Chords for Jethro Tull: Ian Anderson interviewed on Australian TV, 1972.
Tempo:
125 bpm
Chords used:
G
C
Gm
D
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] This is the new reprise set for Jethro [Eb] Tull in [Bb] Australia, Thick as a [G] Brick it's called.
It's a rather [Ab] novel cover this one because it opens up, as you can see, even folds down,
into a tabloid style newspaper and we have
[G] pages and pages of gear [Ab] which has been sorted [Fm] out by, I [G] suspect, Ian Anderson.
And there are four or five pages through there.
And the music, well, what can you say about Jethro Tull?
They're [Ab] absolutely fantastic.
And that leads us right to our next segment because we did get the chance to talk to Ian Anderson, leader of Jethro Tull.
Ian Anderson, [C] welcome to Australia, along with Jethro Tull.
Thanks very much.
Did [D] you envisage this fantastic success you've had yet?
No, not [C] really because, as I think I was saying before, my main [G] reason for going into it was just to, really for fun.
For fun and the fact that I was not a [Db] particularly [D] welcome [C] member of the family at the time.
I [G] disappeared from it temporarily.
At what age was this?
I was a rock and roll star, the age of about, well, about 18 actually, about 18.
But I lived off my ailing father for a couple of years, which he didn't appreciate very much, you see, after I fled from [C] school.
[N]
And I don't know, you know, he thought I was really going to miss out on everything.
But he really likes me now, you know.
He really likes me, thinks I'm a good bloke.
Did you actually fall into rock music or was this a planned campaign?
Well, I don't know about rock music, you know, we fell into blues music.
We were sort of pushed, really, by the necessity of earning a living at the [Dm] time.
Blues [C] was the, you know, the idiom of contemporary music in England four or five years ago that was commercially [D] acceptable within the club [C] circuit where
[G] You inevitably have to begin.
So that's what we did.
But I mean, [Ab] we never really did it with much [C] conviction, you know, because I'm the wrong colour.
You know, I mean, seriously.
Really?
Yeah.
They're full Britain at that [N] time.
No, I was the right colour there.
Unless I wanted the wrong part of Manchester somewhere.
No, I was the right colour.
But the wrong colour for singing that kind of music, which I really believe, you know, belongs with a black man.
I see.
Despite Joe Cocker, people like him.
Sure, despite anybody who has to sing with an affected American accent, you [Dm] know, [Db] with [N] mannerisms to match.
Simply because they happen to feel the earthiness of the music, which is undeniably there.
But why affect a whole vocal style, [Eb] which is just unnatural to [Gb] the Caucasian voice?
You know, because you've really got [N] to try to sing that way.
You know.
Desperately hard.
And I can't sing that way.
[E] It's not me.
You seem [N] very sure that everybody [E] should make up their own mind [G] about all things, specifically music.
Yeah, all things specifically, [N] not the things that are bright and beautiful.
[D] Yeah.
Yeah, I just believe [A] that everybody, if they make a conscious effort, I mean, you know, [D] we're all here doing [Dm] whatever we're doing.
[E] And we might as well get [Dm] on with [D] it.
And, [C] you know, why risk the sidetracking [D] influences of drugs, which are only [C] proportionate to [G] boredom, that everybody feels, basically, through a lack of, [F] [Cm]
sometimes, security.
[Bb] More often because, [C] I suppose, just plain [Gm] old lazy, when it comes down to [G] it.
You know, I mean, we might as well get on with making assessments and judgments and analyses of situations, music and art [F] of all kinds.
Even if we [C] don't have the ability, we might as well get on with trying, you know.
There's damn well else to do.
I mean, you can go around going like this to everybody, [Gm] but it doesn't really get you very far in the [F] long run.
[G] With this attitude [F] in mind, then, do you get any pleasure from receiving gold [G] records for?
[Em] Any number of [Dm] songs you've made?
Well, I [Em] suppose I get [Bb] a kind of [C] inverse sort of [Gm] pleasure in as [F] much as [Em] it's a [G] symbol of pleasure that you [C] may [G] conceivably have given to other people.
[Cm] Rather than what you [Db] personally get out of getting [C] a, [Gm] you know, a gold record.
I mean, a wooden one would look nicer, wouldn't [G] it?
In actual fact.
