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Jethro Tull

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Jethro Tull Stand Up album cover
4.05 | 1452 ratings | 102 reviews | 31% 5 stars

Excellent addition to any
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Studio Album, released in 1969

Songs / Tracks Listing

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

Total Time: 37:55

Bonus Tracks on 2001 Chrysalis remaster:
11. Living in the past (3:23)
12. Driving Song (2:44)
13. Sweet Dream (4:05)
14. 17 (3:07)

2010 Collector's Edition (2CD + DVD) contains:

CD1 - 2001 Remastered Album + addit. Bonus Tracks:
15. Living In The Past (Original Mono Single Version) (3:26)
16. Bourée (BBC Radio Session) (4:02) *
17. A New Day Yesterday (BBC Radio Session) (4:17) *
18. Nothing Is Easy (BBC Radio Session) (5:07) *
19. Fat Man (BBC Radio Session) (2:57) *
20. Stand Up (US Radio Spot #1) (1:04)
21. Stand Up (US Radio Spot #2) (0:52)

* John Peel's "Top Gear" 16 June 1969

Total Time 76:04

CD2 - Live at Carnegie Hall, NY, 4 Nov 1970
1. Nothing Is Easy (5:43)
2. My God (12:43)
3. With You There To Help Me (13:35)
4. A Song For Jeffrey (5:25)
5. To Cry You A Song (6:04)
6. Sossity, You're A Woman / Reasons For Waiting (5:29)
7. Dharma For One (13:37)
8. We Used To Know (3:41)
9. Guitar Solo (8:24)
10. For A Thousand Mothers (4:42)

Total time 79:23

DVD - Live at Carnegie Hall, NY, 4 Nov 1970 (Audio only)
1. Introduction (1:26)
2. Nothing Is Easy (5:43)
3. My God (12:43)
4. With You There To Help Me (13:35)
5. A Song For Jeffrey (5:25)
6. To Cry You A Song (6:04)
7. Sossity, You're A Woman / Reasons For Waiting (5:29)
8. Dharma For One (13:37)
9. We Used To Know (3:41)
10. Guitar Solo (8:24)
11. For A Thousand Mothers (4:42)

Total time 80:49

DVD bonus Video feature:
Interview with Ian Anderson, London 2010 (45:50)

Line-up / Musicians

- Ian Anderson / vocals, flute, acoustic & 12-string (13) guitars, Hammond organ, piano, mandolin, balalaika, bouzouki, harmonica, co-producer
- Martin Barre / electric guitar, flute (2,9)
- Glenn Cornick / bass
- Clive Bunker / drums, percussion

- David Palmer / strings arranger and conductor (9,13)
- Lou Toby / strings arranger and conductor (12,15)
- John Evan / piano, Hammond (CD2 & DVD)
- Andy Johns / bass (5), engineer

Releases information

Artwork: James Grashow with John Williams & Terry Ellis (concept)

LP Island - ILPS 9103 (1969, UK)
LP Chrysalis - CHR1042 (1973, UK)

CD Chrysalis - 5354582 (2001, Europe) Remastered by Peter Mew w/ 4 bonus tracks (1969 Singles)
CD Chrysalis - 53545826 (2001, US) Remastered by Peter Mew w/ 4 bonus tracks (1969 Singles)
2CD + DVD Chrysalis - CHRX 1042 (2010, Europe) Collector's Edition remastered by Peter Mew (2001) w/ 11 bonus tracks and 1970 concert recording (Audio only) in Stereo & Multichannel and Ian Anderson 2010 Video interview. DVD Sound options: 48/24 LPCM Stereo LPCM, DTS, Dolby Digital 5.1

Thanks to ProgLucky for the addition
and to Quinino for the last updates
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JETHRO TULL Stand Up ratings distribution

(1452 ratings)
Essential: a masterpiece of progressive rock music(31%)
Excellent addition to any prog rock music collection(48%)
Good, but non-essential (19%)
Collectors/fans only (2%)
Poor. Only for completionists (0%)

JETHRO TULL Stand Up reviews

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Collaborators/Experts Reviews

Review by Peter
SPECIAL COLLABORATOR Honorary Collaborator
4 stars This album, Tull's second, has a blues-oriented feel on several tracks (especially on "A New Day Yesterday" and "For a Thousand Mothers," while other songs ("Fat Man," the essential "Bouree," "Look into the Sun," etc.) exhibit the sound that most fans associate with the band's heyday. That diversity is by no means a bad thing, but overall, I feel that Anderson's songwriting is not quite as strong as it would become on the next album, BENEFIT, and thus I give this very good disc a four-star rating. Nevertheless, STAND UP belongs in any Tull fan's collection.
Review by Sean Trane
5 stars This album will always hold a special place in my life, being my very first exposure to rock music at the tender age of 5, my father having bought the album on the strength of Bourée, but the whole album was spinning often in the living room, with yours truly being truly fascinated by the superb artwork and its gatefold pop-up. Gone is Mick Abrahams to found Blodwyn Pig, and in comes the ever-present Martin Barre who is still today with the band.

There is not one weak track on this little baby. "Look into the sun", "Noting is easy", "We used to know", "Thousand mothers", etc... As M. Abrahams left for Blodwyn Pig (a band I hope to see soon on this site) Ian had more space to develop his style and did he take advantage of it. Best known for Bourée, and often probably over-looked because of it, this album is incredibly tight and every number on it is a gem. My only regret is that they did not make another one like it before moving on. Every track is a real gem on here and choosing the better will make me select every single track here.

A New Day is a real dapper introduction, but the second number dedicated to Jeffrey and Fatman are the premises of the folk direction present in all future albums. Bourée is actually a duo of flute. We Used To Know has the best guitar solo on a Tull album, Reasons For Waiting is the first example of Tull utilising an orchestra and is it ever well done!!

The remastered version of the album holds four bonus tracks, three of which were released on singles but not available in an album before the Living In The Past collection. The LITP single is easily one of the highlights of Tull's career and its 5/4 beat for a single was revolutionary at the time. Driving Song would actually have been more fitting on their Benefit album, but since it was released before Stand Up... As for Sweet Dreams, it came two months after the album's release and boasts some brass section, a string section and intricate arrangements. The fourth track, 17, is a weird rarely made-available track that sticks out a bit too much out of context of the album, unlike the first three tracks. This slight flaw does not manage to dent this album's importance and the fact that it is absolutely essential to understanding the advent of prog.

A new "Legacy" version appeared in 2010 (I know, we're not on the Columbia label, but anyway) with the same bonus tracks as the previous remaster plus a few unneeded ditties, but with a the other two discs consisting of that famous 1970 Carnegie Hall concert, whose partial release on the Living In The Past (side 3) dates from almost four decades. A very fun concert filled with Anderson's quite-funny in-between-song banter to allow himself to catch his breath. I'd have made this a two-disc Cd+DVD-A affair, since the DVD disc hold the same material (despite a few neat enhancement tricks and a video interview) as the second (redundant) CD does. I still think the Mini-Lp version pays a better tribute to the original album, despite a few excellent previously-unseen pictures in this updated booklet

Review by daveconn
3 stars A slight scuffle from A(BRAHAMS) to B(ARRE), during which Ian took the wheel. "Stand Up" follows their first album in most regards: explosive blues/folk, some psychedelic concessions in the instrumentation. The prime difference is a pronounced shift toward acoustic music; Martin BARRE arrived with no baggage and seemed pleased to pledge allegiance to the new lord of the manor. To those that found TULL's shift toward convoluted concepts distasteful, "Stand Up" is classic stuff, the likes of which wouldn't be seen again after "Benefit". Prog fans however sometimes find the band's first two albums tame and derivative compared to their subsequent masterworks. I admit, as a young man, I filed Stand Up alongside their first album as dusty arcana boasting but a few well preserved morsels. But I reminded myself of the talent in attendance and patiently played a tape of this on my way to work for a few months. As many would suspect, the album soon worked its peculiar magic. I found myself anticipating with pleasure the cranky insights of "A New Day Yesterday", "Look Into The Sun" and "For A Thousand Mothers", the tastefully orchestrated "Reasons For Waiting" and the bemused observations of "Fat Man" and "Nothing Is Easy".

