Jethro Tull 5.1 (“Bursting Out” box set with Steven Wilson 5.1 mixes out in June 2024!)

[wanners]

Received mine from Importcds a couple days ago. I can honestly say the glitches haven't diminished my enjoyment of this release at all.

Same here. I'll review this after a couple more listens. So far I love this mix!

 

[cupboy]

By all means, it's still a fantastic release and sounds incredible. Hopefully talk of these glitches don't deter anybody too much from buying this. The cross eyed mary glitch is rather distracting but the other two aren't too bothersome.

Amazon has suspended selling this. Says "Item Under Review".

 

[Bob Squires Jr]

What's with the glitches on these recordings??
The Cat Stevens - Tea SACD that was supposedly worked on for years has a glitch in one of the tracks that just drops out.
I was able to remove it in sound forge myself and it is totally un-noticeable so they could have done it.

As for the Tull... I doubt if they'll re-issue any of them fixed for those of us who got them.

No quality control anymore?

 

[JohnN]

FORTY YEARS OF AQUALUNG: AN INTERVIEW WITH JETHRO TULL’S MARTIN BARRE
http://www.classicrockrevisited.com/interviewmartinbarre2011.htm

By Jeb Wright

For over 42 years members of Jethro Tull have come and gone like a revolving door. Only bandleader Ian Anderson has been with the band for every album. After Tull’s debut, This Was, Anderson made the first of many sackings in his band, guitarist Mick Abrahams had to go. The pair were butting heads over the direction Jethro Tull should pursue, with Abrahams pushing for a more guitar oriented blues approach. Anderson had other visions and, in the end, he remained.

Martin Barre was recruited to replace Abrahams as the band went into the studio to work on their second album, Stand Up, which sowed the seeds of what would become the classic mix of flute and guitar that became the Jethro Tull sound. Barre fit in well and began to contribute more on Tull’s third release, Benefit, as the band began to experience commercial success around the globe.

It was the next album, however, Aqualung, that broke the band huge and enabled them to be one of the most successful and unique, bands in the rock genre. Songs like “Aqualung,” “Cross Eyed Mary,” “Locomotive Breath” and “Hymm 43” rocked harder than Tull had ever rocked. The team of Anderson/Barre matured. Over the years, band members were cast aside, seemingly at Anderson’s whim, only Barre would remain.

Now, over four decades later, the classic Aqualung album has turned 40 years old. To celebrate that fact, EMI has released a two-disc version of the album with a bonus disc of other recordings made at the same time, as well as a deluxe version for the hardcore Tull fan, which includes a the CDS, a vinyl version of the album and a book.

Martin met with Classic Rock Revisited to discuss the making of the album. He revealed the difficulty the band had recording the album and the creative process behind the songs. During the interview, however, Barre shocked us by revealing that there are no plans for anymore Jethro Tull albums or tours at this time. When asked if the band was no more Barre could only say, “I don’t know.”

While the future of Jethro Tull with both Ian Anderson and Martin Barre in the band is up in the air, Barre is not staying at home and watching morning talk shows. He has assembled a band to tour Europe and play his solo music. He is also working on a worldwide tour with another band he is putting together that will play only Jethro Tull music. Barre promises that many of the songs performed will be tunes that have not been performed by Tull in many, many years. Ian Anderson has announced he will also do a solo tour performing the classic Thick as a Brick in its entirety.

While the future of Tull may be up in the air, the past is firmly cemented in solid bedrock. Read on to learn about the classic Aqualung and learn where the guitarist is headed in 2012.

Jeb: It’s hard to believe Aqualung is 40 years old. You’re used to anniversaries but the number 40 really jumps out at you.

Martin: These numbers come up and they’re like birthdays. When you have your 40th birthday it’s like, ‘WHOA!” Then 50 is a big one and 60 is a big one but after that is 65, which is huge. I would imagine that after that you just go to 66 and then 67, as each one gets bigger the older you get; each day becomes an anniversary as you’re just happy to be alive.

The thrill of the album’s anniversary dulls a bit because after this year will be the 40th anniversary of Thick as a Brick, and the following year, Passion Play. I’m very proud but I have trouble getting too excited.

Jeb: When the big 10’s come up, like 40 years, it does give the fans a chance to look back and remember why that album was so special to them.

Martin: The packages are very nicely put together and they’re great for the fans. Jethro Tull has never patted ourselves on the back, ever. We’ve never gone down to the pub and said, “It’s been forty years; pour me a glass of champagne.”

It’s a shame because we’re living in an age where everything is expendable. We don’t have a record company anymore. EMI deal with the back catalog but I’ve never talked to them. It is all very removed from the days when you would go to the record company in New York, or LA, and you would go to the office and know everybody. You would leave the building with armfuls of everybody else’s records. It was very personalized then but now, most of the record companies I deal with have gone bankrupt. They just don’t exist anymore. If they do, then they don’t have any money. There is not a lot of celebrating anymore. For me, the celebrating I do is when I walk into the studio, pick up my guitar and play something and think, “Yeah, that’s nice.”

I am proud of the albums and the history and it does mean a lot, however, it is what I’m doing today and what I’m going to do tomorrow that is really important for me.

Jeb: Jethro Tull is one band that has never worried about sales, style, what is in vogue or anything else; Tull makes the music the most important thing. You have a fan base that will accept whatever Tull does, not that they always like it, but they give it a fair listen.

