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Jethro Tull: Stand Up

 A l b u m   D e t a i l s


Label: Chrysalis Records
Released: 1969.08.05
Time:
 37:57
Category: Progressive Rock
Producer(s): See Artists ...
Rating:
Media type: CD
Web address: www.j-tull.com
Appears with: Ian Anderson, Martin Barre
Purchase date: 1997.10.31
Price in €: 9,99





 S o n g s ,   T r a c k s


[1] A New Day Yesterday (I.Anderson) - 4:10
[2] Jeffrey Goes To Leicester Square (I.Anderson) - 2:12
[3] Bourée (J.S. Bach, arranged by I.Anderson) - 3:47
[4] Back To The Family (I.Anderson) - 3:48
[5] Look Into The Sun (I.Anderson) - 4:21
[6] Nothing Is Easy (I.Anderson) - 4:26
[7] Fat Man (I.Anderson) - 2:52
[8] We Used To Know (I.Anderson) - 4:00
[9] Reasons For Waiting (I.Anderson) - 4:06
[10] For A Thousand Mothers (I.Anderson) - 4:13

 A r t i s t s ,   P e r s o n n e l


IAN ANDERSON - Lead Vocals, Flute, Acoustic Guitar, Hammond Organ, Piano, Mandolin, Balalaika, Mouth Organ, Producer
MARTIN LANCELOT BARRE - Electric Guitar, Flute on [2],[9]
GLENN CORNICK - Bass Guitar
CLIVE BUNKER - Drums, Percussion

DAVID PALMER - String Arrangement, Conductor on [9]

TERRY ELLIS - Producer, Cover Concept
ANDY JOHNS - Engineer
JOHN WILLIAMS - Cover Concept
JIMMY GRASHOW - Cover Art

 C o m m e n t s ,   N o t e s


1969 LP Reprise 6360
1989 CD Mobile Fidelity UDCD-524
1990 CS Chrysalis 21042
1990 CD Chrysalis 21042
1995 CD Chrysalis F2-21042
1995 CS Chrysalis F4-21042
1996 CD Alliance 21042
1996 CS Alliance 21042



Released Sept. ’69, Tulls initial musical approach was torn between Mick Abrahams’ blues vision and Ian Anderson’s more unique approach. When Abrahams left, his replacement Martin Barre became the key player in Tull’s move towards a more progressive style. Along with vocalist/group leaderIan Anderson and guitarist Martin Barre, Jethro Tull’s 2nd line-up included bassist Glen Cornick and drummer Clive Bunker.
The recording sessions for this album started in April ’69.
One month later, the band scored their 1st UK hit with ‘Living In The Past’, which charted at No.3.
Starting with ‘Stand Up’, the band’s use of dynamics, Celtic Folk and classically oriented tonal structures, along with Ian Anderson’s flute playing and songwriting, became Jethro Tull’s signature.
This was the first album to be filled with songs written and arranged by Ian Anderson, the band’s first album to chart in the US top 20, and their first album to hit No.1 in the UK. It hit No.1 two days after it’s release and stayed there for eight weeks!

J-Tull.com



Even as they began to fancy themselves as codpiece-wearing Elizabethan minstrels in the gallery, Jethro Tull was a blues-based hard-rock group, and an explosive one, at that. On Stand Up, they enjoy the best of both worlds, with lighter fare such as "Jeffrey Goes to Leicester Square" and a jazzy instrumental take on J. S. Bach's "Bouree" mixing nicely with the blistering rock of "A New Day Yesterday", "Nothing Is Easy", and "For a Thousand Mothers". On Stand Up, the group's second album, you can hear the band, and the grand scheme behind it, begin to solidify.

Daniel Durchholz - Amazon.co.uk



...quite marvelous....[Ian Anderson] revels a melodic gift on this album...a fuller awareness of the coloristic possibilities of the flute, and a catholicity of taste....a meticulously crafted work, which deserves careful listening...

