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Jethro Tull’s Ian Anderson Returns with Homo Erraticus

by Nancy Dunham on April 11, 2014

Ian Anderson’s snort resonates through the telephone receiver.

The eruption comes toward the end of a discussion about his April 14 release Homo Erraticus, eagerly awaited by the fans of the front man and founder of prog-rock pioneers Jethro Tull. Now that rock cruises are in vogue and a new Anderson album is in the wings, fans continually fuel rumors that the Minstrel in the Gallery may bring “Aqualung,” “Sweet Dreams,” “Thick as a Brick,” and perhaps some of the songs from his new album to the high seas.

“Well, you know, trying to play the flute on a ship during rocky weather,” he says, allowing the sentence to drift off before acknowledging in his clipped, British and always polite tone that the lack of privacy afforded on such a trip is the true downside for him. “There is, of course, that.”


Those that saw Anderson in 1996 during the “Roots to Branches” tour­­–– during which he gamely performed a few shows from a wheelchair soon after injuring his knee in Lima, Peru –– know the consummate showman has no problem performing under adverse conditions. On the spring night of the Washington, D.C. gig for that tour, light bounced off the silver of Anderson’s wheelchair as he twirled, sang, played his flute, and entertained fans with his somewhat crude but always family friendly jokes.

In a way that flamboyant stage persona –– introduced in the late ‘60s when he sported masses of unruly red hair that surrounded his chiseled face and his easy, on-stage repartee with the crowds -- is truly a double-edged sword.

On the one hand it makes fans feel as if they know Anderson –– who now sports a cap on stage to hide his receding hairline –– well enough to belly up to the bar with him. But they really don’t know his private life. That is clear by fans insistence that Anderson has close personal friendships with Martin Barre and the other musicians they consider part of the “Classic Tull” line up including drummer Doane Perry, bassist Jonathan Noyce, and keyboardist Andy Giddings.

“Ian and I aren’t best friends,” Barre said in a 2012 interview when asked about fans’ perceptions and their angst about the Tull “rift.” “We had a lot of years together and I’ve got a life, [Ian] has a life. I have got to respect that. When I started in Tull, we never signed a bit of paper saying we were going to be each other’s mates forever. It’s good. It’s fine. It allows Ian to do what he wants to do and vice versa. I am enjoying it, and I’m sure he is.”

It certainly seems so, as he talks about how he went about creating this new album.

“It’s not the tyranny of the blank page,” says Anderson, who did an album release party in London for this record, his first such launch party in decades. “It’s very different than that. It’s having an absolutely empty head with no idea what you’re going to write.”

Anderson has spoken extensively about how he had set a schedule to craft this album starting at 9 a.m. on January 1, 2013. That day he awoke with no more concrete plans than to write. He had coffee. He may have glanced at the newspaper. Then at 9 a.m. he went into the office of his London-area home. He played some instruments. His thoughts started to drift toward immigration – a hot button issue throughout the world – and led to the migration of man throughout history. “I had the idea for a bit of a tune by lunch time,” he says simply.

Two or three days later he had a theme, a title, and by month’s end most of an album. He sent the work to his band of the past 12 years, bassist David Goodier, keyboardist John O'Hara, guitarist Florian Opahle, drummer Scott Hammond, and vocalist Ryan O'Donnell.

Although Anderson is adamant that he can’t write with others– he shakes off the notion that the sound on the latest album leaves one wondering if he collaborated with Derek Shulman of Gentle Giant – he does seek his band’s input, in this case on fine tuning the 15 songs on the album categorized as: “Chronicles,” “Prophecies” and “Revelations.”

Anderson offers that the album was written by his alter ego Gerald Bostock, the fictional mastermind behind the 1972 album Thick as a Brick, (TAAB), and Thick as a Brick II, released in 2012.

Bostock reportedly wrote the album after reading the unpublished manuscript of an amateur historian that Anderson calls Ernest T. Parritt.

“It is certainly not Part Three of a trilogy,” says Anderson in answer to fans’ questions about the return of Bostock. “Essentially it is a reference point for Gerald. He can pop in for a cup of tea, he can have his own ideas and beliefs and he can say things that I wouldn’t say, express things that are not my particular views,” he says. “It would be like if I referred to you as a Yank. And I would feel uncomfortable if someone called me a limey. It is bordering on being offensive.”

As Anderson talks about population control, climate change, political correctness and other social issues – specifically his belief that we all have an obligation to preserve the planet for future generations -- one can’t help but think of the lyrics ‘I may make you feel, but I can’t make you think….’ that he wrote for TAAB.

“You may think I’m on the attack right now on how many children people should have,” he says at one point. “I’m not saying how many children people should have. I’m saying we should weigh the pros and cons in this day and age and not [consider it from the timeframe] where the Bible said ‘Go forth and multiply….’ But people have the right to spend as much money and eat as much food and burn as much gasoline as they like. I’m not saying they shouldn’t. I’m saying people are desperately seeking a chance of survival.”

Despite his passion, the album is classic Anderson, full of witty lyrics and infectious melodies that make a listener feel like one of the smart kids in class who looks at the world’s troubles with true concern masked with a dollop of humor.

