Marty Ingels Interview: A Brooklyn wisecracker with hutzpah who became a TV Icon

By Ray Shasho

This is another “Classic Rock Meets Classic TV” segment:

... "I’ve been a puppet, a pauper, a pirate, a poet, a pawn and a king."

Marty Ingels longevity in show business may be depicted by Dean Kay and Kelly Gordon’s unfeigned lyrics popularized by the "Chairman of the Board" Frank Sinatra.

The multi-talented Marty Ingels has contributed to the entertainment world in various manners.   Gumption, perseverance, and a chance encounter with legends Carl Reiner and Sheldon Leonard, landed the kid from Brooklyn a big break on television. And it was Marty Ingels recurring and animated performances as Sol Pomeroy, Rob Petrie’s loud-mouth Army buddy on The Dick Van Dyke Show that sparked a costarring opportunity with John Astin(Gomez -Addams Family) on the critically-acclaimed sitcom, ‘I’m Dickens, He’s Fenster.’ Unfortunately the sitcom, created by the legendary Leonard Stern (“The Honeymooners,” “Sergeant Bilko,” “The Steve Allen Show,” “Get Smart,” “McMillan and Wife.”) was cancelled after just one season and 32- episodes.

‘I’m Dickens, He’s Fenster’ 50^th Anniversary Collector’s Edition DVD Set of the 1960s TV sitcom is available to purchase for the first time ever. ‘Volume One’ includes three -discs with the first 16- episodes and never-before-seen extras and collectable bonuses. The show is about two blue-collar carpenter buddies and their day-to-day antics. Marty Ingels played bachelor Arch Fenster, and John Astin portrayed Harry Dickens, a married man who sometimes relished Fenster’s bachelorism. Harry’s wife Kate Dickens was played by Emmaline Henry (Amanda Bellows of “I Dream of Jeannie.”)   

Marty Ingels has appeared in over 100 TV shows and feature films. Some of the classic TV shows he’s appeared on are, “The Addams Family,” “Bewitched,” “Adam-12,”  “Police Story,” “Chips,” “The Love Boat,” “Murder, She Wrote,” “Baywatch,” “Walker, Texas Ranger,” and     “ CSI.” He’s also had a successful career performing voiceovers on various cartoon series including, “Motormouse and Autocat,” “The New Tom & Jerry Show,” “The Great Grape Ape Show,” and was the voice of “Pac-Man.”

Marty’s latest projects include, “Laid Off” and “A Strange Brand of Happy.”

Ingels married Academy Award winning actress and singer Shirley Jones in 1977. Jones appeared in classic musicals such as, “Oklahoma!” “Carousel” and “The Music Man.” She also became commonplace on television as Shirley Partridge, the widowed-mom of five children who then became a successful pop group.

Jones and Ingels wrote an autobiography based on their oddball relationship called, Shirley & Marty: “An Unlikely Love Story.”

Here’s my interview with comedian/ actor/ cartoon character/ voiceover artist/ theatrical agent/ Marty Ingels.

Ray Shasho: Marty, you’re one of those characters that I’ve always remembered from childhood and being from Brooklyn, you truly remind me of one of my Uncle’s from Bensonhurst.  

Marty Ingels: “Then go to your room!”

Ray Shasho: (Laughing!) How did you first get into show business?

Marty Ingels: “My first few months in Hollywood, no sign of work. But I had a sweet old agent who just loved me ... and was increasingly more embarrassed with the zero prospects he came up with. One day (as he tells it) he called a friend of his, who was then producing a daily show dramatizing recorded criminal trials. He said, “Randy, you gotta’ get me a gig for Marty … anything!” Randy said, Just happens our show next week is about a murder that happens in a traveling circus troupe … and there’s a part for a clown.” My agent said, “Say no more …when do you want to see Marty?”

The next day… I had my circus clown reading. Nobody told me that the part for the clown had been written for a Midget. Anyway, the audition room was packed with little people when I got there … and I stammered and stuttered when they asked me what part I was reading for. Well… I got the part and those nice little people were dumfounded by a peculiar statistic… once every six years, a good role comes up for a dwarf, and a 6 foot 1 inch Bozo gets it.” (Laughing)

Ray Shasho: What was your big break in television?

