AQUALUNG

Although it was always considered by music critics as a concept album, Ian Anderson has repeatedly mentioned that this was not his intention, but rather that it was conceived as a selection of themes that revolved around religion and the concept of God, but without constructing a unique story, recreating marginal and complex characters such as the tramp of the song that gives the album its name, Aqualung, the prostitute schoolgirl in Cross-Eyed Mary, passing through acid criticism of clerical institutions and their principles irreducible in My God, Hymn 43 and Wind-Up.

Aqualung is the album that marks a before and after in Jethro Tull's career, where they consolidate their unique musical style, merging blues, hard rock and folk on a progressive platform, in which acoustic guitars and Anderson's flute are the cherry that distinguishes them.

Particularly noteworthy are the powerful Aqualung, the blues rock of My God and, one of its hymns, the classic Locomotive Breath with its fast-paced rhythm after the introductory piano. On the other hand, I confess a weakness for the acoustic compositions stripped of instrumental envelopes by Jethro Tull, and it is in this way that the splendid Cheap Day Return, the melancholy of the piano by Wond'ring Aloud and Slipstream, complement and consolidate one of the best works of the band.