1970’s Culture Archives . . . . . . . . . . . . . . . . . . . . . . . 1970’S HISTORIC MOVIE ERA

1970’s HISTORIC MOVIE ERA

Movies have chronicled the public zeitgeist since the art’s inception.

For those who grew up during Hollywood’s Golden Era, the “art for art’s sake” film industry of the ’40’s, ’50’s and ’60’s, saw the 1970s as the last era before quality, story, characters, and plot lost out to big box office tallies.  It is historic fact that the movie Jaws created more than one monster in 1975 as the “Blockbuster” was born – and the movie business as an artform became the business where the greed of “boffo” profit ruled.

While the ’70s will always remain as the last outpost of classic film-making, one look at the decade’s movies also reveals the psyche of the times. While balanced with comedies and musicals, the decade had an ominous Vibe.

To start off, smack in the heat of the Vietnam War are the presentations that war is a ridiculous Hell with M*A*S*H, Catch-22, Patton, and Kelly’s Heroes – but that Love was alive with Woodstock and Love Story.

Frustration with the war, injustice, and the general unrest caused many to buck the system;
Dirty Harry, Dog Day Afternoon, and The French Connection ignited the anti-hero genre which fueled satire with A Clockwork Orange, Harold and Maude, and then existentialism with Vanishing Point.

The ‘70s took matters into their own hands with The Godfather, Deliverance, Superfly, Death Wish, The Getaway, The Sting, and Dirty Harry’s Magnum Force.

By the mid ‘70s things were not what they seemed with Chinatown, The Parallax View, Don’t Look Now, Performance, and Three Days of the Condor.

Then all Hell broke loose with The Exorcist, Earthquake, The Towering Inferno,  The Rocky Horror Picture Show, One Flew Over the Cuckoo’s Nest, Last Tango in Paris, and Jaws.

Mid-‘70s also saw the last of the great films with All the President’s Men, Rocky, and “I’m mad as Hell and I’m not going to take it anymore” Network.

In the late ‘70s no single movie genre dominated, it was either Comedies with Blazing Saddles, Annie Hall, Smokey and the Bandit, and Up In Smoke – Fantasies with Superman, The Muppet Movie, Grease, and Saturday Night Fever – Gritty Noir with Taxi Driver, Eraserhead, and Apocalypse Now – or Outer Space with Star Wars, Close Encounters of the Third Kind, Star Trek: The Motion Picture, and Alien.

And then there was Horror. Desensitized and accustomed to the horrendous death toll of Vietnam’s “causalties” the rise in violent horror escalated to genre-defining levels. With Alien the Horror of the 1970s ended, however the following ’70s movies greased the bloody wheels of the on-coming ’80’s Freddy and Jason Slasher Splatter-Fests: Toby Hooper’s The Texas Chainsaw Massacre, Richard Donner’s The Omen, Stuart Risenberg’s The Amityville Horror, Robert Fuest’s The Abominable Dr. Phibes, Brian De Palma’s Carrie, John Carpenter’s Halloween, Don Coscarelli’s Phantasm, Dario Argento’s Suspiria, David Cronenberg’s Rabid, William Friedkin’s The Exorcist,  Wes Craven’s The Last House on the Left, and The Hills Have Eyes, and George Romero’s Dawn of the Dead.

As is apparent, the overall strain of the incredibly compact novelty of the historic ‘60s was expressed in film in the ‘70s as one of justified paranoia, exposed reality, dark visions, and imagination realized – sprinkled with a little laughter and song and dance.  Sigh.  The Good Ol’ Days.

Movies in bold are 00individual’s favorites that were seen on opening day or week of release in a first-run theater near him.

As a matter of fact, he saw ALIEN a week before nationwide release at a righteous theater/screening room on the M.G.M. studio lot in Culver City.  Gotta hand it to Ridley Scott, this claustrophobic horror, like Friedkin’s The Exorcist, make the viewer one of the characters in the movie, whether they like it or not.

