Aqualung (Steven Wilson Mix And Master) Jethro Tull
Dear HIGHRESAUDIO Visitor,
due to territorial constraints and also different releases dates in each country you currently can`t purchase this album. We are updating our release dates twice a week. So, please feel free to check from time-to-time, if the album is available for your country.
We suggest, that you bookmark the album and use our Short List function.
Thank you for your understanding and patience.
Yours sincerely, HIGHRESAUDIO
- 2Cross-Eyed Mary04:10
- 3Cheap Day Return01:22
- 4Mother Goose03:53
- 5Wond'ring Aloud01:53
- 6Up To Me03:14
- 7My God07:11
- 8Hymn 4303:18
- 10Locomotive Breath04:41
Info for Aqualung (Steven Wilson Mix And Master)
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 conceptual rock 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.
'...Demonstrates a new maturity in Ian Anderson's songwriting as he draws together disparate folk, jazz and heavy metal influences. The tramp on the cover quickly became the Tull persona in the public mind...' (Mojo)
Ian Anderson, flute, acoustic guitar, vocals
Martin Barre, electric guitar and descant recorder
Clive Bunker, percussion
John Evan, piano, organ, mellotron
Jeffrey Hammond, bass, alto recorder, and odd voices
Glenn Cornick, bass guitar
David Palmer, Orchestral arrangements and conduction
Recorded at Island Studios, London
Engineered by John Burns
Produced by Ian Anderson, Terry Ellis
formed in February 1968 from the ashes of two unsuccessful blues/rock bands of the era. Ian Anderson brought his unique and innovative style of flute playing to a public raised on the guitar based British bands who courted acceptance at London’s famous Marquee Club.
After their first tentative blues oriented album, titled “This Was,” the group moved through successive records towards a more progressive sound, and with “Aqualung” in 1971 achieved their first real international level of success.
A few hit singles, notably “Living in the Past,” livened up their early career although it was as an album band, with songs of real substance, that the group really took off, both on record and as a major live concert act.
So-called concept albums followed in the early 70’s (“Thick as a Brick” and “A Passion Play”) with the attendant platinum No. 1 album chart sales.
Tull survived the critical backlash of the return-to-basics later 70’s to produce some of their finest creative efforts which, although not quite matching the commercial success of the previous works, established the band as one of the truly creative exponents of progressive music throughout the 70’s, 80’s and 90’s.
They have continued to constantly reinvent themselves, albeit with several personnel changes along the way.
Ian Anderson (flute and vocals) and Martin Barre (guitar) provide to this day the musical and historical backbone of the group, joined by Doane Perry on drums, Andrew Giddings on keyboards, and Jonathan Noyce on bass.
This album contains no booklet.