Marty Ingels: “Guesting on the Dick Van Dyke Show as his loud-mouth Army buddy. It was my first TV shot in LA. My other break came after crawling into Jerry Lewis' office at Paramount. I was aggressive!”

Ray Shasho: One of my favorite Dick Van Dyke episodes was 'Sol and the Sponsor.' How did you get that role on the Dick Van Dyke Show?

Marty Ingels: “1961-ish it's about 2:30 a.m., and I'm sitting with a weary date in the all-night Pancake House. I'm in my mid-20s and mostly jobless. Then I look up and see two couples entering the restaurant and being seated. The two couples are Carl Reiner, Sheldon Leonard and their wives. It's a miracle mirage… I can't believe it. I say to my date, “Do you know who those men are?”  She says, “Who?” And I said, "Only Hollywood’s entire sitcom industry in one place.”  

“I asked my date if she's got four dollars that she can lend me (I've got six dollars in my pocket). So, she gives the four dollars to me and I race to the kitchen and ask who handles their table. I tell the waitress, “Look… I'll give you ten dollars if you let me serve the dessert.” I could say… “the rest is history” but not quite yet.”

“The dessert came and I jumped in and raced over there with the pie and the Shortcake … then I turned it on … Gleason, Berle, Skelton… I did it all. The wives loved me, Carl and Sheldon crunched up their mouths’ and squinted their eyes.... they knew exactly what was happening, but it was Carl who saved everybody's day. He whipped out a business card and said, “I'll give you this if you please get us our real waitress.”

“And it still wasn’t the rest is history yet because God still had his move to make. The next day… when I called Reiner and made an appointment to see him, he could’ve vanished without a sound, but he didn’t. He made the appointment and when I got there, he was quick to tell me that they were introducing a new character the next week and they hadn't cast yet. It was for an old New York Jewish Army Buddy of Dick’s called Sol Pomeroy …and now the rest of that is history! When I watch it now… this pushy kid fresh from Brooklyn High School, balancing all that comic traffic and doing it so beautifully …my therapist would say… "It's about time you broke down and gave yourself some credit … I was good! Now I gotta’ take a Prozac.”

Ray Shasho: What was it like to work on the set with those hilarious characters, and under the great Carl Reiner?

Marty Ingels: “They’re all heroes of mine. Carl has an over-the-top presence. His genius for comedy of simple life was the magic ... and still is.”

Ray Shasho: Do you still keep tabs with anyone from the Dick Van Dyke Show?

Marty Ingels: “Dick’s a close friend … Carl too.”

Ray Shasho:  (Laughing) ‘I’m Dickens, He’s Fenster’ lasted one season / 32 episodes. When the show came out you had some pretty stiff competition, but I'm still surprised it was cancelled after only one season, especially being created by the legendary Leonard Stern. And I wasn't aware that the show launched the careers of so many great actors. (Harvey Korman, Lee Meriwether, Yvonne Craig, Jim Nabors, and Ellen Burstyn to name just a few)

Marty Ingels: “The show was an instant smash with the critics. They said it was a refreshing throw-back to the slapstick comedy era, even Stan Laurel was a fan. The show got cancelled by mistake before the ratings came out showing us beating our competition.”

Ray Shasho: Of course… your costar on that hilarious sitcom was John Astin. (He also played Gomez on ‘The Addams Family’) Do you still keep in contact with John?

Marty Ingels: “I’ve tried … John’s a college professor now. He’s a nice guy,  but I always overwhelmed him.”

Ray Shasho: You did a lot of voiceovers throughout your career, what was your favorite role?

Marty Ingels: “The voice of Pac-Man, which everybody thought would take over the world, but it didn’t …the Smurfs buried us. Voiceovers saved my carcass.”

Ray Shasho: Is there anything else you’d like to add Marty?

Marty Ingels: “Shirley and I administer Southern California’s only 911 Memorial Park, across Big Bear Lake in a little town called Fawnskin. It has a genuine piece of the Twin Towers in the center of the park in tribute to the thousands of sainted souls that left us. The park can only survive on outside donations. Go see it!”

Ray Shasho: Thank you so much for spending time with me today …Uncle Marty. (Laughing)

Marty Ingels: “You can come out of your room now.”

‘I’m Dickens, He’s Fenster’ 50^th Anniversary Collector’s Edition DVD Set of 1960s TV sitcom is available to purchase at Amazon.com.

