These lyrics are backed up by exceptionally strong, no-bullshit power from the band. The opening portrait, “Aqualung,” is unapologetically graphic, searing into the consciousness: The unification of the two sides is arrived by inferential logic (How can a God allow people like Aqualung and Cross-Eyed Mary to live such miserable existences?) or implied (the line, “We are our own saviors” in “Wond’ring Aloud”). The religious theme-or, more accurately, the corruption of religion theme-on side two is clearly intentional. It is the method (portraiture) that provides the unity, as opposed to any common theme or message. Side one is a series of portraits: two of people in the human underworld one of Ian Anderson waiting for a train and musing on a visit to his father in the hospital another of people seen on a stroll through Hampstead Heath one a scene in the daily life of a couple and the other of a working class lout. The two main themes of Aqualung are the human condition (side one) and religion (side two). Fortunately, they kept the bass parts on Aqualung limited to simple rhythm support so the others could strut their stuff.

Yes, I specifically left out Jeffrey Hammond-Hammond, one of the most inept bass players in history. The lyrics are clearer and stronger than on any other Tull album, and the musicianship of Ian Anderson, Martin Barre, John Evan and Clive Bunker is simply extraordinary.

After reading various comments he’s made over the years, I think what he’s talking about is intention while Aqualung clearly has themes that weave together into a remarkable tapestry, those themes came together by good fortune rather than deliberate intent.Ĭoncept album or not, Aqualung is one of the great albums of all-time, a work of unusual depth, power and intensity. Ian Anderson seems to get his knickers in a twist whenever someone refers to Aqualung as a concept album.

Jethro tull rock opera review