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Aqualung
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To buy this album from Amazon.com, click here: Aqualung
____________________________________________________
1. AQUALUNG
Composed by Ian Anderson/Jennie Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
2. CROSS-EYED MARY
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
3. CHEAP DAY RETURN
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
4. MOTHER GOOSE
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
5. WONDR’ING ALOUD
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
6. UP TO ME
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
7. MY GOD
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
8. HYMN 43
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
9. SLIPSTREAM
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
10. LOCOMOTIVE BREATH
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
11. WIND UP
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
Bonus Tracks
12. LICK YOUR FINGERS CLEAN
Composed by Ian Anderson
(P) 1990 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
13. WIND UP (Quad Version)
Composed by Ian Anderson
(P) 1974 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
14. Excerpts From The Ian Anderson Interview
Courtesy of Mojo Magazine
Interviewer John Bungey
Recorded February 22, 1996
(P) 1996 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
15. SONG FOR JEFFREY
Composed by Ian Anderson
BBC Producer Bernie Andrews
Engineered by Allen Harris & Bob Conduct
First transmission date 4 August 1968
(P) 1968 The Copyright in this sound recording is released by arrangement with BBC Worldwide Ltd.
16. FAT MAN
Composed by Ian Anderson
BBC Producer John Walters
Engineered by Tony Wilson
First transmission date 22 June 1969
(P) 1968 The Copyright in this sound recording is released by arrangement with BBC Worldwide Ltd.
17. BOUREE
Composed by Ian Anderson/Johann Sebastian Bach
BBC Producer John Walters
Engineered by Tony Wilson
First transmission date 22 June 1969
(P) 1968 The Copyright in this sound recording is released by arrangement with BBC Worldwide Ltd.
All tracks published by Salamander & Son Ltd./Chrysalis Music Ltd.
Tracks 1-11 orchestra arranged & conducted by David Palmer
____________________________________________________
Ian Anderson – Flute, acoustic guitar and voice
Clive Bunker – A thousand drums and percussion
Martin Barre – Electric guitar and descant recorder
John Evan – Piano, organ and mellotron
Jeffrey Hammond – Bass guitar, alto recorder and odd voices
____________________________________________________
In the beginning Man created God;
And in the image of Man created he him.
2 And Man gave unto God a multitude of names,
that he might be Lord over all the earth when it was suited to Man.
3 And on the seven millionth day Man rested
and did lean heavily on his God and saw that it was good.
4 And Man formed Aqualung of the dust of the ground,
and a host of others likened unto his kind.
5 And these lesser men Man did cast into the void. And some were burned;
and some were put apart from their kind.
6 And Man became the God that he had created
and with his miracles did rule over all the earth.
7 But as these things did come to pass,
the Spirit that did cause Man to create his God
lived on within all men: even within Aqualung.
8 And Man saw it not.
9 But for Christ’s sake he’d better start looking.
___________________________________________________
AQUALUNG – What the papers said…
“Tull is one of the most serious and intelligent groups, and Anderson’s choice of subject for Aqualung – the distinction between religion and God – is witness to that. Further, Tull is a musical sophistication to match its thematic ambitions.”
“Aqualung is the album’s lead character, and is so named for his rheumy cough. Side one consists of a series of seedy vignettes drawn from modern secular English life, while the printed lyrics are cast in Gothic lettering to emphasise the album’s liturgical basis. The title song depicts the beggar in all his shabbiness and lechery. Aqualung is actually three songs; as the different moods of the narrator unfold, the music changes accordingly. The initial melodic statement sung in a harsh, surly voice is ugly and plodding; it then shades into something milder and more sympathetic, then into something which rocks a little more.
“Side two, subtitled ‘My God’, deals more explicitly with religion. The rub of the issue is Christian hypocrisy, how people manipulate notions of God for their own ends. There is some rather obvious talk of plastic crucifixes. Blakean allusions to locking ‘Him in His golden cage’ and invective: ‘The bloody Church of England / In chains of history / Requests your earthly presence at / The vicarage for tea’. Beneath the accusatory tone is a moving musical theme. Again, the structure is constantly shifting. There are stately hymnal changes, a jazzy flute break, a pomp-and-circumstance motif which, when inverted, assumes more chromatic, modern queasiness. The gamut of religious experience is encompassed in this song.
“‘Wind Up’ winds up the album and embodies most of the album’s difficulties. While Anderson is adept at conceiving a musical approximation of an idea, his lyrics are overly intentional, ponderous and didactic. It would be possible to ignore the lyrics, as lyrics can usually be ignored, except that Anderson sings them so melodramatically. Nor is his theatricality appropriate to the ideas or words. The over-enthusiastic delivery is probably meant to compensate for his inherent vocal limitations, but the original problem is Anderson’s choice of subject. At a time when the more arcane varieties of religious experiences are trumpeted far and wide, and atheism and agnosticism still more than hold their own, it is difficult for the modern temper to get worked up over good old-fashioned Christian hypocrisy.”