Martin: They are amazing and we’ve made them put up with some weird stuff over the years. They patiently sat through it. I guess because of them, we have license to change directions, which is great. If you don’t do that, you get so bogged down in a style that it gets hard to survive. Luckily, Ian and I both love writing music. I am writing music now. Sometimes, in the back of your mind you wonder, “Have I lost it?” I then play and play and play until I go, “Yeah, I did it; I’ve still got it.” I just love that. While I like it, that is still not what matters most, as you’ve got to get a few thousand other people to like it as well. Jethro Tull’s fans have given us the opportunity to do a lot of stuff. They allow us to do solo projects and to play with other people. We are able to take the music to a lot of places that fans of other bands may not have allowed them to take it; it’s great.

Jeb: Ian Anderson and Martin Barre have been the two members of Tull since the second album when you joined. To my ear, Aqualung has more and more of your guitar. The electric songs “Cross Eyed Mary,” “Aqualung” and “Hymm 43” really seem to show you getting more involved with the songs than the two albums you were previously on, Benefit and Stand Up.”

Martin: On Stand Up, I was terrified because I had just joined the band. It really showed a change in direction for the band and when it was accepted and became a successful album, we gained a lot of confidence. We extended that confidence into the making of Benefit, in which we were a lot more at ease. Ian was still writing the songs on guitar at the time.

When Aqualung came out, Ian would show me what he had written and then we would play it. His flute playing was very much in proportion with the guitar. Obviously, I’m biased but when you jump forward 40 years things have changed.

Jethro Tull did their last show for quite a while in July. I have started playing my solo material again and I’ve got a few projects I am working on. The amazing thing is that I’ve started playing half of my material and half of this French guy’s material; I have so much to do in this project. I love arranging music and playing with great musicians. I like saying, ‘Try this” and they say, “Try that?” I tell them to just try it and they go, “Wow.” To me, when it works out then that is the greatest thing about writing and arranging music; it is the icing on the cake. I have been having a lot of fun.

I suddenly realized how little guitar I was playing in Jethro Tull and how little I had to do. I was taking a bit of a backseat, which is never a good thing. I was not having to work very hard, and I like to work hard.

Jeb: On Aqualung, were you sharing ideas with Ian or was he very much the conductor?

Martin: He was driving but I was in the front seat of the same car. We all had ideas and everybody listened to each other’s thoughts on the songs. Everybody had input into the making of the album. It hasn’t always been that way, but in the early days it was that way. We tried to find ways to play the music and to interrupt what Jethro Tull was, not one person could do that. We tried to make Jethro Tull take a specific direction. Ian had a lot to do with it but we all had important roles to play. Over the years, that got diluted and certain concepts took over. Keyboards became too important, or electronic drums became too important. Over the years, the computer has become too important. These things diluted the Jethro Tull sound, which is really made up of flute and guitar songs. It disappeared because we got bogged down by looking at a bloody computer screen. I hate it but you have to do it.

I refuse to record like that. I play live in the studio. I can’t deal with people saying, “I can fix that.” You sit there for twenty minutes while he looks at a computer screen. In that time, you could have done it again and instead you’re watching a screen. That is not making music, as the essential thing, when you do a performance on an instrument, are the imperfections. All of the grunts and farts are lost. If you lose those elements then you sterilize the music.

Jeb: I have to ask you, because this is Aqualung’s 40th, about playing those big opening notes to the title track.

Martin: Ian wrote that riff and I wrote the guitar solo. In those days, the riff was often the main part of the song like “Aqualung” or “Cross Eyed Mary.” Ian wrote those riffs and they would be the basis of the song. It made it very much Jethro Tull and the songs and guitar riff were very important to the sound.

I once did a solo tour, and I used a guitar player, whose name I’m not going to mention, and when he played “My God” he would bend one of the notes sharp in the riff and I about died because that riff didn’t need interpreting because it is what it is. It is really simple and it worked. Why did it work? Because it was simple and that is the hard thing when playing live. You record it and it is something that is simple and works but you’ve got to hold on to that when you recreate it. I’ve got to make sure that when I play, I play it correctly. When somebody else plays these riffs, to me, it just doesn’t sound the same. It could be a virtuoso but it won’t sound the same. I have worked with some fantastic musicians but they all share the same inability to play simple. Jimi Hendrix could play one note and you would know immediately who it was.

Jeb: The solo on “Aqualung,” did you do that in parts or did you wing it?

Martin: I winged it. I remember a long time ago meeting somebody in the dressing room and they were playing all of the solos from “Nothing is Easy.” Over the years, I had changed it a bit, as you do. Hearing him play it I realized that it didn’t need changing. The way it was on the record was fine. It was not great and it was not Steve Vai or Joe Satriani, but it was the way that it ought to be.

Jeb: You talked about simplicity and that brings me to “Hymm 43” and the part where you scratch the pick on the strings while your fret hand mutes the strings. You also do that on “Locomotive Breath.” You didn’t invent that technique but like all things Tull you placed it in the song perfectly.

Martin: Just last week I was playing “Locomotive Breath” and the other guitar player improvised and he played the riff differently and I was thinking, “No, that’s not it.” I was onstage so I couldn’t tell him how it should be. He was doing it the way he heard it but it was not the way that it was supposed to be.

Jethro Tull was a very isolated band; we didn’t mix with other bands. We didn’t copy things because we didn’t listen to their music. Some of the ideas were fresh because there were really no influences at all.