Rolling Stone (12/13/69, p. 54)



No, Jethro Tull is not just another English blues band. This Was, their first album, made some gestures in that direction, obligatory, in a way, for the time (summer of '68); in its differences it was intriguing even as it disappointed. Its inadequacies were unconventional; the essential problem seemed to be a style in search of a subject.
Bob Dylan once said that the English know how to pronounce "marvelous" better than Americans, but that they have a little trouble with "raunchy." Stand Up!, Jethro Tull's new album, has a fairly low raunch quotient, true to form, but it is quite marvelous. For one thing, the band's orientation is more definite than before. With the removal of Rick Abrahams to form Blodwyn Pig, the musical tug-of-war which could be heard on the first album has here been effectively curtailed. Ian Anderson simply dominates the proceedings—doing all the writing and singing, and playing a potpourri of instruments. He revels a melodic gift on this album not apparent on the earlier one, a fuller awareness of the coloristic possibilities of the flute, and a catholicity of taste.
Stand Up! has great textural interest, due, in part, to a more sophisticated recording technique, in part to the organ, mandolin, balalaika, etc., which Anderson plays to enrich each song. The band is able to work with different musical styles, but without a trace of the facile, glib manipulation which strains for attention. I can hear ethnic influences throughout the album—a hint of Greek rhythms on the flute break of "We Used to Know" and in the body of "Four Thousand Mothers"—but they are too well assimilated to be easily pinpointed. "Bourree" has that unmistakable baroque swing, a suggestion of the traditional English round, some jazz interludes, and a straight-forward yet breathtaking bass solo before, it winds its way to completion. "Jeffrey Goes to Leicester Square" has a sense of the vague, charming disorganization of medieval music. "Look into the Sun," which finishes side one, is in its melodic twists and turns, a song of genuine poignance, with Martin Barre's guitar playing a model of lyricism and understatement.
On the second side, "We Used to Know" employs what could be called a fade-in, beginning softly and then building in volume, with Barre wah-wahing madly by the end. Only "Reasons for Waiting" is slightly marred, there being a superfluous string section.
As I've said, the album is not really funky; rather, it is a meticulously crafted work (no sterility implied) which deserves careful listening. At a time when many of the established stars are faltering, it is a particular pleasure to hear an important new voice.

BEN GERSON - RS 48
© Copyright 2001 RollingStone.com



The group's second album, with Anderson (vocals, flute, acoustic guitars, keyboards, balalaika), Martin Barre (electric guitar, flute), Clive Bunker (drums), and Glen Cornick (bass), solidified the group's sound. There is still an element of blues, but except for "A New Day Yesterday," it is far more muted than on their first album, as Mick Abrahams' blues stylings are largely absent from Martin Barre's playing. The influence of folk music also began to manifest itself ("Look Into the Sun"). The instrumental "Bouree," which could've been an early Blood, Sweat & Tears track, became a favorite concert number, although at this point Anderson's flute playing on stage needed a lot of work--by his own admission, he just wasn't that good. Bassist Cornick would last only one more album, but got his best moments here, on "Bouree." As a story-song with opaque lyrics and jarring tempo changes, "Back to the Family" is the forerunner to Thick as a Brick. The only major flaw in this album is the mix, which divides the electric and acoustic instruments and failsto find a solid center. The Mobile Fidelity audiophile CD (out-of-print), in addition to superior sound, recreates the original LP's "pop up" jacket interior.

Bruce Eder - All Music Guide



"'Stand Up' and 'This Was', both from 1969, present the group as jazz- and folk-influenced progressives; Anderson's rasping, melodramatic style of play takes off from Rahsaan Roland Kirk's multi-reed explorations."

ROLLING STONE ALBUM GUIDE ***1/2



"Tull's second album was as impressive as 'This Was'. Anderson's flute dominates this outing. The instrumental "Bouree" became a signature song for the band's early sound. Other highlights included "A New Day Yesterday", "Fat Man" and "Nothing is Easy".

