Our very special guest today is Dennis Locorriere the legendary lead
singer, guitarist and songwriter for Dr Hook.
Dr Hook was an
internationally recognizable household name throughout the 70’s and 80’s and in
many territories throughout the world; it retains that standing to this
day.
Dr. Hook & the Medicine Show
did its farewell tour with Dennis on vocals in the late 80’s but it was
just the beginning of what he has since accomplished in his long and colourful
career. Locorriere penned songs have been recorded and performed by artists
such as Helen Reddy, Lou Rawls, BJ Thomas, Olivia Newton-John, Southside
Johnny, Willie Nelson and Bob Dylan. As a solo artist, Locorriere has played at
countless prestigious venues (Festival Hall Melbourne, Royal Concert Hall Glasgow,
Liverpool Philharmonic) and festivals including the UK’s Glastonbury and has
released 3 critically acclaimed albums.
Not for 30 years have the massive
hits of Dr Hook been sung and played live by a band worthy of that title …
until now.
Following the success of the Universal
release Dr Hook Timeless (Executive Producer, Dennis Locorriere in
the UK, New Zealand and Australia, Dennis Locorriere, who, from the very
beginnings of Dr Hook to the height of their success, was the unmistakable
voice of the band’s biggest hits and best loved songs, such as Sylvia's Mother,
Cover Of Rolling Stone, Only 16, A Little Bit More, If Not You, Sharing The
Night Together, Better Love Next Time, Sexy Eyes, When You're In Love With A
Beautiful Woman, Years From Now and many more, is touring the world with an
incredibly talented band of musicians and singers, playing all of the
hits.
This is something that Locorriere has not done
since his Dr Hook Farewell Tour in 1985.
In fact, never before have these songs been
recreated live to sound just as they did when they were originally recorded in
the famous Nashville and Muscle Shoals studios with some of the best session
musicians in the world.
Possessing one of the most recognizable voices in
popular music, Dennis Locorriere and the band have already performed sell
out shows in New Zealand, Australia, and the UK and will be bringing this
unique experience to the rest of the world.
Dennis says “I know that people love the Dr
Hook sound on those original recordings and that's what we're
bringing back to them, just the way they remember it and want to hear it
performed live”.
Dr Hook™ Starring Dennis Locorriere - The
Timeless World Tour, is the show Dr Hook fans have been waiting for.
Throughout the progressive rock ages, Ian Anderson
had been notably recognized as Jethro Tull. Even the occasional aficionado may refer
to the charismatic, swashbuckling, one –legged flautist as simply “Tull.” Ian
Anderson not only gave the world awe-inspiring lyric and melody, but also an
everlasting and irrepressible personification. So it’s no wonder that Ian
Anderson and Jethro Tull are synonymous.
Since it’s origination in 1968, the band has had numerous
personnel changes, but Anderson’s ingenuity and fastidious songwriting has preserved
the Jethro Tull trademark for almost a half a century. Deep-rooted lead
guitarist Martin Barre should also receive accolade for infusing the heaviest
of hard rock riffs.
The Jethro Tull band name was derived from an
eighteenth century English agriculturalist who invented the seed drill, but Ian
Anderson transformed the assigned appellative into a progressive rock protagonist.
Even today, Anderson’s proficiency and style remain unchallenged. His onstage persona mesmerized us, as we all
wondered how cool it would be to be “Tull.”
Ian Anderson embarks on a worldwide tour beginning
April 14th in the United Kingdom. Anderson will be performing the
1972 concept album, “Thick as a Brick” in its entirety as well as the new release, “Thick as a Brick 2” -Whatever
Happened to Gerald Bostock? .... forty years later. “TAAB2” the sequel was
officially released on April 2nd and available at Amazon.com.
Florida dates are confirmed for the upcoming
tour. September 18th at The Fillmore in Miami Beach, September 19th
at the Kravis Center for the Performing Arts in West Palm Beach, September 21st
at the Amphitheatre in St Augustine, and September 22nd at the Bob Carr Performing
Arts Centre in Orlando.
I had the rare opportunity to speak with Ian
Anderson recently about some uncommon topics. I wanted the interview to be different
than the usual laundry list of Jethro Tull inquisitions. Mr. Anderson was
quick-witted, fascinating, and profound. I quickly became mesmerized by other
aspects of his life including entrepreneurship.
Here’s my chat with legendary multi-instrumentalist/singer/songwriter/prog-rock
pioneer/Jethro Tull founder/ feline advocate/ entrepreneur/ IAN ANDERSON.
Ray
Shasho: Ian, thank
for being on the call today … are you calling from Scotland?
Ian
Anderson: “I’m actually calling from the South
West of England.”