Jeb: Ian has said that the studio was difficult to work in because it was a converted church. You were the first band to record in that studio.

Martin: The gear kept breaking down and we would have to sit there for hours while they fixed it, which was very frustrating. It was a very hard and stressful album to make. We didn’t just plug in and the magic happened; it was very hard work. It was very difficult to get all of the backing tracks done. It ended up being a very important album. Another Jethro Tull album, Under Wraps, fell into place very quickly but it is probably the least important album we ever made. There is no telling what’s going to happen.

I remember reading about when the Beatles made Abbey Road. They were arguing all the time and they had many problems recording the album. It has great songs on it and was a wonderful album but it was very hard for them to make.

Jeb: Led Zeppelin came in to the same studio to record IV while Tull was recording Aqualung. Have you ever thought back that on the same spot on the earth two incredible albums that changed rock music forever were being recorded at the same time?

Martin: The atmosphere in that studio was terrible. It was an old church; it was not some amazing studio in LA or New York. We were isolated in the studio from Led Zeppelin. We only even ran into them once, and that was in the kitchen. We had absolutely no connection with them and I don’t even know if they had an easy time making their album or not. The atmosphere we were under was not good. We never went, “Let’s go over and see what Led Zeppelin are doing” because we were all working very hard trying to get our album recorded. It was really hard work.

Jeb: When the album was done did you have any thoughts that this album would become as huge as it did?

Martin: Not at all. I think it was really a snowball that was rolling down a hill in those days. We would go out and tour, then do Madison Square Garden and get presented with a Gold disc and then keep on touring. It was endless. We never got over the top in our behavior because we were working so hard. We never entered the ‘rock star’ world. We never had time to sit back and say, “That was great.” We were expected to continue being great and make another great album. We never sat on our laurels, ever.

Jeb: Tell me about the solo dates you are going to be doing and if there are plans for any solo releases.

Martin: The idea is to do a compilation of acoustic versions of Tull songs. I would like to do some of the very melodic, acoustic songs from Tull that rarely get noticed. I am writing new music with my solo band and it will be part of it as well. I would like to include a compilation from my first solo album and include some tracks that got buried when they were first released. I am working on a book and I would love to make an album and give it away as a freebie with it.

I have lots of music and a lot of good ideas and I am going to have the time to do something with them. Jethro Tull is on ice for the foreseeable future, as Ian is doing a solo tour. I am trying to plan my life and project forward for the next couple of years. I am doing a solo tour in Europe and England where I will play a compilation of my music. Next up, I have a project that I want to bring everywhere. This will be a band setting but I can’t yet mention names of who will be in the band. We will be playing purely Jethro Tull material.

Jeb: Will these be different versions of Tull songs?

Martin: No, it is going to be pure Tull. I want to get back to the simplicity of the early songs that we haven’t done for a long time. There will be no keyboards. It will be straightforward and we will be playing tracks that have not been played for many, many years.

Jeb: This sounds exciting. May I recommend you play “To Cry You a Song”?

Martin: Don’t worry, because that song will be played.

Jeb: Did you discuss this tour with Ian? Is he okay with you doing this?

Martin: We’re very separate in what we are doing at this time. There is really no need to discuss it because I know what I want to do and I’m going to do it; that’s the end of it. I’m not going to change it because of what anybody says. I just know what I need to do and I’m very determined, and very focused, to make what I want to do happen.

Jeb: I thought the next Jethro Tull tour would see the band playing Thick as a Brick in its entirety.

Martin: Ian will be doing that; it will not be me.

Jeb: Tull really is taking some time off. I guess that has been a long time coming.

Martin: It has been a long time. It has happened and I’ve had to adapt. It might be a disappointment to some. You’ve just got to turn that disappointment around and make it something positive. Since that is not going to happen, then I will make this happen and I will make this more important.

Jeb: Are saying Jethro Tull is over or just taking a break?

Martin: I don’t know. The music of Tull is my life. I have not only the right to play it but also the will and passion to play it—a passion play, if you will. It is very natural for me to do what I’m going to do.

There is no question that I know my part in the history of Jethro Tull and that means something to me. It is very, very important to me. It might not be to everybody, as there are those who don’t even know who I am when I’m onstage, but to me, it is a huge place in my life. I have 42 and a half years invested in the music of Jethro Tull and I can’t simply turn that off. I don’t want to quit. I don’t care what anybody else thinks of me, right now, this is me, this is my heritage and this is what I want to do and I’m going to do it.

Jeb: Don’t feel too badly Martin, a lot of people think Jethro Tull is the guy onstage.

Martin: They really do. The image for Jethro Tull really is the guy on one leg. The silhouette is the image and it is a very good image. It has never been a problem in my mind because that image is vital to promoting the band.

Jeb: Anyone that is worth their salt as a Jethro Tull fan knows who Martin Barre is and you’re very important to the fans view of the music.

Martin: The thing that is going to happen is that there are going to be two tribute bands on the road; Ian’s solo band and mine. We will not be playing the same music. I don’t think it will be a problem because Ian wants to sing less and play more. I want to go back to the roots and recreate the atmosphere of the early to mid 1970’s and that style of live band. Tull was an exciting live band back then with lots of energy. There was a lot of technique and power and that is what I want to do. Ian and I are not going after the same thing.

Jeb: Last one: I guess I will have to wait for the day to see you and Ian do a flute battle on stage because you will not be in the same band.