All-Music Guide ****



Das Debüt This Was war schon ein ziemlicher Kracher, aber der ´69er Nachfolger Stand Up gräbt seinem Vorgänger bereits mit dem satten Rocker "A New Day Yesterday", dem verspielten "Jeffrey Goes To Leicester Square" und dem unerreichten Instrumental "Bourée" locker das Wasser ab. Jethro Tull haben endgültig ihren völlig eigenen Stil irgendwo zwischen britischer Folklore, moderatem Hardrock und inspiriertem Artrock gefunden und gehen in kompositorischer wie spieltechnischer Hinsicht bis an die Grenzen des Machbaren. Ian Andersons markantes Organ kommt um einiges besser zur Geltung als auf This Was, während Neu-Gitarrist Martin Barre sich nahtlos in die Band einfügt und den zehn Songs eine gesunde Portion Härte aufdrückt. Sein sehr variables Spiel gehört zum Besten, was in den 60ern mit E-Gitarren angestellt wurde und dürfte nicht nur Ikonen wie Queens Brian May nachhaltig beeinflußt haben. Am auffälligsten ist jedoch Andersons brillante Querflöte, die mit dafür verantwortlich gewesen sein dürfte, daß Stand Up bis auf Platz eins der britischen Charts stieg. Und die Tatsache, daß Songs wie "Fat Man" und das o.g. "Bourée" immer noch zur Live-Setlist dieser ewig jungen Kapelle gehören, dürfte erahnen lassen, wie großartig diese Scheibe auch nach 30 Jahren noch ist.

Michael Rensen - Amazon.de



Das 69er Album von Flötenderwisch Ian Anderson & Co. ist eins ihrer besten (mit Bourée), der Titel wörtlich zu nehmen: Beim Aufklappen stehen die vier Pappkameraden auf; auch darum als Sammlerstück längst vergriffen.

© Audio



Mit dem zweiten Album "Stand Up" wurde Jethro Tull als die Band des Jahres 1969 gefeiert. Ian Anderson hatte sich in der Tat zu einem vorzüglichen Songschreiber entwickelt, doch die Tontechnik (Andy Johns) wies leider kein vergleichbar hohes Niveau auf. Und wo verschwommene Mitten und hart konturierte, aber wenig füllige Bässe aufs Originalband geschrieben wurden, kann auch die beste Überspielung nichts retten. So unterscheidet sich der MFSL-Goldtaler klanglich nur minimal von der seit langem erhältlichen Standard-CD (Chrysalis 252 657). Das Luxusstück wartet aber als Bonus mit dem originalen LP-Aufklapp-Cover im Miniformat auf.

© Stereoplay
 

 L y r i c s


A New Day Yesterday

My first and last time with you
and we had some fun.
wenT walking through the trees, yeah!
And then I kissed you once.
Oh I want to see you soon
but I wonder how.
It was a new day yesterday
but it's an old day now.
Spent a long time looking
for a game to play.
My luck should be so bad now
to turn out this way.
Oh I had to leave today
just when I thought I'd found you.
It was a new day yesterday
But it's an old day now.


Jeffrey Goes To Leicester Square

Bright city woman
walking down Leicester Square everyday.
Gonna get a piece of my mind.
You think you're not a piece of my kind.
Ev'rywhere the people looking.
Why don't you get up and sing?
Bright city woman
where did you learn all the things you say?
You listen to the newsmen on TV.
You may fool yourself but you don't fool me.
I'll see you in another place, another time.
You may be someone's, but you won't be mine.


Bouree

Instrumental


Back To The Family

My telephone wakes me in the morning --
have to get up to answer the call.
So I think I'll go back to the family
where no one can ring me at all.
Living this life has its problems
so I think that I'll give it a break.
Oh, I'm going back to the family
`cos I've had about all I can take.
Master's in the counting house
counting all his money.
Sister's sitting by the mirror --
she thinks her hair looks funny.
And here am I thinking to myself
just wond'ring what things to do.

I think I enjoyed all my problems
Where I did not get nothing for free.
Oh, I'm going back to the family --
doing nothing is bothering me.
I'll get a train back to the city
that soft life is getting me down.
There's more fun away from the family
get some action when I pull into town.

