Customer Reviews

Aqualung

5 star:		(157)
4 star:		(29)
3 star:		(10)
2 star:		(10)
1 star:		(7)

 

 

. . . or choose your own favorite cliche. Whatever you call it, this album was and is of historical importance, for Tull and for 1970s rock.

In part, that's because it was misdescribed. No sooner was it released than the rock press started hailing it as a "concept album" (prompting Ian Anderson to go to work on the surreal and Pythonesque _Thick as a Brick_ so as to give everybody, tongue firmly in cheek, a _real_ "concept album").

"Concept albums" are frowned on these days (although I like them just fine); nevertheless this isn't one of them. Sure, there's a lot of thematic unity; the first half ("album side") involves homelessness and lechery, and the second Anderson's reflections on the religious upbringing of his adolescence. But a "concept album"? Not really.

But it does reflect a critical stage in the development of Jethro Tull. Bassist Glenn Cornick had just departed and been replaced by Anderson's boyhood friend Jeffrey Hammond; as of the next album (TaaB) Barrie Barlow would replace Clive Bunker on drums and percussion. And crucially, two things were happening on this album that would affect Tull's direction for the remainder of its still-ongoing career: Anderson was developing both his songwriting and his acoustic guitar chops, and Martin Barre was successfully finding his "voice" as a guitarist.

It's something of a cliche among Tull fans that Anderson's songwriting had taken a darker, more cynical turn as of _Benefit_ (the album preceding this one). Well, on _Aqualung_ that bitter fruit is really starting to ripen. There's the title track, of course, for which Anderson credits the lyrics to his first wife Jennie (he lifted many of them from her notes on the back sides of her photographs of homeless people). There's "Cross-Eyed Mary". And there's all the stuff about Anglican-and-perhaps-other Christianity. This sort of thing was to continue through _Minstrel in the Gallery_ (especially "Baker Street Muse"), roughly until Anderson moved to the country.

Anderson was also developing what we now know as "his" acoustic guitar style. There was a bit of it on _Benefit_ but it's really here that we started hearing his acoustic tunes ("Wond'ring Aloud," etc.); we heard some more early acoustic tunes on _Living in the Past_, but that album hadn't been released yet when _Aqualung_ came out.

And Martin Barre had turned himself into the Tull lead guitarist we all know and love. The opening blast of "Aqualung" is quintessential Tull; the guitar solo on that song ranks among rock's greatest; and I don't know about you, but when I listen to "Locomotive Breath," I have to remember to breathe myself.

Now, for all that, this is not my favorite Tull album (or even my favorite _early_ Tull album). But I don't think a month goes by that I don't listen to _something_ from it.

The remastered version is clean and crisp, and to my ear somewhat anechoic. The extra tracks are notable mainly for the inclusion of "Lick Your Fingers Clean" (an earlier version of "Two Fingers," released on _WarChild_ but originally intended for this one). There are also extended excerpts from an interview and remastered versions of "Song for Jeffrey," "Fat Man" and "Bouree", all of which are now available on the remastered _Stand Up_ anyway (where I think the remastering is done better), and a "quad" version of "Wind Up".

Aqualung is a wonderful, superlative, essentially perfect album. From the day it was released right up to now the record is fresh, exciting, compelling, intelligent, forcefully rhythmic, melodic, brilliantly played, brilliantly sung, and has one of the best ever cover illustrations to boot. After nearly thirty years of wearing out various copies of it, I have yet to tire of this phenomenal artistic tour de force.
I had the great good fortune of seeing Jethro Tull live when they were doing the original Aqualung tour - they were hardly known at the time - and as great as the album is, their performance was even more electrifying. It was at Madison Square Garden and I was up front, a few feet from the performers.
As the show started the house lights went down and the stage went black. Silence. Long pause. Then, hobbling out of the blackness a single spotlight caught Anderson dressed extravagantly like the old man on the album cover, bent over and leaning on his flute, which he used as a cane. Leering maliciously, slowly creeping up front, he finally stopped, silently grinning out at the house as the audience howled with delight. Then he threw his flute straight up, high, and the spotlight went up with the flute, shining and sparkling as it twisted its way up and then down, the only thing visible in the darkness.
When the flute came back down it was met by Anderson's upraised hand, and at the instant he clutched it all the stage lights came up and the band struck the thunderous opening notes of the album. And it got better and better and better as the show went on, Anderson leaping and snarling and playing flute at the same time, a truly athletic performance. Whew! I can still see it.
If you've somehow denied yourself owning this remarkable work of art and music, get it now! I wish you many hours of enjoyment listening to this treasure.

"Aqualung" is certainly the rawest of Jethro Tull's albums, as far from the artistic pretensions of "Thick as a Brick" and "Passion Play" as you can get in terms of their albums. This might have something to do with the album's mission statement, which is printed in old fashioned type on the linear notes: "In the beginning Man created God; and in the image of Man created he him....But as all these things did come to pass, the Spirit that did cause man to create his God lived on with all men: even within Aqualung. And man saw it not. But for Christ's sake he'd better start looking." Ironically, this is one of the few Jethro Tull albums where the lyrics are not printed despite the fact this is arguably the album where the lyrics mattereth the most.