Martin: I’ve started to play the flute again. I don’t play enough to be a good flute player but I did play the flute even before I met Ian.

My band that will do the Tull music includes an incredible flute player. He’s an absolute virtuoso in the Irish style of flute playing. I think people will really enjoy it. As far as the music of Jethro Tull goes, I can play that. I think I will be able to get away with it. It’s not a token gesture and it’s relevant because I have played flute on stage and I’ve played flute on albums. It is not a cheesy thing of someone doing something they shouldn’t be doing. I know that it will work.

www.jethrotull.com
www.martinbarre.com

 

[cupboy]

What's with the glitches on these recordings??
The Cat Stevens - Tea SACD that was supposedly worked on for years has a glitch in one of the tracks that just drops out.
I was able to remove it in sound forge myself and it is totally un-noticeable so they could have done it.

What track is that on the Cat Stevens? That's one lousy sounding SACD anyway. The vocals are like fingernails on a chalkboard. Wonder what went wrong. The MFSL gold CD sounds smooth.

 

[Quad Linda]

Thanks for posting the interview, John N. A fascinating read. The best move Tull made was to bring in Martin Barre! Aqualung is a fantastic album, though I prefer Stand Up, Benefit and the Living in the Past comp. To me, they never surpassed that period. I've seen them several times live and own their entire catalog. There are jewels in every period. Broadsword is the most overlooked Tull album.

A bit off topic, but if you want to hear Tea for the Tillerman the right way, pick up the dbx LP (if you have a decoder), or the MoFi 1/2 speed LP.

Linda
Which One's Jethro?

 

[JohnN]

See videos:
http://www.hometechtell.com/technol...convention-challenging-aqualung-shines-at-40/

Love Hz: Jethro Tull’s Convention-Challenging Aqualung Shines at 40
by Mark Smotroff on Nov 22, 2011 at 11:32 AM

Jethro Tull, Aqualung, 40th Anniversary Reissue
This is a really long review. If you don’t want to read the whole thing, I’ll sum it up with the last words at the end: “This is a classic. This reissue rocks. ‘Nuff said.”

My Box Set Overload

I recently tapped into my rainy-day savings and indulged in a bunch of the spectacular box sets that have come out this fall. I already reviewed Pink Floyd’s Dark Side of the Moon Immersion set. And I planned to do The Who’s Quadrophenia Director’s Cut and then Floyd’s Wish You Were Here Immersion box before the Jethro Tull Aqualung 40th Anniversary Collector’s Edition box. But after listening to them, I am switching the running order and thus this review is all about Jethro Tull.
What Aqualung Means to Me…

My connection with Jethro Tull’s Aqualung dates back to when I was about 10 years old in 1971, and one of my older brothers brought home this album with a striking image of a street person on the cover, and a group of men enjoying ye olde wild tymes on the inner gatefold. The album cover had this neat pebbled texture, like it was some sort of old book or painting. I took note of these sorts of things, even then at an early age.

And then I heard the music—from the opening riff of the title track I was hooked, and as I got more into it was intrigued with the character studies about this derelict named “Aqualung” and the characters surrounding his apparent universe: “Cross Eyed Mary,” ‘Mother Goose,” and God. At my age, I didn’t really understand fully what the album was about, but two songs in particular stuck with me: “My God” and “Wind Up.” As I grew older and followed the path most young Jewish kids took at that time, I was preparing for my Bar Mitzvah—the “coming of age” event that I felt increasingly suspect about as it grew closer. My largely non-Jewish circle of friends were all going through their own similar religious rites (Catechism, etc.) and I sensed they were equally non-plussed. So my coming of age was crowned by an awareness of what was going on around me—and it was a lot of hypocrisy on so many levels around me—that I began to question authorities of all kind, including organized religion.

As I grew a little older, suddenly the lyrics to these songs by Jethro Tull became all the more poignant, driving me back to the album to listen to the singer’s angry rants. It’s important to understand that these indeed were a curious counterpoint to the very spiritually inclined pop music being made at that time, such as George Harrison’s “My Sweet Lord,” Eric Clapton’s “Presence of the Lord,” Billy Preston’s “That’s The Way God Planned It,” and musicals like Jesus Christ Superstar and Godspell. The Led Zeppelin I heard around this time was cool, but seemed at its root very heavenly-gazing, with songs about “Stairway to Heaven” and a “Whole Lotta Love” and that funny song about the lemon. The Who songs on Who’s Next were cool, promising we “Won’t Get Fooled Again,” but even that album was mostly very positive and uplifting.

Possibly only eclipsed by Bernie Taupin and Elton John for songs that painted starkly realistic scenarios in the guise of pop fluff (“Burn Down the Mission,” “Madman Across the Water,” “All the Nasties,” etc.) the lyrics to these Tull songs forced you to think. The words weren’t depressing, nor were they outright damning organized religion. But I remember being pretty amazed that these words were more acknowledging something higher actually, a commonality, a spirituality that underscores the notion of belief and that one God is not necessarily better than the next. Coupled with John Lennon’s Imagine (and later discovery of his song “God”), I realized that—and this is simply my perspective—that all religious beliefs are equal and none is better than one or the other. Just different.