That’s no accident, said Anderson noting he’s careful not to “lecture people like a demented college professor. You have to put the smiley face on it…We like our politicians when they smile and kid and joke. George W. Bush could laugh at himself. Even if you thoroughly objected to the man as President, reading the Bush autobiography (Decision Points) makes you like him much more.”

The bottom line to Anderson is that his music contains fragments of his beliefs and persona, but it isn’t his own autobiography.

“Think of well-known authors or artists,” he said. “We don’t think [American producer, director, screenwriter and actor] Quentin Tarantino as violent because of the violence in his movies. That’s something I find strange in rock music, that people think the music must represent the heart on the sleeve of the person singing. We create characters.”

Ian Anderson will tour behind his new album, performing Home Erraticus in its entirety before performing some classic Jethro Tull songs. As in his last tour, Anderson plans an elaborate stage show including video and theatrical performances.


The Bostock stuff is interesting, but should end with H.E. The Secret Language of Birds and Rupi’s Dance were fantastic albums and I hope Ian returns to that format next. Tull’s demise means nothing to me because whenever I saw “Jethro Tull” I really saw “Ian Anderson”.

By Palosrob - 04/15/14

That’s quite an interesting comment, with their amazing back catalog
i always thought that Jethro Tull is a “band” and not a one man show.
In regards to Gerald returning to the fold, but not quite as evident in his new album, there are a few nods to T.A.A.B. On the demise of Jethro Tull i agree too it’s now dead and buried and Ian A has now moved on, what are your thoughts on his new album?

By Peter Wolff - 04/19/14

Much to my chagrin, I’ve only listened to TAAB2 once, although “A Change of Horses” I’ve listened to quite a lot. “Walk Into Light”, “Divinities”, “Secret Language of Birds”, “Rupi’s Dance” I’ve listened to more times than I can count. What does that tell you? I haven’t ordered HE from Amazon yet, but will soon, and will report back.

By Robert - 04/20/14

Wow. Those are negative comments? Guess I can understand, it is quite an album to grasp. Still brilliant though, there is remarkable musicianship and outstanding lyrics, and Mr. Anderson has been known to deliver. It’s a truly astounding album, and a shame it’s not “part three of the trilogy” as that would be one of the best trilogies in prog rock. I haven’t seen Lord of the Rings completely yet, but I know every lyrics of every part of every album of that “Bostock Trilogy” that isn’t a trilogy.

Fills my heart with hope, though… There are clearly 3 albums “by Gerald Bostock”, yet denying it is a trilogy can only be true if more albums follow… But in the booklet, Anderson wrote “Don’t tell G.B.” about his next album.

By Euripides - 05/08/14

I have just been to Ian Anderson’s latest show in Aberdeen, playing his entire first set of his latest album,Home Erraticus. OMG, what boring, self-indulgent dribble! I can only imagine the American fans reaction to this - duck the cans of Cola mate!
The second set was not to bad as he played some of the big hits from by gone years - I am not sure what the prancing come actor singer was doing during this concert?
However, the biggest let down of all was the sound of the PA. The mix was horrendous. It was’nt loud enough, the vocals were almost unentenable and the kick drum was added with far to much sub-bass that it totally drowned out the bass guitar - shame as he is a good player, so is the guitarist.
I think the front house engineer (who I think was asleep) has been a former fork lift truck driver. (If Mr Anderson could hear what it was like he would have a fit - real shame)

By BY BARRY - 21/05/2014 - 05/21/14

Ian has already proved himself ... This new album is something I will listen to in private .... It has some good arrangements and like a lot of Anderson’s songs you have to listen to them many times before you truly enjoy the rythums and transitions ... The true Tull fan will like this album

By J.E.H. - 06/21/14

I have been listening to Homo Erraticus for about two months now and it stands up next to any Jethro Tull/Ian Anderson release and certainly overshadows the majority of them with a few obvious exceptions. It needs to be approached in the same manner you may have approached Jethro Tull’s music when you first heard it.
Pop music usually requires three listens before it becomes familiar enough to be thoroughly enjoyed if it is indeed enjoyable. But progressive rock requires much more familiarity in order to truly enjoy it. I remember Songs From the Wood taking many more listens than Homo Erraticus before it entered that euphoric state. It’s too bad that Ian’s voice doesn’t hold up as well on tour as it does on this album. But if you like Jethro Tull you should give this release the full treatment and more than three sessions. It is a commitment I have not regretted.

By Cyrus Athanatos - 11/03/14

Have been to IA/JT’s show in Melbourne last Sunday after being a big fan in the late 70’s and loosing track during late 80’s & 90’s. Well, it was a good show and IA certainly deserves a lot of credit for giving his best at 67. But interestingly I have to agree with Barry, the PA must have a chronic disease, with the bass drum being far to prominent. At times I found myself adding missing accents by recalling the ‘Bursting Out’ album. I really liked the guitarist and will follow up on things from JT’s recent past.

By Thomas - 12/17/14

Sorry, the concert was on Monday of course.

By Thomas - 12/17/14


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