Like many Rock ‘n’ Film Fans of the ’70s, 00individual saw everything worth seeing to the point of viewing foreign films or rare screenings on college campi or community centers.  These were days of voracious hedonism and indulging in fine cinema was just one of the joys of the ’70s.

And then there were the Drive Ins.  Sigh.  The Good Ol’ Days.

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1960′s Historic & Classic Rock Albums . . . . . . . . . . TEN YEARS AFTER – Debut Album – 10/27/67 . . . and the 50 Year Old Mystery of the Weird Fifth Face

EXPERIENCE ROCK HISTORY!
TEN YEARS AFTER – Debut Self-titled – 10/27/67 – Deram DES 18009

Ten Years After – with a very sci-fi, futuristic, doomsday, paradise, premonition, undead, band name that begged the question, Watt?  It soon became clear that the TYA name meant a Psychedelic Blues Rock Band and Vibe that delivered with a distinct, unique sound and style.

Coming into the first year’s end of 00individual’s first year of getting high, Ten Years After released a very impressive time-stamp imprint of a space in time that served as an introduction to a vast new world of sound on the horizon.  By 1967, British bands were plumbing the depths of American Blues with electrifying results.  These sincere “tributes” to the Blues created a solid genre of British Blues Rock.

Led by Alvin Lee’s righteous Blues vocals and incindiary guitar, Ten Years After were  blessed with the Rockin’ precision of Leo Lyons’ bass, Chick Churchill’s organ, and Ric Lee’s (no blood relation to Alvin) drums.

TYA had the Psychedelic aspects of the Blues ingrained from the start, including a very LSD influenced album cover that continued with Undead and then to make sure they got their psychedelic point across TYA let Rockers know that they too were Stoners with the title of their next studio album, Stonedhenge.  Alvin Lee and Company were right there, on the scene at every milestone of the Rock ‘n’ Roll Highway during the Classic Rock Era.

There were two tracks that really resonated with 00individual and stone Blues Rockers everywhere; I Can’t Keep from Crying Sometimes and Help Me.  These two alone speak volumes of  the passion and intense smoldering casual ambience of ’67/’68/’69 – and if you can dig it, up to the present.

TEN YEARS AFTER
Side one
“I Want to Know” (Sheila McLeod as pseudonym Paul Jones) – 2:11
“I Can’t Keep from Crying Sometimes” (Al Kooper) – 5:24
“Adventures of a Young Organ” (Alvin Lee, Chick Churchill) – 2:34
“Spoonful” (Willie Dixon) – 6:05
“Losing the Dogs” (Alvin Lee, Gus Dudgeon) – 3:03
Side two
“Feel It for Me” (Alvin Lee) – 2:40
“Love Until I Die” (Alvin Lee) – 2:06
“Don’t Want You Woman” (Alvin Lee) – 2:37
“Help Me” (Ralph Bass, Willie Dixon, Sonny Boy Williamson) – 9:51

The 50 Year Old Mystery of the Weird Fifth Face
. . . what’s with the weird fifth face peeking over Chick Churchill’s shoulder?

It is obvious that who or what is peeking was not in the original shot as all others are equally over-exposed and saturated and the tilted semi-motion blur that is uniform with TYA runs opposite with the Peeker.

Definately a pretty clean 1967’s paste-up job, but not as good as the infamous February 21, 1964 Life magazine cover of Lee Harvey Oswald – the conflicting shadows and lighting, the proportions, the stance – horrendous by today’s discerning eyes, but back then it was real.

What really begs the question is: Were TYA aware and was it done with their approval? Was this an art department prank that stuck? Was this an inside joke?  Or was this just another accepted step in psychedelia that was expected; something to trip on – as the cover’s text and the image are both very LSD influenced. Or was it a ghostly apparition only seen when the film was developed?  Yeah, the last one.

Bottom line, Trippy Far Out 1967 Psychedelic Blues Rock record and cover!