Though "Benefit" balances the light and dark sections better, the small leap that "Stand Up" makes is not to be discounted. In fact, the album is important for introducing ANDERSON's lyrical insights: a vague dissatisfaction with the world around him, a cherishing of childhood, a bemused philosophical bent. As such, "Stand Up" clearly belongs to the same school of thought as TULL's later works. The band had settled on a slightly new course, choosing a different path in the woods, and that made all the difference.

Review by Gatot
SPECIAL COLLABORATOR Honorary Collaborator
4 stars I knew this album after I got the "War Child" album sometime in mid 70s. Imagine how late I was to know the band. But STAND UP is really an excellent classic album. I just got the remastered CD (plus 4 bonus tracks, released in 2001 by Chrysalis) that's why I need to post this review to commemarate one of albums that coloured my childhood.

Listening to this CD reminds me to all the memories and glories of classic rock music in 70's. Rock music was accessible to vast majority of people at that time, even in my hometown at east Java, Indonesia. JT was less popular than Deep Purple or Led Zeppelin at that time but for sure some people knew the band really well. My all-time favorite track of this album since then untill now and later is track 8 "We Used To Know". It's a beautifully crafted track with a heavy influence of blues. Well, Tull was basically a blues band - especially their debut album "This Was" (1968). By that time I got only cassette format (boy, how could I afford an LP at that time - I was not from a rich family. I knew that my colleague in the capital city, Jakarta, was at that time collected the LP version of 70s rock groups.) . I had a habit to repeat this track many times and that's enough to cause my cassette rotten especially in the area of this track.

Other tracks are excellent as well. "Bouree" is an interesting instrumental piece with solo flute and great bass line. "Nothing is Easy" is another interesting track with stunning guitar and flute coupled with dynamic bass line. It's a rocking track! Other short cuts: "New Day Yesterday", "Jeffrey Goes To Leicester Square" (with a great touch on trad music), "Fat Man", "Back To The Family", "Look Into The Sun".

The bonus tracks are: "Living In The Past", "Driving Songs", "Sweet Dreams", and "17". All are excellent. It's an excellent album and highly recommended! The album has been around us for decades and I am still amazed with it. GW, Indonesia.

Review by Jimbo
SPECIAL COLLABORATOR Honorary Collaborator
4 stars A huge improvement from This Was, Stand Up is undoubtedly one of the finest Jethro Tull albums. While calling this full-fledged prog might be stretching it a little, these compositions are on a much higher level than what we saw on their debut. From the ideal blues-rocker "A New Yesterday" and the mightily fine sort-of-ballad "We Used To Know" to the Bach-inspired flute-piece "Bourée", everything about this album just spells classic. I won't go into detail describing the songs, but if highly sophisticated blues/folk-rock with some psych/prog overtones sounds intriguing, be sure to check this out. Ian Anderson had assumed control of the band at this point, which would definitely explain why this is a slightly folkier and calmer album than their hard-rocking debut. 4,5 stars.
Review by Andrea Cortese
SPECIAL COLLABORATOR Honorary Collaborator
5 stars Stand Up is the first JT album I bought and remains till now the most classical JT contribution to rock! Martin Lancelot Barre has repalced the guitarist Mick Abrahams developing his beautiful guitar stile to complement the varied musical notions which JT recorded during their long career. Stand Up is also a live favorite providing many great live performance songs and tunes in their concerts set today. The last time I saw them (Mantua 16th July 2005) they played also For A Thosand Mothers. In the Chrysalis 2001 remastered edition Stand Up is enriched with the first successful singles from JT: the perennial Living In The Past (recorded between New York and L.A.) and Driving Song; the great and strong Sweet Dream accompanied with 17.

This is a great album to start with if you are a JT novice. If you are not, you have to admit that Stand Up merits all the five stars I've rated.

Review by Philrod
4 stars A great step forward was made between the first two Tull albums. From the blues- oriented that could be heard on the first album, thanks to guitarist Mick Abrahams, it went to an album full of styles. Of course, the blues is not completely disappeared, especially on songs such as A new day yesterday, the album opener. Some sweeter songs are excellent, especially Reasons for waiting, with the orchestration from David Palmer. Ian Anderson starts to become his own, with a fresh and youthful side to the songs. Of course, he still does not have the cohesion of future albums, but this is what makes this album beautiful and really joyful. Martin Barre has not found his style yet and is really the weakest musician, as the rythm section is excellent and Anderson is up to himself as usual. But to Barre's defense, one of his greatest performance is on this album: Nothing is easy. One of the problem of this album is that there are mostly no songs thats stand out of the rest, except maybe We used to know, probably the strongest one. On the 2001 version, four excellent songs are included as bonus track and, with those four tracks, this is an excellent album. Recommended, not necessarily as a first Tull experience, but definitely a second or third one. 4/5
Review by Seyo
SPECIAL COLLABORATOR Honorary Collaborator
5 stars "Stand Up" is the masterpeice of progressive folk-rock "dinosaurus" - JETHRO TULL, and one of the best examples how efficiently and artistically relevant the mixture of acoustic and electric instruments could be. Starting with a wonderful heavy riff of "A New Day Yesterday" and ending with another powerful heavy number "For A Thousand Mother", the album is an explosion of creativity that the band would repeat only in rare moments in their later career, such as "Thick As A Brick" or "Songs From The Wood". Absolutely essential purchase for any music fan!
Review by ClemofNazareth
4 stars The thing I love most about this album is the packaging. I didn't buy this because of the cover. Heck, I didn't buy it at all, I was seven years old when it came out - my aunt gave it to me in the early 80's while she was going through a disco phase (I think I traded her a Wham! album for it). Anyway, the very intricate woodcut print is very exquisite and must have taken an incredibly long time to create. I can't imagine putting that much effort into album art work today. Also, the pop-up band figures (Stand Up - get it?) that leap at you when you open the bi-fold liner were probably considered to be quite clever thirty-seven years ago.

But the real treasure is the Warner/Reprise inner sleeve, which features an advertisement for the "Loss Leader" bargain album series of 1969. These were two- disc collections of mostly new songs by bands of the day that were intended to be samplers to drum up interest in the music. I spent many hours throughout the 80's sifting through used record store bins and garage sales looking for some of this music, and today many, many of these bands are represented on this site. It's hard to believe that these two-disc sets, most of which featured as many as 40 songs each, sold for only $2 (U.S.)! I won't spoil the surprise for anyone who hasn't read one of these sleeves, but if you can get your hands on one, it's a very entertaining and educational look at the state of the music industry at the close of the 60's.

As far as the album goes, I really don't listen to it all that often, and mostly only in the very late fall or winter. It's just that kind of music.

"A new day yesterday" is a heavily blues-influenced song, and also marks the introduction of Martin Barre's distinctive wandering guitar in the band. It works so well with Glen Cornick's aggressive bass, a sound that frankly I think Jeffrey Hammond² would spend several years trying to emulate after Cornick's departure. This isn't an overly complex arrangement, but looking back it does give hints at the sound that would make the band so well known in the 70's.

On "Jeffrey goes to Leicester Square" Ian Anderson kicks in with a bit of mandolin, giving the song more of a folksy feel. This is a really short tune, really just an interlude before the much more well-known instrumental "Bourée", which has much more prominent flute, bass, organ, and drum work than the first two tunes.

Anderson's voice is stronger on "Back to the family" than elsewhere on the album, but otherwise this is a rather forgettable tune in the band's vast catalog, although Barre's guitar work is quite edgy for an early Jethro Tull album.

The front side of the album closes with "Look into the sun", a song that I have heard numerous times over the years on classic rock and college radio stations. I don't know if it was ever released as a single, or if there is some significance to it that I'm unaware of, but late night disc jockeys seem to like it for some reason. It definitely has a very 60's hippy folk feel to it.

On the flip side, "Nothing is easy" also sports a blues rhythm, but aside from the flute this one is closer to early psychedelic than to folk or progressive. This is also the longest track on the album, mostly due to several extended bits of organ and drum. You know, I'm not a technically savvy music fan, but there sure seems to be an awful lot of prominent bass on this album, and particularly on this song.

