Stand Up Aug 25, 2016 16:10:33 GMT maddogfagin and bunkerfan like this
Post by JTull 007 on Aug 25, 2016 16:10:33 GMT
Stand Up was the very first LP I ever purchased as a lad (with paper route money, heh), so it has a special
place in my heart. Can't wait to hear the 5.1 surround mixes - I've greatly enjoyed Steve Wilson's other efforts.
Great forum by the way. - Jim
WELCOME JIM !!! The fun is just beginning... Jim
Last Edit: Aug 25, 2016 16:13:46 GMT by JTull 007
Stand Up Aug 25, 2016 19:31:46 GMT nonrabbit, maddogfagin, and 1 more like this
Post by tootull on Aug 25, 2016 19:31:46 GMT
Stand Up Aug 26, 2016 7:42:08 GMT JTull 007 likes this
Aug 25, 2016 7:56:44 GMT maddogfagin said:
Stand Up Aug 26, 2016 14:09:51 GMT JTull 007 likes this
Post by maddogfagin on Aug 26, 2016 14:09:51 GMT
web.musicaficionado.com/
The Real Story Behind Jethro Tull's 'Stand Up'
Jethro Tull's second album, Stand Up, hit number one on the UK charts soon after its release in 1969, and it even cracked the Top 20 in America.
But as Ian Anderson tells Music Aficionado, its success was far from a sure thing. "I knew it was going to be a struggle to convince people that Jethro Tull weren't just a straightforward 12-bar blues band," he says. "We did lose a few original fans, but we gained a lot more than we lost. My own feeling is that it was the right album at the right time."
By replacing guitarist Mick Abrahams, a blues purist, with the relatively inexperienced but open-minded Martin Barre, Anderson was free to move beyond the British blues of the band's debut album, This Was, and incorporate pastoral English folk, frenetic proto-jazz-fusion, blistering hard rock, along with classical and Middle Eastern music into a fresh new potpourri, laying an important brick in the foundation of what the UK press was starting to call "progressive rock."
In the pantheon of Jethro Tull albums, how do you rate 'Stand Up'?
I would certainly put it as one of my top five albums in terms of achievement, and in a sentimental way, it probably goes to number one or two, simply because it was the very first album of music that I had written. It was like the first creative thing that I've really done.
Artists like Eddie Vedder, Joe Satriani and Joe Bonamassa have called the album one of their favorites. You've heard this?
That's always nice to hear, of course. You know, in 1969, there were a number of British bands that were expanding the basics of blues and R&B and trying out their eclectic ideas. They, and we, were a precursor to what became progressive rock, so I guess you could say the genre had its real beginnings in this period. In fact, by 1970, the term "progressive rock" was used in the British press to talk about music that was moving past American rock music and bringing in influences from classical music, folk, jazz and even world music. And that's where we were going. It's where I wanted to go.
So 'Stand Up' wasn't really a flat-out rock album, but nonetheless, it contained its fair share of rock. It's curious that Joe Bonamassa would single out the record, although I could see a song like "A New Day Yesterday" appealing to him because it's a dark, blues-based riff with Anglo-cized bluesy lyrics.
You were writing the music and the lyrics for the first time by yourself. Did this come easily to you?
Pretty much. When Jethro Tull began in February of 1968, we were jumping on the underground blues bandwagon, which was common not just in London, but throughout England. Most towns at that time had a blues club. You'd play these clubs or in the back rooms of pubs, and it was a way to get noticed. It wasn't really what I wanted to do creatively long-term, although it was my love of black American blues—mainly acoustic blues—that brought me into music.
But I didn't want to be a poor imitator of something that culturally, musically, and in terms of ethnicity, was a million miles away from my own experiences growing up in England. And when there was a glimmer of hope from record company interest that we could be a little more original, I started writing the music for 'Stand Up.'
So I had a bunch of ideas, but the only problem was trying to get musicians who could play them. Our original guitar player wasn't interested in anything that went outside conventional rock 'n' roll and blues—that was his thing. So it was either going to be a choice between my music or Mick Abrahams as a guitarist. He knew I was unstoppable in my pursuits, so he realized it was time to move on.
Did your relationship with Mick become acrimonious?
It was acrimonious in the sense that Mick didn't want to work more than three days a week, and he didn't want to travel because he was afraid of flying. The rest of us, of course, had a completely different work ethic, and so things did come to a head because of Mick's unwillingness to undertake a certain degree of commitment.
We tried out a few other guitar players, including David O'List, who was the guitarist for the Nice. David was interesting—not so much blues like Jimmy Page or Clapton, but more avant-garde. And we spent two days with Tony Iommi, who was and is a great guitarist. In fact, he performed with us at the Rolling Stones' Rock and Roll Circus, but after that, he went back to his own band Earth, who then changed their name to Black Sabbath. The rest is legend.