Possibly.
You know.
Well, now, is this important to you, making other people happy then?
You're not so concerned with [Bb] what comes out of your music.
As long [Ab] as [F] it's part of a coincidence, you [Bb] know, it's important to me, you [C] know, to see it there.
[F] But I would never, I'm [Gm] not sufficiently benevolent as a musician [C] to go [F] around, you know, [C] raving around the world like [G] a lunatic just to make people smile for a night.
You [Em] know, or make [D] records simply to have them sit in their front room and get stoned quietly and [Cm] think, wow man, far out.
[F] You know, I mean.
No, I do [G] it basically for me, you know, which [Gm] is the most honest reason I could have for doing it.
I don't have to make compromises to people that way.
[F] Except to some extent to the other [D] guys in the group, just as they would make [Gm] to me.
But that's within the [A] unit that produces the music.
So, [Gm] I mean, that's fair enough.
What kind of music interests you apart from what you were doing yourself?
Anything in particular?
Um.
The classical, for instance.
[Ab] Well, you know, anything [Gm] interests me if I'm exposed to it.
But I take care not to be because I don't like, I don't like being aware of other people's music because [D] inevitably I'm influenced [Bb] by anything I see or hear around me.
That's how I write [C] music anyway, write [Gm] songs.
[G] Because I walk around, hopefully with [C] at least one of [Eb] my eyes open anyway.
[N] And listening to other music is bound to rub off in some way.
Because a lot of the other music I hear I really don't like.
I find it bad.
Although it's catchy.
You know what I mean?
Catchy.
[G] And I don't want to get caught [Gm] up in that kind of commercial [Eb] aspect of [G] repetition.
[Em] I don't really [Gm] like repetition unless [Cm] it serves a [G] very definite [Em] purpose [Gm] musically within the context of a [Cm] whole piece.
It's sometimes worthwhile.
But, [Gm] you know, I prefer
I've always had it.
Sure.
I mean, if you listen to that [G] record, there's a lot of
There [Eb] is some repetition, but not a [G] great deal.
How do you see your [Eb] future progressing from [G] this point?
What do you [Eb] have in mind for your future?
More of the same?
[D]
No, no, [G] definitely not.
No.
That's really the point.
I don't want to do more of the same.
But I think [Eb] every record and every [Gm] year has to be different.
You [Ab] know, if we ever turned out two successive records which [Eb] were good and were in the same [D] vein, [Em] the second [Cm] one wouldn't be good.
I mean, to me.
[Gm]
[G] Because it's necessary to keep moving, yeah.
[Fm]
I mean, if [G] it has to be a terribly [Gm] conscious effort to do something different [Em] for the sake of being different, well, that's [Cm] wrong.
But as long as we're lucky enough to keep, [Gm] you know, naturally coming up with something which feels different,
[Dm] has a different set of experiences behind [Cm] it, perhaps [G] a different intellectual concept behind [Em] it, then that's fine.
As long as it [G] comes naturally, something born out of a year's being older, you know.
Ian, thank you very much for your time.
A lot of people are waiting for you.
Come back and see us [Gbm] again.
Thanks very much.
[G] A most [N] interesting and certainly a very articulate character.
And I think those of you who saw him enjoyed the music very much.
It's a rather [Ab] novel cover this one because it opens up, as you can see, even folds down,
into a tabloid style newspaper and we have
[G] pages and pages of gear [Ab] which has been sorted [Fm] out by, I [G] suspect, Ian Anderson.
And there are four or five pages through there.
And the music, well, what can you say about Jethro Tull?
They're [Ab] absolutely fantastic.
And that leads us right to our next segment because we did get the chance to talk to Ian Anderson, leader of Jethro Tull.
Ian Anderson, [C] welcome to Australia, along with Jethro Tull.
Thanks very much.
Did [D] you envisage this fantastic success you've had yet?
No, not [C] really because, as I think I was saying before, my main [G] reason for going into it was just to, really for fun.
For fun and the fact that I was not a [Db] particularly [D] welcome [C] member of the family at the time.
I [G] disappeared from it temporarily.
At what age was this?
I was a rock and roll star, the age of about, well, about 18 actually, about 18.
But I lived off my ailing father for a couple of years, which he didn't appreciate very much, you see, after I fled from [C] school.
