Stand Up (Jethro Tull album)
|Studio album by Jethro Tull|
|Released||1 August 1969|
|Recorded||April 1969 at Morgan Studios, London|
|Genre||Progressive rock, art rock, hard rock, folk rock|
51:07 (with bonus tracks)
|Producer||Ian Anderson and Terry Ellis|
|Jethro Tull chronology|
|Disc and Music Echo||(Very favourable)|
Stand Up is the second album by Jethro Tull. It was recorded few months after Martin Barre joined the band, and presents the search for a more open and ecletic sound – what was going to result in the progressive rock unique sound of the group – already showing a lot of the idiosyncrasies of Ian Anderson. In fact, Anderson states that this is to be considered the first "true" Tull album, This Was being just a sample of the amateur play-in-pubs Jethro Tull. Stand Up was the only Jethro Tull album to reach No. 1 in the United Kingdom charts. The album is considered by fans and by the group members as one of the better works of the band. Many of the repertoire of Jethro Tull through the years together with Ian Anderson and Martin Barre's solos carriers continues to reproduce music from this album. This line-up would go on to release Benefit, together with John Evans in the following year.
Ian being in full control said that sometimes the album was recorded with him alone in the studio, entering with "a guitar and a mandolin" in each hand. As an overall view of the album, he said: "This was Martin Barre's first album with us, and it marks the turning point in our music, away from the blues and toward progressive rock. It is a very broad, eclectic album, and the end result is a set of songs that nobody else could have written. I was particularly pleased with the record, and still am, because nobody else was doing that then and the songs are very idiosyncratic in terms of their performance and writing. Looking back on it, it's one of the records that I feel was a really important one."
Martin Barre said he was: "terrified because I had just joined the band. It really showed a change in direction for the band and when it was accepted and became a successful album, we gained a lot of confidence"
The album was recorded in Morgan Studios on 8 track, what was a really turning point for the band, as the first album was made in a cheap studio. The engineer was Andy Johns, widely known as producer and sound engineering, working with Led Zeppelin, Free, Blodwyn Pig and Humble Pie.
The band was also improving themselves, as they work in better studios and try new techniques (as will be better seen in Benefit album). For example, the riff on "New Day Yesterday" were made with new amplifiers, with Ian Anderson swinging the microphone in front of it in a "Roger Daltrey' fashion".
Overall, however, the album does remain more broadly in the style of blues rock than future Jethro Tull albums – although the music was already inspired by Roy Harper, to whom Ian used to listen. Still, Stand Up represents the first album project on which Anderson was in full control of the music and lyrics. It also marks the first appearance of guitarist Martin Barre, who appeared on every Jethro Tull album from this point on. The album goes in a different direction from Ian Anderson's earlier work, revealing influences from Celtic, folk, and classical music. In particular, the song "Fat Man" showed an interest in unusual instrumentation, as Ian Anderson played mandolin, one of the first times the instrument had been used by a rock band. The instrumental "Bourée" (one of Jethro Tull's better-known numbers) is a jazzy re-working of "Bourrée in E minor" by J.S. Bach, with a strong and fluid bass solo serving as medley to close the song.
“A New Day Yesterday" is almost a holdover from "This Was" with its blues-stylings while "Nothing is Easy," common in concert sets, is a blues-jazz fusion. Many Tull fans presume Far Eastern influences on the band's music begin with Anderson's solo album "Divinities." Yet, traces can be found in "Fat Man" (sometimes considered a jab at departed guitarist Mick Abrahams) and "Jeffrey Goes to Leicester Square" (in which Anderson played the balalaika), one of three Tull songs devoted to Ian's boyhood friend Jeffrey Hammond who would later join the band.
While hardly a "concept" album, lyrically the album devotes a lot to Anderson's relationship with his parents (a subject continued on Benefit), like "Back to the family" and "For a Thousand Mothers". Others were observational poetry, like "Fat Man" and "Jeffrey goes to Leicester Square". The difficult life before the band's success were also described in "We used to know" – remembering the hard life Anderson and bassist Glenn Cornick had at the beginning of the group. The subject of coping with new found pop stardom was also present.