Martin was also an interesting one. He had the least experience as a guitar player of anyone else, but he had the enthusiasm and energy to try to find a way to work with the songs that I had presented to him. He was a good choice because he and I were both learning on the job. We were a good match then and for the next 40-odd years we worked together.
What did you immediately notice working in the studio with Martin as opposed to working with Mick?
The difference was that Martin would always admit when he didn't know how to play something, and we would sit down and work it out together, whereas Mick would play what Mick would play. He couldn't do anything else and he didn't like to be confronted with something new. Martin was interested in learning and evolving. We both had steep learning curves, but we just decided to get going and get things right.
Did your record label have any input into what you were doing?
They just took gratefully what was presented to them and kept their fingers crossed that it would sell a few copies. We were assigned to the fledgling Chrysalis Records; in fact, we were the basis of the label, because the first album had come out on Island Records in Europe and Reprise in the U.S. The deal that Chrysalis had with those record companies was if we surpassed a certain threshold of record sales, that would trigger their right to have a label identity. That's how we evolved together, so Warner Brothers, which owned Reprise, and Island Records didn't really have any say. There was no involvement with us in the A&R side of things. Everybody just did their job.
You really expanded your instrumentation on 'Stand Up.' On the song Fat Man, you even played the mandolin.
That's right. I had no idea how to tune it—I just found an open tuning and that led to "Fat Man," which I wrote on a ferry coming back from Denmark. Mick Abrahams was convinced that I had written the song about him because he was a bit chubby. I wouldn't say he was fat, but sure, he was chubby. He believed this was a derogatory song about him. Of course, it wasn't, but that just added another nail in the coffin of our relationship.
I know that Roy Harper was a big influence on you. One can hear that in the song Reasons for Waiting.
Yes, well, Roy Harper influenced a great many musicians, from Pink Floyd to Led Zeppelin to me and a whole host of others over the years. It was just a constant little thing in the background, guiding me as a singer-songwriter and being unafraid to blend sentimental romanticism with dark, cutting-edge and sometimes quite dangerous lyrics, which Roy did his fair share of.
Some people have pointed out the similarities of the chord progression in We Used to Know and Hotel California.
To be fair, it's not me pointing that out. It never occurred to me at all except for constant mentions that were coming from elsewhere. But as I've always said, it's inevitable that any bunch of guys working over a certain period of two or three decades would come up with that chord sequence. You almost can't get away from it.
I never remotely accused The Eagles of plagiarism. I think they came up with a bunch of chords, and maybe they had heard "We Used to Know," maybe they hadn't. It doesn't really matter. "Hotel California" is a much better song than "We Used to Know." If I wrote "Hotel California," I'd be very proud of myself, but sadly I didn't and they did. Of course, it does share the same chord sequence, but I'm sure you'd find a few other songs that had been written over the millennia that employed the same chord pattern. It's rhythmically and lyrically different—it's really just the chord pattern.
In no way do feel any remote sense of having been taken advantage of whatever. Sometimes people try to plant those ideas in my mind as if I should be taking out a lawsuit for plagiarism, but far from it. I think The Eagles came up with one of the best pop-pock songs that we've ever witnessed. It's an excellent song—excellent lyrics, finely sung and played. What more can I say?
You worked with Andy Johns on the record. How important was his contribution to the sound?
Andy was a delight to work with, but he was also a little nerve-racking. He had an older brother, Glyn, who was working with the Rolling Stones and Traffic, and Andy was desperate to step out of his brother's shadow. We were the first band he engineered. He'd been a tape operator prior to that, but he talked our manager, Terry Ellis, into letting him engineer our sessions.
Andy made up for his lack of experience with lots of enthusiasm. He even played bass guitar on one track. He was a fast worker, which suited me. We did quite a lot in a short space of time. Of course, he went on to become a very important engineer and record producer. Sadly, I think the lifestyle and the excesses of one thing or another got the better of him, so he didn't fare as well in later years as he should have.
When you heard that 'Stand Up' went to number one, were shocked, surprised, elated—all of that?
I remember the moment when I found that out. I was sitting in a dining room in Loews Manhattan Hotel on 8th Avenue having breakfast, and Joe Cocker, who was also staying in the hotel, tapped me on the shoulder and said, "Hey, congratulations. Your album went to number one in the UK." I said, "Oh, wow. That's terrific news, Joe. Are you going to eat all of that toast, or can I have a slice?"
So you were blasé about it?
