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The first "side" of the album, entitled "Aqualung" after the first and title track, offers nothing overt other than the idea of dismissing organized religion as "salvation à la mode and a cup of tea." However, the second side, "My God," makes its argument in earnest from the opening verse: "People - what have you done/locked Him in His golden cage/Made Him bend to your religion/Him resurrected from the grave." The Church of England is explicitly condemned for having supplanted the authenticity of the Christian religion with plastic crucifixes. "Hymn 43" continues this line of argument by suggesting that: "If Jesus saves - well, He'd better save Himself from the gory glory seekers who use His name in death." "Slipstream" offers a metaphorical look at sinners trying to save themselves at the last moment: "And you press on God's waiter your last dime/as he hands you the bill." That "Slipstream" comes right before "Locomotive Breath" makes sense when you look at the latter's lyrics in light of the former.
But Ian Anderson's diatribe against the organized religion of his country does not extend to God, as is amply proven by the concluding song, "Wind Up." To underscore the importance of what is being sung at this point, the music tends to get out of the way of the lyrics, especially the final lines: "I don't believe you/you had the whole damn thing all wrong/He's not the kind you have to wind up on Sundays." When the teachings of the church consist of nothing more than "half-assed smiles and the book of rules," this necessitates a more personal dialogue with God. In Anderson's world God replies with a firm answer. When Anderson declares "I'd rather look around me - compose a better song/`cos that's the honest measure of my worth," he is staking a claim to more piety and sanctity than the edifices he is indicting.
The second side of "Aqualung" aspires to being much more than mere rock 'n' roll. The message is simplistic, but still compelling. "Aqualung" represents Ian Anderson speaking in relatively clear words; from here on the will cloak his lyrics in metaphors and his own brand of mysticism. But for me it is ultimately the clarity of the lyrics and the intended message that makes this the strongest of Jethro Tull's albums. There are certainly more pleasing melodies down the road, but that does nothing to diminish the raw power of this effort.
The bonus tracks are unnecessary, but the interview is a nice touch and for those who are disappointed that "Bouree" is not on the album it should be, here it is.
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