When "Fat Man" opens it's hard to tell if this is going to be a calypso song, or what. I guess the drums are bongos, or at least they sound like bongos. There's also more mandolin, or maybe it's a balalaika, which the liner notes say Anderson plays, but they don't say on which tracks. While the music is quite different than elsewhere on the album, Anderson's voice retains that distinctive folksy lilt. This one has a really different sound than most of anything else Tull has done since.

"We used to know" sounds to me like it could have easily been worked into Aqualung somewhere, or possibly be mistaken for an out-take from that album. It's a bit more brooding than the rest of the album, and the only song where I can definitely hear some acoustic guitar.

"Reasons for waiting" is a bit of a jam song, just a little bit of pretty much every instrument on the album finds its way into this one. Here again the bass is surprising prominent for a folk album.

The album closes with "For a thousand mothers", mostly instrumental and again kind of sounds like just a bunch of ad-hoc jamming in the studio.

This isn't an essential classic as near as I can tell, although it probably would be considered one by Jethro Tull fans and probably progressive folk bands in general. It does seem rather well-crafted for a band that was so young and relatively immature at the time, so for that they get some credit. Also, the packaging and art work certainly merits extra consideration, as it gives a bit of a musical history all by itself. All told, it is a very respectable and well-produced work that I would probably give three stars to if it weren't a Jethro Tull album, and if the art work weren't so impressive. When I throw those two points in, the album jumps to four stars.


Review by clarke2001
SPECIAL COLLABORATOR Honorary Collaborator
4 stars JETHRO TULL's second album is still sharing the raw hard rock-blues sound with the band's debut album, but the blues influences are not so significant anymore, although they are not totally absent. The replacement of Abrahams with Barre is perhaps one of the most important moments in the entire history of the progressive rock, along with the replacement of Barrett with Gilmour or Lake's acceptation to reinforce Emerson.

For the first time, The Tramp is rendering himself as an excellent songwriter, he is not inclined to pathetic solutions and he is arranging his works sensibly, from lovely ballads to loud hard rock. His flute playing enhanced a lot. The album is loaded with little gems, such are hippie numbers ("Fat Man" and "Jeffrey Goes To Leicester Square"), beautiful ballads ("Reasons For Waiting, "Look Into The Sun") and savage hard rock utilising a flute ("For A Thousand Mothers"), the last one representing the milestone of what will later be know as a synonym for a band's opus - Aqualung.

Band's songwriting is still highly utilising blues at this stage, fact proved by "A New Day Yesterday" and "Nothing Is Easy", but without that certain pointlessness present on the predecessor. It's also worth mentioning "We Used To Know" (the tune that will be exploited by THE EAGLES in their most radiophonical hit "Hotel California" seven years later), excellent "Back To The Family" (surrounded by some DOORS-like atmosphere), and last but not the least, the inimitable "Bourée", and adaptation of the Bach's piece, maybe the most popular adaptation of the classical music for the masses.

The album is ornamented with sincerity, immediacy of Anderson's in-your-face style, beautiful melodies, and disappointing length. That is just one more proof that this album is a good one. More than good. No boring moments.

Review by hdfisch
4 stars With Mick Abrahams leaving the band to form Blodwyn Pig and classically trained Martin Barre coming in Tull abandoned more and more with each subsequent album their original blues roots. This album must be considered the starting place for Tull's distinctive sound defined by a dynamic blend of Celtic folk, classically-oriented tonal structures and hard rock elements along with Ian's flute play, unique vocals and songwriting. Lyrically many songs here are about Ian's relationship with his parents, a subject that he would continue on "Benefit". "Fat Man" is considered to be a hint to Mick Abrahams and "Jeffrey Goes" is the second one of the series of songs devoted to Ian's old boyhood friend Jeffrey Hammond who would later join the band. Musically there isn't any flaw to be found on this highly versatile record with obvious highlights like "Bouree", "Look Into The Sun", "Nothing Is Easy", "Fat Man " and "Reasons For Waiting". Actually just the knowledge that they could do even better after that keeps me from giving the full score but ****1/2 really!
Review by Atkingani
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
3 stars This album contains a higher percentage of progressive content than TULL's debut (and previous) release, however the general atmosphere contains still a cluster of jazzy and bluesy tunes, although a bit different from their mentioned debut - now, rock holds sway, doubtlessly. Ian Anderson's voice and flute playing sound here in almost the same way we'd use to hear in the 70s. It's quite sure that JT got influences from other prog-rock/art- rock bands that were acting throughout the UK at the time. One living there in 1969 should say: promising, very promising!

'A new day yesterday' starts as follow-on to their previous album but as the song flows new flavors are added: fine flute accompaniment, some rock guitar riffs. That's the kind of music that grows increasingly at each hearing. 'Jeffrey goes to Leicester Square' is probably the first prog-folk track ever registered by JT in an album and the result is pleasant; the short song could be easily extended since the theme is catchy. 'Bouree' is the TULL's version for Bourée from Suite No. 3 by J.S. Bach. It became one of the most popular acts in the entire band roster - the cabaret-like environment exhaling from this version is amusing.

'Back to the family' is an average song with fair instrumentation, with rock and folk chords and elements. 'Look into the sun' brings again the folk spice, noticed by the soft flute, the acoustic guitar and the sweet vocals. 'Nothing is easy' provides a blend (fusion?) of jazz and rock which is attractive but not exceptional.

'Fat man' shows an exquisite Eastern spice; very tasteful to compound a short and audible track. 'We used to know' and 'Reasons for waiting' are two pleasant balladesque tunes, we can see glimpses of future JT's production. 'For a 1000 mothers' ends the album in a great manner; fine instrumentation, showing the band working as a real ensemble. Bonus tracks (CD 2001 remaster release) are good but out of context here.

"Stand Up" is, of course, a noticeable bridge between JETHRO TULL early efforts and their subsequent output. For providing this link it is, indeed, a good release almost touching the excellence height. Final rating: 3.

Review by ZowieZiggy
2 stars Although a very important change in the line-up took place for this album (namely Martin Barre took the command of the guitar and is still in the band for almost forty years) my perception of this record is not quite different than their first effort "This Was" released a year before.

The opener "A New Day Yesterday" is a heavy song with little inspiration. Next track "Jeffrey Goes to Leicester Square" is the kind of filler I would avoid by all means. With "Bourée" of course we have a fantastic illustration of the brio of the band. I only have wished that there would be more of this type of songs on the album. They still play this tune in their live set (at least till 2001 when I last saw them, but I'll see them soon : in June in Brussels).

I have a mixed feeling about "Back to the Family" : boring during its first part, it turns out to be one of the best moments of this album in its second half : great guitar, rythm and flute playing (but still, this good moment only lasts for 1'30"). The accoustic "Look Into The Sun" is another filler (more to come).

"Nothing Is Easy" is a bit over average : typical Tull sound (Anderson and Barre set the tone).Quite (hard) rocky tune. "Fat Man" has oriental influences and definitely lacks of interest.

"We Used to Know" is quite better : Barre's job here is great. It is a really enjoyable track : it is a true indication of what will come next ("Benefit"). One of the (too) few highlights here. "Reasons For Waiting" is a mellow accoustic song, again no great stuff. The orchestra adds a classical touch but I am not quite convinced.

The closing number "For a Thousand Mothers" is also above average : good Tull compostion with great bass play in the background and nice flute. Since I purchased most of the Tull's catalogue in September / October 2004, I got hold of the remastered version and its four bonus tracks.

"Living in the Past" is probably the greatest track on this work : great riff, fantastic rythm and superb flute. "Driving Song" is quite bluesy and not my cup of tea at all. "Sweet Dream" is again a valuable bonus : a bit pompous with the brass part, but I like it quite a lot. "Seventeen" is absolutely awful. Noisy, sort of "hard rocking blues"(a new genre) ?

If ever you should by "Stand up" I really recommend this remastered one for those two very good songs. There are too few great (or even good) moments on this early release from Tull. I remind you, again, that I owe almost their entire catalogue (studio albums, live and a lot of bootlegs) and appreciate them quite a lot since 1971 (so, I can hardly be categorized as anti-Tull). Strangely enough, this album will be their only Nr.1 in the UK charts ! Two stars for the remastered version.

