Jethro Tull, Aqualung (1971)

I love this record. Jethro Tull‘s oh-yeah-they’re-the-band-with-the-flute reputation and the sort of over-the-top aspects of Aqualung, whether it’s Ian Anderson‘s vocal delivery or grandiose songwriting too often get the focus when it comes to modern perceptions of Tull, but their early work is a landmark in heavy rock as well as prog, albums like 1968’s debut This Was and 1969’s Stand Up setting the stage for the proggy indulgences that really took hold with 1972’s single-song wonder Thick as a Brick and continued to develop from there. Aqualung, released in 1971, is sort of the middle ground between the impulses of blues rock and prog. You of course have the opening title-track, a great, crashing thing, with its vocal proclamations and guitar-led grandeur, but it’s still the riff that makes it, and later cuts like “Hymn 43,” “Locomotive Breath” and “Wind-Up,” let alone the unmitigated groove of the subsequent “Cross-Eyed Mary,” follow a similar course. Even “Mother Goose,” which is acoustic, follows its central guitar figure. That song is practically flute-less, as is the subsequent quiet contemplation “Wond’ring Aloud,” but perhaps the best blend of Anderson‘s flute and Martin Barre‘s guitar is the expansive side B opener “My God.” There’s an audible switch in the tape when the choral vocals and extended flute solo kick in (it’s 25:03 into the album), and that’s a pivotal moment for the band. The tone of the woodwind instrument changes and the feel becomes more orchestral, brazenly moving away from heavy rock to something with greater aspirations.

Tull would of course head in that direction in the years that followed, forging an influential legacy in classic prog, but Aqualung remains their defining moment and it’s easy to speculate that the reason why is because songs like “Up to Me” refuse to give up their rock and roll swagger in the name of forging a new take on classical music’s technical focus. Of course, “Aqualung” became one of rock’s great characters — do I need to reference “Sgt. Pepper” or “Corporal Clegg”; two military figures, yes, but “Aqualung”‘s veteran status is unknown — but even in its smallest passages, “Cheap Day Return,” “Wond’ring Aloud” or “Slipstream,” Aqualung is afraid to be neither sweet nor sour, and even if Jethro Tull had never released another album, it would be enough to ensure legendary status.

As always, I hope you enjoy.

—

Had a pipe burst this week. It froze. The townhouse we’re in apparently isn’t much for insulation, so much to the surprise of The Patient Mrs. and I on Monday afternoon, steam started flooding the guest room and water started streaming down from the kitchen ceiling. That ceiling, now stained, will need painting. The carpet upstairs, maybe cleaning will do it rather than outright replacement? Took two days to dry out the floor, dehumidifier and box fan and towels. Took the plumber about 20 minutes to fix the busted pipe. Suggested we keep the heat up more on colder nights. It was at 60 when it broke. Also had the plumber back this afternoon to look at our hot water. These are the joys of home ownership. The American Dream: A Year on Unemployment Spending Money on Home Repair. At least it’s supposed to be above freezing this weekend, though as I understand it will rain the whole time.

Oh, I used to go to shows. Now I just stay home and think about the weather. That’s my life now. I’ve canceled my trip to Roadburn in favor of the Northeastern Meteorological Conference in New Haven.

Not really, but it has been a lot about the weather. I’m still going to Roadburn. One must get right with one’s gods, after all.

Seems kind of like I’m checking out early, but what the hell. A particularly efficient day is a welcome change from the norm, and a (lukewarm) shower and a run to the grocery store await. Monday starts with a video premiere from Mammoth Mammoth, and then we get deeper from there. Reviews of Blut and Mansion, and hopefully The Midnight Ghost Train, and a look at the Skunk Hawk tape and a little more of this or that. The early part of this week — like, Monday through Thursday — had a lot of premieres, and I’m into that since it’s basically just a review with some exclusive audio attached, but those don’t always do a lot to whittle down the stuff on the pile. And after the late-2014 50-reviews-in-one-week purge, there’s already a pile built back up. Might have to make “Last Licks” a seasonal thing.

Whatever. Too much music is a good problem to have, and if I can’t keep up, well at least that keeps me busy. Sometimes it’s worth stepping back and realizing how much more I need this than it needs me, I guess is what I’m saying.

On that note, I’ll skip out. Not actually skipping because my foot’s all messed up, but figuratively skipping for the deep, resonant, warm joy I feel inside. Dianetics!

Have a great and safe weekend, and please check out the forum and radio stream. If you get the chance to dig into the new podcast, that’d rule as well.

The Obelisk Forum

The Obelisk Radio

It doesn’t say so in the press release that follows, unless it’s just a super-late campaign, but Blodwyn Pig initially released their Pigthology collection of rare and remastered tracks in 2004 on Verdant Records. The new version comes courtesy of Gonzo MultiMedia UK, and finds the late ’60s blues rockers — who counted in their ranks Mick Abrahams of Jethro Tull — compiling earlier works and live material with stuff recorded in part on days someone forgot to write it down.

