Phil, I'd love to hear your thoughts on Aqualung, the other albums I listed (when you give them a spin), and Tull. Most of my friends think I'm crazy when I express my love for this early period of JT. But, in all honesty, I don't think many have given their records much thought or a proper listen.
On first listening after 40 years, I found Aqualung difficult. Back then, it was in a good friend's collection amid Steve Vai and Joe Satriani recordings. He was inclined to focus on cleverness in music and virtuosity. Knowingly clever music is something that often, but not always, turns me off. It definitely didn't appeal to me here although I was able to sink in through it with repeated hearings. I also couldn't get past the flute and the vocal mannerisms, which are essential to the Tull signature sound but which I found distracting. I even found the beautifully arranged strings problematic. In fact, I found it all a bit overproduced and indulgent. However, I was drawn in sufficiently by the lyrics, heavier rock elements and folk influences to commit to further listening. Having listened to the 40th anniversary edition and finding the additional tracks discontinuous, I returned to the original unextended album. This time, I was even more into the lyrics but still struggled with the same elements as before. The flute may have been an interesting novelty when I first heard the band 40 years ago. But now, I find it almost entirely distracting and extraneous. Apart from in Cross-eyed Mary, where it serves well, I found the flute irritating. It put me in mind of a certain scene involving Klaus Kinski and an indigenous panpipe player in Werner Herzog's extravagant Aguirre, the Wrath of God. I would link up to the scene but, if you don't already know it, I encourage you to watch the film. I'm not a fan of Tull’s more Prog elements including the bardic vocal style although I was beginning to yield to that on the third hearing. I still don't like the affected laughs and falling off the final notes of phrases though. I like the folky numbers and think they are extremely well placed on each side. But as soon as the strings come in, I lose focus and interest. They are excellently done but seem totally unnecessary to me and the opening intimacy of each track is lost. Despite the above, on the third hearing, I found myself interested enough to want to check out the other albums you recommended at some point. I'd say the stand out track on Aqualung is God but, unfortunately, the grand flute solo and the attempt at an overdubbed 'choir' add nothing and just ruin it for me. The best thing about this album overall has to be the lyrics, which I think are outstanding.
Thank you so much, Phil, for taking the time to listen and share your detailed thoughts. I truly appreciate and value your engagement not only with my own thoughts on the artists, albums, and songs that I write about but also sharing your own thoughts and perspective.
It's amazing how art can be interpreted in so many different ways. While I may write about albums, artists, and songs that I personally love, respect, and appreciate, I understand that they may not resonate with everyone. However, through this engagement, we can have fantastic discussions, exchange differing opinions, and still maintain mutual respect and appreciation. Your words mean a lot to me, and I agree that Ian Anderson's vocals are often a point of contention for some when it comes to Tull. The flute adds a unique layer to the heavy rock & folk instrumentation, but it can also be argued that it was sometimes overused or ventured into self-indulgent and pretentious territory, especially in extended solos like on "My God."
I'm glad that the lyrics resonated with you too, as that's one of the things I love about Tull's early records. They delve into subject matter that goes deeper than many of their contemporaries.
THANK YOU, for taking the time to listen multiple times and sharing your honest thoughts. This type of discussion about art is what I love and enjoy (and miss!). 🙏
Well done, Michael! Tull scratches where I musically itch, and have since "This Was" and its '68 release, when I was 13! Another freebie brought home from Dad's radio station, I was taken aback by the old men depicted on the cover, and it wasn't that album that grabbed me....the next year's "Stand Up," though, was another story.
That's the one where Ian's flute playing inspired me to rent a Gemeinhardt, take one lesson (to learn embouchure and fingering), and begin learning all his flute licks all the way, eventually, through to "A Passion Play"......all by ear! So, while every other teen was picking up guitars, inspired by Beck, Page, Hendrix, and Clapton, not I!
My interest in them started to wain around "War Child" ('74), and by "Too Old to Rock," I was basically done. But, my love for the band and, certainly, Ian, remain, especially for those early '70s years!
I saw them about 3 or 4 times during the early '70s, and once, at the Universal Amphitheatre in the late '80s in L.A., with a new favorite band opening. In fact, THEIR leader was a huge Ian/Tull fan, too, and I included a picture of the two together here, in my recent article: https://bradkyle.substack.com/p/audio-autopsy-1989-it-bites-eat-me
As for your Zep/Tull debate, I'm not about to argue. You make some great stylistic points, from the standpoint of each band's motivation and output. Plus, I've always asserted that Ian is one of the most overlooked front men in history, always losing out to the Daltreys, Jaggers, Rods, and of course, Plant. None of those (or any others) can match Ian's dynamism, creativity, musicality, humor, and theatricality (as you so accurately mentioned)!