Ray
Shasho: You
conducted a Self- interview which appeared on You Tube video recently about the
upcoming release of “Thick as a Brick 2.” It was so good; I’m a bit worried you
won’t need us journalist anymore.
Ian
Anderson:
“The
way things are these days, we use every opportunity we can to tell a story and
keep the fans amused, and keep myself amused as we get old and jaded.”
Ray
Shasho:
Just about every piece of information regarding Ian Anderson and Jethro Tull
has been collected and available on your website, it’s getting to be very challenging
to ask you anything that hasn’t already been answered on the site.
Ian
Anderson: “I’m so glad to hear you say that
because that’s exactly why I do it, to try and make your job easier. You can
just cut and paste and have a fun time with that without spending too much
money on transatlantic phone calls.”
Ray
Shasho:
I spoke with Greg Lake several weeks ago; we talked about the Salisbury
Cathedral charity show you did together. Greg said it was a funny experience,
standing in a Cathedral playing rock and roll. He also mentioned there were
dead bodies in the Cathedral while you played?
Ian
Anderson:
“I
didn’t think we were that bad. (All laughing) Well that’s what Cathedrals
usually have in them. They have crypts and all sorts of ancestors and people
lie within, so we hope they remembered to take their sleeping pills.”
Ray
Shasho: I’m
guessing the acoustics were pretty good?
Ian
Anderson:
“Extremely
long reverberation times and you have to be very careful how you gently amplify
and redistribute the sound otherwise it will become a cacophony and will
certainly awake the dead.”
Ray
Shasho: I’m trying
very hard to not be one of those reporters who will ask the same questions of
you, and I’m usually known for asking unconventional questions to solicit new
material. You have an incredibly informative page on
your website called, “Your new kitten: Advice for new parents.” Why the
fascination with cats?
Ian
Anderson:
“When I was a young boy
I preferred cats to dogs. From the age of seven or eight onwards I just felt
more comfortable with cats. And I felt more comfortable with girls, I didn’t
really like hanging out with guys. When I was about ten or eleven, I was
friendlier with the girls in my school than with the guys. And later on in my
school years I really didn’t enjoy the company of men and the beer drinking
experiences of teenagers… so I wasn’t a manly schoolboy. I preferred arts and
more gentle pursuits than sports, so I was more of an academic really and kind
of cats fit the bill. Cats fit that kind of personality better than dogs. I’m a
bit of a girlie guy who liked growing up with cats.”
Ray
Shasho: I sent you an email several years ago
regarding the Big Cat Rescue in Tampa, Florida and recently found out that
you’re already kind of connected with them.
Ian
Anderson:
“Well that’s right;
I’ve been there and have done a couple of things for them in terms of press and
promo or what have you, and we know who each other are.”
Ray
Shasho: Do you have any of the larger cats on your
farm?
Ian
Anderson:
“No, I think the proper
place for those animals are in there natural habit and not in zoos or private
collections of wild animals, I don’t really like that kind of thing very much.
That’s like taking me out of my environment and putting me in jail for the rest
of my life.”
Ray
Shasho:
I know your were a successful salmon farmer for many years, do you continue to
be in that line of work?
Ian
Anderson:
“No, I was a salmon
farmer for about twenty years and there were a lot of issues like environmental
concerns and the principals of taking animals into intensive farming. Perhaps in
the case of salmon you have this absurd reality of taking more and more out of
the oceans to manufacture the feed for salmon. It takes roughly speaking … maybe
ten kilos of capelin, sand eels and herring and various wild fish and shell
fish species to produce one kilo of fresh farmed salmon. So it’s a very
inefficient way of converting fish protein further down the food chain into
fish protein higher up the food chain where we think we want to eat it. I think
salmon farming has its place in the world … a few hundred thousand tons of
salmon production in the world is probably a good thing, but to the level at which
it’s gone now where it’s such a mass produced commodity in many parts of the
world.”
“Usually farming
Atlantic salmon because they’re faster growing and better oil content and just a
much nicer fish altogether than the pacific species but as you probably know
they farm down in the pacific too ... in Chile and elsewhere, west coast of the
U.S. and Canada. That’s something we wouldn’t allow to happen in our part of
the world, that is farming of nonindigenous species and an insecure context
like cages and Open Ocean is something that we don’t think should be allowed to
happen. But again, commercial enterprise being what it is people have decided
that they’re going to do that anyway and have managed to persuade the
governmental authorities to let them do it. But I’m very much opposed to that
so I decided I really didn’t want to be involved with farming salmon anymore.
The negatives outweighed the positives for me and I decided to gently remove
myself from that world.”
