Jethro Tull's 1971 classic, Aqualung, like many hit albums from that period, has had a massive number of different pressings throughout the years, with the sound quality of most being less than spectacular.  This is one reason that three of the major audiophile reissue labels have taken a crack at this title over the last three decades.  While each subsequent premium-priced pressing was touted as the "definitive" version, were they able to deliver on that promise and how did they stack up sonically to the best standard pressings?

    The first label to give Aqualung the audiophile treatment was the original Mobile Fidelity Sound Lab (not the reborn MoFi) in 1981 on MFSL 1-061.  One great thing about this early MFSL reissue was that it was pressed in Japan on immaculate "High Definition Virgin Vinyl" (unfortunately this proprietary translucent vinyl by JVC can no longer be made because a byproduct of it's production was harmful to the environment).  The mastering on the other hand is very heavy-handed with overblown bass, sucked out midrange and a forward top end; a sound akin to having the "loudness" button on your stereo always on.  Audiophiles loved it at first (some still do) because of the increased bass, quiet surfaces and perceived definition but upon direct comparisons many found it sounds, for lack of a better word, unnatural.

    On the other end of the spectrum, DCC (now defunct) released a stellar sounding version in 1997 on LPZ-2030.  It was mastered by Steve Hoffman, pressed on heavy 180g vinyl at RTI, and is now quite expensive on the second-hand market.  This reissue sounds like it was cut from the master tape with full dynamic range intact, which is especially noticeable on the intro of Locomotive Breath, and shares the natural tonal balance and openness found on the very first domestic pressings.  They really did a great job on this one.

    The last label to jump into the fray was Classic Records in 2007 with ILPS 9145-200G, a 200g version pressed on their special Quiex SV-P vinyl.  Although Chris Bellman at Bernie Grundman Mastering, one of the top mastering engineers today, was at the helm for this version I can't say the result scored very well.  There is a certain opaque, papery quality to the sound and it lacks the depth and warmth found on the best cuts of this album.  Not one of the worst offenders by any means but when a $30 reissue doesn't stomp all over a common $5 domestic pressing, I really don't see the point; especially if you luck out and find the one that is significantly better, which we will talk about in the next segment.

    More to come...