Ten Years After would make Rock History with their next two albums ’69’s “Ssssh” and  ’70’s “Cricklewood Green” – both Iconic ’70’s Rock.

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1960′s Historic & Classic Rock Albums . . . . . . . . . . TEN YEARS AFTER – STONEDHENGE 2/22/69 plus a Mini-MindBlower – TYA & 2001: A Space Odyssey!

EXPERIENCE ROCK HISTORY!

TEN YEARS AFTER – STONEDHENGE – February 22, 1969 – Deram Des 18021
plus
a Mini-Mindblower: TYA & 2001: A Space Odyssey!

The day after 00individual turned eighteen Ten Years After released the album Stonedhenge.  The overtly clever album’s title acknowledged the band’s endorsement and certainly their fans approval.

Stonedhenge was one of those direct hits at a time when music really shaped the environment. The beach pad 00individual shared with two good friends was a nightly place to gather, get high,
hang-out and enjoy music and good times.

Most everyone, whether they consciously know it or not, have imprints made by the music associated with personal life events, or even casual moments, these imprints can unlock detailed memory files – here’s a trippy example from the Stonedhenge-era:

Ten Years After and 2001: A Space Odyssey – Dig this Mini-Mindblower 
2001: A Space Odyssey was released on April 4^th, 1968 and was considered a huge event at the time with nearly everyone and especially the Counter-Culture.  The heavy symbolism and sounds of Strauss’ waltzes as background to the glorious images of a real space station in orbit and the slowly well-paced direction of Stanley Kubrick created a technical and realistic foundation for the film’s phantasmagorical ending – which was both the definition of visual psychedelic AND a true mental mind-blower.  This wall-to-wall, floor-to-ceiling psychedelic extravaganza was a must LSD Trip.

00individual has seen this film stoned and straight and it’s aces either way, but that ending sequence was epic and far out and truly like nothing anyone had seen prior to Kubrick.  No concert light show could come close.  And since the sequence was meant to literally put you into the main character, actor Kier Dullea’s, Point Of View surging through space and time; mid-theater was a good peripheral choice for viewing.  By the time one vicariously emerges as the Starchild, well, whew, what a Trip!

A year later in February of ’69, Ten Years After released their album, Stonedhenge.  Two months later 2001: A Space Odyssey played in selected theaters for its one year anniversary celebration.

00individual dropped acid and went to see and experience this great event again.  Toward the end of the film, the viewer is literally inside Dullea’s space suit and can hear him breathing throughout nearly the entire Psychedelic Trip sequence and the aging process, which is a perfect way to immerse and engage the audience.

Anyway 00individual tripped good, and he carried the mysterious contemplative high with him from the theater out into the late evening air.

Back at his beach pad, still stoned on acid but manageable, he put on TYA’s Stonedhenge and the first track is “I’m Going to Try” – and it starts with a heart beat and deep audible breathing and immediately 00individual flashed on the breathing/heartbeat in 2001 and it was a cool trippy synchronistic connection – and an archival stamp on a place in time and history for his experience of film, music and pure Hippie exhilaration!

Aside from the 2001 synch, “I’m Going to Try” gets cooler when Alvin begins to sing – at 1:23 into the track it sounds as though he’s channeling Elvis – he starts out like Elvis and then becomes Elvis.  00individual had heard Alvin Lee live on camera in a TV interview back then and 00individual could hardly understand a word he said because of his thick English accent, but right there on camera he started playing acoustic guitar and singing, and his voice was clear and totally understandable, but when he stopped and chatted with the interviewer, 00individual lost him again.

Stonedhenge was the perfect blend of diverse genres; Blues, Rock, Jazz, Scat, Boogie, Ballad and Psychedelia, that once heard as a whole, took on a weird concept feel, and it was the first album where nearly all tracks are by Alvin Lee.