The gatefold album cover, in a woodcut style designed by artist James Grashow, originally opened up like a children's pop-up book, so that a cut-out of the band's personnel stood up – evoking the album's title. In a matter of fact, Martin Barre said about the sleeve: "It was part of our rebelliousness. We thought the rock image was so stupid and that rock musicians took themselves too seriously. Our celebrity was based on being a blues act, and here was lan, sticking two fingers up the band's reputation. It was an amazing risk. I never thought about it — but he must have". Stand Up won New Musical Express's award for best album artwork in 1969.
The album reached No. 1 on the British charts,  also selling well in the United States, where it reached No. 20, and even in the Norwegian charts (where the band toured along with Jimi Hendrix), reaching No. 5.
Stand Up won New Musical Express's award for best album artwork in 1969.
Rolling Stone review was quite positive, stating that the album: "has a fairly low raunch quotient, true to form, but it is quite marvelous". Going further on the analyses: "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 straightforward yet breathtaking bass solo before, it winds its way to completion. "Jeffrey Goes to Leicester Square" has a sense of the vague, charming disorganisation 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."
About the public reaction to the new songs, Martin Barre remembered that:
"After we finished Stand Up, we went back to the English blues clubs where Mick had played (says Barre). There were a few dates where the audience was very quiet. They didn't know what to make of it all. We did some 10 gigs in England, and it wasn't gelling with the crowd. It was a worrying few weeks."
Then, on 18 January 1969, Jethro Tull presented into Manchester University, their final stop in England before they would make their US premiere at New York City's Fillmore East, on 24 January. Barre continued:
"Manchester was the gig that finally cracked it for us. The audience went wild for the new songs, and you could hear a huge sigh of relief from the band that the show had gone down so well. It was really the turning point for Jethro Tull — for everything that we were to become and everything we were to inspire in others."
In popular culture
The song "New Day Yesterday" was covered by Joe Bonamassa, giving also the titled for his first solo album.
In the tribute album "To Cry You a Song: A Collection of Tull Tales", "Nothing is Easy" is covered by John Wetton, "A New Day Yesterday", by Robby Steinhardt, from Kansas; and "Living in the past", by Keith Emerson, from ELP.
As result of the release of Stand Up, Jethro Tull got second in Melody Maker list of groups in 1969, under The Beatles, but ahead of The Rolling Stones, Fleetwood Mac, Cream, Pink Floyd, Family, Fairport Convention and The Who.
The album was re-issued in 1973 by Chrysalis Records.
In 1989, an MFSL remaster was released.
Again the album was re-issued in 2001 as a digital remaster.
The album was reissued on 5 Oct 2010 as a deluxe edition including six bonus tracks on disc one, and two additional discs: a disc of live material recorded at Carnegie Hall on 4 November 1970, and a disc with a DTS surround mix.
- Standard (CD and LP version)
- (1973 cassette version has same track order, but on opposite sides.)
All songs written by Ian Anderson unless otherwise indicated.