In any case, if it gives me an excuse to post “Stormy Monday,” I could do worse. Here’s the details off the PR wire:

Blodwyn Pig Compilation Of Rare Unreleased Recordings ‘Pigtholgy’ Now Available!

London, UK – British blues-rock legends Blodwyn Pig, featuring original Jethro Tull guitarist Mick Abrahams, have released a new compilation of rare unreleased recordings titled ‘Pigthology’ on Gonzo MultiMedia UK. Along with Abrahams (vocals, guitars), the band featured Jack Lancaster (saxes, flutes, violin, keys and wind controllers), Andy Pyle (bass), and Ron Berg (drums) and was later joined by Jethro Tull’s Clive Bunker on drums. Produced by Mick Abrahams and Jack Lancaster, ‘Pigtholgy’ features re-mastered recordings of Blodwyn Pig’s most beloved and successful songs “Dear Jill”, “See My Way” and “Drive Me”, along with unreleased live and studio material.

Blodwyn Pig in its first form was a legend in rock history hitting the top of the LP charts in Britain and elsewhere around the world. The band received new recognition and inspiration when the track “Dear Jill” was used in Cameron Crow’s movie ‘Almost Famous’. Many bands credit Blodwyn Pig with being a huge influence at the start of their careers, including rock legends Aerosmith. There are several fan sites across the internet which still attest to the group’s popularity. Through the years several bands have recorded covers of Blodwyn tunes, the most noted being Joey Ramone’s version of “See My Way”.

Blodwyn Pig played alongside Led Zeppelin, The Who, Procul Harem, BB King, Miles Davis, Janis Joplin, Pink Floyd and Joe Cocker at the Isle Of Wight rock festivals, and the Reading rock festival. The “Pig” completed two successful American tours, playing venues like the Filmores, numerous universities and the LA Forum. Most of the recordings on ‘Pigology’ are from this period.

A few notes from Jack Lancaster: “On ‘Baby Girl’ Mick played piano as an overdub, otherwise the track was played live in the studio. ‘Cosmogrification’, this was a reformed Blodwyn with Clive Bunker on drums. We only did a short tour. Clive joined because of Rin Berg’s illness. I play piano on ‘Monkinit’ – I mention this because normally we never used keyboard on tracks.”

Tracks include:
1. See My Way – recorded at Mick Abrahams studio (date unknown)
2. Baby Girl – recorded at BBC Maida Vale studios, John Peel show (1970)
3. Dear Jill – recorded at Mick Abrahams studio (date unknown)
4. Monkinit (A tribute to Thelonious Monk) – recorded at Verdant studios Hollywood, CA (date unknown)
5. Drive Me – recording location unknown (1970)
6. The Change Song – live at the Marquee Club Soho (1969)
7. Cosmogrification – live at Luton Town Hall (1973)
8. Same Old Story – recorded at BBC Maida Vale studios, John Peel show (1970)
9. Hound Dog – recorded at Mick Abrahams studio (date unknown)
10. Sly Bones – recorded at Mick Abrahams studio, Verdant studios Hollywood, CA (date unknown)
11. It’s Only Love – outtake, Morgan studios (1969)
12. Stormy Monday – Mick Abrahams studio (date unknown)

To purchase: http://www.gonzomultimedia.co.uk/product_details/15559/Blodwyn_Pig-Pigthology.html

For more information: http://www.squirrelmusic.com/

Blodwyn Pig, “Stormy Monday”

I alluded to it the other day in the third SHoD post, but wanted to save the details for this. To briefly recap: I got to Krug’s early Sunday for the third day of Stoner Hands of Doom XI in Frederick, Maryland, and having an hour to kill, decided to go record shopping. Not the first time in my life I’ve made that decision.

Using my magic cellophone, I got directions to CD/Game Exchange on N. Market St., and while on my way there, passed a sign on E. Patrick with Rock & Roll Graveyard printed on it. With hopes that it wasn’t some shitty irono-fashion boutique with $50 torn up Iron Maiden t-shirts on sale for dumb hipster girls who’ve never heard Killers, I nonetheless parked my car and decided to investigate.

A fucking treasure trove, this place was. If I bought vinyl — which I don’t — I wouldn’t have gotten out of there without putting down at least $100, but as it was, I spent only one-tenth of that (or $10) and still got a host of goodies for the effort. From a brief perusal of the CD bin, it was apparent that the owner, whose name is Chris Wolfe, knows his heavy. There was a lot I already had, but I did manage to find the SPV digipak reissue of the self-titled album from Uriah Heep offshoot Weed. It’s another one of those lost heavy ’70s classics that five people in the world preach like gospel and no one else has ever heard of, but man, it’s a pretty killer record. A bit all over the place, but when it locks in, it locks in hard. Dig it.