[N]
And I don't know, you know, he thought I was really going to miss out on everything.
But he really likes me now, you know.
He really likes me, thinks I'm a good bloke.
Did you actually fall into rock music or was this a planned campaign?
Well, I don't know about rock music, you know, we fell into blues music.
We were sort of pushed, really, by the necessity of earning a living at the [Dm] time.
Blues [C] was the, you know, the idiom of contemporary music in England four or five years ago that was commercially [D] acceptable within the club [C] circuit where
[G] You inevitably have to begin.
So that's what we did.
But I mean, [Ab] we never really did it with much [C] conviction, you know, because I'm the wrong colour.
You know, I mean, seriously.
Really?
Yeah.
They're full Britain at that [N] time.
No, I was the right colour there.
Unless I wanted the wrong part of Manchester somewhere.
No, I was the right colour.
But the wrong colour for singing that kind of music, which I really believe, you know, belongs with a black man.
I see.
Despite Joe Cocker, people like him.
Sure, despite anybody who has to sing with an affected American accent, you [Dm] know, [Db] with [N] mannerisms to match.
Simply because they happen to feel the earthiness of the music, which is undeniably there.
But why affect a whole vocal style, [Eb] which is just unnatural to [Gb] the Caucasian voice?
You know, because you've really got [N] to try to sing that way.
You know.
Desperately hard.
And I can't sing that way.
[E] It's not me.
You seem [N] very sure that everybody [E] should make up their own mind [G] about all things, specifically music.
Yeah, all things specifically, [N] not the things that are bright and beautiful.
[D] Yeah.
Yeah, I just believe [A] that everybody, if they make a conscious effort, I mean, you know, [D] we're all here doing [Dm] whatever we're doing.
[E] And we might as well get [Dm] on with [D] it.
And, [C] you know, why risk the sidetracking [D] influences of drugs, which are only [C] proportionate to [G] boredom, that everybody feels, basically, through a lack of, [F] [Cm]
sometimes, security.
[Bb] More often because, [C] I suppose, just plain [Gm] old lazy, when it comes down to [G] it.
You know, I mean, we might as well get on with making assessments and judgments and analyses of situations, music and art [F] of all kinds.
Even if we [C] don't have the ability, we might as well get on with trying, you know.
There's damn well else to do.
I mean, you can go around going like this to everybody, [Gm] but it doesn't really get you very far in the [F] long run.
[G] With this attitude [F] in mind, then, do you get any pleasure from receiving gold [G] records for?
[Em] Any number of [Dm] songs you've made?
Well, I [Em] suppose I get [Bb] a kind of [C] inverse sort of [Gm] pleasure in as [F] much as [Em] it's a [G] symbol of pleasure that you [C] may [G] conceivably have given to other people.
[Cm] Rather than what you [Db] personally get out of getting [C] a, [Gm] you know, a gold record.
I mean, a wooden one would look nicer, wouldn't [G] it?
In actual fact.
Possibly.
You know.
Well, now, is this important to you, making other people happy then?
You're not so concerned with [Bb] what comes out of your music.
As long [Ab] as [F] it's part of a coincidence, you [Bb] know, it's important to me, you [C] know, to see it there.
[F] But I would never, I'm [Gm] not sufficiently benevolent as a musician [C] to go [F] around, you know, [C] raving around the world like [G] a lunatic just to make people smile for a night.
You [Em] know, or make [D] records simply to have them sit in their front room and get stoned quietly and [Cm] think, wow man, far out.
[F] You know, I mean.
No, I do [G] it basically for me, you know, which [Gm] is the most honest reason I could have for doing it.
I don't have to make compromises to people that way.
[F] Except to some extent to the other [D] guys in the group, just as they would make [Gm] to me.
But that's within the [A] unit that produces the music.
So, [Gm] I mean, that's fair enough.
What kind of music interests you apart from what you were doing yourself?
Anything in particular?
Um.
The classical, for instance.
[Ab] Well, you know, anything [Gm] interests me if I'm exposed to it.
But I take care not to be because I don't like, I don't like being aware of other people's music because [D] inevitably I'm influenced [Bb] by anything I see or hear around me.
That's how I write [C] music anyway, write [Gm] songs.