STONEDHENGE
Side one
“Going to Try” (Alvin Lee) – 4:52
“I Can’t Live Without Lydia” (Chick Churchill) – 1:23
“Woman Trouble” (Alvin Lee) – 4:37
“Skoobly-Oobly-Doobob” (Alvin Lee) – 1:44
“Hear Me Calling” (Alvin Lee) – 5:44
Side two
“A Sad Song” (Alvin Lee) – 3:23
“Three Blind Mice” (traditional, arranged by Ric Lee) – 0:57
“No Title” (Alvin Lee) – 8:13
“Faro” (Leo Lyons) – 1:10
“Speed Kills” (Alvin Lee, Mike Vernon) – 3:42.

Even the back album cover’s infrared heiroglyphed Stonehenge image triggers memories of ’69.
These were the carefree days just before things burst loose and all forms of cosmic shenanigans  became seemingly daily adventures that were physical, mental, emotional, and fucking fun.

STONEDHENGE!

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Celebrate the Height of Psychedelic Culture with the 50th Anniversary of 1967 – featuring JULY!

“00individual Celebrates 1967’s 50th Anniversary!” copyright 2017 00individual  TLL

EXPERIENCE the HISTORICAL HEIGHT of POP and ROCK and PSYCHEDELIC CULTURE!

00individual was among those blessed to be born into this existence during the most concentrated Cultural events of the late ’50s, ’60s and ’70s.  To have been able to experience the slow innocent build of the ’50s as a single-digit Rocker, and of the real-time experience in his teens in the ’60s, and twenties in the ’70s is an exceptional gift, especially for those who appreciated it then, as now.

Let’s Rock:

July 1: The Beatles’ “Sgt Pepper’s Lonely Hearts Club Band” goes #1 for 15 weeks.
July 3: “News at 10” premieres on English TV.
July 7: The Beatles’ “All You Need is Love” is released.
July 7: The Doors’ “Light My Fire” hits #1.
July 10: Bobbie Gentry records “Ode to Billie Joe” – single goes on to win 4 Grammys.
July 12: Race riot in Newark, NJ, 26 killed, 1,500 injured & over 1,000 arrested.
July 14: Surveyor 4 launched to Moon; explodes just before landing.
July 14: The Who begin a US tour opening for Herman’s Hermits.
July 17: Jimi Hendrix is the opening act for
The Monkees at Forest Hills NY.
July 17: Race riots in Cairo Illinois.
July 17: John Coltrane, 40, African-American jazz composer & saxophonist, dies.
July 19: 1st air conditioned NYC subway car (R-38 on the F line).
July 19: Race riots in Durham NC.
July 19: US launches Explorer 35 for lunar orbit. 
July 22: 1st major appearance by Vanilla Fudge (Village Theater NYC).
July 22: Jimi Hendrix quits as opening act for the Monkees’ tour.

July 23 -27: 43 die in race riot in Detroit (2,000 injured, 442 fires).
July 23: Pirate Radio Swinging Scotland closes down for financial reasons.
July 23: First successful liver transplant – Dr Starzl at the University of Colorado.
July 24: The Beatles sign a petition in Times to legalize marijuana.
July 24: Race riots in Cambridge, Maryland.
July 24: The Beach Boys release The Best of The Beach Boys Vol. 2 .
July 24: Race riots in Detroit force postponement of Tigers-Orioles game.
July 27: LBJ sets up commission to study cause of urban violence.
July 31: The Young Rascals release their album, Groovin’.
 July 31: Mick Jagger & Keith Richards end one month jail sentence.

 

 

 

 

US Top 20 Singles for the week ending July 29, 1967:

