AQUALUNG

I will rank myself at around a 3 on this one. I wouldn't call myself a complete expert, but I know it pretty well coming in. What I didn't know until just before writing this is that the title track, Cross-Eyed Mary and others, are based on pictures of homeless people by the banks of the River Thames in London taken by Jennie Anderson (now Franks), who also co-write the lyrics. I've always enjoyed the album, but let's take a deep dive.

(Side One on the original LP was titled Aqualung and contained tracks 1-6)

Track 1 - Aqualung

Certainly, the best-known Tull song. It describes a fictional characterization of a homeless man whom Jennie Anderson spoke with and took pictures of, with his consent. We all know the 6-note riff! I like the way that each time the riff repeats, more instrumentation is added. Then there is the acoustic-folky verse, with an effect on Anderson's voice. Then the tempo picks up with a steady rhythm section. Following that we have Martin Barre's famous guitar solo. We come back to the acoustic progression following the solo. Then the opening riff returns. The last few repeats of the riff have nice drum fills from Clive Bunker. Then we have the big finish as the song comes to a close.

Track 2 - Cross-Eyed Mary

Another fictionalized character based on the aforementioned photos. Cross-Eyed Mary portrays a teen prostitute. This one features Anderson's signature flute sound with the band providing a mysterious backdrop for it. As the verse begins Barre's crunchy guitar sound plays a riff to accompany Anderson's vocals. The rhythm changes for the choruses. We have a flute solo in the middle followed by a guitar solo. This song has a more traditional Verse- Chorus type format than the title track. It has a similar big finish however, just with added flute trills.

Track 3 - Cheap Day Return

This brief acoustic track is about a visit that Anderson had with his critically ill father in the hospital. At only 1:21, there is some wonderful acoustic playing.

Track 4 - Mother Goose

In a recorded interview found on the 25th Anniversary edition of the album, Anderson describes that he had the idea to use some "Cheap Yamaha plastic recorders" to play the parts that we hear on the finished product. This track is almost fully acoustic, as well. This delightful, folky tune has a bit of a renaissance era feel to it. I like the 2- part harmonies that happen around 1:50. Some electric guitar power chords join in at around 2:30 and return frequently during the final minute of the track. There is more wonderful acoustic playing here.

Track 5 - Wond'ring Aloud.

This is another brief acoustic piece, with some signature Anderson idiosyncratic singing. Also there are some lovely piano parts played by John Evan, as well as a string arrangement done by the then David Palmer (now Dee Palmer after gender reassignment surgery).

Track 6 - Up to Me

We begin with an odd-sounding laugh, followed by a super-catchy acoustic riff, doubled by flute. Vocals and electric guitar fills join on the second time around. The verse has a flurry of lyrics. The theme seems to be one of taking responsibility for your choices rather than blaming God for them. In other words, what I do is "up to me".

(Side 2 on the original LP was titled "My God" and included tracks 7-11)

Track 7 - My God

To me, THIS is the grand epic of the album. We open with more wonderful acoustic playing some ad-lib buts before establishing the descending chord progression. The song is a scathing attack on organized religion (particularly Christianity as practiced by the "Bloody Church of England"). On the second verse Barre joins the riff on heavy, almost Black Sabbath sounding electric guitar. Then a brief but brilliant guitar solo follows, followed in turn by an amazing flute feature. A gothic-sounding choir backs the flute cadenza. The band re-joins with some tight playing. Before the piano brings the chord progression back. Another verse follows and the song closes with a sustained flute note

Track 8 - Hymn 43

We continue the theme of religion here. I believe this one is talking about how Jesus is used to absolve people of the horrible actions they have taken. The chorus of the song pretty-much sums it up:

If Jesus saves, well, he better save himself

From the gory glory seekers who use his name in death, aw!

Oh, Jesus save me

Musically, the song is a fairly short rocker that gets some airplay. It has a descending chord progression in the verses that is not unlike Cream's White Room, with a catchy little riff between verses and a nice guitar solo in the middle.

Track 9 - Slipstream

Another short acoustic song. It seems to be about "seeing the truth" at the moment of dying. It was also inspired by his father's declining health at the time. (I cannot seem to find any more detailed info about his father's death, however.)

Track 10 - Locomotive Breath

Another well-known Tull tune, here, probably second only to the title track in terms of popularity. We begin with a bluesy piano solo intro, joined eventually by some Barre lead licks before the guitar volume swells, and the main riff clicks in. Apparently, the band was having trouble in delivering the rhythmic feel that Anderson envisioned, so Anderson plays the bass drum throughout, while Clive Bunker does the snare and tom-fills. There is a nice flute solo in the middle. The "locomotive" in the song represents out of control population growth and capitalism. The world's population is growing very fast, and lots of money is being made, yet the wealth is not getting to most of the world, and many are starving and/or under-fed.

Track 11 - Wind Up

This one criticizes those who "wind-up" their god on Sundays yet ignore the morality they supposedly get from their church visits during the rest of the week. We begin with quiet instrumentation, and Anderson describes his early childhood religious experiences and the revelations he had of the hypocrisy involved. To Anderson, a deity (possibly multiple ones) is always there, and he's not the kind you have to wind-up on Sundays. Electric guitars and the rhythm section join-in on the second verse. Anderson is unapologetic about how he feels about this as he sings:

Well, you can excommunicate me on my way to Sunday school

Have all the bishops harmonize these lines

The first verse returns at the end in a slower tempo and a more dramatic fashion. He ends by saying:

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

OVERALL IMPRESSIONS:

Most prog fans know that Anderson always denied that Aqualung was a concept album but admitted that there were some common threads running through the album. His denial led to him making "Thick as a Brick" next to show what a concept album really was. I believe that side 1 deals with his feelings on social injustice and how it affects the less fortunate. Side 2 clearly expressed Anderson's disenchantment with organized religion in general and the Church of England in particular. The songs are great throughout and it is easy to see why this is their highest selling album and a staple of classic rock radio. However, I'm not sure how truly "prog" it is. There are not a lot of meter changes, etc. Most of the songs are in 4-4 and pretty musically accessible. That is not to say the album isn't great. I think that the best was yet to come for Tull, however. I'll give it a 4 out of 5 stars.