Pretty blasé, but back then, it was kind of cool to be blasé and not be too triumphant about such things.
If someone told you right now that an album of yours went to number one, would you still be blasé?
At this point of my life, it would be very shocking that such a thing would occur. Honestly, though, I've never really been terribly moved by charts positions. That's always seemed to be a reflection of sales in a short period of time. And we all know how record companies can manipulate charts, so I don't take the whole thing too seriously. I think the more important figure is when you look at the cumulative sales over a longer period of time and you see whether something has reached out to people in different parts of the world in varying degrees.
Getting gold records can feel a bit cheesy, but I know other people are hugely moved by the feeling of success they have when they receive these tangible forms of evidence of their popularity. For myself, I'm always more moved by walking onto a stage and seeing an audience of smiling faces. That's worth far more than chart positions and gold albums at the end of the day.
web.musicaficionado.com/main.html#!/article/The_Real_Story_Behind_Jethro_Tulls_Stand_Up_by_joebosso
Stand Up Aug 29, 2016 11:40:35 GMT maddogfagin and JTull 007 like this
Post by argentull on Aug 29, 2016 11:40:35 GMT
www.amazon.co.uk/Stand-Up-Elevated-Jethro-Tull/dp/B01L68Q53K/ref=sr_1_1?s=music&ie=UTF8&qid=1472470277&sr=1-1&keywords=jethro+tull
Stand Up Aug 29, 2016 14:18:16 GMT maddogfagin, JTull 007, and 1 more like this
Official: The Band's Second Album Is Expanded For A 2CD/1DVD Set That Features Rare And Unreleased Music, Plus Live Footage From A 1969 Concert In Sweden Available On November 18th From Parlophone
CD1: Stereo Mixes by Steven Wilson
1. "A New Day Yesterday"
2. "Jeffery Goes To Leicester Square"
3. "Bouree"
4. "Back To The Family"
5. "Look Into The Sun"
6. "Nothing Is Easy"
7. "Fat Man"
8. "We Used To Know"
9. "Reasons For Waiting"
10. "For A Thousand Mothers"
11. "Living In The Past"
12. "Driving Song"
13. "Bouree" – Morgan Version*
14. "Living In The Past" – Original 1969 Stereo Single Mix
15. "Driving Song" – Original 1969 Stereo Single Mix
16. "A New Day Yesterday" – BBC Sessions
17. "Fat Man" – BBC Sessions
18. "Nothing Is Easy" – BBC Sessions
19. "Bouree" – BBC Sessions
CD2: Live at The Stockholm Konserthuset (January 9, 1969)
2. "My Sunday Feeling"
3. "Martin's Tune"
4. "To Be Sad Is A Mad Way To Be"
6. "Dharma For One"
8. "A Song For Jeffery"
9. "To Be Sad Is A Mad Way To Be" – first show version
10. "Living In The Past" – Original 1969 Mono Single Mix
11. "Driving Song" – Original 1969 Mono Single Mix
12. Stand Up Radio Spot #1
DVD1: Audio and Video
Steven Wilson remixes in 96/24 PCM stereo and DD/DTS 5.1 surround
96/24 flat transfer of Stand Up original stereo master tapes from June 5, 1969
96/24 flat transfer of original mono and stereo mixes of "Living In The Past" and "Driving Song"
Video footage from Stockholm 1969: "To Be Sad Is A Mad Way To Be" and "Back To The Family"
Stand Up Sept 3, 2016 7:26:50 GMT nonrabbit and JTull 007 like this
Post by maddogfagin on Sept 3, 2016 7:26:50 GMT
Examples of the Stand Up artwork used on some European 7" vinyl sleeves
Stand Up Sept 4, 2016 21:40:29 GMT nonrabbit, maddogfagin, and 2 more like this
Post by tootull on Sept 4, 2016 21:40:29 GMT
Stand Up won New Musical Express's award for best album artwork in 1969.
Wednesday, August 31, 2016 » Artist James Grashow holds one of his wood carving prints on display this fall. Wood carving prints on display in Norwalk
Stand Up Sept 5, 2016 19:45:42 GMT maddogfagin and JTull 007 like this
Stand Up to Get Down
More:Martin Barre and the shadow of Jethro Tull at Lovin' Cup
An hour before Martin Barre is to call for his interview, I find this press release in my email:
JETHRO TULL'S STAND UP:
THE ELEVATED EDITION
LOS ANGELES – Jethro Tull's second album, "Stand Up," marked an early turning point for the band with the addition of guitarist Martin Barre along with Ian Anderson's introduction of folk-rock influences to the group's blues-based sound. Released in the summer of 1969, "Stand Up" rose quickly to the top of the U.K. Albums Chart, and eventually earned gold certification in the U.S.