Review by The Whistler
4 stars (My first and last 4.5)

1969 was the year of one of the greatest early progressive minded albums ever, crafted by a young band that was on the way to becoming the greatest progressive minded group ever. I am, of course, referring to Court of the Crimson King; I'm not stupid. What? You thought I was talking about Stand Up here? Oh, it's only just as good, but essentially overlooked. Half of that is because it's overshadowed, of course. But the other half (I believe, what do I know) is because it's not as proggy as those cwazy Tullers were destined to become in a year or so (besides, although the songs aren't progressive, the album is. And the cover's awesome, arguably Tull's best). But is it good? Oh yes.

We kick off with "A New Day Yesterday." A blooz rocker that rocks the blooz outta everything off This Was AND Led Zeppelin I. I understand that Jimmy Page was in the studio, and his brain exploded. Yep. True story. Okay, about the song, yes. Great descending riff, fuzzy guitar attack from Barre, a creepy flute solo from one Ian.

After the powerhouse "New Day Yesterday," we get a couple of light songs. One, the Indian-esque "Jeffrey Goes to Leicester Square," is bland and kinda throwaway. But the "Bouree" is a downright classic. It's a jazzy take on Bach's "Bouree in E Minor." Frantic flute and bass within and throughout, sort of an adult version of "Serenade to a Cuckoo."

"Back to the Family" is an angry rocker about life on home and on the road. It's kinda fun, but also kinda of sloppy. Not sloppy at all is the downbeat ballad "Look into the Sun," Ian's first shot at real beauty. And it works. The interplay between Ian's acoustic and Martin's electric guitar(s) is fantastic.

The rocker "Nothing is Easy" is a great jam band song, although its true potential isn't unlocked until it's done live. After so many intense rockers, the goofy lil' "Fat Man" comes off brilliant. Like "Leicester Square," it shows an Indian influence, but much more focused. It's also fun, with bouncy sitar/guitar, wispy flutes, and hilarious lyrics. And I don't even midn that there's a sitar in it! That alone is an achievement (although I THINK it might be a mandolin...damn that clever Ian!) My personal favorite song on the album is "We Used to Know," a depressing psychedelic rocker, with endless soloing and Martin's best wah-wahs ever. Supposedly inspired "Hotel California," but you already knew that. But I bet you didn't realize that this is proof of how DIFFERENT and INNOVATIVE Tull was: while everyone else's guitarist, from Fripp to Trower to Blackmore, was ripping off Jimmy Hendrix, Martin as wholly original; he was ripping off Eric Clapton. No one would be doing that for years. Ahead of its time.

"Reasons for Waiting" is another lush ballad, and it sounds suspiciously like "Look into the Sun," with the lyrics softer, and the musical emphasis being transferred to flute and a string quartet (David Palmer is already an unofficial member). Oh well, it's a great tune Ian ripped himself off with, and it's still gorgeous. Too bad it lasts a little too long. But "For a Thousand Mothers" should earn your trust back; it's a wrathful rocker with angry lyrics once again aimed at Ian's family. Brilliant soloing, and just when you think it's over, they slam you with a great coda.

Stand Up is a huge step forward for the Tullers from the debut album, and it has many things going for it: the flow is pretty good. You'd be surprised to think that something as beautiful as "Reasons for Waiting" runs into something as heavy as "Thousand Mothers," but it does. It's also remarkably diverse: the genres that are represented include blues, hard rock, jazz, psychedelia and folk (which is why I consider the album so progressive, if not the individual songs). Newcomer Martin Barre is also a bonus: his more diverse (and heavier) style of play leads the band like Abrahams never could. Even if he did forget his amplifiers from time to time...

But the real strength of Stand Up is simply that it has no really bad songs on it. Even the numbers that bore me don't insult me. It's a remarkably even listen, and quite possibly the best introduction to the band you can find (if you're not in for the marathon listen of a Living in the Past or Bursting Out). Everything that Tull ever could be is contained on this disc; Ian just hadn't started linking that into twenty-minute suites yet.

(Here's an interesting phenomenon. Stand Up gets a 4.5, right? Well, if an album has great bonus tracks, it gets bumped half a point. So...does that make the remaster a 5? We start with "Living in the Past," the haunty flutey thing with the cool descending bassline. Arguably the greatest prog rock single ever. Ever. Can you think of a better single? One that isn't just a section of a twelve minute suite off someone's latest album, but an honest to God single? Didn't think so. "Driving Song" is a blazing, forceful blues rocker with savage lyrics and savage soloing from Ian and Martin. "Sweet Dream" is a dizzying blend of hard rock and symphony with the cool coda and spooky vocal delivery. "17," is a spinning hard rocker with cool lyrics. It's sort of a Led Zep competition song, but with flute. And far less annoying singer. Yeah. All are great. Suffice to say that the remaster is quite possibly in 4.9 territory, for one hell of a listen, if not necessarily a flawless bit 'o prog rockin'. Certain other factors exclude it. But damn, it's close.)

Review by Chris S
SPECIAL COLLABORATOR Honorary Collaborator
4 stars And thus entered Martin Barre the most accomplished and effective guitarist to ever grace Jethro Tull credits. Stand Up is by far one of the best Tull albums. All these many years later it still holds a freshness to it. Just listen to ' Bouree' for any proof. It is quite refreshing listening to early Tull these days as the music has aged so well and Stand Up is a perfect example. Still having David Palmer as a guest, it manages to show his influnece on the album too.

Most enlightening tracks are definitely ' A New Day Yesterday', ' We Used To Know' and the poignant ' For a Thousand Mothers'. A nice classic progressive affair which comes highly recommended.

Review by b_olariu
4 stars This album, Tull's second, has a blues-oriented feel, with all that is a damn good one, at least i find it one of the best Tull albums, no doubt. Absolute every track is good is can gets, so i can't choose one to be the best. To me is one of the most sincere and honest albums i ever heared. A true classic of music, nothing more to add, just a must have not only for Tull fans, worth it, even if is more bluesy then prog but that is not a bad thing. 4 stars without hesitation. Among the best albums of the late '60.
Review by febus
SPECIAL COLLABORATOR Honorary Collaborator / In Memoriam

After the release of the excellent ''jethrotullized'' blues-rock album TIME WAS, it seemed evident that a conflict between the 2 heads of the band was looming as a deep creative divide separated IAN ANDERSON and guitarist MIKE ABRAHAMS. IAN wanted to evolve beyond the blues-rock genre as ABRAHAMS was more of the conservative type. I even wonder how they even started together in the first place.

One day, IAN ANDERSON came to the studio with demos of new songs which were not to the liking og tha guitarist-at all; so he quit and went to form the modestly succesful BLODWYN PIG ( reference to Ian??)

Entering MARTIN LANCELOT BARRE taking over guitar duty. And still around 38 years later; IAN ANDERSON found his perfect sidekick.GLEN CORNICK on bass and CLIVE BUNKER on drums stayed on board, having no problems with the direction IAN ANDERSON wanted to go with the new JETHRO TULL.

Let's be honest; On STAND UP there is hardly anything prog on this album; this is classic rock with already all the JETHRO TULL caracteristics; a zest of classical musicL the classic BOUREE still played on stage these days, a blend of folk like the great LOOK INTO THE SUN , some good rocking numbers like the opening track A NEW DAY YESTERDAY or NOTHING IS EASY. Evidently, the flute is omnipresent compared to TIME WAS and became already the trademark of JETHRO TULL music. Ian anderson proved that he can take charge of all the writing duties. He is also showcasing his multi-instrumentalist abilities as he is playing the flute,of course, but also acoustic guitar, hammond organ, piano, mandolin.....balalaika! and mouth organ. Did i forget to mention he sings as well! A lot of responsibilities for one man!!

The band sounds tight as the rythm section is definitely a very lively combo full of vitality. But the hero is definitely MARTIN ''LANCELOT'' BARRE who proved he was the right guy for JETHRO TULL; there is plenty of scorching sounding guitar all through the album, especially his wonderful special wah-wah solo on the great WE USED TO KNOW, the highlight of the album, which to this day, is still one of my 5 favorite JETHRO TULL songs.

