A Quote by Ian Anderson

I was not a great guitarist, so I sold my 1960 Fender Stratocaster in exchange for a Shure Microphone, made in Chicago, and a flute. — © Ian Anderson
I was not a great guitarist, so I sold my 1960 Fender Stratocaster in exchange for a Shure Microphone, made in Chicago, and a flute.
My brother was the first in Lancaster to have a Fender Stratocaster.
The first guitar I ever picked up was an acoustic black Fender, so it makes perfect sense that Elias plays Fender guitars. As far as details, it's simple; Elias and Fender have a great relationship.
I met Leo Fender, who is the guru of all amplifiers, and he gave me a Stratocaster. He became a second father to me.
I found that the flute was too limiting. Soon I bought a microphone, then loudspeakers, then an echo, then a synthesiser. Much later I threw the flute away; it was a sort of process.
I don't really play overseas stuff. I'm a bit of a dinosaur in that way. You gonna improve on a Les Paul or Fender Stratocaster? Those are perfect designs, and there is nothing to add really.
I was born and raised in Rogers Park in Chicago. My father sold furniture, and my mother was a Chicago public school teacher and proud member of the Chicago Teachers Union for decades.
My guitar is a mutation between a classic Fender Stratocaster guitar, which I played for years, and a Gibson solid-body like an SG or a Les Paul. It contains all sounds of the basic classic rock n' roll guitars. It does what I want it to do.
QUINCE Francis Flute, the bellows-mender. FLUTE Here, Peter Quince. QUINCE Flute, you must take Thisby on you. FLUTE What is Thisby? a wandering knight? QUINCE It is the lady that Pyramus must love. FLUTE Nay, faith, let me not play a woman; I have a beard coming.
I love Chicago. I know Chicago. And Chicago is a great city. It can be a great city. It can't be a great city if people are shot walking down the street for a loaf of bread.
One of the most treasured books that I own is Donald Allen's 'The New American Poetry, 1945-1960.' It was a totem of great importance and potency to my group of writer friends in college from 1960 to 1964.
I'm using Fender Twin Reverbs and Fender Blues Devilles on stage.
When I went over to the States to promote Outrider, everyone was telling me I was a blues guitarist. I'm not a bloody blues guitarist. I'm a guitarist.
I started to study the flute in 1951. The flute has been utilized by African-American musicians as far back as the early Twenties. If you take a look at some of the old pictures of Chick Webb, then you will see the flute right there on the bandstand among the woodwinds.
I swore I'd be in Chicago tomorrow, and made sure of that, taking a bus to Chicago, spending most of my money, and didn't give a damn, just as long as I'd be in Chicago tomorrow.
I'm a gear head. I love gear. If I have the choice, of course I'd rather use a great microphone, a Neumann microphone and a vintage Neve board.
There's the whole significance of Krishna as the flute player who awakens our consciousness. It doesn't necessarily have to be a flute because for me it was a sitar or a guitar or even Elvis Presley doing "Heartbreak Hotel." It was like Krishna's flute calling me somewhere. It's just really simple when we can remember.
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