The first "side" of the album, entitled "Aqualung" after the first and title track, offers nothing overt other than the idea of dismissing organized religion as "salvation à la mode and a cup of tea." However, the second side, "My God," makes its argument in earnest from the opening verse: "People - what have you done/locked Him in His golden cage/Made Him bend to your religion/Him resurrected from the grave." The Church of England is explicitly condemned for having supplanted the authenticity of the Christian religion with plastic crucifixes. "Hymn 43" continues this line of argument by suggesting that: "If Jesus saves - well, He'd better save Himself from the gory glory seekers who use His name in death." "Slipstream" offers a metaphorical look at sinners trying to save themselves at the last moment: "And you press on God's waiter your last dime/as he hands you the bill." That "Slipstream" comes right before "Locomotive Breath" makes sense when you look at the latter's lyrics in light of the former.

But Ian Anderson's diatribe against the organized religion of his country does not extend to God, as is amply proven by the concluding song, "Wind Up." To underscore the importance of what is being sung at this point, the music tends to get out of the way of the lyrics, especially the final lines: "I don't believe you/you had the whole damn thing all wrong/He's not the kind you have to wind up on Sundays." When the teachings of the church consist of nothing more than "half-assed smiles and the book of rules," this necessitates a more personal dialogue with God. In Anderson's world God replies with a firm answer. When Anderson declares "I'd rather look around me - compose a better song/`cos that's the honest measure of my worth," he is staking a claim to more piety and sanctity than the edifices he is indicting.

The second side of "Aqualung" aspires to being much more than mere rock `n' roll. The message is simplistic, but still compelling. "Aqualung" represents Ian Anderson speaking in relatively clear words; from here on the will cloak his lyrics in metaphors and his own brand of mysticism. But for me it is ultimately the clarity of the lyrics and the intended message that makes this the strongest of Jethro Tull's albums. There are certainly more pleasing melodies down the road, but that does nothing to diminish the raw power of this effort.

This limited edition disc boasts an improved sound quality usually found only on remastered "gold disc" reissues. "Aqualung" and "My God" benefited the most, as both tracks sound terrific. The slight "fade" in the recording during the early part of the title track - quite noticeable in the Chrysalis CD - has been corrected. "Aqualung" includes several bonus tracks, some of which were originally part of the now deleted "20 Years of Jethro Tull" collection. Among them are a few gems recorded for BBC radio circa 1968, as well as the magnificent "Lick Your Fingers Clean," an "Aqualung" leftover. This CD also has a rather lenghty interview with Ian Anderson. It's still available on record and bookstores despite no longer being made, so grab it while you can!

I enjoy listening to this CD. It has a lot to offer. AQUALUNG and LOCOMOTIVE BREATH are classics from the early seventies which are still mainstays of FM radio. Ian Anderson, who is the song-writer, singer, flautist, heart and soul of JETHRO TULL created a classic rock 'n roll experience with this album. His cleverness is everywhere on this CD. The AQUALUNG vocal effect was employed by Maynard on the Tool AENIMA release. Anderson makes a strong argument that the flute can be used as an effective heavy metal instrument. He matches it against accoustic guitars, heavy riffs, and even a choral arrangement. The place where Anderson's creative brilliance really shines, though, is in his choice of topic. No other artist has achieved such commercial success while at the same time singing such controversial songs. By asserting his views of organized religion forcefully and unadorned, he infuses this collection with a reason for being. The arguments are not new. Basically, Ian Anderson's polemic is that religion institutionalized loses its relevance for the individual. This is essentially the same argument of King Hezekiah when he busted up the Bronze Serpant built by Moses. The novelty of the argument matters less than the fact that it is one which compels the listener. It comforts those who feel disaffected by organized religion and it aggitates its proponents. While neither understands that the point is to develop a personal spirituality regardless of whether you are inside or outside of an English Church. Superb song-writing, competent musicians and an incendiary argument have helped to make this CD a timeless classic. If you are interested in the music of the early seventies or would like to excite the vicar ;D, this CD will be interesting to you.

This is the best sounding version of Aqualung. The 25th Anniversary edition appears to have been heavily denoised, removing what little sense of studio ambience there was in this very ordinarily recorded but superb album.The DCC gold CD restores all that was taken away.

Most people consider Aqualung Jethro Tull's best album ever. I have most of Tull's records, and I must say, it's really tough to deside. But I will say that this is definately one of the best, if not THE best. It's got lots of good classic songs, such as the title track, Cross-Eyed Mary, My God, and Locomotive Breath. Ian Anderson is so awesome, he's one of the best musicians ever and his lyrics are intelligent and really make you think. It helps if you can relate to his thoughts (one of the reasons I like Tull alot). On this album he questions organized religion, something that I too have many doubts in. While my parents go to church on Sunday I crank up Aqualung! If you enjoy classic rock, metal, hell, any kind of rock, this one's for you.

