this loch every year. 470 00:32:05,560 --> 00:32:09,240 It's all sort of fairly evenly shelfing down, is it? 471 00:32:09,240 --> 00:32:10,520 Um... 472 00:32:10,520 --> 00:32:15,080 I am at the helm of several things that are happening. 473 00:32:15,080 --> 00:32:19,400 And they will... If they succeed, it won't be all my work. 474 00:32:19,400 --> 00:32:22,400 But if they fail, it'll certainly be my fault. There again, 475 00:32:22,400 --> 00:32:26,480 the music activity, I think if you allow for the fact 476 00:32:26,480 --> 00:32:30,520 that I don't spend the evenings going to the in clubs 477 00:32:30,520 --> 00:32:32,800 or going to movie premieres, 478 00:32:32,800 --> 00:32:35,160 or doing all the other spare-time pursuits 479 00:32:35,160 --> 00:32:39,440 that perhaps a lot of other people in the entertainment world do, 480 00:32:39,440 --> 00:32:41,640 I still have a lot of spare time, if you like, 481 00:32:41,640 --> 00:32:43,080 and that's what I should be doing. 482 00:32:43,080 --> 00:32:45,680 So how are we doing with our liming here? 483 00:32:45,680 --> 00:32:48,600 Well, it's getting on quite well, really. Yeah. Did they do 484 00:32:48,600 --> 00:32:51,240 any bracken and heather-spraying and...? Well, the spraying will 485 00:32:51,240 --> 00:32:54,120 come on later on in the year. Maybe about July. I see. 486 00:32:54,120 --> 00:32:58,840 I can't make any apology either to the public or, more specifically, 487 00:32:58,840 --> 00:33:01,720 to the other people who live in this part of the world 488 00:33:01,720 --> 00:33:06,920 for being the absentee landlord, because I am most certainly 489 00:33:06,920 --> 00:33:08,720 and I shall go on being an absentee landlord, 490 00:33:08,720 --> 00:33:10,360 at least for some time to come. 491 00:33:10,360 --> 00:33:13,440 But only by being that sort of a person, ironically, 492 00:33:13,440 --> 00:33:17,280 can I be the same sort of person who, in this rather pressured day 493 00:33:17,280 --> 00:33:21,080 economically, can afford to operate this or get going 494 00:33:21,080 --> 00:33:26,080 this sort of a venture. I need to fund it, and I need 495 00:33:26,080 --> 00:33:31,560 to fund it by working damned hard in a certain fruitful area of life. 496 00:33:31,560 --> 00:33:34,440 But it's so much... It's so much easier to stand up on 497 00:33:34,440 --> 00:33:37,120 that stage and take $10 off the kid in the front row, 498 00:33:37,120 --> 00:33:40,400 you know, knowing that I'm going to buy a new tractor 499 00:33:40,400 --> 00:33:42,800 or I'm going to plant some trees or buy some more sheep, 500 00:33:42,800 --> 00:33:45,000 or put a fish out there in the water to grow. 501 00:33:45,000 --> 00:33:48,680 It's much easier to take his $10 knowing that 502 00:33:48,680 --> 00:33:50,800 than thinking that I'm just going to buy, 503 00:33:50,800 --> 00:33:53,960 you know, my fifth Rolls-Royce or a, you know, 504 00:33:53,960 --> 00:33:55,840 a third swimming pool or something. 