‘I’m Dickens, He’s Fenster’ official website www.imdickenshesfenster.com

Marty Ingels IMDb www.imdb.com/name/nm0408733/

Marty Ingels TV.com www.tv.com/people/marty-ingels/

Shirley Jones official website www.shirleyjones.com

Special thanks to the great Billy James of Glass Onyon PR for this interview.

Official website http://glassonyonpublicity.wordpress.com/

Contact columnist/author Ray Shasho at rockraymond.shasho@gmail.com

Download Ray’s exciting new memoir called “Check the Gs” The True Story of an Eclectic American Family and Their Wacky Family Business on Kindle and Nook for just .99 cents!

 

Ray, raised by a Cuban Catholic mother and a Syrian Jewish father was 100% street smart.  What impressed me most was when Ray was older, so did his style of writing change into a more mature written voice.  For example, his early years, the first third of Check the Gs, had observations as seen through a kid’s perspective.  I actually felt a kid was narrating the story in first person!  Yet as Ray matured, his storytelling had more to do with his meeting all sorts of people, falling in love, but still selling gadgets, and making a PR (profit). ~~Pacific Book Review

Order today at amazon.com or barnesandnoble.com

© Copyright rayshasho.com. All Rights Reserved

 

Henry McCullough divulges divine intervention while with Paul McCartney & Wings

By Ray Shasho

Guitarist/songwriter/vocalist/ Henry McCullough may not be a household name but has undeniably imprinted his roots in rock and roll folklore. McCullough’s first band of prominence was spearheaded by (Animals bassist/Hendrix manager) Chas Chandler. The band (Eire Apparent) toured with legendary performers such as The Jimi Hendrix Experience, The Move, and Pink Floyd.

McCullough joined the legendary Irish Folk group, Sweeney’s Men, before joining Joe Cocker’s Grease band. McCullough toured with Cocker as his lead guitarist. Joe Cocker and The Grease Band performed on day (3) of the Woodstock Festival, August 17th, 1969. The band’s electrifying performance of the Beatles, “With a Little Help from My Friends,” was considered one of the most memorable of the event.

McCullough also had a short stint with the progressive rock band Spooky Tooth.

Several members of The Grease Band were asked to play on an avant-garde concept album called, ‘Jesus Christ Superstar.’ Henry McCullough and bandmate Neil Hubbard would play under the direction of Andrew Lloyd Webber and Tim Rice. The album reached #1 on Billboard’s Hot 100 in 1971.

Also in 1971, Paul McCartney asked Henry McCullough to join his new band Wings as their lead guitarist. McCullough’s most significant contribution to McCartney’s Wings was his awe-inspiring solo on, “My Love.” According to McCullough, his guitar lick may have been induced by a divine nature. McCullough also played on, “Hi, Hi, Hi” which got tremendous airplay over Top 40 radio in America and peaked at #10 on the charts. The upbeat tune was loaded with sexual innuendos and banned by the BBC. McCullough also played on the James Bond theme song, “Live and Let Die” penned by McCartney, and charting at #2 on Billboard Top 100. The song was recorded during the ‘Red Rose Speedway’ sessions.

During a Wings recording session at Abbey Road studios, McCullough was asked to contribute a simple spoken sentence for another session in progress next door. The band was Pink Floyd and the recording was for the ‘Dark Side of the Moon album.’ McCullough’s notorious line, “I don't know; I was really drunk at the time” found its way on the “Money” track. ‘Dark Side of the Moon,’ became one of the most successful selling albums in history, and is considered one of the greatest rock albums of all-time.

Some of the incredible artists that McCullough has worked with over the years include… Eric Burdon, Roy Harper, Donovan, Ronnie Lane, Frankie Miller, Marianne Faithful, and The Who.

McCullough most recently reunited with former Wings bandmate and drummer Denny Seiwell, and performed at the ‘Fest for Beatles Fans’ in Secaucus, New Jersey.

Henry McCullough’s latest release, “Poor Man’s Moon” is an amazing dose of British-blues, rock, folk, and country, played by one of the very best guitarist in the business.

Here’s my recent chat with the enduring and incredible Henry McCullough.

