Aqualung Blu-ray Review
You might never come up for air once you dive into this impressive new set.
Reviewed by Jeffrey Kauffman, November 4, 2011
My only excuse is that I was head over heels in love with Brazilian jazz growing up and therefore largely uninterested
and/or unaware of classic rock, and so when a buddy of mine said,
"I'm going to a Jethro Tull concert," my response (as horribly embarrassing as it is to admit it now) was, "Who's
he?"
My friend looked aghast, as if I had just beamed down from some far off planet, and dragged me into his house where I
spent the next couple of hours being inundated with Tull's music. I was an instant fan. Jethro Tull never quite fit the
rock mold back in the day. Ian Anderson's decidedly over the top performance style, more Court Jester at times than
outright Rock Star, as well as Tull's eclectic approach to styles and instrumentation made the band something of an
iconoclast, which may account for the fact that despite decent success in its early years, it wasn't until its fourth album,
Aqualung, that the band really catapulted into being an international sensation, with Top 40 hits, rampant
tours, and a string of bestselling albums to its credit which followed in
Aqualung's fairly considerable wake.
Fans have argued virtually from the moment
Aqualung was released as to whether or not it's a concept album,
but in the long run that debate really doesn't matter and it doesn't address the salient point about
Aqualung,
namely that it's an incredibly diverse, impeccably written, played and sung album that shows an astonishing virtuosity
and recreates modern rock in often unexpected and astonishingly innovative ways. Jethro Tull may in fact be a "they"
and not a "he," but led by the inestimable Ian Anderson, and with a short-lived but incredible array of supporting
musicians (Clive Barker, Drums; Martin Barre, Guitar; John Evan, Keyboards; Jeffrey Hammond-Hammond, Bass),
Aqualung remains one of the hallmarks of Tull's long career, and it still is the group's bestselling
album after decades of recording and performing.
EMI is stretching consumers' wallets with a number of high profile deluxe releases lately, including two Pink Floyd
"Immersion Editions,"
The Dark Side
Of The Moon, which
I reviewed here a few weeks ago and
Wish You Were Here which I'll be reviewing within the next day or two, as well as this new
Jethro Tull
release, with more evidently
in the pipeline due for 2012 street dates. Are these incredibly lavish sets worth it? That's obviously going to be up to
the individual consumer
and their tolerance for plopping down a Benjamin (or more) for each of these, but the fact is undeniable that EMI has
lavished a lot of care and
attention on all of these sets, and
Aqualung is certainly no exception. This is a Tull collector's sonic wet dream,
with a repressing of the
original LP in a new stereo mix (vinyl!), two CDs, an audio DVD and an audio Blu-ray, as well as a sumptuously
illustrated hardback book.
It's a handsome package
to be sure, but the best thing about
Aqualung, as it was with
Dark Side of the Moon (and hopefully will
be with
Wish You
Were Here) is that the sonic side of things has been granted this same vigorous, painstaking attention.
The Blu-ray version of
Aqualung is no doubt the major, if not the only, drawing card for readers of this site and
review, so we'll concentrate on the contents of the Blu-ray disc included in this expansive set. The audio options on the
Blu-ray disc are impressive, to say the least:
- New Mix by Steven Wilson 2011 – 96/24 LPCM Stereo
- New Mix by Steven Wilson 2011 – 96/24 LPCM 5.1
- New Mix by Steven Wilson 2011 – DTS-HD Master Audio 5.1
- Original Mix (Direct Transfer of ¼ Inch Master) – 96/24 LPCM Stereo
- Quad Mix (Original 1974 Quadrophonic Mix by Robin Black) – 96/24 LPCM 4.1
- Quad Mix (Original 1974 Quadrophonic Mix by Robin Black) – DTS-HD Master Audio 4.1
A note appended to the audio mixes notes that the Quad Mix's version of "Wind Up" runs 40 seconds shorter than the
other mixes.
The BD also includes a rather incredible selection of bonus tracks, all in 96/24 LPCM, with the ones marked with an
asterisk below also coming in an LPCM 5.1 surround mix. (It's a bit confusing, but you have to pre-select your audio
choice as LPCM 5.1 from the main menu, which is really about
Aqualung's audio options, to access the 5.1 mixes
on the bonus tracks). These are both unreleased versions of several tunes, as well as alternate takes, some with
occasional studio chatter by Anderson and the band. Unless otherwise noted below, these are all Steven Wilson mixes.
The bonus tracks are:
- Lick Your Fingers Clean*
- Just Trying to Be
- My God* (Early version, previously unreleased)
- Wond'ring Aloud (Unreleased early version 12/13/70)
- Wind-Up (Early version)
- Slipstream (Take 2)
- Up the Pool (Early version, previously unreleased)
- Wond'ring Aloud Again (Unreleased Morgan Studios version)
- Life is a Long Song*
- Up the Pool*
- Dr. Bogenbroom (Original Mix Remastered)
- From Later (Original Mix Remastered)
- Nursie
(Original Mix Remastered)
All of these come with sometimes amusing illustrations and photos, and I must say I especially like the mad photo of
Hammond-Hammond accompanying "Dr. Bogenbroom," which is captioned "Jeffrey dines well!" Thanks, guys, I do okay.
Oh, wait,
that
Jeffrey.
The audio section below will actually get into the nuts and bolts of how this release sounds, but from a general
perspective this release is going to be something of a revelation to many longtime Tull fans. As is discussed in the
lavish oversized hardback book accompanying this release,
Aqualung's original mix never sounded great for a
variety of reasons. Tull had done quite a bit of work at the less than ideal Morgan Studios in April and June of 1970
(and some of those tracks are included here) before moving to the then brand new Basing Street studios that Island
Records had just opened in December 1970 and February 1971. Tull and Led Zeppelin were in Ian Anderson's words
the "guinea pigs" for the new studio and the experiment did not go entirely swimmingly. There are a number of
technical problems the band encountered and many fans have long felt that the original mix of the album was
lackluster, especially with regard to a less than fulsome low end and bass. New mixer Steven Wilson states that he
was actually pleasantly surprised when he got back to the source multitrack tapes and was able to cull much more
sound from them then the original album mix might have indicated was possible.