505 00:33:55,840 --> 00:33:58,200 I actually do have some economic goals that make sense, 506 00:33:58,200 --> 00:33:59,600 or they do to me. 507 00:34:01,120 --> 00:34:03,160 I'd like to think that the person sitting there 508 00:34:03,160 --> 00:34:06,200 in the front row would share that sentiment with me. 509 00:34:06,200 --> 00:34:08,480 He'd rather see his money being "well spent", 510 00:34:08,480 --> 00:34:10,520 and he's most certainly welcome to come and walk around 511 00:34:10,520 --> 00:34:11,960 the mountains here and enjoy it. 512 00:34:15,560 --> 00:34:18,960 It intrigues me that a house like this, 513 00:34:18,960 --> 00:34:21,280 which has been neglected for some 12 years - 514 00:34:21,280 --> 00:34:23,400 unlived in and is falling down - 515 00:34:23,400 --> 00:34:27,800 it is within my power, only because of my success in a totally 516 00:34:27,800 --> 00:34:30,880 opposite sort of lifestyle, to be able to do something about it, 517 00:34:30,880 --> 00:34:33,240 to put it back to the way that it was 518 00:34:33,240 --> 00:34:35,880 and to make it have a working part in the community. 519 00:34:35,880 --> 00:34:38,840 Not just to be the big house where the laird lives, 520 00:34:38,840 --> 00:34:41,560 but to be the house where I hope 521 00:34:41,560 --> 00:34:44,200 I and my family will play a part in the community. 522 00:34:46,800 --> 00:34:49,320 We should walk across the bridge in a minute and I'll show you 523 00:34:49,320 --> 00:34:51,960 the old, um, the Beaker People's burial mound, 524 00:34:51,960 --> 00:34:55,440 which is a big stone cairn. I'd like to clear that up sometime. Mm-hm. 525 00:34:55,440 --> 00:34:58,760 You know, if you can get an army of youth workers in or something. 526 00:35:02,240 --> 00:35:05,040 Our ballet that we did with the Scottish, The Water's Edge, 527 00:35:05,040 --> 00:35:08,680 is set in an area not unlike this. 528 00:35:08,680 --> 00:35:11,640 The idea is that these variety of creatures 529 00:35:11,640 --> 00:35:15,560 in Scottish mythology will appear out of the waters, 530 00:35:15,560 --> 00:35:20,000 in the form of the kelpie - who is half-horse, half-man - 531 00:35:20,000 --> 00:35:23,400 who steals onto the shore and entices the young maidens. 532 00:35:23,400 --> 00:35:25,920 Usually... He had a preference for virgins, it seems. 533 00:35:25,920 --> 00:35:28,000 He basically liked them young. 534 00:35:28,000 --> 00:35:30,560 And whizzed off with them, and they were never seen again. 535 00:35:30,560 --> 00:35:32,880 Of course, other than that, there's the selkies, 536 00:35:32,880 --> 00:35:35,000 the seal-like creatures 537 00:35:35,000 --> 00:35:38,360 who would entice unsuspecting fishermen - 538 00:35:38,360 --> 00:35:42,240 come and dance in female form on the shore. 539 00:35:47,760 --> 00:35:50,440 CLASSICAL MUSIC PLAYS 540 00:37:32,080 --> 00:37:35,480 # The light that burned so brightly 541 00:37:35,480 --> 00:37:38,120 # Suddenly burn so pale 542 00:37:38,120 --> 00:37:40,120 # Bright eyes... # 543 00:37:40,120 --> 00:37:42,680 RADIO DJ: Every rabbit's dream come true. 544 00:37:42,680 --> 00:37:45,320 Art Garfunkel, Bright Eyes is still at number one. 545 00:37:45,320 --> 00:37:47,680 Bank holiday special tomorrow. 546 00:37:47,680 --> 00:37:49,600 If you like the number 19 record this week, 547 00:37:49,600 --> 00:37:53,680 have a listen to ABBA between 11.00 and 12.00 tomorrow morning. 548 00:37:53,680 --> 00:37:55,320 It's exclusive to Radio 1. 549 00:37:55,320 --> 00:37:56,880 Bernie Andrews produced this programme. 550 00:37:56,880 --> 00:37:58,640 Thank you for listening, and stay tuned. 551 00:37:58,640 --> 00:38:00,800 After the news, it's Ian Anderson. 