This is a very good album; i can't think on one bad track on STAND UP; a good, great original rock album with good energy, good musicianship and already this unique JT athmosphere. The original LP was something of a kind with inside, a pop-up interior of the 4 members. I've never seen something like that anywhere else. Can't definitely not do that with CDs!

As with any remasterised JETHRO TULL cd, STAND UP comes up with 4 great bonus tracks---available also on LIVING WITH THE PAST, the original 2 LPs compilation. All of them are good , especially the song LIVING IN THE PAST and the great SWEET DREAM.

3.5 stars for the album; STAND UP has to be part of any respectable JETHRO TULL collection, of any rock collection for the matter. And with the good bonus tracks..........


Review by Chicapah
5 stars Back in the blistering hot summer of '70 the garage band I played in hired a new drummer named Tommy Cline. He not only had great technique but he also had great albums from groups that I had vaguely heard of but hadn't had a chance to listen to. One of them was Jethro Tull and once Tommy turned the whole combo on to them my bandmates and I couldn't get enough. Soon I had my own vinyl copy of "Stand Up" with the trippy pop-ups of the musicians inside but at some point in my semi-nomadic years that followed I foolishly loaned it to an acquaintance and never saw hide nor hair of it again. (The thieving rat's probably living on a Caribbean beach by now, listening to it at this very moment.) Anyway, I never got around to replacing it until recently when I purchased the remastered CD and I must say that I'm discovering the genius of Ian Anderson & Co. all over again. Like all those decades ago, I can't get enough of it. I had forgotten what a masterpiece this album is. Shame on me.

Picking up where they left off on their debut, "A New Day Yesterday" is a heavy, blues-riff-based song that features guitar, harmonica and flute played in a very ominous, Cream-like vibe that was perfect for the end of the 60s. On many of the album's tunes Ian writes about how the small degree of success they'd achieved with "This Was" and the demands that came with it affected his everyday life. Here he points out the irony of finally finding his lady love but then "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." They perform a drastic about-face with "Jeffery Goes to Leicester Square" and therein lies the true charm of this album. It's got a little of everything and everything is superb. This short song is an intriguing mesh of electric guitar fed through a Leslie speaker cabinet accompanied by flute and some small drums. Here Anderson addresses a gorgeous but conceited lass that probably publicly looked down her nose at "his kind" at some point. "You may fool yourself but you don't fool me," he sings jauntily, "I'll see you in another place, another time/you may be someone's but you won't be mine." And, since he was about to become a rock megastar, it's her loss, not his.

If my memory serves me correctly their variation on Bach, "Bouree," was the first cut that I ever heard from Jethro Tull. It floored me because no one else that I was aware of was doing anything remotely like it at the time. Its clever fusion of classical, jazz and rock sensibilities and Glen Cornick's deft bass solo still hold up splendidly even today. "Back to the Family" is an inventive track with a very dynamic arrangement as Martin Lancelot Barre's distorted guitar in the background gives the tune a soothing, dense texture. The humorous words describe wanting to get away from the hectic madness of the city "'cause I've had about all I can take," only to find that in the peaceful countryside "doing nothing is bothering me," whereupon he returns to the stressful urban environment and soon wonders "what the hell was I thinking?" The flute and guitar jam at the end is particularly hot and spirited. "Look into the Sun" is a wonderful acoustic guitar-driven ballad that relies on its melody and mood instead of flashy lead instruments to entrance the listener. Ian's voice is processed through a tremolo effect that might have been annoying but it only enhances his somber words as he sings "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." It's a fine, fine song.

I love keyboards as much as the next progger but there's always been something fascinating about a power trio of guitar, bass and drums working like a big machine and that's what you get on "Nothing is Easy" (along with Anderson's fiery flute, of course). It defines the meaning of "group effort" while still letting each member of the band shine brightly and it was an absolute jaw- dropper when I saw them in concert in '70. Here Ian recommends that "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." Sage advice, my friends. Heed the man. The exciting, acoustic raga-romp that is "Fat Man" follows and it's one of my all time favorites. Drummer Clive Bunker really gets to show off his versatility on this cut as he tears it up on the bongos (rather than tablas). Someone must have commented on Anderson's ultra-slim figure (in those days he was as thin as his flute and, as my friend Kenny would say, "You couldn't hit him with a handful of corn!") because this song is a sly retort to that observation. He sings that if he were fat he'd have "no chance of finding a woman/who will love you in the morning/and all the night time, too" while admitting that if you "roll us both down a mountain/I'm sure the fat man'd win."

Okay, so there are a lot of similarities to be found in The Eagles' "Hotel California" and in the chord structure of "We Used to Know," but that would also apply to the Rolling Stones' "Angie" so I can only say that imitation indicates admiration in this case. Actually, it's not that strong a tune, though, so who cares? It's not bad by any means but it tends to drag on a tad and Barre's wah-wah guitar lead gets a little too frantic for my taste. Next is the beautiful "Reasons for Waiting," an extraordinary ballad that features organ, harmony flute lines and a lush orchestral score behind Ian's honest vocal. "Came a thousand miles/just to catch you while you're smiling" he sings. Melts your heart, don't it? "For a Thousand Mothers" was the original finale on the LP and it still kicks serious ass as a rockin' ensemble piece in 6/4 time. Punctuated by Anderson's ferocious flute-playing, he seems to be addressing all those naysayers (including his ma and pa) who told him "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." It also has a sneaky false ending that leads to a brief but furious reprise. It's prog heaven.

The remastered version includes four additional cuts. "Living in the Past" was penned around that same time period due to the urging of their manager to come up with a Top 40 single for the UK while they toured the states. Ian didn't think its 5/4 time signature gave it a snowball's chance in hell but he was dead wrong, it would seem, as it has become one of their most enduring hits. I still consider it one of Anderson's most memorable flute performances and his sarcastic, tongue-firmly-in-cheek lyric about burying one's head in the sand by "walking out/while others shout/of war's disaster/oh, we won't give in/let's go living in the past" always makes me chuckle. New to me is "Driving Song," a bluesy rocker where Ian laments "they tell me I'll be home someday/well, I doubt it if I continue this way/'cause this hard life I've led/is making me dead" and "Sweet Dream," a heavy and somewhat experimental tune (for them, anyway) with horns and strings that's ambitious, to be sure, but mediocre at best. I didn't think much of "17" at first but its uncharacteristic grungy, loose rock & roll feel and snippy words like "and now here you are/you're locked in your own excuse/the circle's getting smaller every day/you're busy planning your next 50 years/so stay the way you are/and keep your head down to the same old ground" has pulled me in and now I have a real hankerin' for it.

This is a bonafide masterpiece of progressive rock and if you don't know why Jethro Tull is considered to be a giant of the genre this album will provide you with all the answers to your questions. Like Yes, King Crimson, ELP, Genesis and Pink Floyd they broke ranks with the mainstream, took the path less traveled and created unique aural art, giving birth to the stimulating branch of music this site celebrates with passion and earnestness. "Stand Up" deserves to be admired and, more importantly, enjoyed on a regular basis.

Review by jammun
3 stars For all of us living in the CD era, it's too bad we can't readily experience the why of the title, which of course was the pop-up on the inside cover of the album.

Though the coolness of the original LP cover is not available, the music still is, and it's generally good. Things kick off with A New Day Yesterday, which is a bluesy opening cut obviously designed to grab the listener's attention and/or get some FM airplay. Which is to say it's a standard blues-rocker of the era. But note the song's words, "it was a new day yesterday, but it's an old day now." This applies directly to the song, in terms of the music being presented, i.e., the bluesy JT was new, but it's old now. And that's pretty much the last we hear of the old on this album.

What follows is folk- or jazz-influenced to a large degree. It's successful to a certain extent, the high point being Bouree, with Cornick's excellent bass playing carrying the song. But much of the rest is largely derivative, e.g., the Eastern-influenced Fat Man.

So the original album is average. The remastered CD releases -- which have the incomparable Living In The Past (blows away anything on the original album) and Sweet Dreams (ditto) -- lift this above the average.

But taken in the context of JT's Stand Up vs. Blodwyn Pig's A Head Rings Out (which is Anderson's vision of the band vs. Abrahams' vision of the band), Abrahams wins hands down.

