Jethro Tull: Aqualung
Later today, on youtube.com, Ian Anderson discusses each track of Aqualung: https://www.youtube.com/watch?v=FpH_WkjC_Yk
Sometime in the midst of the shimmering and wonderful Southern California summer of 1971, my next door neighbor brought over his latest album purchase. I supposed I was predisposed to like the music just from the confident manner in which he handed the album over to me, but I was hardly prepared for the overall excellence and originality of the material. That day he and I sat and listened to this album, my eyes following the lyrics written on the LP inner sleeve, is something I still vividly remember, and, hopefully, be with me for many years going forward.
The first track, the title track, opens up with the now famous isolated, tonally ambiguous, deeply-voiced electric guitar fragment — a riff faithfully foreshadowing the opening melodic phrase (“sitting on a park bench”) — it is but two seconds in length, and repeated before a short percussion utterance pulls in the vocals in dramatic fashion. This material is then layered with additional instruments creating drama and momentum. It is that dramatic quality, that musical and lyrical story telling, that leaves an immediate impression on the listener and, for me, left a locked-in, seemingly ever-lasting memory of listening to that entire album for the first time fifty years ago today.
“Aqualung”, the track, is the classic example of FM album rock with is deviation from standard popular song forms, more mimicking a short classical tone poem where the beginning theme, really an introduction of sorts, is not repeated after its initial use until brought back at the end, separated by distinctly contrasting and somewhat related material in terms of chords and tempo change.
The next track, “Cross-Eyed Mary”, continues the larger-than-life musical experience initiated by the opening track. With its reference again to the Aqualung character, this second track sets up the listener to expect that the album itself is a concept album where the individual tracks support and build up an unfolding story. However, as I continued through that first side fifty years ago, immersed in the amazing music, I was on the look out for, at a subordinate level to listening at the music, hints in the lyrics of some related storyline in the subsequent third, fourth and even fifth tracks on that first side — but eventually and inevitably concluded that there was nothing to relate to those first two tracks, and so by the sixth track I abandoned looking for a unifying concept.
The second side starts much the same implying a relationship between the first two tracks — however, for side two the remaining tracks seem to prove out some loose but unifying concept with these various side two tracks seemingly tied together with reflections on organized religion and social morality and responsibility. Musically, there is no discernible (as far as I can hear) thematic material shared between any track, another reason to set aside the premise that the entire album is any kind of a concept album. What is clear, though, is that the music is innovative, well-thought out and of lasting merit. Fifty years ago, listening to this album, it was clearly one of the best rock albums I had ever heard, and though I didn’t consider at that time its enduring impact on music lovers, I would do so a few year later when I was in college and promoting the idea of a course that would treat such music as the classical music of the 1970s — music more vital and relevant than the so-called modern classical music that was than currently being identified as part of the current classical music canon in academic circles.
Jimi Hendrix: Cry of Love
Prior to his death, Jimi Hendrix was working on this fourth studio album in 1970, with some of the music performed during a thirty-two performance tour in the summer of 1970. Following his death on September 18, 1970, several partially mixed tracks were selected and finalized by drummer Mitch Mitchell and producer Eddie Kramer for inclusion on the new album, omitting two particularly strong tracks, “Dolly Dagger” and “Room Full of Mirrors” for later inclusion on a future album. This was the first Hendrix album I bought, and I found the music readily accessible and some of the lyrics particularly creative. It’s great to listen to this again for the first time in at least forty years and I admit I appreciate the guitar work much better than I did in 1971. Overall, an excellent, easily-accessible and musically sparkling album.
Amon Duul II: Tanz der Lemminge (Dance of the Lemmings)
Sometime around March 1971, Amon Duul II released this eclectic, musically multi-dimensional album. I picked it up from my local record store in the used record bin around 1972 or 1973 little knowing what kind of music it contained. This was my introduction to non-repetitive, so-called “Krautrock. Though I found this too far out on the jam-rock, psychedelic spectrum when I first got it, after later having been exposed to lots of hours of free jazz and modern classical, the music became not only accessible but quite impressive. The first side, written primarily by guitarist/vocalist/violinist Chris Karrer mixes folk-rock influences with a progressive and psychedelic rock mindset, with imaginative acoustic and electric elements. The diversity of incorporated styles works well with no particular given style dominating. The second side, written by guitarist and vocalist John Weinzierl, is another exploration of musical diversity with more emphasis on hard rock, rock-blues and eastern elements including some admirable sitar from Bavarian sitarist Al Gromer (later Al Gromer Khan), some electric violin from Karrer, and some tape-based and electronic sound effects possibly from keyboardist Falk Rogner. The third and fourth side are music created for a soundtrack of a relatively obscure West German Film, Chamsin, based on Friedrich Schiller’s lyrical tragedy, The Bride of Messina. Though this second LP is not as strong or coherent (particularly the fourth side) as the first LP, it works better as sound imagery than traditional or more predictable listening music.
Nick Drake: Bryter Layter
Recorded in 1970 Nick Drake released his second musically impressive but commercially unsuccessful album, in March 6, 1971. The album is delightfully accessible with straight forward, quality musicianship from Drake, John Cale on viola and keyboards, Chris McGregor on piano, and other contributors including quality production from Joe Boyd and beautiful arrangements primarily by Robert Kirby and one arrangement from John Cale. Nick pokes into the marginally uncomfortable areas of “would of, should of” in some of the lyrics, with “One of These Things First” being particularly resonant for anyone that only half-tried in a relationship, later regretting the lack of engagement or commitment and “Poor Boy” an intriguing study in self-pity and self-contempt. Musically, “At the Chime of the City Clock”, “Fly” and “Poor Boy” are particular gems.