552 00:38:00,800 --> 00:38:02,680 Right. You coming too? 553 00:38:02,680 --> 00:38:04,600 # Radio 1 554 00:38:04,600 --> 00:38:06,680 # News! # 555 00:38:06,680 --> 00:38:09,840 The time now is 7.00 and this is David Bellon at the news desk... 556 00:38:09,840 --> 00:38:11,600 A very interesting tax meeting. 557 00:38:11,600 --> 00:38:15,360 Very interesting in as much as I'm not now on the way to Switzerland! 558 00:38:15,360 --> 00:38:17,200 Mrs Thatcher spent the day at Downing Street, 559 00:38:17,200 --> 00:38:19,200 deciding on the rest of her government appointments, 560 00:38:19,200 --> 00:38:21,760 ministers outside the Cabinet. Those announced so far... 561 00:38:21,760 --> 00:38:24,080 I mean, as long as it flows quite nicely. 562 00:38:24,080 --> 00:38:25,760 It's two hours. It's a two-hour show. 563 00:38:25,760 --> 00:38:28,760 Do we have time... One hour 58, actually. 564 00:38:28,760 --> 00:38:31,240 I see. It's in here. What about ins and outs? 565 00:38:31,240 --> 00:38:33,120 I mean, is there a music, er... 566 00:38:33,120 --> 00:38:34,960 That's the news at 7:02. 567 00:38:34,960 --> 00:38:37,040 ..or whatever you call it. 568 00:38:37,040 --> 00:38:38,320 # Radio 1 569 00:38:38,320 --> 00:38:39,880 # Stereo! # 570 00:38:39,880 --> 00:38:43,000 MUSIC: All Along the Watchtower by Jimi Hendrix 571 00:38:43,000 --> 00:38:45,520 Hello, this is Ian Anderson of Jethro Tull here. 572 00:38:45,520 --> 00:38:47,760 You're going to be listening to me for the next two hours 573 00:38:47,760 --> 00:38:50,120 with some of my favourite records. You've heard the top 40. 574 00:38:50,120 --> 00:38:51,400 Here's the lost 40. 575 00:38:51,400 --> 00:38:55,080 First, Jimi Hendrix and All Along the Watchtower. 576 00:38:57,480 --> 00:39:01,080 The significance of the Jethro Tull name is only that it was 577 00:39:01,080 --> 00:39:03,920 thought of not by me or any of the group, 578 00:39:03,920 --> 00:39:08,040 but one of the bookers in the agency whose sad job it was 579 00:39:08,040 --> 00:39:12,920 to invent new names for us in order that he could get us some work. 580 00:39:14,520 --> 00:39:17,480 So we were just stuck with that one. Had it been a week earlier 581 00:39:17,480 --> 00:39:19,800 or a week later that we got our first break, 582 00:39:19,800 --> 00:39:21,880 as it were, we would have been called something different. 583 00:39:21,880 --> 00:39:25,880 And it's pure coincidence, um, 584 00:39:25,880 --> 00:39:28,280 only a recently recognised one in my case, in fact, 585 00:39:28,280 --> 00:39:31,400 that the original Jethro Tull being 586 00:39:31,400 --> 00:39:34,880 a farming or agricultural innovator of sorts, 587 00:39:34,880 --> 00:39:36,000 um... 588 00:39:38,240 --> 00:39:39,800 ..I'm doing the same sort of thing now, 589 00:39:39,800 --> 00:39:42,520 in a modest way, doing things in farming 590 00:39:42,520 --> 00:39:45,320 which are a little bit, er, a little bit different. 591 00:39:45,320 --> 00:39:49,160 We try very hard. Each one of us try very hard. 592 00:39:49,160 --> 00:39:53,760 We never think, "Oh, well, we've made it. 593 00:39:53,760 --> 00:39:55,200 "We're doing really well. 594 00:39:55,200 --> 00:39:58,160 "They're going to like whatever we do." 595 00:39:58,160 --> 00:40:02,880 Every song we do, every tour we do is like starting again. 596 00:40:02,880 --> 00:40:04,560 It is for me, anyway. 