[G] Because I walk around, hopefully with [C] at least one of [Eb] my eyes open anyway.
[N] And listening to other music is bound to rub off in some way.
Because a lot of the other music I hear I really don't like.
I find it bad.
Although it's catchy.
You know what I mean?
Catchy.
[G] And I don't want to get caught [Gm] up in that kind of commercial [Eb] aspect of [G] repetition.
[Em] I don't really [Gm] like repetition unless [Cm] it serves a [G] very definite [Em] purpose [Gm] musically within the context of a [Cm] whole piece.
It's sometimes worthwhile.
But, [Gm] you know, I prefer
I've always had it.
Sure.
I mean, if you listen to that [G] record, there's a lot of
There [Eb] is some repetition, but not a [G] great deal.
How do you see your [Eb] future progressing from [G] this point?
What do you [Eb] have in mind for your future?
More of the same?
[D]
No, no, [G] definitely not.
No.
That's really the point.
I don't want to do more of the same.
But I think [Eb] every record and every [Gm] year has to be different.
You [Ab] know, if we ever turned out two successive records which [Eb] were good and were in the same [D] vein, [Em] the second [Cm] one wouldn't be good.
I mean, to me.
[Gm]
[G] Because it's necessary to keep moving, yeah.
[Fm]
I mean, if [G] it has to be a terribly [Gm] conscious effort to do something different [Em] for the sake of being different, well, that's [Cm] wrong.
But as long as we're lucky enough to keep, [Gm] you know, naturally coming up with something which feels different,
[Dm] has a different set of experiences behind [Cm] it, perhaps [G] a different intellectual concept behind [Em] it, then that's fine.
As long as it [G] comes naturally, something born out of a year's being older, you know.
Ian, thank you very much for your time.
A lot of people are waiting for you.
Come back and see us [Gbm] again.
Thanks very much.
[G] A most [N] interesting and certainly a very articulate character.
And I think those of you who saw him enjoyed the music very much.
Key:
G
C
Gm
D
F
G
C
Gm
[G] This is the new reprise set for Jethro [Eb] Tull in [Bb] Australia, Thick as a [G] Brick it's called.
It's a rather _ [Ab] novel cover this one because it opens up, as you can see, even folds down,
into a tabloid style newspaper and we have _
[G] pages and pages of gear [Ab] which has been sorted [Fm] out by, I [G] suspect, Ian Anderson.
And there are four or five pages through there.
And the music, well, what can you say about Jethro Tull?
They're [Ab] absolutely fantastic.
And that leads us right to our next segment because we did get the chance to talk to Ian Anderson, leader of Jethro Tull.
Ian Anderson, [C] welcome to Australia, along with Jethro Tull.
Thanks very much.
Did [D] you envisage this fantastic success you've had _ _ yet? _ _
No, not [C] really because, _ _ as I think I was saying before, _ my main [G] reason for going into it was just to, really for fun.
For fun and the fact that I was _ not a [Db] particularly [D] welcome [C] member of the family at the time.
I [G] disappeared from it temporarily.
At what age was this?
I was a rock and roll star, the age of about, well, about 18 actually, _ about 18.
But I lived off my ailing father for a couple of years, which he didn't appreciate very much, you see, after I fled from [C] school.
_ _ [N]
And _ I don't know, you know, he thought I was really going to miss out on everything.
_ But he really likes me now, you know.
He really likes me, thinks I'm a good bloke. _
Did you actually fall into rock music or was this a planned campaign?
_ Well, I don't know about rock music, you know, we fell into blues music.
We were sort of pushed, really, by the necessity of earning a living at the [Dm] time.
Blues [C] was the, _ you know, the idiom of contemporary music in England _ four or five years ago that was commercially _ [D] _ acceptable within the club [C] circuit where_
[G] You inevitably have to begin.
So that's what we did.
But I mean, [Ab] we never really did it with much [C] conviction, you know, because I'm the wrong colour.
You know, I mean, seriously.
Really?
Yeah.
They're full Britain at that [N] time.
No, I was the right colour there.
Unless I wanted the wrong part of Manchester somewhere.
No, I was the right colour.
But the wrong colour for singing that kind of music, which I really believe, you know, belongs with a black man.
I see.
Despite Joe Cocker, people like him.
Sure, despite anybody who has to sing with an affected American accent, you [Dm] know, [Db] with [N] mannerisms _ to match.
Simply because they happen to feel the earthiness of the music, which is _ undeniably there.
But why affect a whole vocal style, [Eb] which is just unnatural to [Gb] the _ Caucasian voice?
You know, because you've really got [N] to try to sing that way.
You know.
Desperately hard.
And I can't sing that way.
_ [E] It's not me.
You seem [N] _ very sure that everybody [E] should make up their own mind [G] about all things, specifically music.
Yeah, all things specifically, [N] not the things that are bright and beautiful.
_ [D] Yeah. _
Yeah, I just believe [A] that everybody, if they make a conscious effort, I mean, you know, [D] we're all here doing [Dm] whatever we're doing.
[E] And we might as well get [Dm] on with [D] it.
And, _ [C] you know, _ why risk the _ _ sidetracking [D] influences of drugs, which are only _ [C] proportionate to [G] boredom, that everybody feels, basically, through a lack of, [F] _ _ [Cm]
sometimes, security.
[Bb] More often because, _ [C] _ I suppose, just plain [Gm] old lazy, when it comes down to [G] it.
You know, I mean, we might as well get on with making assessments and judgments and analyses of situations, music and art [F] of all kinds.
Even if we [C] don't have the ability, we might as well get on with trying, you know.
There's damn well else to do.
I mean, you can go around going like this to everybody, [Gm] but it doesn't really get you very far in the [F] long run.
[G] With this attitude [F] in mind, then, do you get any pleasure from receiving gold [G] records for?
[Em] Any number of [Dm] songs you've made?
Well, I [Em] suppose I get [Bb] a kind of [C] inverse sort of _ [Gm] pleasure in as [F] much as [Em] it's a [G] symbol of pleasure that you [C] may [G] conceivably have given to other people.
[Cm] Rather than what you [Db] personally get out of getting [C] a, [Gm] you know, a gold record.
I mean, a wooden one would look nicer, wouldn't [G] it?
In actual fact.
Possibly.
You know.
Well, now, is this important to you, making other people happy then?
You're not so concerned with [Bb] what comes out of your music.
As long [Ab] as [F] it's part of a coincidence, you [Bb] know, it's important to me, you [C] know, to see it there.
[F] But I would never, I'm [Gm] not sufficiently benevolent as a musician [C] to go [F] around, _ _ you know, [C] _ raving around the world like [G] a lunatic just to make people smile for a night.
You [Em] know, or make [D] records simply to have them sit in their front room and get stoned quietly and [Cm] think, wow man, far out.
[F] You know, I mean.
No, _ I do [G] it basically for me, you know, which [Gm] is the most honest reason I could have for doing it.
I don't have to make compromises to people that way.
[F] Except to some extent to the other [D] guys in the group, just as they would make [Gm] to me.
But that's within the [A] unit that produces the music.
So, [Gm] I mean, that's fair enough.
What kind of music interests you apart from what you were doing yourself?
Anything in particular?
_ Um.
The classical, for instance.
[Ab] Well, you know, anything [Gm] interests me if I'm exposed to it.
But I take care not to be because I don't like, _ I don't like being aware of other people's music because [D] inevitably I'm influenced [Bb] by anything I see or hear around me.
That's how I write [C] music anyway, write [Gm] songs.
[G] Because I walk around, hopefully with [C] at least one of [Eb] my eyes open anyway.
_ [N] And listening to other music is bound to rub off in some way.
Because a lot of the other music I hear I really don't like.
I find it bad.
Although it's catchy.
You know what I mean?
Catchy.
[G] And I don't want to get caught [Gm] up in that kind of _ commercial _ _ [Eb] aspect of [G] repetition.
[Em] I don't really [Gm] like repetition unless [Cm] it serves a [G] very definite [Em] purpose [Gm] musically within the context of a [Cm] whole piece.
It's sometimes worthwhile.
But, [Gm] you know, I prefer_
I've always had it.
Sure.
I mean, if you listen to that [G] record, there's a lot of_
There [Eb] is some repetition, but not a [G] great deal.
How do you see your [Eb] future progressing from [G] this point?
What do you [Eb] have in mind for your future?
More of the same?
[D] _
_ No, no, [G] definitely not.
No.
That's really the point.
