Anderson was born on 10th August 1947, the youngest of three children. He spent the first part of his childhood in Edinburgh, Scotland. He was influenced by his father's big band and jazz records and the emergence of rock music, though disenchanted with the "show biz" style of early American rock and roll stars like Elvis Presley. His family moved to Blackpool, Lancashire in 1959, where he gained a traditional education at Blackpool Grammar School. He went on to study fine art at Blackpool College of Art from 1964 to 1966.
In 1963, he formed The Blades with school friends Barriemore Barlow (drums), John Evan (keyboards), Jeffrey Hammond (bass), and Michael Stephens (guitar). This was a soul and blues band, with Anderson on vocals and harmonica. At this time Anderson abandoned his ambition to play electric guitar, allegedly because he felt he would never be "as good as Eric Clapton". He traded his electric guitar in for a flute which, after some weeks of practice, he found he could play fairly well in a rock and blues style. He continued to play acoustic guitar, using it as a melodic as well as rhythmic instrument. As his career progressed, he added soprano saxophone, mandolin, keyboards, and other instruments to his arsenal.
His famous tendency to stand on one leg while playing the flute came about by accident. As related in the "Isle of Wight" video, he had been inclined to stand on one leg while playing the harmonica, holding the microphone stand for balance. During the long stint at the Marquee Club, a journalist described him, wrongly, as standing on one leg to play the flute. He decided to live up to the reputation, albeit with some difficulty. His early attempts are visible in The Rolling Stones Rock and Roll Circus film appearance of Jethro Tull. In later life he was surprised to learn of iconic portrayals of various flute playing divinities, particularly Krishna and Kokopelli, which show them standing on one leg.
While Anderson has recorded a small number of critically acclaimed projects under his own name, and frequently makes guest appearances in other artists' work, he has been identified in the public eye as the frontman of Jethro Tull for forty-four years. This is undoubtedly because a signature motif of Anderson's career has been a highly distinctive stage image, which has often been counter to the prevailing rock music culture. While he has habitually drawn inspiration from British folklore – at different times deploying stylistic elements of mediæval jester, Elizabethan minstrel, English country squire and Scottish laird – at other times he has appeared as astronaut, biker, pirate, and vagrant. His personae often involve a large degree of self-parody.
As a flautist, Anderson is self-taught; his style, which often includes a good deal of flutter tonguing and occasionally singing or humming (or even snorting) while playing, was influenced by Rahsaan Roland Kirk. In 2003 he recorded a composition called Griminelli's Lament in honour of his friend, the Italian flautist Andrea Griminelli. In the 1990s he began working with simple bamboo flutes. He uses techniques such as over-blowing and hole-shading to produce note-slurring and other expressive techniques on this otherwise simple instrument.
He has recorded several songs on which he plays all the instruments as well as carrying out all the engineering and production (such as 1988's "Another Christmas Song"). Anderson's music blends styles such as folk, jazz, blues, rock, and pop. His lyrics are frequently complex, (mostly) tongue-in-cheek criticism of the absurd rules of society and/or religion ("Sossity, You're a Woman"; "Hymn 43"; "Thick as a Brick"). He often combines lyrics with other leitmotifs such as folk, mythological, fantastic ("The Minstrel in the Gallery", "Jack-in-the-Green", "Broadsword and the Beast"). In the 1990s and 2000s, Anderson's songs often capture 'snapshots' of his daily life ("Old Black Cat", "Rocks on the Road").
Sanctuary
Ian Anderson Lyrics
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Into the purest kind of slavery
Hood-eyed little middlemen profited
From damaged goods along the way
Good angels brought her back
To a last Nepal summer
Debased and hollow-faced
Now, she's cozied up, cozied up
And comforted in the warm flush of September
Gone before winter, wondering as to might-have-beens
Somebody's daughter in sanctuary, waiting
Seen through softer cage of kindness
Far and further, still away
From time-warp Victorian zoos
Where staring ice cream gameboys play
Big paws, worn claws and swishing tails
More damaged goods in the market sales
Too proud for anger, too late for hate
Resigned in dignity
Gone before winter, purring might-have-beens
Somebody's kitten in sanctuary, waiting
Gone before winter, wondering as to might-have-beens
Somebody near you in sanctuary, waiting
The lyrics of the song "Sanctuary" by Ian Anderson are deep and meaningful, describing the story of a woman who was sold into slavery and later rescued by "good angels." The first verse tells us that her uncle sold her into slavery and that she was trafficked through middlemen, who took advantage of her vulnerable situation. The lyrics suggest that the woman was damaged in the process, both physically and emotionally.