Accordingly, lines like this (from “Wind Up,” the last song on Aqualung), resonated deeply:

“I don’t believe you
You’ve got the whole damn thing all wrong
He’s not the kind you have to wind up on Sundays”

On to the Re-Issue at Hand, Though…

The last time I listened to Aqualung was about 6 months ago when, after close comparison, I decided to get rid of my stock original Reprise Records LP pressing, as it paled next to the still wonderful Mobile Fidelity pressing a friend gave before moving to New Zealand several years ago. Another friend gave me the 1990s-era CD remaster a couple years ago, which was OK and interesting for the unreleased bonus tracks, but didn’t have the same “feel” as the original. And I just read on Michael Fremer’s audiophile site that there is a 200-gram pressing made off of Ian Anderson’s own master tape on Classic Records, which could be interesting to hear for further comparison (someday, if I can find a copy, I may well check it out and update this). But this new set is all about brand-new mixes for which they had to go back to the original multi-track tapes, so it will —in theory—be at least one generation closer to the original performances that were combined to make the original master.

This new issue—featuring a complete remix conducted by next generation progressive rock and surround sound hero Steven Wilson—sounds wonderful! The key thing here is he has tried to remain true to the original mixes, bringing out new textures that were previously buried or muted by compression and generational loss. In the liner notes to the box set he says:

“No attempt was made to ‘modernise’ the mix, and to this end most of the equalization, volume levels (and rides), stereo positioning, reverbs, echoes and other effects processing are matched as closely as possible to the 1971 mix.”

In the package you get a

—CD of the new mix (16-bit, 44.1 kHz)

—CD of unreleased tracks (16-bit, 44.1 kHz)

—DVD with the new 5.1 and original quadrophonic mixes [DTS Surround (96/24) & Dolby Digital Surround (48/24)] as well remixed stereo (96/24 LPCM).

—Blu-ray Disc containing everything above, but all versions in uncompressed high 96 kHz/24-bit resolution including the original stereo album mix (presented flat and uncompressed)!

—180-gram audiophile grade LP featuring the new stereo mix (in a neatly slightly modified cover, the inner gate-fold sleeve serving as a holding place for the CDs, DVD, and Blu-ray Disc in clever slots (side note: this was an idea I had suggested to a couple record industry folks 25+ years ago when CDs came out and the long box was being slammed by most everyone… but I was too junior for anyone to take my suggestion seriously at that time).

—Lovely hard bound LP-sized book featuring loads of insights into the making of the album (and the cover features the same textured surface found on original US pressings of the album).
How Does it Sound?

It sounds fresh and new and shiny, yet is sounds like the Aqualung we all know and love. Indeed, in the liner notes to the this 40th Anniversary package, Jethro Tull leader Ian Anderson comments on Wilson’s respect and understanding of the original intent of the album. So while this is a remix, the benefits of the remix are increased detail, dynamic range, and increased—for lack of a better phrase—presence. Aqualung features acoustic guitar and loud distorted electric guitars on equal footing in the mix, and both are very distinctive on this reissue.

It’s all in the details, and I heard many that were not readily apparent in the original mix CD and LP:
—The buzz of the snares on “Wind Up”
—Huge amp tone and that distinctive Les Paul guitar crunch
—The pluck of the nylon strings on “Wond’ring Aloud” and “Mother Goose”
—Pianos that sound like real pianos—you can hear the notes decay as the keys are held down
—Ian Anderson’s breathless, impassioned vocals
—Details like cymbals and piano decay are much more apparent

In these mixes, Wilson removes a layer between listener and the band. The new stereo mixes are true to the original intent, but Wilson seems to have opened it up, removing a layer of sonic gauze that mushed up the entire original master mix down. Really, these new mixes kick ***! The 96/24 of the original mix is good, but much less dynamic, flatter, quieter—lots of details are subdued (probably due to compression on the master to account for the limitations of standard vinyl). It’s a boxier sound. It has that sound of radio back in the day, and if you turn it up loud it sounds fine, just not quite as distinct.

The original quadraphonic mix in 96/24—which is cool because you hear different sounds and instruments cutting through the mix, from the tambourines on “Cross Eyed Mary” to (seemingly) different lead acoustic parts on “Cheap Day Return” and “Mother Goose”—may not be quite as full-sounding as the new 5.1 mix, but it is still interesting to hear the ideas they had for quad back in the day, and is essential for the ability to hear the alternate version of “Wind Up” that only graced this version of the album. I prefer the LPCM over the DTS-HD Master Audio versions on this release—it just sounds fuller to my ear. Not sure why. The Master Audio track should be identical to the LPCM.

The Blu-ray Disc is really the centerpiece of this box set, with pretty much every version of the album you could want to hear, including bonus tracks presented in high resolution and surround sound. For my money, the new 5.1 mix at 96/24 is justification enough to buy this set—it sounds amazing! Wilson makes nice tasteful use of surrounds for rhythm guitars, acoustic guitars, and reverb effects. “Mother Goose” is beautiful, as acoustic nylon string gutars, flute, hand drums, and bells fill the room while Ian’s voice is front and center, with harmonies chiming in the surrounds. Muted kick drums pulse ominously, and are felt subtly in your gut. “My God” is gorgeous, with a nice reverberating church-like sound on the intro. I swear I could hear the sound of a plectrum cross the guitar strings! The guitar solo in the surrounds send shivers down my spine.

The 40th Anniversary reissue LP sounds pretty darn great. It sounds almost as good as my original Mobile Fidelity half-speed mastered pressing, and could replace it in a heart beat, especially for those who have not been able to find a copy or are simply unwilling to pay the exorbitant collectors prices for said album.