“When I first started
it was all shiny and new and there were only a few tens of thousands of tons of
salmon being produced when I started and most of it in Norway. When we began it
was a pretty low key effort usually involving people from local communities and
the west coast of Scotland who otherwise found it difficult to find work, so
for the first ten-fifteen years or so it felt like the right thing to do. But I
became less enamored of it primarily because of environmental and conservation
reasons.”
Ray
Shasho: Ian, I was a commercial banker in another
life, and was the guy lending money for start-up enterprises. So I’m extremely
impressed by the way you began an entirely new business venture, turned it into
a success, and operated and maintained it for twenty years.
Ian
Anderson:
“I’m all in favor of
banks that play their part in community endeavors, private individuals looking
for loans, people who want to start up a little business, and that’s what banks
are for. Once we get into investment banking there is no ring fence between the
investment arms of banks and the service sector of banking… I don’t like the
idea of fat-cat bankers looking for their big-big bonuses, spinning the
roulette wheel and using as their stake the money loaned to them used by
private individuals whose life savings are wrapped up into what’s proved to be
an extremely risky and unpleasant side of that industry. So that’s one of the
things I’m singing about on the new album … is my end. Obviously I share this
with a majority of the people. We feel cheated by virtue of the fact that
people used our money to cover themselves in glory and huge bonuses. In the
case of Fred Goodwin of the Royal Bank of Scotland, a knighthood, which he so
surely deserved to have stripped from him as indeed it was a couple of weeks
ago.”
“But it was the Royal
Bank of Scotland who was the villains and the rest of the international banks
are not blameless in any of this. They essentially operate in the same way and
got themselves caught up in the prime mortgage business which was one of the
things that toppled the house of cards primarily due to the arrogance and naivety
of a couple of Icelander banks.”
Ray
Shasho: I was actually one of those banking
soldiers on the front lines that got axed in 2008 when turmoil hit the
financial markets. I was loyal and a top producer but apparently that meant
nothing to them.
Ian
Anderson:
“I don’t think anybody objects
in our capitalist western society about the idea of somebody getting paid for
results. But disparity between those getting really quite obscene levels of
bonus and those who are the foot soldiers of industry seem to have gotten
completely out of balance and it doesn’t seem right that there should be a
ratio of twenty … fifty… or one hundred to one between high paid people and the
average low paid person. It just seems too big of a differential. You can
understand if people got five or ten times as much money if they produce results,
but things have just gotten out of control and that’s part of the degree to
which our moral values have continued to change with capitalism becoming so incredibly
powerful. But like everything else, there’s good capitalism and there’s bad
capitalism. And you’ve got some of the good guys who later on realize they’ve
been so very-very fortunate to have done what they’ve done so the Warren
Buffets and the Bill Gates get to a point in their lives where they realize
true values are what you can do for other people than rather do for yourself.”
Ray
Shasho: Then there are the monopolies … where does
capitalism fit in that equation?
Ian
Anderson:
“Nowhere is that more
obvious than the record industry, where we have the purchase accepted of EMI by
Universal and now down to three major record companies. They have essentially
doubled between the small record companies and the tiny independents that are
left. Most of them would have the goal of selling out at some point to honor
one of the three majors and getting their retirement fund. In the live concert
sector you have Live Nation and AEG which compose far and away the greater part
of the total live concert industry around the world. And that can’t be right
either, it’s just become too much of a megalithic concern where the vast
majority of concert tours everywhere in the world are being carried out
essentially by two multi-national and huge companies that essentially bought
out all the other individual promoters, and did so obviously with borrowed
money and are struggling to stay solvent.”
“Like everybody else we’re
force to do business with Live Nation at least some of the time because they
have control over many venues and cities and have the monopoly to work there. We
have to grit our teeth and work with those guys too, there’s nothing wrong with
the individuals that work for those companies, mostly nice people that we’ve
worked with for many years, but they sold their souls to the devil … of
corporate enormity, but it’s up to us to change the things we don’t like.”
Ray
Shasho: When I interviewed Eric Burdon he said to
call it a “music industry” is a stretch.
Ian
Anderson:
“Eric Burdon is a venerable old gent who’s been around for many years and when
I was a lad fresh out of school, Eric Burdon was one of the guys that got me
infused about trying to play music and trying to become a professional musician.
All those years down the line, I think Eric Burdon has been one of those who is
lucky enough to still have his job, get’s out there plays a good concert and
plays a bunch of songs that he feels a rightfully degree of ownership about. That’s
a good position to be in if you’ve been around as long as Eric Burdon, and made
it your life, career, and the thing you love. It’s great that he can do it, but
economically it’s not that easy for Eric Burdon, he’s not quite big enough
around the world in terms of commanding quite enough to give himself a
comfortable level of profitable percentage doing concerts. He’s probably quite
close to the point where he’ll be doing okay and not great financially. He’s
kind of in the low to middle range economically …it’s not easy but he’ll do
okay as long as he’s careful.”
