Editor: Matt Michael. Music: Russ Irwin. Hill accused U. Supreme Court Justice Clarence Thomas of sexual harassment during his Senate confirmation hearings in Since then, in addition to teaching law and policy at Brandeis University, Hill has been [ The Golden Rooster Awards have been held 23 times since they were founded in The event has been held biannually since , when authorities [ Considering more than scenes were shot over 38 days, the film has an impressive runtime of Director Jay Roach credits the work of his [ Growing [ Warner Bros. View this post on Instagram Hey guys! A good album overshadowed by two great ones.
Theoretically, yes. Technological process, George, technological process of original and pirate CDs is not the same. Bootleggers makes it faster time is money , so some CDs sounds almost completely the same, some is not. For example, Led Zeppelin's pirate CDs sounds terrible. And pirates often shortens songs to put more tracks on single CD.
Rainbow's "Gates Of Babylon" lasts on the original CD, but some Russian fool cut off the violin in the end of the song, so the pirate version's timing is I didn't hear Tull's pirate CDs 'cause I don't want to touch their disgusting inlays printed on the used toilet paper , so I cannot affirm that they are not the same, but even if they are the same, buying it is disrespect to musicians and their work in my humble opinion. I'm not a rich man even for low Russian standards but I have my proud.
Have you, George? You don't have a 'proud', Konstantin: you have fanatism, and that's a little different. I'm not a Tull fanatic - I have other bands to pay tribute as well. The Monkees, for instance - G. I'll second that 8. This CD really rocks. I love the original version of 'My God' included here, complete with original lyrics!
The record company made Ian change 'em, but here they are, unedited. The guitar riff is amazing, and a flute solo from Ian is always something special - he really goes nuts on the thing! He's the only player who didn't merely embellish rock music with a flute - he MADE rock music with a flute.
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Amazingly impressive. The live version of 'A Song For Jeffrey' rules, too. I love that harmonica solo in there. I heard 'Sossity' here first, so that may be why I love the song so much. Martin's playing is a little sloppy throughout - 'Nothing Is Easy' isn't as good as it CAN be, and the length guitar solo doesn't really go anywhere. But still, I love the way the guitar solo turns into 'For A Thousand Mothers', which I love more than words can express.
It's worth picking up though the box set is probably best for diehards - the stuff is all pretty good, but it's too much for a casual fan to sit through. Plus, disc 1 is just slightly changed remixes.
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The boxed set is now out of print, so this will be near impossible to find. Too bad, because it is a marvelous concert. The band might be more professional sounding on later live albums, but they are positively fierce here, and Ian's comments are quite amusing. The only downer is Martin's stupid guitar solo -- I hate it even more than you do.
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The man can certainly play, but he obviously needed Ian's song structures, because this is just noise. My favorite is probably "Sossity" -- the song sounds quite different without the echo of the studio version.
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A little too pretentious, but as you say, the songs are good. I don't really care what Ian Anderson thinks about organized religion. What I care about is the fact that these songs are phat! Get it! I've spent the last few months easing my way into prog-rock. As of right now, this is my favourite prog album, probably cause it rocks. When I first put it on, I was astounded by the amazing title track.
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What a riff! After about a week of non-stop listening to the first song, I decided to let the rest of the CD play through. And I was very pleased. Ian Anderson can certainly play that flute! The thing I like about this album and Tull in general better than Yes and ELP and the other prog-rockers is that the music is pretty easy to get into although I haven't heard anything later than Thick as a Brick. An easy 9 for Aqualung , probably a 10 for "best-of" artist, in my books. This album really does live up to the hype. Lots of great songs and no bad ones.
Highlights include the guitar solo in 'Aqualung' one minute of pure brilliance , the intro to 'Locomotive Breath' and the three short acoustic numbers. There are a few minor flaws though. Definitely agree with the 9. The concept is just a little bit unfocused but incredibly profound and shocking for A real mind-altering experience here, and one of those albums the kids "shouldn't have been listening to" around that time, along with Led Zeppelin, Queen, Black Sabbath and David Cassidy records.
The title track I just can't say enough about - an absolute masterpiece of an opening song, a multi-part progressive ride with that thundering riff and opening, 'sitting on a park bench' lines, the acoustic parts and slower section. It's got it all! The rest of the album never quite matches it, but there's still some convincing great riffing - "Hymn 43" and "Locomotive Breath", and also the expert Ian Anderson flute playing of "Cross Eyed Mary" and the groovy and relaxing "Up To Me".
An excellent all around effort. From beginning to end this albums is the ultimate experiment of commingling hard rock music with progressive musical ideology and the result is absolute brilliance. From the opening 'Aqualung' riff, the to the extended cd with 'Bouree' Ian's take on a Bach classic.
When finished, you take a deep breath and proclaim, "Damn! And after that you're just speechless.
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You and all your reviewers are complaining that you don't care what Ian thinks of God and organized religion, well fuck you! Album deserves a higher overall rating. Classics like this one always do.
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Of course this is Tull's masterpiece. Although the previous album Benefit is underappreciated in my opinion, there is no denying that Aqualung was a monumental leap forward. The songs on Aqualung are unfailingly gorgeous and unfailingly gripping. The melodicism of Benefit is still apparent, but has grown some balls. This album can be soaringly beautiful and deeply profound all the the same moment. Standout songs are "Locomotive Breath" brutal yet beautiful "Aqualung" what can I say "Wind Up" deeply autobiographical yet majestic and somehow a universal statement about rebellion against dogma and the lovely acoustic "Wond'ring Aloud".
At one time in my life, this was my favorite album to listen to stoned, and amazingly enough it's still a pretty damn good choice. Just a wee bit overrated, not as much as Brick , though - in retrospect, I would give that one a really low seven. This one gets a very high eight - lower than expected because a lot of the songs aren't incredibly fantastic "Wind Up" and pretty much all of the ballads.
However, for every slightly lame number there's a song like "Aqualung," "Hymn 43," "Locomotive Breath," and "Cross-Eyed Mary," which are all well written and justifiably radio classics. As for the contreversy which may not really exist on "Mother Goose," I don't think it's at all out of place. Just because it's different from the other songs doesn't mean it breaks the overall mood or flow of the album - on the contrary, it makes for a lot more diversity. I dig it - but keep in mind that I also think that A Passion Play is one of the greatest albums ever.
The first time I heard this album, I was blown away, then the second time I really don't care about the lyrics, as usual, but most of these songs are really good.
It's a shame, because it's a really good song. The only things I don't like on the album are the little acoustic breaks, and though "My God" is a cool tune, I think it's a bit too impenetrable for me to enjoy completely. I'd give the album a high eight.
There's nothing new to say about this - tons of radio standards and an extremely famous concept. The songs are really great throughout - 'Aqualung', 'Cross Eyed Mary', 'Hymn 43', and 'Locomotive Breath' are among the most overplayed songs in history, but they're all great. My favorite cut on here has to be 'My God', though. The way the gentle acoustic riff turns heavy, then jazzy, then disappears during a weird chant session, then comes back.