So that accounts for $5 of the total $10 I blew. The next $4 went to Black Sabbath tapes. Yes, plural. I spent $4 and got four tapes: Master of Reality, Vol. 4, Sabotage and Heaven and Hell. At a buck each, I couldn’t really ask for more. The only one I haven’t played is Vol. 4, because it would require clever fast-forwarding to get past “Changes,” but it was awesome to hear the little differences in the sound on Master of Reality, or the live version of “Sweet Leaf” tacked onto Sabotage — and Heaven and Hell, well, I’ll pretty much take that record on any format I can get it. An all-time favorite for one measly dollar, no way I was leaving that.

Wolfe, who also plays bass in Fat Chick Meat Haul, is a genuine record hoarder and has had the store open for about three months. Most everything he was selling came from his personal collection, and that included the tapes and the lime green 8-track edition of Jethro Tull‘s Aqualung that accounts for the last of the $10 I spent at Rock & Roll Graveyard. Yeah, the tape’s ripped, but what the hell do I care? Jeebus save me, it’s Aqualung on 8-track! I don’t have a player anyway — for a buck, I’m happy just to look at the damn thing and sing “Wind-Up” to myself.

The best part? Well, all this stuff was pretty great, especially for the price, but the best part came in talking to Wolfe about old records and heavy rock and whatever else. He told me about an album from a band called Tin House he’d picked up not too long ago, and when I said it sounded cool (because it did), he went ahead and burned me a copy, right there on the spot, free of charge. And he was right, it’s rightout proto-proggy heavy blues, from the Beatles “oooh-la-la-la” on “30 Weight Blues” to the driving lead of “Silver Star” and the string arrangements on “Lady of the Silent Opera.” I think I might dig it more even than the Weed record.

I don’t know when I’ll be back in Frederick again, but whenever it is, you can bet your ass I’ll be checking in on Rock & Roll Graveyard. Until then, I’ve got the Sabbath tapes in my car, the Tull on my office shelf, and the Weed ready to go. I never made it to CD/Game Exchange, but finding a shop of the niche caliber I did, I’m hardly crying over it.

Find Rock & Roll Graveyard on Thee Facebooks here.

When last I checked in with Wallingford, Connecticut‘s Redscroll Records, I walked out of there with a cassette copy of Torche‘s Meanderthal Demos. It’s a purchase I still consider the right move to have made, and as my most recent trip there was most likely going to be my last until Springtime, I figured I’d make the best of it. A thorough search of Redscroll‘s used section has done me right on numerous occasions, and this latest was no different. Dig this haul:

Bottom, Made in Voyage
Chrome Locust, Chrome Locust
Clutch, Jam Room
Fu Manchu, Daredevil
Jethro Tull, Aqualung
Lost Breed, Save Yourself
Lost Goat, Equator
My Dying Bride, Turn Loose the Swans
Natas, Delmar
The Obsessed, The Obsessed
Spiritual Beggars, Ad Astra

A few of those CDs I already own, but there are difference. The Fu Manchu is the original Bong Load Records version, where before I only had the reissue, and though it’s my third copy of Jam Room — probably my least favorite Clutch album — it’s the River Road Records pressing, and I think they only made six of them or something, so I was stoked to find it. Ad Astra is the Music for Nations digipak edition, and Chrome Locust is in a jewel case, where I’d only ever seen the digipak, so I grabbed that as well. The Jethro Tull had a sticker on it that it was the first CD issue, which made it too good to pass up. If you’re wondering, by the way, whether or not I believe everything I read on stickers stuck to jewel cases: Yes. Yes I do.

Lost Goat is on Man’s Ruin and I didn’t already own it, so that was a given. The Natas record I thought might have been a different catalog number than mine, but no, it’s a genuine double. I was bummed out on that until the other night when I thought to myself, “Gee, I sure would like to listen to the first Natas album,” and I actually had a copy on me because I was holding onto it to write about today. Maybe one just wasn’t enough.

Of the two Hellhound Records purchases, the highlight is unquestionably The Obsessed‘s The Obsessed. I had the Tolotta reissue previously, but you can’t beat the original. I had seen it for sale on Redscroll‘s eBay store, and asked if I could buy it right there in the shop. They were more than accommodating. The other Hellhound album, Lost Breed‘s Save Yourself, was the US version, where I’d only had the European before. Or maybe that’s reversed. I don’t know. The catalog numbers and back cover art are different. Apparently that’s enough for me these days.

I legitimately hadn’t owned the Bottom or My Dying Bride CDs (or the Lost Goat, which was meh), and I was stoked especially to hear the former, which didn’t disappoint. Crazy to think it’s been five years since Bottom put out their last album, but I suppose it has. Hearing their debut for the first time, it was easy to tell what Rise Above, Man’s Ruin and Small Stone all saw in the band, and by that I mean killer riffs and lethal groove. An excellent capper for an even more excellent haul.