Ray Shasho: Thank you so much Henry for spending time with me today. You’ve performed on countless recordings throughout the years with so many legendary artists. Have you collaborated with fellow countrymen Van Morrison or the late great Rory Gallagher? 

Henry McCullough: “I met Rory many years ago, he also played in showbands in Ireland, but I never had the pleasure of playing with Rory, I did speak to his brother(manager) about Rory coming over to produce my ‘Unfinished Business’ CD, but he wasn't well enough so that was that, RIP Rory Gallagher. I've not had the pleasure of playing with Van Morrison either, though our paths did cross a few times over the years.”

Ray Shasho: The greatest cover of The Beatles, “I Am The Walrus” has to be Spooky Tooth’s Prog Rock/ Psychedelic version on, ‘The Last Puff’ album. Was the band actually in the studio together or was it recorded in succession?

Henry  McCullough: “From what I can remember, all of Spooky Tooth were in the Studio together, and my guitar part was overdubbed, I only had a minor part to play on ‘The Last Puff.’”

Ray Shasho: Do you know if The Beatles listened to the Tooth’s version of, “I Am The Walrus?”

Henry McCullough: “I really don't know if any of the Beatles heard this particular track on ‘The Last Puff,’ I doubt it, if any of The Beatles were to listen to every cover of Beatles songs; they would be listening for a very long time.”

Ray Shasho: Some of the most memorable Woodstock concert moments caught on film were Alvin Lee and Ten Years After’s “I’m Going Home,” Santana’s “Soul Sacrifice,” Joe Cocker and The Grease Band’s “With a Little Help from My Friends,” and Ritchie Havens “Freedom.” I’ve chatted with Gregg Rolie (Santana) about his Woodstock experience, what was Henry McCullough’s flashback to Woodstock?

Henry McCullough: “What a day that was, we were air lifted by helicopter, did the gig, and airlifted out. Impossible to try and explain to anyone what seed was planted at Woodstock that day, it changed a lot of people, it wasn't until in later years, looking back, that one realized,  "what a moment in rock n roll history."  I must say that Joe Cocker and The Grease Band were at top form and it did wonders for Joe. It was a great performance by Joe and the band. That was some gig, yes sir…. that was some gig.”

Ray Shasho: Santana’s Gregg Rolie hung around to watch one of his favorite performers, Sly Stone. Did you hang around to watch the other performers?

Henry McCullough: “We did not hang around too long after the gig at Woodstock, it was back to the hotel, a "last Puff" and away we went the following morning, to where, I can't remember.”

Ray Shasho: Have you ever jammed with Jimi Hendrix?

Henry McCullough: “Yes I did jam with the great Jimi Hendrix. We (Eire Apparent) had the same managers, and he produced the first single, and the first L.P. which I didn't play on. I was sacked for enjoying the fruits of America. Steve Paul had the Scene Club in New York and the "Eire Apparent" had a week’s residency. Jimi arrived with Buddy Miles and that was a jam and a half … jeez, I've just realized how long ago it all was.” 

Ray Shasho: ‘Jesus Christ Superstar’ was an incredible album. How were you and Neil Hubbard selected to play on the album? Also describe the production process.

Henry McCullough: “It was The Grease Band that played on all the tracks. Together we were doing a lot of sessions in and around London; Joe had gone to do his thing with Leon Russell in the U.S., Mad Dogs & Englishmen. We needed another guitar player to work live gigs with The Grease Band and that’s where Neil Hubbard came into the picture … a great guitarist.

“We would start the day with Andrew Lloyd Webber showing us the chord sheets etc. etc. and away we went. Particular bits that had a short riff for guitar … I learned on piano before we would start the session. When all the backing tracks were finished, that was it for us, then they brought in the singers etc, I never played with Ian Gillian, nor did I get to meet him or any of the singers involved.”

Ray Shasho: You played on; “My Love” WINGS first number 1 hit in America. Was that beautiful guitar solo your own creation?

Henry McCullough:  The solo on "My Love" was done at Air studios, George Martin’s studio.

Yes that's me playing the solo, and was done in one take. I mentioned to Paul that I wanted to change whatever was suggested. The conversation between Paul and I went like this ..."what are you gonna’ play?" -  "I don't know" - " You don't know what you’re gonna’ play?" -"No."