597 00:40:06,000 --> 00:40:10,160 There's an awful lot of luck becoming successful initially, 598 00:40:10,160 --> 00:40:13,520 but there's an awful lot of hard work keeping there. 599 00:40:13,520 --> 00:40:17,240 There are very obvious rewards, you know. 600 00:40:17,240 --> 00:40:20,400 I mean, look where I live and stuff like that. 601 00:40:20,400 --> 00:40:23,640 But it's hard to keep it all together. 602 00:40:23,640 --> 00:40:27,640 All the touring becomes hell after a while. 603 00:40:28,880 --> 00:40:30,440 It's nice to live in a village 604 00:40:30,440 --> 00:40:32,440 and go to the local pub and play darts 605 00:40:32,440 --> 00:40:35,560 when you have a day off, but they're few and far between. 606 00:40:35,560 --> 00:40:39,760 In fact, this is the first day off for about three weeks now, 607 00:40:39,760 --> 00:40:42,120 because we've been working on the album. 608 00:40:42,120 --> 00:40:46,440 We've been working at it for about three months now. 609 00:40:46,440 --> 00:40:49,920 And you perhaps get one day off in two weeks, 610 00:40:49,920 --> 00:40:53,400 and you get home at 4.00 or 5.00 in the morning, you know. 611 00:40:53,400 --> 00:40:55,920 So, in a way, being at home, 612 00:40:55,920 --> 00:40:59,920 I still don't see much of my wife and children. 613 00:40:59,920 --> 00:41:02,520 This morning I was talking to the lady who lives next door, 614 00:41:02,520 --> 00:41:05,480 who I call Auntie Joyce, who's very much like... 615 00:41:05,480 --> 00:41:08,920 Have you ever read Travels With My Aunt by Graham Greene? 616 00:41:08,920 --> 00:41:10,760 Well, she's a bit like that, you see. 617 00:41:10,760 --> 00:41:13,720 And she said to me, "You know, the trouble with you is, 618 00:41:13,720 --> 00:41:16,680 "you don't know whether you're having a shit, shave or a haircut." 619 00:41:16,680 --> 00:41:18,720 And that is true. 620 00:41:21,000 --> 00:41:25,240 But when I get onstage, I know exactly what I want to do 621 00:41:25,240 --> 00:41:28,160 and what I'm there for and what I'm going to do. 622 00:41:28,160 --> 00:41:31,640 And it's so clear cut that I can just get on and do it. 623 00:41:31,640 --> 00:41:35,520 But as far as the rest of my private life, you know, 624 00:41:35,520 --> 00:41:38,720 I haven't really got much of a clue which direction I'm going in. 625 00:41:42,240 --> 00:41:44,400 Musicians...or pop musicians, 626 00:41:44,400 --> 00:41:46,920 I'm sure it's a novelty to most people. 627 00:41:46,920 --> 00:41:51,200 They can't fit you into any of their 628 00:41:51,200 --> 00:41:54,000 little boxes, you know, like an accountant 629 00:41:54,000 --> 00:41:57,440 or been to public school and he's a bank manager, 630 00:41:57,440 --> 00:41:59,400 or he's joined the council 631 00:41:59,400 --> 00:42:01,320 and he's now worked his way up to this position. 632 00:42:01,320 --> 00:42:05,240 You don't fit into any social, um, 633 00:42:05,240 --> 00:42:09,520 strata at all. So you tend to be floating around in the middle. 634 00:42:09,520 --> 00:42:14,560 And I mean, it's sad that the young people you tend to, um, 635 00:42:14,560 --> 00:42:17,960 because of money... I mean, not being snobbish in any way, 636 00:42:17,960 --> 00:42:21,680 but if you meet young people and you probably get on with them, 637 00:42:21,680 --> 00:42:25,360 and then as soon as they find out what you do or that you haven't got 638 00:42:25,360 --> 00:42:28,160 a mortgage and the car isn't on HP, 639 00:42:28,160 --> 00:42:31,080 then it's this kind of wall that falls between you 640 00:42:31,080 --> 00:42:33,320 and you just don't share the same problems. 