Wow, fresh news on a four-decades-old band! When Barre calls, I ask him about this upcoming two CD, one DVD remixed release, with bonus tracks, 96/24 flat transfer (I don't know what that means, either) of the original mono and stereo versions of "Living In The Past" and a video of the band opening for Jimi Hendrix in 1969 in Sweden that was, "Recorded only a few weeks after Barre joined the band." And the 112-page book detailing the album's history, track-by-track annotations by Anderson, rare photographs and the original album's pop-up book artwork.
Suggested retail price, $39.99.
Long pause. At the other end of the conversation, Barre seems to sigh, perhaps roll his eyes, fix them on a distant point many, many miles away. He's unaware of this oncoming Tull treasure.
"The record label only deals with Ian," he says. "They only have the last 30 years. You'd think they'd at least send me a copy. They never do.
Stand Up Sept 19, 2016 15:40:43 GMT maddogfagin, JTull 007, and 1 more like this
Post by tootull on Sept 19, 2016 15:40:43 GMT
promo copy of Stand Up
forums.stevehoffman.tv/threads/jethro-tull-stand-up-deluxe-11-18-16-release-date.304883/page-25#post-15061659
Stand Up Oct 4, 2016 8:00:02 GMT bunkerfan, rredmond, and 1 more like this
Post by maddogfagin on Oct 4, 2016 8:00:02 GMT
Sept 3, 2016 7:26:50 GMT maddogfagin said:
Another, this time from Venezuela
Stand Up Oct 4, 2016 8:03:22 GMT rredmond and JTull 007 like this
demonszone.com/albums/jethro-tull/stand-up/?
Posted on 3 October 2016 by Steven Lornie
By the time that STAND UP was released, JETHRO TULL came from being the blues rock band with a flute player to a folk orientated rock group with a sound that really didn't match anyone else in terms of style. Their sophomore album STAND UP is a fine example of what would become one of the weirdest most eccentric and fascinating bands in the history of rock n roll.
The sound on STAND UP is a little different from THIS WAS. They are both great albums and have aged reasonably well. But they both have a certain sound that makes you wonder how the band could go from blues to folk. If you dig a little deeper into the sound of JETHRO TULL, you will notice that they didn't change all that much. The biggest difference in direction is the switch in guitar players from MICK ABRAHAMS to MARTIN BARRE. The change in influence shows and it is one that stuck with the band until their final days.
The album features a nice selection of tunes from the J.S. BACH inspired Bourée, the heavy hitting A NEW DAY YESTERDAY and the underrated NOTHING IS EASY. If you get the extended remaster you will also get the edition of great tunes like LIVING IN THE PAST and the rocking SWEET DREAM. Stand Up is a fairly easy album to listen to with each song flowing into one another very well. It also helps that each track doesn't go over the five minute mark, they are short, do what they have to do and finish before they have any chance of dragging on.
The audio quality is a little dated with some production qualities that most definitely sounds like 1969. But it is far from a bad sounding album, in fact it sounds better than some of the albums that came out of the '70s (BENEFIT, TOO OLD TO ROCK N ROLL to name a couple). I think for an album of its time it has a good raw heavy sound and as I said early it has aged well.
If you are a JETHRO TULL fan and you do not own a copy of Stand Up, you are doing something very wrong. This is one of their many must have albums, it sits well with the likes of THICK AS A BRICK, AQUALUNG and MINSTREL IN THE GALLERY. If however you want to get into the band, I would check out the previously mentioned albums before jumping into bed with this one. It might suck you dry but you will find a better ride else where.
Rating : 9 / 10
Stand Up Oct 9, 2016 8:27:51 GMT rredmond, JTull 007, and 1 more like this
Stand Up Oct 18, 2016 23:37:15 GMT maddogfagin, bunkerfan, and 1 more like this
Post by argentull on Oct 18, 2016 23:37:15 GMT
"Stand Up- The elevated edition, with the original 1969 album remixed to stereo and 5.1 surround by Steven Wilson, is due for release in November. The accomapnying book will be a whopping 112 pages rather than the hitherto customary 80 pages, largely because Old Webby´s narrative rambles on for almost 20,000 words. University these have been shorter. Also included in the book will be the regular features such as the track-by-track annotation by IA, interviews with notable contributors to the original album including woodcut illustrator James Grashow, tour dates, rare photos, etc...."
Stand Up Oct 19, 2016 15:57:48 GMT maddogfagin, JTull 007, and 1 more like this
Post by steelmonkey on Oct 19, 2016 15:57:48 GMT
I've pre-ordered...I do what TooTull tells me to do.
