Written by Rich Rogers
Ian Anderson: “Homo Erraticus”
For the better part of 50 years, Ian Anderson was the heart and brains of Jethro Tull, although it can certainly be argued that longtime guitarist Martin Barre was both arms. Anderson may have been the writer and arranger of all their music, but Barre gave it a life and interpretation that gave Tull its unique sound. It was a pleasure watching him tossing off metal riffs in songs like Aqualung, Locomotive Breath, or Steel Monkey that younger guitarists couldn’t dream of. And he did it with such panache, often only his fingers moving furiously on the frets and body of his guitar, with the rest of him standing stock still. With “Thick as a Brick II” and now “Homo Erraticus,” Anderson has officially gone his own way.
According to the liner notes for “Homo Erraticus,” it was a pleasant split, no rancor. Anderson just wanted to finally shed the Jethro Tull handle, and the only way he could do it was to go out on his own. The notes give the history of both the band and name, and Anderson tells the story with aplomb. He’s a great storyteller. He once quipped on the radio show “Off the Record with Uncle Joe Benson” that he pawned his guitar and switched to playing the flute because he was looking for an instrument Eric Clapton didn’t play.
With “Homo Erraticus,” Anderson revisits the fictional Gerald Bostock, ex-politician and childhood prodigy, the author of the albums “Thick as a Brick” and “Thick as a Brick II.” In fact, this particular album could be called “Thick as a Brick III.” It’s a series of songs written by Anderson’s fictional neighbor Bostock about the birth and decline of a nation.
As such, “Homo Erraticus” follows the “Thick as a Brick” template with the longer songs. In fact, the three parts/sections work together almost as symphonic movements. For the most part, you’re not getting the trimmed down, radio-friendly pieces. There are a few here and there, but they’re not the rule. This is an album that requires work when you listen. But as you listen, it’s like an onion peeling back layers at a time; you get more with each listen. You get the metal, the renaissance overtones, the jazz riffs, the blues, all deftly mixed together.
I’m always cynical when a guy makes himself a millionaire biting the hand that feeds him. Certainly you’ve heard the old joke about a folk singer being a guy who gets rich off of singing how great it is to be poor. In this sense, Anderson/Bostock is just like the rest of the pack. Reading the liner notes, Anderson’s own self-awareness of his hypocrisy is evident, and I have to admit, it made me chuckle, if not laugh outright. For listening, it grows on you, but not like mold. However, for those unfamiliar with Jethro Tull and Ian Anderson, it may not be the best place to start.