– Rolling Stone
____________________________________________________
“From the packaging of the music it contains, this album is a complete work and this is from a group who were considered basically a live act. They improve every time out.”
– Sounds
____________________________________________________
“Good heavens, now Ian Anderson wants us to think!”
– Headline from Disc & Music Echo
____________________________________________________
“Aqualung is undoubtedly Jethro Tull’s most significant album to date and although comparisons are often odious to the artist concerned, the highest compliment I feel able to offer is that in significance it rates with Townshend’s ‘Tommy’.”
– Melody Maker
____________________________________________________
“Jethro are at a potential danger point … around the stage where, having undergone personnel changes and guaranteed a certain response for whatever they attempt, a lapse of effort could bring on the disintegration of respect that is currently gnawing like woodworm at so many established bands. Yet the evidence of their fourth album is solidly against the rot getting even a foothold in the revamped JT.
“They are still growing; not leaping ahead in gargantuan jumps but doggedly and conscientiously pursuing and exploiting Ian Anderson’s and the band’s capabilities as writers and performers in the restrained manner that has always been their trademark.
“Aqualung is progression within the distinctive area of music Jethro made and still hold as their own; more aggressive and riffy than the sweatily satisfying, under-rated Benefit. Certainly the time and meticulous attention that has gone into every facet of the product should be self-evident.”
– NME
____________________________________________________
Aqualung has been remastered using the Prism Sound Super-Noise-Shaping system. Recordings carrying the Prism Sound SNS logo have been converted to digital format using state-of-the-art analogue to digital converters and processed down to 16-bit format for CD using the Prism Sound Super-Noise-Shaping system. The process reduces the apparent level of background noise and equally important, subtly modifies the psycho-acoustic properties of the recording to enhance the sense of presence and realism. With the extra dynamic range and accuracy of the Prism Sound SNS system “digital distortion” is virtually eliminated.
(P) 1996 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
© 1998 Chrysalis Records Ltd., Manufactured by Chrysalis Records Inc., 1750 N. Vine St., Hollywood, CA 90028. All rights reserved. Unauthorized duplication is a violation of applicable laws. Printed in U.S.A.
7243 4 9 5401 2 5
To buy this album from Amazon.com, click here: Aqualung
____________________________________________________
1. AQUALUNG
Composed by Ian Anderson/Jennie Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
2. CROSS-EYED MARY
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
3. CHEAP DAY RETURN
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
4. MOTHER GOOSE
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
5. WONDR’ING ALOUD
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
6. UP TO ME
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
7. MY GOD
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
8. HYMN 43
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
9. SLIPSTREAM
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
10. LOCOMOTIVE BREATH
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
11. WIND UP
Composed by Ian Anderson
Produced by Ian Anderson and Terry Ellis
(P) 1971 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
Bonus Tracks
12. LICK YOUR FINGERS CLEAN
Composed by Ian Anderson
(P) 1990 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
13. WIND UP (Quad Version)
Composed by Ian Anderson
(P) 1974 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
14. Excerpts From The Ian Anderson Interview
Courtesy of Mojo Magazine
Interviewer John Bungey
Recorded February 22, 1996
(P) 1996 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
15. SONG FOR JEFFREY
Composed by Ian Anderson
BBC Producer Bernie Andrews
Engineered by Allen Harris & Bob Conduct
First transmission date 4 August 1968
(P) 1968 The Copyright in this sound recording is released by arrangement with BBC Worldwide Ltd.
16. FAT MAN
Composed by Ian Anderson
BBC Producer John Walters
Engineered by Tony Wilson
First transmission date 22 June 1969
(P) 1968 The Copyright in this sound recording is released by arrangement with BBC Worldwide Ltd.
17. BOUREE
Composed by Ian Anderson/Johann Sebastian Bach
BBC Producer John Walters
Engineered by Tony Wilson
First transmission date 22 June 1969
(P) 1968 The Copyright in this sound recording is released by arrangement with BBC Worldwide Ltd.
All tracks published by Salamander & Son Ltd./Chrysalis Music Ltd.
Tracks 1-11 orchestra arranged & conducted by David Palmer
____________________________________________________
Ian Anderson – Flute, acoustic guitar and voice
Clive Bunker – A thousand drums and percussion
Martin Barre – Electric guitar and descant recorder
John Evan – Piano, organ and mellotron
Jeffrey Hammond – Bass guitar, alto recorder and odd voices
____________________________________________________
In the beginning Man created God;
And in the image of Man created he him.
2 And Man gave unto God a multitude of names,
that he might be Lord over all the earth when it was suited to Man.
3 And on the seven millionth day Man rested
and did lean heavily on his God and saw that it was good.