641 00:42:35,600 --> 00:42:38,320 It's a shame. It's like a bit of a misfit. 642 00:42:38,320 --> 00:42:42,800 I'm not feeling sorry for anybody, but it does seem to be that way. 643 00:42:42,800 --> 00:42:45,960 HE PLAYS THE PIANO 644 00:42:48,280 --> 00:42:50,720 I'd certainly rather be in Jethro Tull 645 00:42:50,720 --> 00:42:53,120 attempting to do what we do, 646 00:42:53,120 --> 00:42:57,400 whether people like it or not, than in some rock and roll band 647 00:42:57,400 --> 00:43:00,360 that turned out lyrics with "I love you, baby" 648 00:43:00,360 --> 00:43:03,400 or whoever wrote that, and nothing...substantially nothing 649 00:43:03,400 --> 00:43:08,720 more than that. But there is a great striving with our band to get music 650 00:43:08,720 --> 00:43:11,720 that Jethro Tull plays accepted 651 00:43:11,720 --> 00:43:14,600 as music of a pretty high standard, 652 00:43:14,600 --> 00:43:16,800 because that's what we try to achieve. 653 00:43:27,920 --> 00:43:31,480 The reason it works is because... based on the old axiom 654 00:43:31,480 --> 00:43:35,600 that unlike poles attract, and with Ian, Martin, 655 00:43:35,600 --> 00:43:39,960 Barrie, John, John and myself, there are six individual people. 656 00:43:39,960 --> 00:43:41,920 We don't live in each other's pockets 657 00:43:41,920 --> 00:43:43,560 or each other's dining rooms. 658 00:43:43,560 --> 00:43:47,680 We don't go out with each other much when we're away, 659 00:43:47,680 --> 00:43:49,840 although we're living very closely together. 660 00:43:49,840 --> 00:43:54,040 We all have different ambitions or... No, not ambitions - 661 00:43:54,040 --> 00:43:57,120 we all have different needs to do the things that we do. 662 00:43:57,120 --> 00:43:58,800 And for that reason alone, 663 00:43:58,800 --> 00:44:02,000 we can work together harmoniously as a group of six guys. 664 00:44:07,200 --> 00:44:11,560 I can see the group carrying on for several more years, 665 00:44:11,560 --> 00:44:15,760 providing that Ian wants to do it, wants to go out there in front, 666 00:44:15,760 --> 00:44:17,960 stand on one leg occasionally and blow the flute and sing 667 00:44:17,960 --> 00:44:20,360 and write the songs. It's got to be Ian. 668 00:44:20,360 --> 00:44:22,920 Ian's got to be in the band. Ian's got to be Jethro Tull. 669 00:44:22,920 --> 00:44:25,120 I mean, most people in America think Ian's Jethro Tull, 670 00:44:25,120 --> 00:44:27,160 think his name is Jethro Tull. 671 00:44:27,160 --> 00:44:30,320 But it isn't. It's Ian Anderson. CHUCKLES 672 00:44:57,440 --> 00:45:00,800 The answer is in there. I'd unlock the case every night, 673 00:45:00,800 --> 00:45:03,080 and I don't find the answer even when I put my clothes on, 674 00:45:03,080 --> 00:45:04,680 but that's where the answer is. 675 00:45:04,680 --> 00:45:09,680 It's something to do with being a gyppo, you know, a troubadour, 676 00:45:09,680 --> 00:45:13,520 a travelling musician. There's that peculiar romanticism 677 00:45:13,520 --> 00:45:16,040 about travelling around and hawking your wares, 678 00:45:16,040 --> 00:45:19,760 which is what we do, to a bunch of people, 679 00:45:19,760 --> 00:45:22,080 different people in different places. 