Review by Atavachron
SPECIAL COLLABORATOR Honorary Collaborator
4 stars A brilliant follow-up to the sometimes flat debut, Stand Up was, in the great tradition of this band, a growth spurt completely unexpected. From the first few moments it revealed a group who'd seen the writing on the rock 'n roll wall, and were more than ready to show what was possible in a brave new musical world with no ceiling in sight. Well beyond the psych/blues quagmire of the period, in certain ways this represents Tull's finest moment and though not as ambitious as later releases, it is a beautiful album that heralded a grand new time. Not to mention a group able to compete with bigger kids like Sabbath and Zeppelin. The mix is a huge improvement from the first session as well, making 'Stand Up' one of the best records of 1969. Right to the meat is the hearty 'A New Day Yesterday' pounding a classic hard-blues riff into submission, quieting for Ian's pipings and harp. In 'Jeffery Goes to Leicester Square' we finally hear him dipping into his Celtic past and jester's heart, new member Martin Barre a blessing on guitar accentuating Anderson's compositions just right, Glen Cornick and Clive Bunker the ideal rhythm section as evidenced on classic 'Bouree'. Minstrel's tune 'Look Into the Sun' is good but 'Nothing is Easy' is definitive early Tull, a soft-to-hard jazz rocker that showcases Anderson's flute. Jiggy 'Fat Man', folk rock of 'We Used to Know', the warm 'Reasons For Waiting' with great guitar/flute duets, Bunker's hot percussion, a bit of organ and a string passage. And the almost symphonic 'For A Thousand Mothers' to end.

This is full blown progressive rock with all important elements a good year before Genesis and Yes had caught up. A prog album like no other and one of the first really serious, inspired and ostentatious recordings of the movement, and absolutely essential for any complete Prog collection. Maybe someday we'll get that pop-up interior... c'mon guys, we're waiting.

Review by UMUR
SPECIAL COLLABORATOR Honorary Collaborator
5 stars This is such a classic and it was the first Jethro Tull album I listened to. STAND UP caught my attention right away and it is as enjoyable today as the first time I listened to it. Mick Abrahams has been replaced by Martin Barre on guitar which is the only change in the lineup. Mick Abrahams was a more standard blues rock guitarist where Martin Barre is a bit more innovative.

The music has evolved from pretty basic blues rock on the debut album THIS WAS to rock music with a folky touch. Ian Anderson´s flute playing is omnipresent on STAND UP and was from this moment on their trademark.

The album starts with the classic A NEW DAY YESTERDAY which is one of the songs that are always played at Jethro Tull concerts along with the instrumental BOUREE which is also a Jethro Tull classic. Other stand out tracks would be FAT MAN with the wild percussion and REASONS FOR WAITING with the string arrangement ( something that Jethro Tull would explore further on later albums). But in truth there are only outstanding songs on this excellent album.

The sound quality is ok for the time, but it could have been better. It doesn´t take anything away from the album though and you have to remember that this was 1969.

This is one of the best albums Jethro Tull have made and a true rock classic. If it is a true prog rock album is up for discussion but the quality is not. It was innovative for the time though and fully deserves the masterpiece stamp. 5 stars for this essential album.

Review by TGM: Orb
4 stars Review 22, Stand Up, Jethro Tull, 1969


Big smile Star

'I think about the bad old days... we used to know'

For someone who adores the classic 'prog' period of Tull, doesn't mind the 80s synths of Broadsword And The Beast, and hates Songs From The Wood with a vengeance, this album was a breath of fresh air. There are no pretentions at all, a light, slightly sarcastic feel and neatly merged blues and folk influences, and these all contribute to a great, fun album. Ian Anderson's vocals and lyrics aren't as good as they are later, but they usually suit the material and aren't terrible, and we get some good musicianship from all involved. A really enjoyable album, and an indication that pre-Aqualung Tull is not to be missed.

A New Day Yesterday begins with a pretty standard bluesy bass-and-drums riff, with some excellent additions over it from electrics, flute, violin (I think) and harmonica. Ian Anderson's vocals and lyrics, while not yet hitting their heights, fit it neatly. After some brief soloing, with the flute particularly standing out, a second variation of the main riff comes in with a slightly greater kick. Solid blues song.

Jeffrey Goes To Leicester Square is my least favourite song from the album. It features eclectic bongo-drumming from Clive Bunker and rather harmless glimpses of Hammond or vibes, plus whimsical bass. The vocals are weird, but not particularly distinctive, and I can barely make out the lyrics. Not bad, per se, but I feel that the band didn't quite achieve what they wanted to.

Bourée is a unique instrumental with superb flute soloing and flute duets over a mobile bass-dominated background. The drumming is superb, holding up a beat and occasionally bursting out a little. There's also an excellent bass solo after a couple of minutes. After an illusory ending, the song picks up again into a second part, with an equally upbeat feel and an avant-garde bit of flute noodling.

Back To The Family is another odd piece, with more weird, but excellent drumming. The verses and the slight developments within them work very well with Anderson's near-nonsensical lyrics and strained vocals. The lead into the fairly hard-rocking sections is superb, with Martin Barre and Ian Anderson (on flute) both suitably soloing and dueting while the rhythm section gently move around. I'm not generally the greatest fan of fades, though, so the ending to this one doesn't leave me satisfied.

Look Into The Sun is an excellent, soft acoustic song with some small soloing from Martin Barre's electrics. Ian Anderson provides an emotive vocal, which, while unexceptional, does the job well. Martin Barre is the standout here, combining several styles of mini-soloing to good effect.

Nothing Is Easy begins with a bluesy jam and bursts of cheerful vocals, as well as lots of soloing from all involved. The song is particularly outstanding for the rhythm section, as Clive Bunker lays down an unexpectedly powerful drum part and both he and Glen Cornick provide very strong solos as well as highlighting Anderson and Barre's various parts. The climactic blues crescendo ending is always fun. Another very strong song.

Fat Man is, I think, a very successful bizarre piece, with enjoyable mandolin and bouzouki, accompied by weird drumming, including a classy solo. The humorous lyrics and sarcastic vocals work brilliantly with the unusual choices of instrumentation. Great song.

We Used To Know is my pick for Stand Up, with somewhat folky, developing acoustic verses and vocals well above Anderson's standard on most of this album combined with superb blues-rock guitar solos (including one of my all-time favourites), and undemanding, yet important, drumming from Bunker. The fade manages not to spoil it.

Reasons For Waiting rather focuses attention on the string arrangements, since the acoustics, flutes and vocals (with backing organs), while all perfectly nice, don't really stand out much. The string additions work well here and seem to be there for a reason. Pretty typical of the album: diverse, unusual songs.

For A Thousand Mothers is an attack on parents discouraging a musical career, naturally accompanied by excellent music. Most of the song is an ascending blues, though at one point Martin Barre even provides an almost Spanish-feeling solo at one point, as well as the ascending blues-rock styles that I love to pieces. The concluding, carnival-like flute riff, accompanied by some reminders of the main theme, is delightful. Perhaps the problem with this one is that a lot is going on at one time and it feels very dense and claustrophobic. Some bands are able to do a hell of a lot of high-tempo things at once, but I think Tull didn't pull that off too well here.

Onto the bonus material, all of which is pretty excellent, so will get mini-reviews.

Living In The Past has this unusual feel of an eclectic hit, with its odd timing emphasised by a rather prominent bass and vocals dancing along with it. Definitely quite acceptable, despite being odd. I like it. Driving Song is another blues with some highlights in the rhythm section, even if the flute could probably merge better. Sweet Dream is a great song with classy dramatic string arrangements and an unplaceable flamenco feel. Though there might be a few more repeats of the chorus than I'd like, the quality of the arrangement more than makes up for it. 17 is the only one of the bonus tracks which I think doesn't really hold up to the album proper, with it's distorted or multiple vocals annoying me enough that I try to ignore them and just listen to the classy percussion and guitars. Basically, I'd have preferred this song without such thick vocals.