Again, though, for my money, it’s all about the surround mix which just kills. If Aqualung is as important to you as it is to me, then you need to pick up this great collection. If not, there is a 2-CD version, which should serve you just fine. Either way, it will remind you just how great hard-rocking proto-metal was before it got dubbed classic rock. This is a classic. And this reissue rocks. ‘Nuff said.


While you’re at it , go over to Wolfgang’s Vault and check out the vintage 1970 video of Jethro Tull performing early versions of tracks that ended up on Aqualung, including “My God”.

 

[mwk-empire]

Does somebody know about the status of Aqualung at ImportCDs?
My order is still not shipped...
Now I wonder if the production is stopped and they are waiting for a new pressing? Did somebody also on the waiting list contact them?

Markus

 

[LizardKing]

Does somebody know about the status of Aqualung at ImportCDs?
My order is still not shipped...
Now I wonder if the production is stopped and they are waiting for a new pressing? Did somebody also on the waiting list contact them?

Markus

I got this wonderfully informative e-mail response:

No we do not know when this order will ship out. We are still waiting on our stock from EMI Europe. They have not given us an estimated time of arrival.

Sincerely,

ImportCDs Customer Service
ImportCDs.com

 

[mwk-empire]

Thanks for sharing. Let's hope they are busy pressing a fixed batch of disc and that they are not waiting for a big box of returned boxes because of the mastering glitches.
<rant>We have facebook, twitter, blogs and more. But all of these are not used to give up-to-date information by (e.g. record) companies but to spread useless spam about the Lady Gagas of this world.</rant>

Markus

Has anyone been shipped their order from ImportCDs?

Mine is still "Not Yet Shipped"...

Arghhhh.....

I got this wonderfully informative e-mail response:

 

[Bender]

About ImportCDs and Aqualung...

It seems to me it takes them a while to get stock, they get a few at a time only. but when they get it, you get your order at a great price.

I received my aqualung, Quadrophenia, and Rush sector sets from these guys.

My suggestion is to email the point blank question, "do you expect this order to be filled?".

I did this, they replied, yes, as soon as we get stock, a few days later it shipped. If they reply with another response, you will at least know where you stand.

 

[mwk-empire]

You are right. I just feared they say they cancel the order. It is the best price I've seen so far, freeing budget for other stuff on my wanted list.
Even if I have to pay VAT and duties to German customs it is cheap.

Markus

About ImportCDs and Aqualung...

It seems to me it takes them a while to get stock, they get a few at a time only. but when they get it, you get your order at a great price.

I received my aqualung, Quadrophenia, and Rush sector sets from these guys.

My suggestion is to email the point blank question, "do you expect this order to be filled?".

I did this, they replied, yes, as soon as we get stock, a few days later it shipped. If they reply with another response, you will at least know where you stand.

 

[Brett]

Just received notice that my order for Aqualung shipped today. Order date was 10/25. Takes them awhile but best price around.

 

[mwk-empire]

Seems they now got a bunch of boxes. My order was 10/27 and I also got a notice that it shipped today. Now it may take 14 more days to get the stuff back to Europe. World is crazy: its an EU product but the cheapest way to get it in Europe is from the US.

Markus

 

[MyCuff]

Mine has shipped! I placed mine on 25-Oct-2011
They are still on sale, by the way...

 

[dr. simple]

I hope you all find that it was worth the wait. I never heard the complete album before this - of course I'd heard the hits: Aqualung, Cross-Eyed Mary, Locomotive Breath, and I believe I'd heard Mother Goose - and I must say the only reason I STOP listening now is to avoid making myself sick of it. It's simply wonderful.

 

[LizardKing]

Just got mine shipped too!!! Yay!

 

[JohnN]

http://www.popmatters.com/pm/review/151720-jethro-tull-aqualung-40th-anniversary-special-edition/

Jethro Tull: Aqualung (40th Anniversary Special Edition)
By Sean Murphy 9 December 2011
Aqualung: Even Better Than You Thought It Was

Whatever one’s feelings about progressive rock, Jethro Tull’s Aqualung is a rare album that remains at once part of, and above, the fray. It is, to be certain, a cornerstone of the then-nascent prog-rock canon, but it did—and does—exist wholly on its own terms as a great rock album, period.

One of the many reasons prog-rock is controversial, and taken less-than-seriously by the so-called serious critics, is because fairly or not it frequently gets associated with sci-fi and fantasy. Matters of musical proficiency aside, it is true to suggest that little of the material holds up especially well, lyrically speaking (of course that is true of most rock music—a topic for another time). This is not a sufficient—or necessarily legitimate—cause to dismiss it as is usually the case, but defenders can only get so much mileage discussing the unparalleled chops of, say, ELP, Yes, Rush, et al.

Jethro Tull is in the unfortunate, yet ultimately enviable position of circumventing easy identification. Certainly they are known as a crucial part of the prog-rock movement, as they should be, but their career preceded it and has continued long after its heyday. Aside from their accessibility, relatively speaking of course, Tull also sold enough units to be considered a significant act in its own regard. Tull, in other words, suffers if compared to the critically reviled acts of this time. In terms of their influence, longevity and versatility, they really are a unique entity in rock music.

