The Heaviest Flute You Know.

I don't own a flute...so the Les Paul will stand in for it.

#27 Jehtro Tull: Aqualung

I just finished typing a very long introduction to this blog that included mentions of instruments I'm learning, intellectual stimulation, the jeopardy tournament of champions, opera's that I love, opera's that I don't love and why concept albums are the opera of rock and roll. Then I went back and read through it for editing. It was pretty boring, very random, and really, just plain bad. I can't start that way, no, not with an album like this. The concept album deserves better. The concept album doesn't include filler, it doesn't have throw away song, it doesn't have singles, it doesn't do any of that standard rock and roll album stuff. What it does is tell a story, or present a theme, or at the very least, give you something to think about. In an effort to cut out the filler, the long ridiculous story at the start of this blog has been removed, and in its place is a somewhat shorter ridiculous introduction that helps you get to the good part quicker. The only problem with all that is: its not a concept album. At least that's what Ian Anderson of Jethro Tull says about "Aqualung." Its just a collection of songs. So ultimately, this whole introduction has been an utter waste of time, just like the countless hours of 'concept album' discussion that have been thrown at this album. Well sorry Ian, but I still think its a concept album and you can't change my mind about that. PLAY!


The title track "Aqualung," starts off with a great guitar tone. Martin Barre certainly was in a tonal groove when they walked in the studio for this one. Right away, we're introduced to Aqualung, a pretty filthy creature who seems to be a homeless beggar.  Side one of this album will introduce a few characters to us, but beware, these aren't people you'll find at Bushwood Country Club. Musically the song starts off very rock and roll. To contrast that, because as we've learned: contrast = better music, the acoustic break slows things down considerably. The vocals are very distant and longing through this part, as if trying to distance itself from the unkempt subject. The piano joins in breifly with a very delicate classical sound before WHAM...on to a doubletime section of the song which eventually leads into a great breakdown. From the breakdown we get into the guitar solo played by Martin Barre with style and power. The tone used is very signature, using one of the greatest guitars ever made, the 1959 Gibson Les Paul. I have never seen one of these guitars in person, but recently, one sold at auction for nearly a half million dollars. And that's for one that belonged to Joe Shmoe. The 'keep-your-distance' acoustic section returns one last time before the final build up and crashing conclusion of the song. "Cross Eyed Mary," features the most recognizable rock instrument ever. Well, maybe not ever, but seriously try and name another rock band that featured this much flute. After the beginning build up the Les Paul is back, and its kicking ass. The guitar is at its rudest, nasally sound on this track and the riff is efficient. The lyrics features a new antihero to join Aqualung on his journey into the world of filth. Cross Eyed Mary is essentially a schoolyard prostitute who is eying her older clientele from the schoolyard. Wow, these are some despicable people here. The end features some tight flute vs guitar battling before the epic climb to the finish. "Cheap Day Return" starts out innocently enough but soon the acoustic uses a very dissonant sound. More of that locrian church mode I would say, just think of the British police siren. The Vocals are so crisp and clear it could convince any digital lover that the technology they used in 1971 to record could take down anything available today. Before you even digest that beautiful studio sound, the song is over. But what...what about the lyrics? Well its another undesirable character. This time she's disguised as a nurse, caring for Ian Anderson's father, and not being very attentive to the elder Anderson's needs. In only a few short lines, Ian seems to sum up his view of elder care in early 70's Scotland. Next up is "Mother Goose," another great acoustic track that has a campfire stomp feel to it. There's something very native in the rhythm of this track, I'd say the hand drumming is helping with that. Eventually the beat is joined with another distance voice. This time the voice is that powerful electric guitar. It doesn't fully unleash, but it does add a very primal and aggressive sound to the song. Lyrically, your guess is as good as mine, I really don't have a clue what's going on here. Wond'ring Aloud, which isn't misspelled, continues the acoustic feel. The vocals are quite subdued in the song, Ian Anderson uses just over a whisper which keeps the song in its very low key mood. Its about a couple, and singer is really wondering how well their love will hold up over the years. Or its about how irritating it is when someone spills toast crumbs in bed. Next up is a track that shows off how heavy a flute can sound. "Up To Me" is back to the rock sound but interestingly enough it doesn't rely on the electric guitar for its heavy sound. This song creates its rock tone using acoustic guitar and flute, quite an amazing feat if I do say so myself. And I just did say so myself. There's not much drumming in it, just some accents here and there. And the electric guitar! That Les Paul, that melt your soul guitar tone! Its there, in the background again, with a heavy wah and some thrashing fills, but its not on the forefront. Amazing, I've never listened to this song so closely but I gotta say there's so much crunch here its downright frustrating. I thought my Marshall/Les Paul combo was the pinnacle of heavy...now I'm being shown up by a flute and an acoustic guitar. Well played Jethro. FLIP!