680 00:45:22,080 --> 00:45:25,720 And that magic is very difficult to capture. 681 00:45:25,720 --> 00:45:28,120 It's very difficult to talk about. It's difficult to verbalise, 682 00:45:28,120 --> 00:45:30,840 and that's what I'm here looking for every time I unlock the case 683 00:45:30,840 --> 00:45:32,880 and put on the gear and go out there. 684 00:45:32,880 --> 00:45:38,120 There's a compulsion, ultimately, to... A, show off, 685 00:45:38,120 --> 00:45:40,400 B, be an artist, 686 00:45:40,400 --> 00:45:45,960 C, to get rich quick, or preserve your riches 687 00:45:45,960 --> 00:45:48,520 if you've already got rich quick. I don't know. 688 00:45:48,520 --> 00:45:50,320 It's many, many different things. 689 00:45:53,000 --> 00:45:55,680 Don't shoot till you see the whites of their, um... 690 00:45:58,800 --> 00:45:59,840 They're there! 691 00:46:02,160 --> 00:46:05,360 It's very intricate music, and he's a real acrobat onstage. 692 00:46:05,360 --> 00:46:08,520 Martin, don't forget the D. If I shout... 693 00:46:08,520 --> 00:46:10,280 If I shout E, play D. 694 00:46:11,520 --> 00:46:14,520 It's really theatrical. It's a really good show. 695 00:46:14,520 --> 00:46:16,800 Do you want a night off? Yeah! 696 00:46:19,240 --> 00:46:21,840 It's good music. And he's a good showman. 697 00:46:21,840 --> 00:46:23,360 A really good stage show. 698 00:46:27,920 --> 00:46:29,680 INAUDIBLE SPEECH 699 00:46:40,800 --> 00:46:43,040 CROWD CHEERS 700 00:47:05,480 --> 00:47:10,600 # Can't hear you calling in your sweet dream 701 00:47:12,640 --> 00:47:16,920 # I can't hear your daddy's warning cry 702 00:47:20,760 --> 00:47:25,800 # You're going back to be all the things you want to be 703 00:47:28,360 --> 00:47:32,280 # While in sweet dreams you softly sigh 704 00:47:36,840 --> 00:47:40,920 # You hear my voice is calling to be mine again 705 00:47:40,920 --> 00:47:43,880 # Live the rest of your life in a day 706 00:47:56,600 --> 00:47:59,560 # Get out and get what you can 707 00:47:59,560 --> 00:48:04,280 # While your mummy's at home sleeping 708 00:48:04,280 --> 00:48:07,080 # But no time to understand 709 00:48:07,080 --> 00:48:12,000 # Cos they've lost what they thought they were keeping 710 00:48:44,280 --> 00:48:46,760 # Get out and get what you can 711 00:48:46,760 --> 00:48:51,520 # While your mummy's at home sleeping 712 00:48:51,520 --> 00:48:54,440 # And no time to understand 713 00:48:54,440 --> 00:48:59,480 # Cos they lost what they thought they were keeping... # 714 00:49:11,000 --> 00:49:13,680 CHEERING AND APPLAUSE 715 00:49:18,200 --> 00:49:21,840 Here is a number that we haven't recorded yet. 716 00:49:21,840 --> 00:49:24,440 In fact, can't even play it yet! 717 00:49:24,440 --> 00:49:27,880 This one is all about the terrible doom to come, 718 00:49:27,880 --> 00:49:30,640 and it's called Dark Ages. 719 00:51:07,200 --> 00:51:09,480 # Darlings, are you ready 720 00:51:12,360 --> 00:51:15,600 # For the long winter's fall? 721 00:51:17,720 --> 00:51:20,640 # Said the lady in her parlour 722 00:51:23,080 --> 00:51:27,760 # Said the butler in the hall 723 00:51:39,280 --> 00:51:42,120 # Is there time for another? 