1  LIGHT MY FIRE – The Doors (Elektra)
2  I WAS MADE TO LOVE HER – Stevie Wonder (Tamla)
3  WINDY – The Association (Warner Brothers)
4  CAN’T TAKE MY EYES OFF YOU – Frankie Valli (Philips)
5  A WHITER SHADE OF PALE – Procol Harum (Deram)
6  LITTLE BIT O’ SOUL – The Music Explosion (Laurie)
7  MERCY, MERCY, MERCY – The Buckinghams (Columbia)
8  WHITE RABBIT – Jefferson Airplane (RCA Victor)
9  UP-UP AND AWAY – The 5th Dimension (Soul City)
10  C’MON MARIANNE – The Four Seasons (Philips)
11  SAN FRANCISCO (Be Sure To Wear Flowers In Your Hair) – Scott McKenzie (Ode)
12  I TAKE IT BACK – Sandy Posey (MGM)
13  COME ON DOWN TO MY BOAT – Every Mothers’ Son (MGM)
14  JACKSON – Nancy Sinatra and Lee Hazlewood (Reprise)
15  HERE WE GO AGAIN – Ray Charles (ABC/TRC)
16  CARRIE-ANNE – The Hollies (Epic)
17  SILENCE IS GOLDEN – The Tremeloes (Epic)
18  SOUL FINGER – The Bar-Kays (Volt)
19  A GIRL LIKE YOU – The Young Rascals (Atlantic)
20  THERE GOES MY EVERYTHING – Engelbert Humperdinck (Parrot)

JULY MOVIES

There was far too much fun goin’ on in the real surreal world that movies could not compete with during the Summer of Love.  This was it Folks, the Height of The Love Generation.  It truly was; even though ooindividual was still only sixteen he knew Love; physical, mental, emotional, empathetic, unconditional Love.  He was just one of the many who were part of The Love Generation.

In 1967 the world opened up to those who opened their minds.  The vapors of the positive elements of the Summer of Love of 1967 continued; Brotherly Love was still felt and trust was given.  And having a grin on one’s face all of the time could be caused by so many thoughts, visuals, interactions, and mental/physical stimuli that it would have been hard not to smile.

Any July is regarded as the Height of Summer – in July 1967 Summer made History.
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“Fans Greet The Psychedelic Train At The Summer Of Love Beach Party”
copyright 2017 00individual  TLL

From sky-surfing to off-rail mode, The Psychedelic Train is greeted by a Summer Of Love Beach Party and sets off a colorful smokeworks response in appreciation to enjoy a Fourth of July concert and trip-out to the “night-time is the right-time” fireworks display.
Celebrate Freedom! 

OK, Cosmic Kids, 1967’s Psychedelic Train continues crossing over psychedelic sixties landscapes and is headed for five more monthly psychedelic stops and psyide-trips on the way through Historic Psychedelic 1967!

Next stop – August 1967!

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1967 Archives

January . . . February . . . March . . . April . . . May . . . June . . .

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To Celebrate The First Day of Summer 2017 and the 50th Anniversary of 1967’s Summer Of Love 00individual Presents The 00individual Counter-Culture Compendium 1960’s and 1970’s Sex, Drugs, and Rock ‘n’ Roll “Volume 1 The 1960s”

FULL COLOR GLOSSY FRONT COVER

EXPERIENCE THE FIRST OF THREE VOLUMES!
VOLUME 1  The 1960S

Through the visionaries at Akashic Publishing, the first Volume of this significant, insightful, entertaining, and educational Three Volume Compendium is now available.

The Compendium uses personally reviewed historic ‘60s and ‘70s Sex, Drugs and Rock ‘n’ Roll Cultural events to reveal and reflect the spirit of the times; and was designed to be of beneficial use as:
•    A factual reference and in-depth source of information on Historic and Classic Concerts, Albums, Events, and of the Hippie, Pop, Rock, Drug, and Counter-Cultures.
•    A chronological journal of Counter-Culture life in Los Angeles and West Coast Beach Communities during the early ‘60s up through the mid-to-late ‘70s.
•    An easily categorized source for ‘60s subjects, interests, and research.
Five categories cover and detail historic topics, events, and pertinent era subjects.
•    A portal to a world of further knowledge.  Each Volume is loaded with precise internet search terms.

FULL COLOR GLOSSY BACK COVER

The 00INDIVIDUAL COUNTER-CULTURE COMPENDIUM
1960’s and 1970’s Sex, Drugs, and Rock ‘n’ Roll
“Volume 1 The 1960s”

AVAILABLE NOW!
EBOOK AVAILABILITY TO FOLLOW.