Overall, the album, bonus material included, is extremely strong, with a couple of highlights and a couple of small lowlights. Even if Tull haven't moved onto their more widely regarded golden age of Aqualung/Thick As A Brick, they have succeeded in producing a classy, individual and quirky album that should have something for everyone. Two caveats: if you really hate either blues or weaker vocals, this might not be for you, and I naturally recommend that anyone new to Tull should go for the more impressive Aqualung/Thick straight away.

Rating: Four Stars (bonus material included)

Favourite Track: We Used To Know, with a nod to Bourée

Review by LiquidEternity
3 stars Jethro Tull is a band plagued by many average albums, and Stand Up falls right into that category.

The band is trying something new here. I like that and I respect that. However, their forays into progressive rock are at this point shaky and mildly juvenile. By Aqualung, they will have a much stronger grasp on this, but for this record we have to suffer with a few misses and some poor transitions. Also, on the whole, the music is fairly mellow and not particularly exciting. On the bright side, however, the flute is coming into play here a good bit more, giving the album more of a unique flair from an average rock band. The sound quality is also a fair step up from their debut, though they don't get a fair sonic treatment, I don't think, until Thick as a Brick.

There are a number of classy tracks on this album, still. The opener A New Day Yesterday might not be very progressive or feature much flute, but it's an interesting rock tune anyways. Bouree is the quintessential Jethro Tull instrumental, showcasing some wonderful flute. And speaking of wonderful flute, Back to the Family is clearly the leader on this album, with some absolutely terrific flute and guitar duet/interplay. Fat Man is the only song here with a whole lot of energy throughout, and I must say the lyrics are quite special. Living in the Past, the single included on the remaster, is one of the most famous Tull songs ever recorded, and it's a good 5/4 prog rock tune.

Some parts of this album stack up well against the debut, others don't, but in short, it's a pretty worthwhile album as well. Fans of the band should certainly check this out, but newcomers to them should start with Aqualung and Thick as a Brick and work their way in both directions.

Review by Epignosis
SPECIAL COLLABORATOR Honorary Collaborator
2 stars Folk and blues dominates this early Jethro Tull record, and while the music is fairly good, there's not a lot to maintain my interest. Worse though, is that Ian Anderson sounds downright goofy singing as he does throughout many of the songs, almost as if he's deliberately being silly. At times the drums are hard-panned to the left, which really sounds irritating through headphones. This album is a mesh of smart blues rock and simple folk numbers, but nothing that is particularly progressive.

"A New Day Yesterday" This is a blues rock number close to old Led Zeppelin, heavy on the electric guitar, bass, drums, and harmonica. Anderson sounds completely unlike himself, as though singing in a most exaggerated way. His flute solo is rather bland also.

"Jeffrey Goes To Leicester Square" A pleasing short ditty with some folk-like sensibilities that makes me think of Gentle Giant a bit.

"Bourée" The third track is a nice jazz instrumental that makes me think of some of Van Morrison's jazzier songs. It's one where Anderson gets to show his stuff as a flutist, and one can hear his trademark inhalations also. Glenn Cornick gets in a good bass solo

"Back To The Family" Anderson's back to the exaggerated vocal styling heard on the first track, but this song gets points for Martin Barre's subtle (and yet not-so-subtle) guitar work.

"Look Into The Sun" Easygoing acoustic guitar plays underneath Anderson's voice, which is laced with a tremolo effect. It's a pleasing enough song, perhaps closer to the acoustic-based content on Minstrel in the Gallery.

"Nothing Is Easy" An interesting rocker right out of the 1960s, this song has some impressive drumming and guitar lead, but it isn't as memorable as anything that came before.

"Fat Man" Middle Eastern and Oriental flavors make up this otherwise silly song.

"We Used To Know" A simple chord progression on acoustic guitar makes for a decent rock song, and Barre engages in a lengthy guitar solo at the end.

"Reasons For Waiting" This is a beautiful song with some strings and more acoustic guitar, very close to the music on Minstrel in the Gallery.

"For A Thousand Mothers" This is probably the closest thing to progressive rock, with its fairly complex rhythm and interesting flute jamming, and Clive Bunker really goes at it, but the music does sounds a bit primitive.

Review by SouthSideoftheSky
2 stars It may have been a new sound in yesteryear, but its an old sound now!

Like its predecessor, Stand Up too is a rather straightforward Blues Rock album. Even if it is in some respects an improvement over their debut album, this second effort too sounds somewhat dated and immature today; not only in comparison with the band's own later albums, but also in comparison with many other albums originally released in 1969.

Ian Anderson's distinctive flutes and vocals are again clearly recognizable here, and they sound better than on This Was, but apart from that there is not too much here to indicate what a great band they would soon become. The band's version of Bach's Bourée is, of course, essential. But this is not the definitive version of it. There are many live albums that hold better versions of it. The best track of this album is Fat Man. This may also be the song that most strongly points towards the future of the band's sound.

Like I said in my review of This Was, Prog fans should begin with Aqualung and ignore the three first albums at least until they have acquired most or all of the band's post-Aqualung output, most of which is better than these early albums. At least in this fans' opinion.

Recommended for fellow fans and collectors, but it is not the classic it is often held up to be

Review by Mellotron Storm
3 stars 3.5 stars. A good album but there are too many tracks that for me are average at best. This did quite well for the band in 1969, and they even got to open for LED ZEPPELIN's first arena tour, which Ian thanks them for in the liner notes as it allowed the band to reach a lot of people. In fact Ian dedicates this remastered version to LED ZEPPELIN. He tells the story about having breakfast with Joe Cocker in New York and Joe telling him that "Stand Up" had just gone number one in the UK. Cool way to find out eh ?

"A New Day Yesterday" is a top three for me, in fact my favourite. Love the heavy Blues / Rock flavour of this track. Nice guitar before 2 minutes and the flute that follows. "Jeffrey Goes To Leicester Square" is fairly light with percussion and vocals standing out early. The flute takes over for the vocals later. It's ok. "Bouree" is an instrumental with bass and flute to open with drums in tow. "Back To The Family" has a fuller sound with guitar after a minute as the contrasts continue.

"Look Into The Sun" is better with strummed guitar and vocals. Bass joins in too. Cool song. "Nothing Is Easy" builds with drums and flute and the guitar is prominant later. "Fat Man" I just don't enjoy. "We Used To Know" is a top three tune for me. A laid back tune that just works for me. It seems to build slowly. "Reasons For Waiting" opens with strummed guitar, flute then vocals. Some strings later. "For A Thousand Mothers" is the other top three. In fact this and the opener are the two I like the most by far. Both bluesy and heavier. I like the guitar to end it.

A significant album for the band as "Stand Up" showed the band steering toward the sound that made them famous.

Review by Bonnek
SPECIAL COLLABORATOR Honorary Collaborator
5 stars This must be Jethro Tull's moodiest and most heartfelt album. It's not a progressive rock album by any definition but it has a lot of original and adventurous elements. Besides, Ian Anderson's impeccable song writing combined with the passion of this performance makes this my all-time favourite classic rock album.

I had come to know Jethro Tull through Thick as a Brick so this album came as quite a surprise. The difference in approach between both works (with just three years and two albums in between them) is amazing. But with songs rarely over 4 minutes and a sound still strongly rooted into blues, there's at first sight little reasons to defend it as a prog masterpiece.

Be not mistaken though. The year is 1969 and in the way of pushing rock's boundaries this album scores very high indeed. The simple blues rock of the debut is enriched with influences from classical music and folk and in doing so Jethro Tull achieved a sound you're not likely to find on albums preceding it.

Besides, all songs are perfect and very different in approach, rhythm, melody and instrumentation, nicely balancing between the dark and the playful, between heaviness and romantic lyricism. And such richness in quality and variation can of course only be found on a prog album. Right?

Review by Evolver
SPECIAL COLLABORATOR Crossover & JR/F/Canterbury Teams
4 stars This is the album where Jethro Tull really became the band that we knew for all those years. After the first album, This Was, guitarist Mick Abrahams left, and was replaced by Martin Barre, giving the group a much richer pallette, and Anderson more to work with. While the songs still mostly retain that blues base, there is much more folk influence, and much more of the prog that will define his music, and make this band a favorite to this day.

A New Day Yesterday and Nothing Is Easy are both explosive rock tunes with a hint of prog in their arrangements. Both of these became long time concert favorites. But the real gems are Bourée and For A Thousand Mothers, foreshadowing the greatness this band would soon discover.