Aqualung is one of the albums that literally made the reputation for Jethro Tull. It is a wall to wall tour-de-force, commencing with the title tune and ending with "Wind-Up". What does one say about an album so chock-full of innovative, pulsating rock songs that it stayed on the top of the charts for endless months? Many of the songs included here later found their ways into various best-of compilations for the band, but my favorite here is "Locomotive Breath". Ian Anderson's songs and arrangements were always irreverent, iconoclastic, and innovative, but he outdoes himself here. I especially like the way he uses the combination of classical instruments, and juxtaposes them with rip-roaring rock instruments like drums, basses, and virtuoso electric guitar work. I love listening to this album, and I'm sure you will too. Enjoy!

Had this one on CD since 1993 (LOVED it) and finally bought the remastered one. The sound is cleaner, but - LOW on volume; somewhat disappointing. I turned the car volume to the maximum (never did that before - even half way would usually explode the speakers) and only got average volume. Songs are exellent though. If you do not have it yet - get it. If you do - wait for the 40th anniversary re-issue. Hopefully they will finally fix the sound. Seems like they trying to force us back to the turntables :)

Up until "Aqualung", Jethro Tull was known for their eclectic music that went from English-folk to blues and jazz-flavored rock. While some of that music occasionally bordered on harder rock, typically Jethro Tull's music was relatively light and mellow. "Aqualung" pushed Jethro Tull into hard rock in 1971.

The album opens with the title track. The opening guitar riffs are immediately recognizable to anyone familiar with classic rock. As the song progresses, Ian Anderson uses reverberation on his vocals. The combination of guitars and drums with Ian's vocals placed this song solidly into some of the hardest rock being created at the time. The lyrics are about an old, homeless man with lecherous thoughts. The lyrics are very descriptive and poetic, intelligently written and executed. While the topic could have delved into a moral tale, the lyrics are descriptive rather than lamenting or accusatory or a social policy.

"Cross-Eyed Mary" follows, a story about a lady of the night (or day, apparently). As in "Aqualung", to which this song refers, the guitar riffs drive to a rock beat, along with Ian Anderson's enthusiastic vocals. Again, the lyrics are descriptive rather than judgmental. In an era when many songs exhorted compassion and care, these lyrics observed and described.

After the first two harder sounding songs comes "Cheap Day Return", a return to the acoustic English folk sound typical of Tull's earlier albums. This short song is almost an interlude between the previous song and "Mother Goose". "Mother Goose" is surrealistic and poetic, mixing references to fictional characters and plays on names. The song is largely acoustic and heavily folk influenced, Ian's flute lending a medieval sound to the music. At one point the vocals also harmonize in a folk-like fashion. Near the end of the song an electric guitar provides occasional accompaniment to provide a slightly harder edge to this folk-sounding piece.

Continuing the mellower music is "Wond'ring Aloud", with strings and acoustic instruments. The music is folk; the lyrics are mellow and an enjoyment of life. Before we think the album is going to stay in the folk vein for the rest of the album, "Up to Me" returns to the guitar-laden music of the opening songs. The guitar riffs are recognizable as being from the late 60s/early 70s, but the Ian Anderson lyrics continue to be obscure and poetic.

The next five songs together make up "My God", a concept within itself that questions religion and the hypocrisy of people that style themselves believers in God. Included are questions regarding buying salvation and the role of religion in war and life, and whether people in the church are as pure and holy as religion would have you believe. Given current events, these lyrics are as relevant today as they were in 1971.

"My God" begins with guitar riffs that may remind you of Black Sabbath. The song is complex, however, and later the vocals are chants that may be intended to invoke an image of monastic chants to the listener. While the lyrics of "Aqualung" were observatory and descriptive, these lyrics are accusatory, demanding to know why religion isn't living up to its own ideals. The remaining songs, "Hymn 43", "Slipstream", "Locomotive Breath" and "Wind-Up", all have a common theme based on religion, questioning the role and morality of organized religion.

A word of caution. There are several versions of this album available. All but this version have bonus tracks. Similarly, the cost of these various versions varies. The bonus tracks may be found elsewhere, and their principal value is adding more bulk to the original vinyl album, which was a bit more than 43 minutes long. Be sure you see which version suits your needs the best before buying.

This album has two faces, "Aqualung" and "My God". "Aqualung" is relatively objective observation. "My God" questions religion. Much of the music is rock, often with a harder edge. The lyrics are inspired, occasionally obscure, often poetic, and always intelligently done. If there was a category in rock called intellectual rock, this album would be in it. While this album is unlikely to appeal to many mainstream rock fans, the music and lyrics at the time were avant-garde, keeping in the tradition of Jethro Tull, and thus having substantial progressive rock elements. A must have for fans of cutting edge classic rock music.