Side two starts with...whoa! "My God" this record is scratched! "My God" starts out slowly, and quietly. In fact, the first little bit of this song was hard to hear over the scratches. Wait...there's that piano. Now we're getting somewhere. And that place we're getting to, is EVIL. The overall key of the song is very minor and creepy. After the quiet start, suddenly...there it is. No longer in the background, the Les Paul is plugged in, loud, and angry. Now the flute is here to add its two cents. Wow, everyone is pissed in this song. Then we a get a nice solo break.  Guitar first, then flute, what a sound! Here's antoher flute break...with some interesting vocal additions. Suddenly the flute is being supplemented with a church choir?  Interesting, not what you'd expect on a rock album.  Wait..is this a rock album? What is this album? Oh well...we'll have to solve that mystery later. For now, the rest of the band has joined back in, and the intro pattern has returned as well. The lyrics are very Old Testament on this one, I can just see the fire and brimstone being flung around left and right. This might be the soundtrack of the final judgement for all I know. "Hymn 43" is not something you're going to find in the average hymnal, but its probably more boss than anything you'd find in there anyway. Hey, I don't mix rock and church, its just a rule I have. Rock = Guitar : Organ = Church. Now that we're clear on that, lets get back to the song. This song has a lot crammed into its three minutes and fourteen seconds, so you'd better pay attention. Lots of guitar fills, flute fills, and some very desperate lyrics. How desperate? Well, asking for Jesus to save you in a song will make things sounds desperate, especially when you're Ian Anderson. Slipstream is a brief little interlude between two amazing rock songs. After "Hymn 43" puts the fear of God in your eyes, we then get "Locomotive Breath." First, the piano serenades us. But wait!  There's that guitar again, off in the distance, very low volume. A very 'lying-in-wait' sound of the piano cues that something is about to happen. The song is about to pounce. Wait for it...ok, crank the volume on the guitar. With a quick and fractured main rhythm this song punctuates a great hard rock sound. The electric is right in the front row and very in your face. The vocals are standard Ian Anderson delivery, not too pushed, not too subdued, right where they need to be. The flute again kicks in for some soloing overtop the guitar. Once again, it fits seamlessly into this rock tune. Ian must have spent quite some time developing this flute playing style. The song fades out and leads into the albums conclusion, "Wind Up." It begins with acoustic guitar and remains fairly simple for a bit. The vocals are laid back, as if reflecting on life, the universe, and everything. Many years later, I think someone else would ponder this same question. Some of you get that, some of you won't. The answer is '42' by the way. A few minutes into the song, the feel totally changes. We're back to the rock sound. A great guitar riff, doubled by the piano and bass, anchor the song while the vocals continue to paint a picture of the stories conclusion. So what's the story? I don't know...It seems to be about seedy characters, God's intervention in our daily lives, man's intervention in God's schedule and the thought of how these horrible characters from side one fit into this grand plan.

So...is it a concept album, or just collection of really good songs. It sure feels like a concept. The first half, labeled 'Aqulung,' introduces several characters, the second side, labeled "My God," introduces somewhat of a crisis of faith when applying modern religion to these characters. How can these two sides coexist? Homeless people, schoolyard prostitutes, evil nurses, amazing Les Paul tone and God's role in our lives...how does it all fit together?!  Sure sound like a concept album to me, but Ian Anderson says it isn't, so stop analyzing it and praise it for what it is: a great collection of classic rock tunes.  And lighten up a little, not everything in life is an existential crisis.

Strongest Song: Cross Eyed Mary
Weakest Song: I don't care what Ian Anderson says, its a concept album and every song is necessary.
Song You Know: Aqualung
Why You Might Hate It: The last time you contemplated the meaning of life and your own personal faith was during the movie "Weekend at Bernie's."
Buy It? Very good one for the vinyl format as good concept album's often are.