Jethro Tull
Aqualung

THE REVIEW

Jethro Tull, distinctive feature: Ian Anderson.

Indeed, the main architect behind the career of this band has undoubtedly been the “pied piper” Anderson with his genius, immense creativity and, let's be honest, sometimes madness. The most brilliant high point in the long history of this group is probably the 1971 album, “Aqualung”, a prime example of the kind of music to which the Tull have accustomed us over the years: a Progressive Rock with vigorous Hard elements mixed with a strong Folk vein dictated also by a massive but never trivial use of the legendary flute that embroidered and seasoned with particular fantasy the various tracks of this and their other albums.

Even before inserting the disc into the player, one is immediately struck by the highly original and very enigmatic title and cover in terms of meaning. "Aqualung” is the name of a tramp (invented by Anderson's mind) who is then depicted, in fact, on the cover and is meant to indicate one of the main themes addressed within the album, which is the living conditions of the poorer strata of society. Another theme of great importance, touched upon especially in the second part of the record, is then an articulated reflection, through sharp and venomous irony, on the church and religion.
In addition to the great mastery of the flute, Anderson displays another peculiarity that allows him to interpret all his songs to the fullest: a voice capable of perfectly adapting to the theme of the songs performed, shifting from rough, harsh, and aggressive tones (as in the title track or the captivating Cross Eyed Mary) to calmer, serene, and composed tones (especially in acoustic tracks such as Slipstream or Cheap Day Return) always with great professionalism and effectiveness.
I wouldn't dwell too much on the album's tracklist except to say that it is very varied, alternating turbulent moments (Up To Me, Hymn 43 or Locomotive Breath) with more introspective and refined parts (Mother Goose or Wondr’ing Aloud).

Instead, I reserve special mention for the song, in my opinion, the symbol of “Aqualung”: I'm talking about “My God”. What can I say? Certainly a masterpiece made such by its structure: distant echoes of guitar chords, which become more and more intense, more sustained. These are joined by a heavy piano accompanying the scathing voice ready for its anticlerical invective. Could the Flute be missing? Certainly not, Anderson indeed delights us with a wonderful solo that leads into epic and grandiose choruses driving the song to its highest point and then back down again to the melody of the first part. Any other word diminishes the majesty of this song. Just listen to it!!!