by Mott the Dog
5
Stars *****
Three facts about Jethro Tull: One, Jethro Tull is
not the name of a member of the band, it is the name of the band. The
chap that is always pictured leading the band is actually called Ian
Anderson, who is still leading the band today in 2005 (in-between his
main occupation now as a salmon farmer!). He is the rather odd looking
chap usually pictured standing on one leg, wearing a rather shabby, ill
fitting rain coat whilst playing the flute.
Number Two fact is that although Jethro Tull’s line
up has been extremely mercurial, they have only ever had three lead
guitarists. The first was the brilliant blues guitarist Mick Abrahams,
who left after the first album, “This Was” (1968), to form his own
band Blodwyn Pig, who were to have their moment in the spotlight in the
early seventies. The next guitarist lasted only for a month before
deciding that Jethro Tull’s take on the blues was not quite him and
moving back to his old mates, and forming Black Sabbath - a certain Toni
Iommi (Toni Iommi’s only real contribution was miming with the band to
the band’s latest single “Witches Promise” on the Rolling Stones
Rock ‘n’ Roll Circus film). He was then replaced by Martin Barre,
who is still with the band today, 37 years later.
Fact Number three is that their fourth album, written
completely by Ian Anderson, who by now was definitely the leader of the
band, is a five star classic that can easily be said to have changed the
face of Rock music as we now know it.
Jethro Tull was formed in Birmingham, England in
1967, to cash in on the burgeoning British Blues Boom. They were an
instant success with their first album going into the British Top
Twenty. Their second album “Stand Up” (1969) reached the top of the
British Charts, whilst also reaching the Top Twenty across the Atlantic
in the good ole U.S. of A. Their third album, “Benefit” (1970), went
straight to the Top Ten of the charts worldwide, by which time their
reputation as a live act had put them amongst the rock giants of their
day. It is actually quite surprising that they managed to record so much
high quality music, taking into account the number of live concerts the
band was doing in their early years.
In early 1971 Jethro Tull went into the newly opened
Island recording studios for three weeks to record their new album (the
other band in residence at Island at the same time was Led Zeppelin, who
were laying down tracks for their fourth album). When they came out
again they had recorded one of Rock’s great moments. “Aqualung”
was released to its adoring public, and in reality gave Ian Anderson and
his bunch the right to lifetime Superstardom.
Never mind how much the line up changed, and boy, did
it; by the time of this release there was only one remaining original
member of the band apart from Anderson, Clive Bunker the drummer, and he
was to leave before the release of Tull’s next album “Thick As A
Brick” (1972). But no matter how many bass players, keyboards and
drummers they had, as long as Ian Anderson wrote, arranged and sang the
songs, with his flute giving Tull their distinctive sound, and his right
hand man Martin Barre sticking with him to give the band genuine rock
credibility, the band over the next thirty years turned out a constant
stream of quality albums and live concerts. But Aqualung was certainly a
defining moment, and is crammed full of classic tracks, many of which
are still in Tull’s live set today.
The album is split into two parts, in the days of
vinyl, side one and side two, throughout which Anderson and Barre’s
playing is inspirational, whilst the supporting musicians turn in fine
performances.
Track one is the album’s title track, starting off
with a typical Tull guitar riff before the band breaks in, and Anderson
starts his story telling.
Aqualung is the album’s lead character, and is so
named for his hacking cough and dishevelled appearance. Side one deals
with his life story, full of seedy vignettes drawn from modern secular
English life. The title track actually has three sections, and as the
mood of the narrator unfolds the music changes accordingly. The first
melodic statement sung in a harsh surly voice is ugly and jarring on the
senses, it then turns into a completely different beast far gentler and
easy on the ear before rising to a rockin’ finale featuring the first
of the musical duels between Anderson’s flute and Barre’s mighty
axe.
Side two, subtitled My God, deals explicitly with
religion. There are more questions asked than answers given, which
leaves the album topical and soul searching today. Again the structure
of the songs is constantly shifting. There are stately hymnal changes, a
jazzy flute break, and many pomp-and-circumstantial motifs which, when
inverted, assume more chromatic and modern queasiness. Altogether a very
satisfying and complete package.
With this new 30th Anniversary edition, not only do
you get the entire original eleven tracks clearly re-mastered, all of
the artwork reprinted (the front cover alone puts shivers up and down
your spine) but also a bonus of five extra tracks including the glorious
‘Bouree’, delightfully credited to Ian Anderson/Johan Sebastian
Bach, plus an excerpt of an interview with Ian Anderson on his
recollections of recording Aqualung. All in all, it’s a grand package.
Jethro Tull (1971)
Ian Anderson: Flute, Acoustic Guitar, and the Voice
Clive Bunker: A Thousand Drums
Martin Barre: Electric Guitars, and Descant Recorder (one of those silly
things most of us at some point at school were forced to play with
disastrous results)
John Evan: Piano, Organ, and Mellotron
Jeffery Hammond: Bass Guitar, Alto recorder and all
of the odd voices on the album
Songs
Aqualung
Cross Eyed Mary
Cheap Pay return
Mother Goose
Wondr’ing Aloud
Up To Me, My God
Hymn 43 Slipstream
Locomotive Breath
Wind Up
Bonus Material
Lick your Fingers Clean
Wind Up (Quad Version, which sure makes your speakers rock)
Excerpts from and Ian Anderson Interview
Song For Jeffrey (Live)
Fat man, Bouree
The
hardcover book opens with some wonderfully evocative black and white
prints of Bangkok in the late 1890’s and then into a very comprehensive
page of contents, including Nature, History, Arts and Traditions,
Architecture and Thailand as seen by painters and writers. The sections
then go into geographical regions covering Bangkok, the South, the
North-east, the Central Plains, and the North. At the back of the book
there is an extensive directory, list of illustrations and an index.
Mott’s CD review: Jethro Tull Aqualung