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COMING SOON!

The early-to-mid 1970s saw the height of both the Counter-Culture and the Drug Culture’s exploration of, well, any Entheogen available.  The ‘60’s favorites; Marijuana, Hashish, Pharmaceutical Pills, Mescaline, and LSD, quickly joined the ‘70’s new favorites; Psilocybin, Thai Stick, Opium, PCP, Cocaine and Heroin. 

And while the ubiquitous Drug Culture is conveyed throughout “Volume 2 The 1970s”, the focus on the Drug Culture, and specifically on the Psychedelic Drug Culture – including over twenty classic in-depth chronological True Trips – is reserved for the Unique Unity of the 1960s and the 1970s in: The 00individual Counter-Culture Compendium Sex, Drugs, and Rock ‘n’ Roll Volume 3 The 1960s and 1970s featuring Psychedelic Culture.

Psychedelic Culture expanded the social mind as well as the individual mind.
Psychedelic influence is virtually ingrained within society on every level.
It is a fascinating subject that goes back to when the first upright ate a mushroom.
00individual relates.

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COMING IN 2018

GROOVY!

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1960’s and 1970’s Culture Archives . . . . . . . . . TRUE PSYCHEDELIC TRIPS! – Mind-Blower #26 – TV on LSD – “The Two Faces of Dr. Jekyll” – 1960

EXPERIENCE TRUE PSYCHEDELIC TRIPS!
Mind-Blower #26 – TV on LSD  “The Two Faces of Dr. Jekyll” – 1960

Here’s a quick “shot in the arm” true tale Mind-Bender that 00individual experienced.

Back in the early to mid-’70s late night TV would show old ’40s, ’50 and early ’60’s comedies, mysteries and horror movies from the usually “B” or lower movie category.  However, there were some actually excellent Hammer films made before they went camp – and even those were trippy.

One night in the early ’70s, 00individual arrived at his place of abode after midnight still stoned on Acid, but glazing down the backside of the Trip where mellow self-realization, contemplation, and extreme thoughts hangout.

He turned on the TV and this is what he saw:

Watching TV on LSD can run the gamut from observing the inane drivel and farce of it all, to gleaning highly introspective revelations, as well as providing the customery kick-ass hallucinations and visuals.

The psychedelic mind can also travel from the truly absurd to stark reality as quickly as Dr. Jekyll realized he was having a highly-emotional conversation with himself.

00individual was immediately drawn-in to the convincing perspective of watching someone so evidently mad and having a full blown conversation with himselves in a mirror, that when the rational moment of the realization that it was only himself, well, this really impressed and delivered an imprint on young psychedelic 00individual.

While realizing that he was watching a movie, the synchronicity of turning the TV on to this scene while on LSD was not lost on him, this was meaningful on some level.  And since aspects of the LSD experience can be associated with szhizophrenia and other mental issues, through his experienced mind he could empathize for Jekyll, and Hyde.  This was truly horrific.

To see someone witness their own break with reality gave 00individual the psychedelic chills. Kudos to the actor Paul Massie to pull off truly (un)believeable emotions – even if the beard was lacking.

00individual came away with the cheap thrills of LSD collateral advantage; seeing and somewhat feeling a psychotic break – and what it would be like to be that “uninhibited”.

Everyone talks to themselves, all of the time, but when it reaches this level of dedication, it’s time for different medication.  Consult your local Shaman.

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Due to the fact that the administration of drugs via needle injection should be aimed in the direction of the heart (the exact opposite angle is pictured in the movie’s poster) is why it’s called “shooting up” not “shooting down”.
Forgiveness will be allowed for artistic exploitation rather than a realistic, lurid depiction.
Although, totally wrong, the movie poster art department got it right.

Groovy!