More than anything else, Ian Anderson’s lyrics are many degrees better than those of his prog brethren. More to the point, his lyrics are many degrees better than rock songwriters in any era. The list of rock musicians whose lyrics can be considered apart from the music and appraised as poetry is small, but Anderson is at the top of the list. In terms of output alone, his work necessarily ranks about Roger Waters and Peter Gabriel, two of rock’s better wordsmiths. The fact that he was only 23 when Aqualung was recorded is remarkable enough; the fact that the themes and words in many ways remain relevant today is sufficient evidence of his genius.

By 1971, Anderson had dealt with the past (Stand Up) and the present (Benefit); his burgeoning confidence would prompt him to combine those elements in an attempt to grind some axes that probed quite a bit deeper than the typical sociopolitical commentary on offer (then, now). For Tull’s first proper “concept album” (despite Anderson’s ongoing protestations regarding this label), the songwriter turns a lacerating eye on the institution of organized religion. While the first side of the original LP concerns itself with, for lack of a better cliché, man’s inhumanity to man, the second side takes on religion with a righteous indignation that has scarcely—if ever—been improved upon by other mainstream acts.

Everyone knows the epic title track (forever and somewhat unfortunately associated with the iconic cover art, which renders the eponymous tramp into a caricature of Ian Anderson who, not a little ironically, casual fans thought—and think?—is Jethro Tull), and then there is the concert anthem “Locomotive Breath” as well as the ones you used to hear on the radio when we used to listen to the radio, “Hymn 43” and “Cross-Eyed Mary”. Four decades on, it happens to be the lesser known tracks that represent the key to the work’s endurance. If you only know the “hits” you are selling the album, and yourself, more than a little short. In between the heavy, huge classic tracks are quiet pieces that, while softer, pack their own subtle punch. The acoustic couplet of “Cheap Day Return” and “Wond’ring Aloud” are archetypes of a sort; the kind of whimsical British folk that Tull perfected all through the ‘70s. The songs seem straightforward and pleasant enough (and they are; Anderson’s voice, always striking, is conveying new levels of expressiveness and emotion, particularly during the slower tunes) but are cut by their topical, occasionally unsettling lyrical import.

Succinct delivery with maximum impact is Anderson’s calling card, and nowhere is it on better display than the one-minute and 24 seconds of perfection entitled “Cheap Day Return”. In quick yet extraordinary fashion he deals with his own alienation, offers a sardonic appraisal of his budding super-stardom (What a laugh!), and his father’s imminent death, all in a song that sounds as innocuous as a nursery rhyme. On “Wond’ring Aloud” Anderson, sounding plaintive but optimistic, turns a seemingly simple love song into a meditation on mortality (Will the years treat us well?), ending on a line that underscores the album’s central theme: It’s only the giving that makes you what you are.

This sentiment is a respite from the unflinching social commentary that comes before and after: the aforementioned “Cross-Eyed Mary” concerns itself with a prostitute, and there is no judgment offered unless it is on the conditions that made the oldest profession possible, then and still conceivable, today. “Mother Goose”, also a deceptively upbeat number, describes a surreal tour through the London underground with an unsavory cast of characters disarmingly depicted as fairy tale characters. When, mid-way through the number, Martin Barre’s electric guitar growl punctuates the proceedings, it becomes clear that the people and places being discussed are in various states of distress and despair.

Where “Cross-Eyed Mary” might be considered a contemporary Mary Magdalene, the titular character—inspired by a series of photographs Anderson’s wife Jennie took—could be Christ himself, embodying the least of our brothers. “Aqualung’s” riff is so urgent and unforgettable, the initial verse and chorus so forceful and familiar, it’s possible that the significance of this overplayed radio standard has slipped under the collective radar. Put another way, while correctly heralded as an essential moment in classic rock history, it is more than that; a point of departure for a new type of music, both for Jethro Tull and the progressive era.

It remains tantalizing to imagine the augmented critical—and street—cred the album would receive if it had only been named after almost any of the other ten songs, especially “Wind Up” or “My God”. And if, as Anderson claims he preferred, the cover had featured the actual tramp from the Thames Embankment who inspired the song (“Aqualung” referring to the gurgling sound of the man’s chronic bronchitis), it would make the lyrics about the real human being inexorably more vivid and disturbing.

The song persists as a confrontational movie that directs itself: a shot that pans a city beside the river; quiet men bundled in rags, huddled together under a bridge, “drying in the cold sun”. Finally the camera zooms in on one individual, whose rasping cough makes him difficult to ignore (“snot is running down his nose/greasy fingers smearing shabby clothes). First, a tracking shot follows him (“an old man wandering lonely”) as he goes about his daily routine (“taking time the only way he knows”): picking up used cigarette butts, taking refuge in a public toilet to warm his feet, queuing up for a daily dose of charity (“Salvation a la mode and a cup of tea”). Then, the guitar solo. The other two immortal solos from this (early ‘70s) era, David Gilmour on “Time” and Jimmy Page on “Stairway to Heaven” (coincidentally recorded in the same studio at the same time) are like Technicolor bursts of inevitability. Martin Barre’s less celebrated solo is a strictly black-and-white affair, sooty, unvarnished, irrefutable: it is the bitter breath of a broken down old man spitting out pieces of his broken luck. Finally, the reprise: we might see or at least imagine multiple Aqualungs (“and you snatch your rattling last breaths with deep -sea diver sounds”) in multiple cities—the nameless people we make it our business to ignore, the people we must walk by because it’s bad for business to do otherwise. Or so we tell ourselves. And the flowers bloom like madness in the Spring…