However, the second verse gives us some hope, as it tells us that she has been rescued and is now in a sanctuary, perhaps a safe house or rehabilitation center. The woman is described as being "cozied up and comforted" in the warm flush of September, which conveys a sense of safety and security. The lyrics suggest that although the woman is probably still dealing with the trauma of her experience, she is in a better place now than she was before.
The third verse shifts the focus to a different kind of sanctuary, that of animals. The lyrics describe "damaged goods" in the market sales, referring to animals that have been mistreated or neglected. However, there is a sense of pride and dignity in these animals, who are "too proud for anger" and "resigned in dignity." The lyrics suggest that even though these animals have suffered, they are still worthy of love and protection.
Overall, "Sanctuary" is a powerful song that speaks to the idea of sanctuary as a place of refuge for those who have been mistreated or oppressed. The lyrics convey a sense of empathy and compassion for both humans and animals, and the message is clear: everyone deserves to be safe and protected from harm.
Line by Line Meaning
Dear uncle, sold her into
The song starts with the story of a girl who was sold into slavery by her own uncle.
Into the purest kind of slavery
The girl was sold into the cruelest kind of slavery where she had to suffer a lot.
Hood-eyed little middlemen profited
The people who were involved in the selling of the girl made a lot of money from it.
From damaged goods along the way
The girl was treated as a mere commodity and had to go through a lot of troubles.
Good angels brought her back
After going through so much pain and suffering, some kind people finally helped her and brought her back.
To a last Nepal summer
The girl came back to her home country of Nepal when it was summer.
Debased and hollow-faced
The girl was now physically and mentally broken due to the horrors she experienced.
A smile might become her
The girl was in such a bad state that even a small smile can make her look better.
Now, she's cozied up, cozied up
After coming back, the girl is now in a safe and secure environment where she can feel loved and comfortable.
And comforted in the warm flush of September
She is now in a place where she is being taken care of and the month of September signifies that it's a new beginning for her.
Gone before winter, wondering as to might-have-beens
The girl is very aware that her situation could have been worse if she hadn't been rescued and is now hoping for a better future.
Somebody's daughter in sanctuary, waiting
The girl is in a sanctuary where she is safe and sound while she waits for someone to give her a new life.
Seen through softer cage of kindness
The girl is now being viewed as a human with feelings and emotions rather than being treated like an animal in a cage.
Far and further, still away
Even though she is in a better place now, she is still far away from where she wants to be emotionally and mentally.
From time-warp Victorian zoos
The language used is a metaphor to describe the slavery and trafficking of humans, as opposed to the confinement of animals in Victorian-era zoos.
Where staring ice cream gameboys play
Another metaphor for the captors and abusers who see these girls as nothing more than a source of pleasure for their own amusement.
Big paws, worn claws and swishing tails
The song then moves onto describe the general situation of women and girls caught in slavery, like trapped animals in a modern, corrupt world.
More damaged goods in the market sales
These women and girls are considered to be damaged goods that are sold in the market like any other commodity.
Too proud for anger, too late for hate
These women and girls are too defeated to even feel anger or hatred for their captors anymore, and instead, have resigned themselves to their fate with dignity.
Resigned in dignity
Another reminder of the strength and resilience of these women to withstand such horrors and still maintain their dignity.
Gone before winter, purring might-have-beens
Another girl who has gone through this ordeal is now hoping for a new life with better possibilities.
Somebody's kitten in sanctuary, waiting
This girl is now in a sanctuary, waiting for someone to come and give her a chance at a new life.
Gone before winter, wondering as to might-have-beens
The same message, in slightly different terms, is repeated to remind listeners that these girls are still living in hope for something better.
Somebody near you in sanctuary, waiting
The final line is a message for the listener to remember that there might be someone they know who has gone through this and is in need of help, and to be on the lookout for ways to help them.
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: CIARAN MARION BRENNAN, PAUL BRENNAN, STEVE ANDERSON, GARETH DALEY, MARKUS FEEHILY
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