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1970′s Historic & Classic Rock Albums . . . . . . . . . . JETHRO TULL – AQUALUNG – 1971

EXPERIENCE ROCK HISTORY!

JETHRO TULL – AQUALUNG – March 19, 1971 – Reprise MS 2035

It is a strange human reaction to feel that the normal roll-over of months into years is somehow magnified when that roll-over is from the end of one decade and the beginning of another. Although there is no difference, the significance is great.

Back in 1969 the review of the past ten years was truly historic so looking forward to the 1970s seemed like venturing into some stranger land filled with unknown possibilities of furthering sex, drugs, and rock ‘n’ roll, in the best sense.

That willful mind-bend added to the ongoing tide of an ever evolving reality with a high level of optimism and anxiety similar to the 1999 roll-over into 2000 and this was due to the fact that the Counter-Culture was in full-force – while the ’60s built an incredible cultural framework – the ’70s followed-through with vigor.

While individuals and groups progressed in their chosen fields, musicians, singers and bands also took this opportunity to show the “future of the ’70s”.  There were a few bands who debuted strong and Rock stalwarts who flexed their muscles – one of those muscular types was Jethro Tull.

After the very impressive time-stamp albums, “This Was” (Hard Rockin’ Blues with an Ian Anderson twist), and “Stand Up” (full-blown Renaissance Jazz Flute Rock) and both with sublime folk ballads, Tull released “Aqualung”; the album most fans agree to be their best, and is always highly-ranked as one of the Best Rock Albums ever.

The let down of Tull’s third album, “Benefit” (with the exception of the most excellent track, Teacher), was totally redeemed by the impact of a near perfect album, Aqualung.

Back in ’71 the world had a different Vibe from the late ’60s, yet most all would agree that nothing had really changed, it just evolved. Yet the early ’70s seemed to release a strong but subtle ubiquiteous feeling that the time was right to explore; it was now or never, no holds barred, live for today, Sex, Drugs, and Rock ‘n’ Roll Unlimited and it was the perfect environment and time for all of it.

This was the spirit shared by many individuals, including many bands that filled arenas, concert halls, and garages.  This spirit was not lost on Jethro Tull – Ian Anderson gifted Rockers with a near perfect album; rockin’ riffs, bass hooks, infectious drums, and lyrics that questioned authority, religion, and life  –  and who knew the stone rockin’ value that a flute could produce, by the right person – Ian Anderson.

In the process of Aqualung’s success, Jethro Tull became a perfected version of Jethro Tull.  With what many saw as a concept album, and much to his chagrin, The Mad Flutist created a real “mock concept album” with the single track covering both sides of the monster album, “Thick As A Brick”.

Up until “Thick As A Brick” 00individual saw Jethro Tull as a Rock band featuring Flute Wizardry, with TAAB Tull embraced and helped define Progressive Rock.

But before the TAAB Monster was unleashed, Jethro Tull hit the highest eschalons of early ’70s Rock with Aqualung; an album that traveled strong with Rockers the rest of the way to the Pinnacle of Rock – that was so near, yet so far away.

AQUALUNG
Side one: 1. “Aqualung” 6:34, 2. “Cross-Eyed Mary” 4:06, 3. “Cheap Day Return” 1:21, 4. “Mother Goose” 3:51, 5. “Wond’ring Aloud” 1:53, 6. “Up to Me” 3:15.  Side two: 1. “My God” 7:08, 2. “Hymn 43” 3:14, 3. “Slipstream” 1:13, 4. “Locomotive Breath” 4:23, 5. “Wind-Up” 6:01

Tull were perceived – due to not knowing how to classify them – as: Progressive, Hard Rock, Metal, Folk, Blues, Classical, Jazz, Psychedelic, Rockin’ Minstrel Balladeers.

00individual was a Record Store Manager in the early-to-mid ’70s, Jethro Tull was alphabetically filed in the “J” section in the “Rock” section.

JETHRO TULL – AQUALUNG – 1971

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00individual does not endorse nor receive any payment of any kind from any advertiser(s).