Side Two is a remarkably ambitious attempt to examine the racket organized religion has degenerated into (or was it always thus?). On “My God” gets some licks in on the clergy, then turns both barrels on the men and women who have set about the self-serving task of recreating God in their image. Acrimony like this, at least in rock music, generally fails to rise above sophomoric ranting, but Anderson’s words retain all of their power and perspicacity if for no other reason than the cynicism and spiritual charade he targets has only become more prevalent. Musically, the song is cheekily experimental, shifting from an acoustic tour de force (Anderson, who is rightly celebrated for elevating flute into a lead instrument as opposed to sideshow embellishment, does not get nearly enough attention for his superlative guitar playing ability) to an arena-ready workhorse, with Barre’s larger-than-life chords. Then, in the extended middle section, we are treated to a credible approximation and/or parody of a religious hymn, complete with multi-tracked chanting and echoed flute effects: it is an audacious act of musical vandalism, at once amusing and eerie. It also serves to function as a soundtrack of sorts for the irreverent image inside the double-sleeve gatefold, which depicts the band having broken into a cathedral for some impromptu merriment.

For “Hymn 43” Anderson sets his sights on the U.S.A. and in quick order sets about decimating the hypocrisy and myth-making of religion and the new religion, entertainment. It still sounds brazen today, but it was downright defiant to pen tunes in 1971 with incendiary couplets like this “If Jesus saves, he better save himself/From the gory glory seekers who’ll use his name in death.” For a postmodern twist Anderson could not have anticipated, the not-so-holy-ghost in the trinity occurred when religion and entertainment got packaged together as part of the anti-science, anti-intellectual politics we see camera-ready charlatans practicing daily on our television sets.

In just one minute on “Slipstream” Anderson captures the opportunistic shamelessness of the materially rich but spiritually fallow weekend warriors who compensate (figuratively) for their nagging consciences in the confessional or the collection basket (“And you press on God’s waiter your last dime/As he hands you the bill”). On the literal levels these are the people we all know: our peers, parents and especially our politicians, whom Anderson contemptuously nails to their crosses of gold. In an era of too-big-too-fail and the wealthiest .001%, it’s difficult to conclude that Anderson was not predicting the future of a world totally off the tracks in “Locomotive Breath” (“no way to slow down”).

Anderson saves his best for last when, in “Wind Up” he recalls being shipped off to church, eventually concluding that God is “not the kind you have to wind up on Sundays”. It brings full circle the concerns, both material and spiritual, that any sensitive—or sentient—person must grapple with, or make sense of. “In your pomp and all your glory you’re a poorer man than me/As you lick the boots of death born out of fear”, he snarls, assailing the fake humility and the appropriation of the holy for personal, earthly gains, et cetera.

And here we are, 40 years later where a great album gets even better. First, we have the new stereo mix masterminded by the indefatigable Steven Wilson, who has become a champion for prog rock remastering. His recent work on the King Crimson catalog managed the improbable by creating indispensable copies of oft-remastered works (ones which sounded fairly spectacular in the first place). Aqualung, on the other hand, has always suffered from shoddy production and/or mastering. Even the obligatory reissues over the years have been lackluster, amplifying the hiss and burying the subtlety in the mix. What Wilson has done with the master tapes is spectacular bordering on unbelievable: the songs do not merely sound improved, they sound different, albeit in ways that do not encroach upon or overwhelm the versions we have grown so fond of over the decades. Now, each instrument (especially the bass and John Evan’s omnipresent piano) gets released from the murkiness of the earlier mixes. Anderson’s vocals are crystalline and each note from the acoustic guitar is a room-filling revelation.

For Tull aficionados the real treats are contained on the second disc: previously unreleased material(!). In addition to remixed and remastered versions of familiar favorites from the ’71 sessions (such as “Life Is a Long Song”, “Nursie” and “From Later”), we get early versions of “My God” (rough around the edges and alternate lyrics familiar to those who have heard live recordings from this era) and “Wind Up” (previously available on the last Aqualung remaster). The newly released songs are the real eye-openers: there is an early run of “Wond’ring Aloud” and initial takes of “Slipstream” and “Up the ‘Pool”. The one that is worth the proverbial price of admission is the alternate take of “Wond’ring Aloud, Again” which combines an early version of “Wond’ring Aloud” and the working draft of “Wond’ring Again” which turned up on the Living in the Past collection. Listening to this take, I found myself fantasizing that the existing (master) take of “Wond’ring Aloud” had simply segued into “Wond’ring Again” (one of the better lyrical and musical numbers from ’71) and the latter had replaced the worthy but not as essential “Up to Me”; if we had the same running order with “Wond’ring Again” instead of “Up to Me” concluding Side One we would have an even more perfect album, if that is possible. As is always the case, it’s fantastic to have this long-discarded material made available; it is imperative for fans and might help newcomers better appreciate why an album made 40 years ago can inspire so much enthusiasm.

Rating: 10

 

[elroy]

ImportCDs must have gotten another batch. I ordered one on 12-1 and it shipped today.:banana:

 

[rtbluray]

Quote:
Originally Posted by Tristero
I can't wait for Thick as a Brick and Lark's Tongues! Any idea when we might hope to see those?

Steven Wilson: The best I can tell you at the moment is they will definitely come out in 2012, sorry to not be more specific!

From the Steve Hoffmann forum... :banana: