Rock As Electric Wallpaper
By Ian Anderson comes on by himself, hair rattier and more tangled than ever, his permanent costume of leather boots, pocketless pants and black and yellow checked coat showing rents and signs of wear, waving an acoustic guitar in acknowlegement to the standing ovation.
Ian Anderson comes on by himself, hair rattier and more tangled than ever, his permanent costume of leather boots, pocketless pants and black and yellow checked coat showing rents and signs of wear, waving an acoustic guitar in acknowlegement to the standing ovation.
“Good eveningj ladies and gentlemen, boys and girls. Welcome to the Andy Williams Show.”
He sits down and quietly starts into “My God”. John Evan moves silently to his Steinway and starts playing, complementing the sound without adding volume. Silently, the rest of the band walk on, plug in, and let forth with a crashing roar. Anderson kicks his chair away, and starts bounding around while new bassist Jeff r e y Hammond-Hammond, subject of several Tull songs (all written by Ian Anderson, before Jeffrey joined, one presumes) takes great swooping steps, his glasses looking like a fighter pilot’s goggles. Through it all the rock bellows and screams: Jethro Tull’s speciality.
British hard rock has become synonomous with Led Zeppelin, Of course, but whereas the Zep’s heaviness is derived from blues, Tull’s weight is an outgrowth of rock and roll.