724 00:51:44,880 --> 00:51:47,800 # Cried the drunkard in his sleep 725 00:51:50,400 --> 00:51:55,760 # Not likely, said the little child 726 00:51:55,760 --> 00:51:58,600 # What's done the Lord can keep 727 00:52:12,080 --> 00:52:14,800 # And the vicar stands a-praying 728 00:52:17,480 --> 00:52:20,000 # And the television dies 729 00:52:22,600 --> 00:52:25,640 # As the white dot flickers and is gone 730 00:52:27,880 --> 00:52:30,320 # And no-one stops to cry 731 00:52:33,000 --> 00:52:38,240 # Dark Ages 732 00:52:40,000 --> 00:52:43,640 # Shaking the dead 733 00:52:43,640 --> 00:52:47,680 # Closed pages 734 00:52:50,040 --> 00:52:53,640 # Better not read 735 00:52:55,800 --> 00:52:59,360 # Dull rages 736 00:53:00,840 --> 00:53:04,040 # They burn in your head 737 00:53:11,480 --> 00:53:14,080 # And the gloom in the valley 738 00:53:16,760 --> 00:53:19,800 # Grows brighter as the town 739 00:53:22,240 --> 00:53:24,840 # Left alight most royally 740 00:53:27,160 --> 00:53:31,160 # And the houses all burn down 741 00:53:31,160 --> 00:53:35,920 # Dark Ages 742 00:53:38,080 --> 00:53:41,600 # Shaking the dead 743 00:53:41,600 --> 00:53:47,920 # Closed pages 744 00:53:47,920 --> 00:53:51,960 # Better not read 745 00:53:53,720 --> 00:53:57,080 # Cold rages 746 00:53:58,400 --> 00:54:02,080 # They burn in your head 747 00:54:33,280 --> 00:54:36,040 # Jagged fires mark the picket lines 748 00:54:36,040 --> 00:54:39,360 # The politicians weep 749 00:54:39,360 --> 00:54:45,880 # And mealy-mouthed through corridors of power on tiptoe creep 750 00:54:45,880 --> 00:54:49,720 # But come and see bureaucracy 751 00:54:49,720 --> 00:54:53,240 # Make its final heave 752 00:54:53,240 --> 00:54:56,920 # And let the new disorder through 753 00:54:56,920 --> 00:54:59,320 # While senses take their leave 754 00:54:59,320 --> 00:55:04,080 # Dark Ages 755 00:55:04,080 --> 00:55:06,760 # Shaking the dead 756 00:55:06,760 --> 00:55:11,000 # Closed pages 757 00:55:11,000 --> 00:55:13,720 # Better not read 758 00:55:13,720 --> 00:55:17,200 # Cold rages 759 00:55:17,200 --> 00:55:25,200 # They burn in your head 760 00:56:29,960 --> 00:56:33,440 # Families screaming line the streets 761 00:56:33,440 --> 00:56:36,440 # And put the windows through 762 00:56:36,440 --> 00:56:40,040 # In corner shops where keepers kept 763 00:56:40,040 --> 00:56:43,120 # The country's lifeblood blue 764 00:56:43,120 --> 00:56:44,960 # Take their pick 765 00:56:44,960 --> 00:56:50,320 # And try the trick with loaves and fishes shared 766 00:56:50,320 --> 00:56:53,960 # And the vicar shouts as the lights go out 767 00:56:53,960 --> 00:56:56,200 # And no-one really cares 768 00:56:57,240 --> 00:57:01,320 # Dark Ages 769 00:57:01,320 --> 00:57:04,160 # Shaking the dead 770 00:57:04,160 --> 00:57:08,360 # Closed pages 771 00:57:08,360 --> 00:57:11,320 # Better not read 772 00:57:11,320 --> 00:57:15,280 # Cold rages 773 00:57:15,280 --> 00:57:20,120 # They burn in your head 774 00:57:20,120 --> 00:57:23,240 # Head! 775 00:57:43,800 --> 00:57:46,880 # Darlings, are you ready 776 00:57:49,240 --> 00:57:52,000 # For the long winter's fall? 777 00:57:55,040 --> 00:57:58,120 # Said the lady in her parlour 778 00:58:00,680 --> 00:58:03,680 # Said the butler in the hall 779 00:58:16,880 --> 00:58:22,280 # Dark Ages 780 00:58:23,920 --> 00:58:27,600 # Shaking the dead 781 00:58:27,600 --> 00:58:33,920 # Closed pages 782 00:58:33,920 --> 00:58:37,920 # Better not read 783 00:58:39,400 --> 00:58:42,800 # Cold rages 784 00:58:44,280 --> 00:58:48,440 # They burn in your head. #