- Side one
|1.||"A New Day Yesterday"||4:10|
|2.||"Jeffrey Goes to Leicester Square"||2:12|
|3.||"Bourée" (instrumental, J. S. Bach arr. Anderson)||3:46|
|4.||"Back to the Family"||3:48|
|5.||"Look into the Sun"||4:20|
- Side two
|6.||"Nothing is Easy"||4:25|
|8.||"We Used to Know"||4:00|
|9.||"Reasons for Waiting"||4:05|
|10.||"For a Thousand Mothers"||4:13|
|2001 Digital Remaster|
|11.||"Living in the Past"||3:23|
2010 Deluxe Edition
|CD 1: Stand Up|
|1.||"A New Day Yesterday" (2001 Digital Remaster)|
|2.||"Jeffrey Goes to Leicester Square" (2001 Digital Remaster)|
|3.||"Bourée" (2001 Digital Remaster)|
|4.||"Back to the Family" (2001 Digital Remaster)|
|5.||"Look into the Sun" (2001 Digital Remaster)|
|6.||"Nothing is Easy" (2001 Digital Remaster)|
|7.||"Fat Man" (2001 Digital Remaster)|
|8.||"We Used to Know" (2001 Digital Remaster)|
|9.||"Reason for Waiting" (2001 Digital Remaster)|
|10.||"For a Thousand Mothers" (2001 Digital Remaster)|
|11.||"Living in the Past" (2001 Digital Remaster)|
|12.||"Driving Song" (2001 Digital Remaster)|
|13.||"Sweet Dream" (2001 Digital Remaster)|
|14.||"17" (2001 Digital Remaster)|
|15.||"Living in the Past" (Original Mono Single Version; 2001 Digital Remaster)|
|16.||"Bourée" (Top Gear BBC Radio Session)|
|17.||"A New Day Yesterday" (Top Gear BBC Radio Session)|
|18.||"Nothing is Easy" (Top Gear BBC Radio Session)|
|19.||"Fat Man" (Top Gear BBC Radio Session)|
|20.||"Stand Up (US Radio Spot #1)" (2010 Digital Remaster)|
|21.||"Stand Up (US Radio Spot #2)" (2010 Digital Remaster)|
|CD 2: Live at Carnegie Hall|
|1.||"Nothing is Easy"|
|3.||"With You There to Help Me" / "By Kind Permission of" (John Evan)|
|4.||"A Song for Jeffrey"|
|5.||"To Cry You a Song"|
|6.||"Sossity, You're a Woman" / "Reasons for Waiting" / "Sossity, You're a Woman"|
|7.||"Dharma for One" (Ian Anderson / Clive Bunker)|
|8.||"We Used to Know"|
|9.||"Guitar Solo" (Martin Barre)|
|10.||"For a Thousand Mothers"|
|DVD: Live at Carnegie Hall [DTS Surround Mix, No Video]|
|2.||"Nothing is Easy"|
|4.||"With You There to Help Me" / "By Kind Permission of" (Evan)|
|5.||"A Song for Jeffrey"|
|6.||"To Cry You a Song"|
|7.||"Sossity, You're a Woman" / "Reasons for Waiting" / "Sossity, You're A Woman"|
|8.||"Dharma for One" (Anderson / Bunker)|
|9.||"We Used to Know"|
|10.||"Guitar Solo" (Barre)|
|11.||"For a Thousand Mothers"|
|UK Albums Chart||1969||1|
According to My Heart by Jim Reeves
|UK Albums Chart number-one album
9 August 1969 – 30 August 1969
From Elvis in Memphis
by Elvis Presley
From Elvis in Memphis
by Elvis Presley
|UK Albums Chart number-one album
6 September 1969 – 20 September 1969
Blind Faith by Blind Faith
- Ian Anderson – vocals, flute, acoustic guitar, Hammond organ, piano, mandolin, balalaika, mouth organ
- Martin Lancelot Barre – electric guitar, flute
- Glenn Cornick – bass guitar
- Clive Bunker – drums, percussion
- Additional personnel
- Andy Johns – bass guitar on "Look into The Sun"
- Strings arranged and conducted by David Palmer
- Engineering and mixing by Andy Johns
- "Stand Up". Allmusic. Retrieved 7 January 2012.
- 2 August 1969
- "CG: jethro tull". Robert Christgau. Retrieved 7 January 2012.
- "Jethro Tull – Stand Up CD Album". Cduniverse.com. Retrieved 7 January 2012.
- "Jethro Tull – Stand Up Cassette". Amazon.com. Retrieved 13 December 2012.
- "Chart Stats – Jethro Tull – Stand Up". chartstats.com. Archived from the original on 29 July 2012. Retrieved 6 June 2011.
- "Glenn Cornick interview about Jethro Tull, Wild Turkey". Klemen Breznikar. Retrieved 13 December 2011.