Track Listing

1. Aqualung
2. Cross Eyed Mary
3. Cheap Day Return
4. Mother Goose
5. Wond'ring Aloud
6. Up To Me
7. My God
8. Hymn 43
9. Slipstream
10. Locomotive Breath
11. Wind Up
12. Lick Your Fingers Clean
13. Wind Up (2)
14. Excerpts From The Ian Anderson Interview
15. Song For Jeffrey
16. Fat Man
17. Bouree

Product Details

• Amazon Sales Rank: #1248 in Music
• Released on: 1998-06-08
• Number of discs: 1
• Formats: Original recording remastered, Extra tracks
• Dimensions: .24 pounds

CD Description
The leap from 1970's BENEFIT to the following year's AQUALUNG is one of the most astonishing progressions in rock history. In the space of one album, Tull went from relatively unassuming electrified folk-rock to larger-than-life conceptualrock full of sophisticated compositions and complex, intellectual lyrical constructs. While the leap to full-blown prog-rock wouldn't be taken until a year later on THICK AS A BRICK, the degree to which Tull upped the ante here is remarkable. The lyrical concept--the hypocrisy of Christianity in England--is stronger than on most other '70s conceptual efforts, but it is ultimately the music that makes the album.
Tull's winning way with a riff was never so arresting as on the chugging "Locomotive Breath", or the character studies "Cross Eyed Mary" and "Aqualung", which portray believably seedy participants in Ian Anderson's story. The fable imagery of "Mother Goose" and the vitriolic anti-authoritarian sentiments of "Wind Up" both serve notice of Anderson's willful iconoclasm and his disillusionment with the spiritual traditions to which he was born. Varied but cohesive, AQUALUNG is widely regarded as Tull's finest hour.

Customer Reviews

Old hippy stuff?
Hands up, I've listened to this, on and off, since it was first released. But I'm amazed at your two-star reviewer's inability to bridge the 35-year gap between now and the original release.
Far from being happy hippy idealism, Anderson's songs (apart from the odd bit of whimsy) address his discomfort with the hypocrital aspects of organized religion, and the lot of those at the bottom end of the social scale ("Aqualung", "Cross-Eyed Mary").
Yes, the vehicle is rock music - but these subjects are still fuelling the best of (for instance) French rap today.

Aqualung: i.e., Ian Anderson's take on organized religion
"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.

The bonus tracks are unnecessary, but the interview is a nice touch and for those who are disappointed that "Bouree" is not on the album it should be, here it is.

Aqualung still shuffles the streets...
In 1971, Jethro Tull introduced the world to a mysterious, shady beggar 'Aqualung', so known because of his terrible cough. In the title song, Ian sings of this destitute vagabond's adventures and dirty habits. But where does Aqualung come from: is he a war veteran driven insane, or once a wealthy aristocrat? Whatever, Cross Eyed Mary is an acquaintance of his, similar in character. Ian then takes us to the village train station, whilst reminiscing of those wonderful rail memories in Cheap Day Return - a lovely acoustic song, only I wish it was longer. Mother Goose is the centre attraction at the Summer Fair as Aqualung rambles around. Amusing rendition. Then, it's by the river bank our unlikely hero is Wond'ring Aloud of past love lost in time; Up to Me is the more boisterous of times remembered, arguements with friends and relations, parties and raucous affairs. It is here Tull become more religious and philosophical. My God represents a more grim side to God's creation of Mankind, a strange yet appropriate sound to the deeper meaning of this song. Then, hearts are lifted as Tull take us to Church, Ian singing the loud 'Hymn 43'. Slipstream then carries us along Death's road, with God watching us contentedly. Locomotive Breath is perhaps one of the best ever Tull songs on any album. It's about a man who seems to be losing everything as he nears old age, ('sees his children drop at the stations, one by one') and the train represents how the man is frustrated at how God 'stolen the handle' and his luckless life has 'no way to slow down'. Clever symbolism involved here, and reflects our fears of dying. Wind-up is exactly that (well, on the original album) but it describes Aqualung's doctrinated childhood - through Ian Anderson's eyes. Now we come to the 25th Anniversary influence. Lick your Fingers Clean is mad, a romp, but part of the Aqualung theme. Not bad, I thought. There was the bonus of a Quad version 'Wind-up', while we were treated to an interview with an ageing Ian Anderson, who discusses the album at length, its making, the ideas that went into it. Nice touch to a re-vitalized Aqualung. The last three tracks I'd already in my collection; and I wasn't really overkeen on the snazzy Prism Sound that in my opinion spoiled the songs. That was lost a star. I preferred the original sound, so for this otherwise excellent album that's a shame. But thumbs up Jethro Tull in this second outing for one of their best albums!