“Now, there's Paul, George Martin etc. in the control room, a 50 piece orchestra waiting on me in the studio, (they were recording both the orchestra and guitar solo at the same time) so, in I went and plugged in the Gold Top, took a deep breath, and when I exhaled it was all over, a bit like going to the dentist. It was a one take wonder, a gift from God? I don't know… somebody/something happened, everybody saw it/felt it, ask Sir Paul and I think you would get a similar answer.”

Ray Shasho: I witnessed WINGS first American tour in 1976. Do you have any regrets about leaving the band before their first worldwide tour?

Henry McCullough:  “Of course, but I can't dwell on the past. I walked out just prior to going to Lagos, an awful time to walk away, not the thing to do and it is the only thing I regret. But sure, look where it got him, and I’m a happy man.”

Ray Shasho: I’m guessing no one had a clue how famous your line …"I don't know; I was really drunk at the time" would become after it was recorded at the end of “Money” on the ‘Dark Side of the Moon’ album?  

Henry McCullough: “I honestly can't remember what the question was that brought that reply, and I’ve not seen any of the Floyd since that day in Abbey Road.”

Ray Shasho: “Skin and Bone” from your latest release, ‘Poor Man’s Moon’ is a really cool tune …awesome country and blues guitar licks. Were you influenced by American country and blues artists?

Henry McCullough: “Yes, country, blues, all of that stuff. Hank Williams, John Lee Hooker, Snooks Eaglin, bluegrass …. You know what I mean.”

Ray Shasho: Nashville has so many incredible players and is a main hub for recording music in the U.S. these days. Do you spend any time in Nashville?   

Henry McCullough: “I never got to hang around Nashville; I made it to the Country Music Hall of Fame and met Conway Twitty … that was nice.”

Ray Shasho: Love your cover tune of, “A Mess of Blues.” Did you ever get an opportunity to meet with Elvis or Scotty Moore?

Henry McCullough:  “Never met Elvis or Scotty Moore, oh well, but I did hear them like all the rest of the world and that was good enough for me.”

Ray Shasho:What’s the origin behind your song, “Failed Christian?”

Henry McCullough: ““Failed Christian,” an outsider looking in, Spirit in music, there's a prayer in a song.”

Ray Shasho: Henry, what are your latest endeavors?

Henry McCullough: “Off to ‘The Beatles Fest’ in New Jersey, the Iridium in N.Y.C., France and Poland in April, and Norway in the summer. I just do what I've always done, play music, travel and to keep on looking for which I know is out there. It's not ever-present … you gotta’ look for it before you get paid.”

Ray Shasho: Thank you very much Henry, it’s been a real pleasure, you’re a truly gifted guitar player and songwriter! Thanks for all the great music throughout the years.

Henry McCullough: “Thanks Ray!”

Order Henry McCullough’s latest CD ‘Poor Man’s Moon’ at Amazon.com

Henry McCullough official website www.henrymccullough.com

Special Thanks to Anne Leighton of Leighton Media for this interview

Official website www.anneleighton.com   

Leighton Music Services http://leightonmusicservices.blogspot.com/

Contact Ray Shasho at rockraymond.shasho@gmail.com

Download author/columnist Ray Shasho’s exciting new memoir ‘Check the Gs’ The True Story of an Eclectic American Family and Their Wacky Family Business on Kindle at Amazon.com or on Nook at barnesandnoble.com for only .99 cents!

Ray Shasho is a product of the second half of the 20th century, made in the USA from parts around the world, and within him is every trend in music, television, politics and culture contributing to his philosophical and comically analytical reflections collected in his fine book of memories.  I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray.  So to all, I say if you have a bit of grey hair (or no hair), buy this book!  It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are. ~~Pacific Book Review

© Copyright rayshasho.com. All Rights Reserved

 

Ian Anderson: A conversation with the Scottish Gent we attest as Jethro Tull

By Ray Shasho

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 14^th 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 2^nd and available at Amazon.com.  Florida dates are confirmed for the upcoming tour. September 18^th at The Fillmore in Miami Beach, September 19^th at the Kravis Center for the Performing Arts in West Palm Beach, September 21^st 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

Jethro Tull official website www.j-tull.com

Ian Anderson’s world tour begins April 14^th 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

Contact Ray Shasho at rockraymond.shasho@gmail.com

 

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