Brad, Thank you so much for reading and commenting. I really appreciate your feedback.
What a great story regarding your connection with Tull, love for Ian, and learning to play the flute! I never saw Tull, but I did see Martin Barre in 2022, and he played 'Aqualung' in its entirety. The flute solo during "My God" was replaced with a killer guitar solo. He was also full of energy and a very personable frontman. I was somewhat surprised because in those early videos of Tull, Barre is often standing still.
I agree with you that Anderson is an underappreciated frontman. His over-the-top theatrics are what many smirk at, but when watching the video of "My God" at the Isle of Wight Festival in 1970 (linked in my essay), I see a man who is completely feeling the music deep into his core. He believes in what he's saying and, at times, he also never seems to take himself too seriously. All of it is no doubt entertaining as well as endearing.
Back to Barre, I think he is a completely underrated guitarist. He should definitely be in the same conversations as Jimmy Page. "With You There To Help Me" is just one shining example of his brilliance.
I agree with your Page/Barre assessment, even though I'm not a guitarist (lead singer/flutist, like you-know-who!). But, without denigrating Page, it's certainly possible to lift up Barre to close to equal footing. I wonder if Tull was a Rock HOF inductee, if anything in that notoriety lane would change/improve!
Two show-biz/performer items re: Ian come to mind (again, early-'70s, seeing him/Tull in Houston): At the end of the show, crowd roaring, Ian comes to the mic and yells, "THANK YOU, CINCINNATI!"
Another time, a telephone (think curly wire and a pick-up receiver...again, '70s!) has been sitting on a tiny footstool downstage right the entire 3-hour concert, with no explanation or mention. Finally, after the encore, the lights go dark, we hear a phone ring over the PA, and a lone spotlight focuses on the phone.
Ian goes over, picks up the receiver, and listens intently for about 5 seconds. He lays the receiver down, walks to the mic, looks at the crowd, points at all of us, and simply intones, "It's for you!"
Aqualung is the only one I know. I'll definitely be checking out the other suggestions here.
Phil, I'd love to hear your thoughts on Aqualung, the other albums I listed (when you give them a spin), and Tull. Most of my friends think I'm crazy when I express my love for this early period of JT. But, in all honesty, I don't think many have given their records much thought or a proper listen.
I'll have a listen. It's been decades since I listened to Aqualung.
On first listening after 40 years, I found Aqualung difficult. Back then, it was in a good friend's collection amid Steve Vai and Joe Satriani recordings. He was inclined to focus on cleverness in music and virtuosity. Knowingly clever music is something that often, but not always, turns me off. It definitely didn't appeal to me here although I was able to sink in through it with repeated hearings. I also couldn't get past the flute and the vocal mannerisms, which are essential to the Tull signature sound but which I found distracting. I even found the beautifully arranged strings problematic. In fact, I found it all a bit overproduced and indulgent. However, I was drawn in sufficiently by the lyrics, heavier rock elements and folk influences to commit to further listening. Having listened to the 40th anniversary edition and finding the additional tracks discontinuous, I returned to the original unextended album. This time, I was even more into the lyrics but still struggled with the same elements as before. The flute may have been an interesting novelty when I first heard the band 40 years ago. But now, I find it almost entirely distracting and extraneous. Apart from in Cross-eyed Mary, where it serves well, I found the flute irritating. It put me in mind of a certain scene involving Klaus Kinski and an indigenous panpipe player in Werner Herzog's extravagant Aguirre, the Wrath of God. I would link up to the scene but, if you don't already know it, I encourage you to watch the film. I'm not a fan of Tull’s more Prog elements including the bardic vocal style although I was beginning to yield to that on the third hearing. I still don't like the affected laughs and falling off the final notes of phrases though. I like the folky numbers and think they are extremely well placed on each side. But as soon as the strings come in, I lose focus and interest. They are excellently done but seem totally unnecessary to me and the opening intimacy of each track is lost. Despite the above, on the third hearing, I found myself interested enough to want to check out the other albums you recommended at some point. I'd say the stand out track on Aqualung is God but, unfortunately, the grand flute solo and the attempt at an overdubbed 'choir' add nothing and just ruin it for me. The best thing about this album overall has to be the lyrics, which I think are outstanding.