4 And Man formed Aqualung of the dust of the ground,
and a host of others likened unto his kind.
5 And these lesser men Man did cast into the void. And some were burned;
and some were put apart from their kind.
6 And Man became the God that he had created
and with his miracles did rule over all the earth.
7 But as these things did come to pass,
the Spirit that did cause Man to create his God
lived on within all men: even within Aqualung.
8 And Man saw it not.
9 But for Christ’s sake he’d better start looking.
___________________________________________________
AQUALUNG – What the papers said…
“Tull is one of the most serious and intelligent groups, and Anderson’s choice of subject for Aqualung – the distinction between religion and God – is witness to that. Further, Tull is a musical sophistication to match its thematic ambitions.”
“Aqualung is the album’s lead character, and is so named for his rheumy cough. Side one consists of a series of seedy vignettes drawn from modern secular English life, while the printed lyrics are cast in Gothic lettering to emphasise the album’s liturgical basis. The title song depicts the beggar in all his shabbiness and lechery. Aqualung is actually three songs; as the different moods of the narrator unfold, the music changes accordingly. The initial melodic statement sung in a harsh, surly voice is ugly and plodding; it then shades into something milder and more sympathetic, then into something which rocks a little more.
“Side two, subtitled ‘My God’, deals more explicitly with religion. The rub of the issue is Christian hypocrisy, how people manipulate notions of God for their own ends. There is some rather obvious talk of plastic crucifixes. Blakean allusions to locking ‘Him in His golden cage’ and invective: ‘The bloody Church of England / In chains of history / Requests your earthly presence at / The vicarage for tea’. Beneath the accusatory tone is a moving musical theme. Again, the structure is constantly shifting. There are stately hymnal changes, a jazzy flute break, a pomp-and-circumstance motif which, when inverted, assumes more chromatic, modern queasiness. The gamut of religious experience is encompassed in this song.
“‘Wind Up’ winds up the album and embodies most of the album’s difficulties. While Anderson is adept at conceiving a musical approximation of an idea, his lyrics are overly intentional, ponderous and didactic. It would be possible to ignore the lyrics, as lyrics can usually be ignored, except that Anderson sings them so melodramatically. Nor is his theatricality appropriate to the ideas or words. The over-enthusiastic delivery is probably meant to compensate for his inherent vocal limitations, but the original problem is Anderson’s choice of subject. At a time when the more arcane varieties of religious experiences are trumpeted far and wide, and atheism and agnosticism still more than hold their own, it is difficult for the modern temper to get worked up over good old-fashioned Christian hypocrisy.”
– Rolling Stone
____________________________________________________
“From the packaging of the music it contains, this album is a complete work and this is from a group who were considered basically a live act. They improve every time out.”
– Sounds
____________________________________________________
“Good heavens, now Ian Anderson wants us to think!”
– Headline from Disc & Music Echo
____________________________________________________
“Aqualung is undoubtedly Jethro Tull’s most significant album to date and although comparisons are often odious to the artist concerned, the highest compliment I feel able to offer is that in significance it rates with Townshend’s ‘Tommy’.”
– Melody Maker
____________________________________________________
“Jethro are at a potential danger point … around the stage where, having undergone personnel changes and guaranteed a certain response for whatever they attempt, a lapse of effort could bring on the disintegration of respect that is currently gnawing like woodworm at so many established bands. Yet the evidence of their fourth album is solidly against the rot getting even a foothold in the revamped JT.
“They are still growing; not leaping ahead in gargantuan jumps but doggedly and conscientiously pursuing and exploiting Ian Anderson’s and the band’s capabilities as writers and performers in the restrained manner that has always been their trademark.
“Aqualung is progression within the distinctive area of music Jethro made and still hold as their own; more aggressive and riffy than the sweatily satisfying, under-rated Benefit. Certainly the time and meticulous attention that has gone into every facet of the product should be self-evident.”
– NME
____________________________________________________
Aqualung has been remastered using the Prism Sound Super-Noise-Shaping system. Recordings carrying the Prism Sound SNS logo have been converted to digital format using state-of-the-art analogue to digital converters and processed down to 16-bit format for CD using the Prism Sound Super-Noise-Shaping system. The process reduces the apparent level of background noise and equally important, subtly modifies the psycho-acoustic properties of the recording to enhance the sense of presence and realism. With the extra dynamic range and accuracy of the Prism Sound SNS system “digital distortion” is virtually eliminated.
(P) 1996 The Copyright in this sound recording is owned by Chrysalis Records Ltd.
© 1998 Chrysalis Records Ltd., Manufactured by Chrysalis Records Inc., 1750 N. Vine St., Hollywood, CA 90028. All rights reserved. Unauthorized duplication is a violation of applicable laws. Printed in U.S.A.
7243 4 9 5401 2 5