Everything I do is wrong,
what the hell was I thinking?
Phone keeps ringing all day long
I got no time for thinking.
And every day has the same old way
of giving me too much to do.


Look into the Sun

Took a sad song of one sweet evening
I smiled and quickly turned away.
It's not easy singing sad songs
but still the easiest way I have to say.
So when you look into the sun
and see the things we haven't done --
oh was it better then to run
than to spend the summer crying.
Now summer cannot come anyway.
I had waited for time to change her.
The only change that came was over me.
She pretended not to want love --
I hope she was only fooling me.
So when you look into the sun
look for the pleasures nearly won.
Or was it better then to run
than to spend the summer singing.
And summer could have come in a day.

So if you hear my sad song singing
remember who and what you nearly had.
It's not easy singing sad songs
when you can sing the song to make me glad.
So when you look into the sun
and see the words you could have sung:
It's not too late, only begun,
we can still make summer.
Yes, summer always comes anyway.

So when you look into the sun
and see the words you could have sung:
It's not too late, only begun.
Look into the sun.


Nothing Is Easy

Nothing is easy.
Though time gets you worrying
my friend, it's o.k.
Just take your life easy
and stop all that hurrying,
be happy my way.
When tension starts mounting
and you've lost count
of the pennies you've missed,
just try hard and see why they're not worrying me,
they're last on my list.
Nothing's easy.

Nothing is easy, you'll find
that the squeeze won't turn out so bad.
Your fingers may freeze, worse things happen at sea,
there's good times to be had.
So if you're alone and you're down to the bone,
just give us a play.
You'll smile in a while and discover
that I'll get you happy my way --
nothing's easy.


Fat Man

Don't want to be a fat man,
people would think that I was
just good fun.
Would rather be a thin man,
I am so glad to go on being one.
Too much to carry around with you,
no chance of finding a woman who
will love you in the morning and all the night time too.
Don't want to be a fat man,
have not the patience to ignore all that.
Hate to admit to myself half of my problems
came from being fat.
Won't waste my time feeling sorry for him,
I seen the other side to being thin.
Roll us both down a mountain
and I'm sure the fat man would win.


We Used To Know

Whenever I get to feel this way,
try to find new words to say,
I think about the bad old days
we used to know.
Nights of winter turn me cold --
fears of dying, getting old.
We ran the race and the race was won
by running slowly.

Could be soon we'll cease to sound,
slowly upstairs, faster down.
Then to revisit stony grounds,
we used to know.

Remembering mornings, shillings spent,
made no sense to leave the bed.
The bad old days they came and went
giving way to fruitful years.

Saving up the birds in hand
while in the bush the others land.
Take what we can before the man
says it's time to go.

Each to his own way I'll go mine.
Best of luck in what you find.
But for your own sake remember times
we used to know.


Reasons For Waiting

What a sight for my eyes
to see you in sleep.
Could it stop the sun rise
hearing you weep?
You're not seen, you're not heard
but I stand by my word.
Came a thousand miles
just to catch you while you're smiling.
What a day for laughter
and walking at night.
Me following after, your hand holding tight.
And the memory stays clear with the song that you hear.
If I can but make
the words awake the feeling.

What a reason for waiting
and dreaming of dreams.
So here's hoping you've faith in impossible schemes,
that are born in the sigh of the wind blowing by
while the dimming light brings the end to a night of loving.


For A Thousand Mothers

Did you hear mother --
saying I'm wrong but I know I'm right.
Did you hear father?
Calling my name into the night.
Saying I'll never be what I am now.
Telling me I'll never find what I've already found.
It was they who were wrong,
and for them here's a song.
Did you hear baby --
come back and tell you the things he's seen.
Did it surprise you
to be picked up at eight in a limousine?
Doing the things he's accustomed to do.
Which at one time it seemed like a dream
now it's true.
And unknowing
you made it all happen this way.

Did you hear mother --
saying I'm wrong but I know I'm right.
Did you hear father?
Calling my name into the night.
Saying I'll never be what I am now.
Telling me I'll never find what I've already found.
It was they who were wrong
and for them here's a song.

 M P 3   S a m p l e s


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