I don't want to do more of the same.
But I think [Eb] every record and every [Gm] year has to be different.
You [Ab] know, if we ever turned out two successive records which [Eb] were good and were in the same [D] vein, [Em] the second [Cm] one wouldn't be good.
I mean, to me.
[Gm] _
[G] Because it's necessary to keep moving, yeah.
[Fm]
I mean, if [G] it has to be a terribly [Gm] conscious effort to do something different [Em] for the sake of being different, well, that's [Cm] wrong.
But as long as we're lucky enough to keep, [Gm] you know, naturally coming up with something which feels different,
[Dm] has a different _ _ _ set of experiences behind [Cm] it, _ perhaps [G] a different intellectual concept behind [Em] it, then that's fine.
As long as it [G] comes naturally, something born out of a year's being older, you know.
Ian, thank you very much for your time.
A lot of people are waiting for you.
Come back and see us [Gbm] again.
Thanks very much.
[G] _ A most [N] interesting and certainly a very articulate character.
And I think those of you who saw him enjoyed the music very much. _
It's a rather _ [Ab] novel cover this one because it opens up, as you can see, even folds down,
into a tabloid style newspaper and we have _
[G] pages and pages of gear [Ab] which has been sorted [Fm] out by, I [G] suspect, Ian Anderson.
And there are four or five pages through there.
And the music, well, what can you say about Jethro Tull?
They're [Ab] absolutely fantastic.
And that leads us right to our next segment because we did get the chance to talk to Ian Anderson, leader of Jethro Tull.
Ian Anderson, [C] welcome to Australia, along with Jethro Tull.
Thanks very much.
Did [D] you envisage this fantastic success you've had _ _ yet? _ _
No, not [C] really because, _ _ as I think I was saying before, _ my main [G] reason for going into it was just to, really for fun.
For fun and the fact that I was _ not a [Db] particularly [D] welcome [C] member of the family at the time.
I [G] disappeared from it temporarily.
At what age was this?
I was a rock and roll star, the age of about, well, about 18 actually, _ about 18.
But I lived off my ailing father for a couple of years, which he didn't appreciate very much, you see, after I fled from [C] school.
_ _ [N]
And _ I don't know, you know, he thought I was really going to miss out on everything.
_ But he really likes me now, you know.
He really likes me, thinks I'm a good bloke. _
Did you actually fall into rock music or was this a planned campaign?
_ Well, I don't know about rock music, you know, we fell into blues music.
We were sort of pushed, really, by the necessity of earning a living at the [Dm] time.
Blues [C] was the, _ you know, the idiom of contemporary music in England _ four or five years ago that was commercially _ [D] _ acceptable within the club [C] circuit where_
[G] You inevitably have to begin.
So that's what we did.
But I mean, [Ab] we never really did it with much [C] conviction, you know, because I'm the wrong colour.
You know, I mean, seriously.
Really?
Yeah.
They're full Britain at that [N] time.
No, I was the right colour there.
Unless I wanted the wrong part of Manchester somewhere.
No, I was the right colour.
But the wrong colour for singing that kind of music, which I really believe, you know, belongs with a black man.
I see.
Despite Joe Cocker, people like him.
Sure, despite anybody who has to sing with an affected American accent, you [Dm] know, [Db] with [N] mannerisms _ to match.
Simply because they happen to feel the earthiness of the music, which is _ undeniably there.
But why affect a whole vocal style, [Eb] which is just unnatural to [Gb] the _ Caucasian voice?
You know, because you've really got [N] to try to sing that way.
You know.
Desperately hard.
And I can't sing that way.
_ [E] It's not me.
You seem [N] _ very sure that everybody [E] should make up their own mind [G] about all things, specifically music.
Yeah, all things specifically, [N] not the things that are bright and beautiful.
_ [D] Yeah. _
Yeah, I just believe [A] that everybody, if they make a conscious effort, I mean, you know, [D] we're all here doing [Dm] whatever we're doing.
[E] And we might as well get [Dm] on with [D] it.
And, _ [C] you know, _ why risk the _ _ sidetracking [D] influences of drugs, which are only _ [C] proportionate to [G] boredom, that everybody feels, basically, through a lack of, [F] _ _ [Cm]
sometimes, security.