Ray
Shasho:
I’ve
always blamed commercial radio stations for the debacle of the music industry …
laziness to seek out and play new music, repetitive mindless commercials taking
over the airwaves and the absence of the music radio jock. After chatting with
Greg Lake … he blamed the invention of the Sony Walkman for self isolation, and
not sharing the music experience with your friends anymore. What do you think
changed the music industry?
Ian
Anderson:
“That
for me was the beginning of the beginning because I’m not a social type of guy.
I don’t like to sit around and listen to music with other people. The original Sony
Walkman … which I think still have, was quite well made, interesting, a small
practical cassette machine that allowed you to plug into it and listen to music
in that convenient isolation. That privacy was great to have if you were
traveling around the world and maybe had the opportunity to close your eyes and
listen to some music. So to me it was a great step forward. I’m eternally grateful
for the Sony Walkman and all of its successes to the introduction of the MP3
players. I think I’ve owned all the models of IPods so far. And these days
between my iPod, iPhone and my personal laptop computer, I’m someone who is very-very
grateful for all the ways to listen to music and completely switch off from people
around me and listen to the music in detail, which is very hard to do if you’re
in a room with other people.”
“We do hear perhaps too many accolades generally
aimed at people like Steve Jobs. We have to remember that there are other
classic things in life that we undervalue and take them for granted. If you
think of the classic lines of the modern jet aircraft, it’s really been there
since early World War II. I mean the first passenger jets that flew… they don’t
look so different. The Boeing 737… its generations apart from a few engine
changes but essentially remains the same thing that it was around forty years
ago since that airplane first flew commercially.”
Ray
Shasho:
I know we need to wrap this up … You’re touring the “Thick as a Brick 2” tour
as Ian Anderson. Will there be a future tour billed as Jethro Tull?
Ian
Anderson:
“The
band is essentially the same, maybe one different member of the band; it’s just
essentially the way I choose to describe what I do in different context. I like
to work with musicians who I feel are the right people. Sometimes one or two
people will change as I’m doing a certain Ian Anderson concert. If I’m doing an
acoustic tour with just a stripped down show than obviously I would choose
musicians who would fit that bill. If I was playing all Jethro Tull repertoire and
material than I would just call it Jethro Tull, but when it’s other projects
that represent my impersonal input, than I tend to use my own name rather than
simply call it Jethro Tull. I think given the fact that I’m the guy that writes
the music and does more of the organizational and management side of what goes
on … and sometimes I think I should be forgiven for having a Roger Waters moment
and claiming something is my own.”
Ray Shasho: Well, in our eyes … you are TULL!
Ian
Anderson: “That’s what people have been saying
for many-many long years but I always try and point out that it is “The band”
or whoever that band is… the people that play the music, and we have to remember
that were something like twenty eight members in Jethro Tull over the years and
people who have taken part in a major tour or in recording. So it’s a big
extended family … I’m the expedition leader and they trust me to take them
where we go.”
Ray
Shasho:Ian, thank you so much for spending time
with me today, but more importantly for all the fantastic music throughout the
years. We look forward to the release of “Thick as a Brick 2” (TAAB2) on April 2nd
and your upcoming concert tour.
Ian Anderson: “Ray I enjoyed talking with you, we’ll
see you in the states … bye-bye!”
“Thick
as a Brick 2” (TAAB2) is available to purchase at amazon.com
Ian
Anderson’s world tour begins April 14th in the United Kingdom. Anderson will be
performing the 1972 concept album, “Thick as a Brick” in its entirety as well
as the new release, “Thick as a Brick 2”
Florida dates are confirmed for the upcoming tour. September 18th at The Fillmore in Miami Beach, September 19th at the Kravis Center for the Performing Arts in West Palm Beach, September 21st at the Amphitheatre in St Augustine, September 22nd at the Bob Carr Performing Arts Centre in Orlando, September 25th at Sunrise Theatre in Fort Pierce.
Just Announced! Barbara B Mann Performing Arts Hall in Ft Myers on September 24th and Ruth Eckerd Hall in Clearwater on September 23rd. Tickets go on sale April 28.
Very
special thanks to Anne Leighton of Leighton Media for
arranging this interview -Official website www.anneleighton.com
Download author/columnist Ray Shasho’s fascinating memoir
‘Check the Gs’ The True Story of an Eclectic American Family and Their Wacky Family
Business Available on Kindle at Amazon.com and Nook at
Barnesandnoble.com for Only .99 Cents.