Except shut up on topic of 'Stitch in Time'.
Stand Up Oct 19, 2016 19:51:28 GMT maddogfagin likes this
Oct 19, 2016 15:57:48 GMT steelmonkey said:
That's just plain Elevated crazy.
Got me at this line:
And faceless masters - oh, they pay me plenty -
crumbs from their luncheon packs, harsh wine from bottles half empty.
Ah yes, the Marxist dialectic 'Stich in Time' argument.
Not that. Think record company.
Game on. Hey trouble, Jays are losing
Stand Up Oct 20, 2016 15:17:50 GMT maddogfagin and JTull 007 like this
Cheer up....it's hockey season.
Cheer up....it's Stand Up Elevated season.
Fixed your post.
I Stand ( up and elevated) corrected.
Stand Up Nov 4, 2016 16:47:43 GMT bunkerfan, JTull 007, and 1 more like this
Post by maddogfagin on Nov 4, 2016 16:47:43 GMT
Stand Up Nov 5, 2016 8:28:47 GMT JTull 007 and Equus like this
Post by maddogfagin on Nov 5, 2016 8:28:47 GMT
From Old Webby:
"Warner's marketing dept have omitted in all their advertising - including the ads in the UK music press - to mention that the set also includes the complete second show from Stockholm 1969, direct from the radio station tapes and thus in super-duper quality, plus To Be Sad Is A Mad Way To Be from the not-quite-so-well-recorded first show, 'cos Ian sings different lyrics"
From the horse's mouth so to speak and omitting a few choice phrases. OK, so saddle up Dobbin.
Stand Up Nov 5, 2016 14:55:23 GMT maddogfagin, JTull 007, and 1 more like this
Post by tootull on Nov 5, 2016 14:55:23 GMT
Nov 5, 2016 8:28:47 GMT maddogfagin said:
It's the bass man, the bass. I'm still recovering.
The 5.1 studio tracks will sound best with large back speakers. It's the bass, man.
Last Edit: Nov 5, 2016 14:56:04 GMT by tootull
Is it already Christmas? I asked myself this when I opened the post and held the Elevated Edition of the Jethro Tull Album Stand Up. I had the original vinyl version already once in the fingers and was especially inspired by the artwork. Because it was so that when you open the cardboard box of the record, the band literally stands in front of you. (folds out of cardboard) - And yes, to my friends it does this in this version - more in the article.
Artwork: The two CDs and the DVD come as in the last Jethro Tull editions in a book-like cover. If you open it, the band folds up in the best pop-up card style before one - very cool. In the extensive booklet are as usual a lot of background info. Just the right thing to do on a rainy autumn day.
Sound Quality: The album has been re-mixed in stereo for the CD version. There is absolutely nothing to complain about. It's just fun to hear it. The second CD is a live recording from 1969 from Stockholm. Also here the sound quality is great, one misses only occasionally the enthusiastic calls of the audience, which are only very discreet to hear. The DVD provides, among other things, a fat DTS remix and flat transfers of the album. Here you can dive deeply into the sound of the album.
Music: Let's start with the title "A New Day Yesterday". This playful Bluesrocksong does not really want to pull me off. There is initially a fat guitar bluesrock before frontman Ian Anderson then unpacked his flute and really started. Then continue "Jeffrey Goes To Leicaster Square". Behind the strange title hides a song, which I can not really classify. I would most likely put him in the Pop drawer. The flute carries a striking melody through the complete song, but the song is too weird to skip the spark. Rightly I am caught by the third song "Bourée". The flute plays an intro, which could well come from classical music. After that, the rock instruments get on and Ian Anderson turns up to a splendid performance of the flute play. He not only plays the flute, but also puts his voice into the sound of his instrument. The whole thing almost reminds us of beatboxes. This then changes with a virtuoso bass play. Brilliant!
Title 5 "Look Into The Sun" is then a easy-going rock ballad. Here I can hardly sit still on the sofa - at least you have to nod and walk with the foot. After that, "Nothing Is Easy" will once again give you the full cross-float. "Fat Man" is more like sound from India. Here the band is again experimental and one feels the spirit of the 70s. From Title 11 onwards there is already on the first CD finest bonus material. Here, e.g. The classic "Living In The Past" - and literally you are directly drawn into the feeling of the wild 70s and feels the summers of free love. The next "driving song" is then a virtuosic Bluesrock song. A dirty, distorted guitar sound paired with the striking vocals of Ian Anderson. Here, too, nods are announced. Well, and so the CD goes also exciting, but you can hear it yourself.
www.mindbreed.de/rezensionen/jethro-tull-stand-up/