[Bb] More often because, _ [C] _ I suppose, just plain [Gm] old lazy, when it comes down to [G] it.
You know, I mean, we might as well get on with making assessments and judgments and analyses of situations, music and art [F] of all kinds.
Even if we [C] don't have the ability, we might as well get on with trying, you know.
There's damn well else to do.
I mean, you can go around going like this to everybody, [Gm] but it doesn't really get you very far in the [F] long run.
[G] With this attitude [F] in mind, then, do you get any pleasure from receiving gold [G] records for?
[Em] Any number of [Dm] songs you've made?
Well, I [Em] suppose I get [Bb] a kind of [C] inverse sort of _ [Gm] pleasure in as [F] much as [Em] it's a [G] symbol of pleasure that you [C] may [G] conceivably have given to other people.
[Cm] Rather than what you [Db] personally get out of getting [C] a, [Gm] you know, a gold record.
I mean, a wooden one would look nicer, wouldn't [G] it?
In actual fact.
Possibly.
You know.
Well, now, is this important to you, making other people happy then?
You're not so concerned with [Bb] what comes out of your music.
As long [Ab] as [F] it's part of a coincidence, you [Bb] know, it's important to me, you [C] know, to see it there.
[F] But I would never, I'm [Gm] not sufficiently benevolent as a musician [C] to go [F] around, _ _ you know, [C] _ raving around the world like [G] a lunatic just to make people smile for a night.
You [Em] know, or make [D] records simply to have them sit in their front room and get stoned quietly and [Cm] think, wow man, far out.
[F] You know, I mean.
No, _ I do [G] it basically for me, you know, which [Gm] is the most honest reason I could have for doing it.
I don't have to make compromises to people that way.
[F] Except to some extent to the other [D] guys in the group, just as they would make [Gm] to me.
But that's within the [A] unit that produces the music.
So, [Gm] I mean, that's fair enough.
What kind of music interests you apart from what you were doing yourself?
Anything in particular?
_ Um.
The classical, for instance.
[Ab] Well, you know, anything [Gm] interests me if I'm exposed to it.
But I take care not to be because I don't like, _ I don't like being aware of other people's music because [D] inevitably I'm influenced [Bb] by anything I see or hear around me.
That's how I write [C] music anyway, write [Gm] songs.
[G] Because I walk around, hopefully with [C] at least one of [Eb] my eyes open anyway.
_ [N] And listening to other music is bound to rub off in some way.
Because a lot of the other music I hear I really don't like.
I find it bad.
Although it's catchy.
You know what I mean?
Catchy.
[G] And I don't want to get caught [Gm] up in that kind of _ commercial _ _ [Eb] aspect of [G] repetition.
[Em] I don't really [Gm] like repetition unless [Cm] it serves a [G] very definite [Em] purpose [Gm] musically within the context of a [Cm] whole piece.
It's sometimes worthwhile.
But, [Gm] you know, I prefer_
I've always had it.
Sure.
I mean, if you listen to that [G] record, there's a lot of_
There [Eb] is some repetition, but not a [G] great deal.
How do you see your [Eb] future progressing from [G] this point?
What do you [Eb] have in mind for your future?
More of the same?
[D] _
_ No, no, [G] definitely not.
No.
That's really the point.
I don't want to do more of the same.
But I think [Eb] every record and every [Gm] year has to be different.
You [Ab] know, if we ever turned out two successive records which [Eb] were good and were in the same [D] vein, [Em] the second [Cm] one wouldn't be good.
I mean, to me.
[Gm] _
[G] Because it's necessary to keep moving, yeah.
[Fm]
I mean, if [G] it has to be a terribly [Gm] conscious effort to do something different [Em] for the sake of being different, well, that's [Cm] wrong.
But as long as we're lucky enough to keep, [Gm] you know, naturally coming up with something which feels different,
[Dm] has a different _ _ _ set of experiences behind [Cm] it, _ perhaps [G] a different intellectual concept behind [Em] it, then that's fine.
As long as it [G] comes naturally, something born out of a year's being older, you know.
Ian, thank you very much for your time.
A lot of people are waiting for you.
Come back and see us [Gbm] again.
Thanks very much.
[G] _ A most [N] interesting and certainly a very articulate character.
And I think those of you who saw him enjoyed the music very much. _