Thank you so much, Phil, for taking the time to listen and share your detailed thoughts. I truly appreciate and value your engagement not only with my own thoughts on the artists, albums, and songs that I write about but also sharing your own thoughts and perspective.
It's amazing how art can be interpreted in so many different ways. While I may write about albums, artists, and songs that I personally love, respect, and appreciate, I understand that they may not resonate with everyone. However, through this engagement, we can have fantastic discussions, exchange differing opinions, and still maintain mutual respect and appreciation. Your words mean a lot to me, and I agree that Ian Anderson's vocals are often a point of contention for some when it comes to Tull. The flute adds a unique layer to the heavy rock & folk instrumentation, but it can also be argued that it was sometimes overused or ventured into self-indulgent and pretentious territory, especially in extended solos like on "My God."
I'm glad that the lyrics resonated with you too, as that's one of the things I love about Tull's early records. They delve into subject matter that goes deeper than many of their contemporaries.
THANK YOU, for taking the time to listen multiple times and sharing your honest thoughts. This type of discussion about art is what I love and enjoy (and miss!). 🙏
Well done, Michael! Tull scratches where I musically itch, and have since "This Was" and its '68 release, when I was 13! Another freebie brought home from Dad's radio station, I was taken aback by the old men depicted on the cover, and it wasn't that album that grabbed me....the next year's "Stand Up," though, was another story.
That's the one where Ian's flute playing inspired me to rent a Gemeinhardt, take one lesson (to learn embouchure and fingering), and begin learning all his flute licks all the way, eventually, through to "A Passion Play"......all by ear! So, while every other teen was picking up guitars, inspired by Beck, Page, Hendrix, and Clapton, not I!
My interest in them started to wain around "War Child" ('74), and by "Too Old to Rock," I was basically done. But, my love for the band and, certainly, Ian, remain, especially for those early '70s years!
I saw them about 3 or 4 times during the early '70s, and once, at the Universal Amphitheatre in the late '80s in L.A., with a new favorite band opening. In fact, THEIR leader was a huge Ian/Tull fan, too, and I included a picture of the two together here, in my recent article: https://bradkyle.substack.com/p/audio-autopsy-1989-it-bites-eat-me
As for your Zep/Tull debate, I'm not about to argue. You make some great stylistic points, from the standpoint of each band's motivation and output. Plus, I've always asserted that Ian is one of the most overlooked front men in history, always losing out to the Daltreys, Jaggers, Rods, and of course, Plant. None of those (or any others) can match Ian's dynamism, creativity, musicality, humor, and theatricality (as you so accurately mentioned)!
Bravo again, Michael!
Brad, Thank you so much for reading and commenting. I really appreciate your feedback.
What a great story regarding your connection with Tull, love for Ian, and learning to play the flute! I never saw Tull, but I did see Martin Barre in 2022, and he played 'Aqualung' in its entirety. The flute solo during "My God" was replaced with a killer guitar solo. He was also full of energy and a very personable frontman. I was somewhat surprised because in those early videos of Tull, Barre is often standing still.
I agree with you that Anderson is an underappreciated frontman. His over-the-top theatrics are what many smirk at, but when watching the video of "My God" at the Isle of Wight Festival in 1970 (linked in my essay), I see a man who is completely feeling the music deep into his core. He believes in what he's saying and, at times, he also never seems to take himself too seriously. All of it is no doubt entertaining as well as endearing.
Back to Barre, I think he is a completely underrated guitarist. He should definitely be in the same conversations as Jimmy Page. "With You There To Help Me" is just one shining example of his brilliance.
I agree with your Page/Barre assessment, even though I'm not a guitarist (lead singer/flutist, like you-know-who!). But, without denigrating Page, it's certainly possible to lift up Barre to close to equal footing. I wonder if Tull was a Rock HOF inductee, if anything in that notoriety lane would change/improve!
Two show-biz/performer items re: Ian come to mind (again, early-'70s, seeing him/Tull in Houston): At the end of the show, crowd roaring, Ian comes to the mic and yells, "THANK YOU, CINCINNATI!"
Another time, a telephone (think curly wire and a pick-up receiver...again, '70s!) has been sitting on a tiny footstool downstage right the entire 3-hour concert, with no explanation or mention. Finally, after the encore, the lights go dark, we hear a phone ring over the PA, and a lone spotlight focuses on the phone.
Ian goes over, picks up the receiver, and listens intently for about 5 seconds. He lays the receiver down, walks to the mic, looks at the crowd, points at all of us, and simply intones, "It's for you!"
I still get chills!