4 stars, because of the historic aspect of the album, showing a band on the road to huge heights, and just because it's a damned fine album.

Review by tarkus1980
5 stars There are many things in this world that I do not understand, and in the field of popular music, one of my greatest puzzlements is this: how is it that this album isn't universally regarded as one of the greatest albums of all time, or even known about by a lot of music fans? Before I swore off classic rock radio, I never once heard any of this album's songs on the radio, and I know there are casual classic rock fans (and casual Tull fans) who aren't familiar with this album at all. And, heck, it doesn't seem to be rated that highly by the majority of Tull fans; at one point, the All Music Guide gave it 2.5 stars, which was less than what they gave to A (3 stars). Well, you know what? As far as I'm concerned, this is one of the greatest albums of the late 60's, and in my mind comes extremely close to such acclaimed works as Beggar's Banquet and Let it Bleed.

The first major difference between this and This is the guitarist. Due to various creative differences, Mick Abrahams left the group to bounce around various small bands for the rest of his career. After a short stint with future Black Sabbath axe-man Tony Iommi, the group picked up the terrific Martin Barre. This guy really is incredible - extremely versatile, with a full, rich tone, his very presence would bring a serious rock element to the band for the first time. Heck, he even played flute on a couple of tracks - what a cool guy.

The second difference, which is even more important, is that Ian finally discovered that he had an incredible songwriter within him. Of course, as a corollary to this, he became a complete despot from this time onward, and in later years it would've been nice to have an additional writer in the band to help out when Ian's talents began to wane, but for now it's all good. There are ten tracks on here, each one a gem, with only a small quibble here and there on my part. Furthermore, the sound of the album is just amazing, showcasing all of the best aspects of what I described in the band's introduction with none of the bad aspects.

Three of the tracks on here are complete and total classics, and are easily among the very best songs the group ever did. The first, the opening "A New Day Yesterday," is a blues song, but it's better than any blues on This Was if for no other reason than that it has a simply terrific riff accompanying it. My personal favorite part of it is the way Martin does that neat little slide at the end of each riff repetition, but it also includes a solid middle jam (featuring both great guitar and flute solos, with a badly needed sense of 'looseness' that would tend to get lost in later years), good lyrics, and a nice coda (something that a lot of songs on here have, by the way). The second, the best song on the album, is a rock, blues and classical fusion of a Bach number entitled "Bouree." Even if you've heard the original (and you probably have, even if you don't realize it), this cover version will simply blow you away (and the jazzy section in the middle will drop your jaw at how utterly wrong it is, as will the bass solo). And it's got another great coda, with Ian panting the same note on his flute over and over again until the band closes together. And finally, there's the first song of side two, "Nothing is Easy." WHY this is not playing on every classic rock station in the country every day (or at least on the ones in Chicago) simply blows my mind. The vocal melody rules, the jams between verses are great, and that coda is AWESOME. I do admit that I can see finding it a little cheezy; it's the kind of "rev up and rock it to the max" coda that has become a staple of live shows for thousands of rock bands around the world, and thus hearing it in a studio setting might seem offputting. Then again, Tull deserves a lot of credit for coming up with this kind of coda in the first place, and there is a terrific build of energy and intensity up to the very end of it, so I'll probably never get sick of it. I can say is that there is nothing in this world like banging your head to a flute and guitar jamming the same note again and again until it all stops (especially after it had been built up like this).

Don't forget the rest of the album, though. For instance, there's a couple more terrific rockers, "Back to the Family" and the closing "For A Thousand Mothers" (with a great album- ending jam following it). The former starts off alternating between a simple electric folksy- bluesy shuffle (with lyrics about being bored with family life) and a more intense bluesy section where Ian sings over loud repeated Barre power chords, with an exciting flute part in the breaks, and then accelerates into a frantic flute-and-guitar jam for a coda. Here's a tip; listen to the coda jam while crusing down the highway one day, and if you don't feel the pure creative energy and excitement that comes from this album in that moment, then you and this album just aren't compatible. And then there's the closing track, which has a GREAT riff, although the production leaves something to be desired. The lyrics are among my favorite on the album, about getting to sneer at those who tell you you can't do something when you then do it, and my favorite moment is when Ian sings, "It was they who were wrong and for them is a song," followed by a brief, aggressively sneering flute line.

Hey, there's even a couple of great ballads! Of course, "Look Into the Sun" and "Reasons For Waiting" do sound a bunch alike, but they're still simply gorgeous, and they're easily the best slow ballads that Ian would ever write (though a small number come close). The latter is also the first instance of David Palmer's association with the band, as he arranged strings for it in a wonderful way. Keywords for these are: rich vocals, crisp tender vocal melodies, logical chord progressions, gorgeous fluting. There's also a nice introspective quiet number called "We Used to Know," which has the chord progression the Eagles would use on "Hotel California." The best part of it, though, is that Barre does his best Clapton imitation, turning on the wah-wah and pulling off a simply wonderful solo. I've seen it accused of being the first power ballad, which I guess isn't something to be proud of, but it's an amazing song nonetheless, so whatever.

Finally, there's also a couple of 'grooves', and while they're weaker than the other songs of the album, they're still fairly well-written, and don't lower the album's rating. The first is a bizarre balalaika-driven number called "Jeffrey Goes to Leicester Square," and while it's amusing, I'm glad that it's only two minutes long. The other is an Indian-tinged song called "Fat Man," where Ian laments about being, well, fat. The lyrics are hilarious, though, no matter which way you look at it.

So there you are. In my esteemed opinion, no decent rock collection is complete without this. And since it (like the rest of Tull's discography, which fully came back into print in the late 90's) is easy to find at basically any store, you have no excuse for not going out and buying it asap.

Review by Rune2000
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Stand Up was the first proper Jethro Tull release since it was their first record to feature a collaboration between Ian Anderson and Martin Barre. Even though the band's sound was still completely soaked in blues rock of their debut album the Jethro Tull managed to blend in new influences such as symphonic music and folk influences. Still it's difficult for me to consider Stand Up an excellent release since the band was still in an early development of their own style that would ultimately culminate on albums like Aqualung in a couple of years.

A New Day Yesterday is a nice opening track that, just like Nothing Is Easy a few compositions later, shows Jethro Tull in their comfortable state of blues rock sound. This is just one of the wide array of styles that are performed on this record. The album's biggest highlight comes in the form of a re-working of Bourrée in E minor by J.S.Bach., simply titled Bourée. This piece of classical music blends surprisingly well with the more contemporary rock sound, plus giving Ian Anderson the opportunity to show off his flute skills. Other highlights include melodically strong Back To The Family, We Used To Know and For A Thousand Mothers. The rest of the material isn't that spectacular to my ears. My least favorite moment comes with a short rhythmically driven Fat Man that, if I recall correctly, is also a bonus track on my copy of Aqualung meaning that I should have heard it enough times to start understanding the intricacies of this composition. Instead it had the opposite effect of driving me even further away from liking this track.

1969 was an important year in the development of prog and even if Stand Up might have suffered a bit due to the amount of filler material it still manages to show a clear distinction between the early Jethro Tull sound and the one that the band would become so famous for in the '70s. Unfortunately this release has never been one of my personal favorites which is why I will have to rate it accordingly.

***** star songs: Bourée (3:47)

**** star songs: A New Day Yesterday (4:12) Back To The Family (3:53) Nothing Is Easy (4:26) We Used To Know (4:03) For A Thousand Mothers (4:22)

*** star songs: Jeffrey Goes To Leicester Square (2:12) Look Into The Sun (4:23) Fat Man (2:52) Reasons For Waiting (4:07)

Review by Sinusoid
3 stars Sitting down here.

STAND UP is Jethro Tull's second album and takes a vastly different approach than the previous THIS WAS. The debut is an interesting hybrid of blues, jazz and rock with loads of instrumental flair. This album takes a more lyrical approach, giving STAND UP a singer/songwriter feel despite many moments of instrumental upheaval.

At least STAND UP achieves relative consistency in the quality of the songwriting; the debut had a couple of blues things that were wastes. Even the weakest of tracks like ''Reasons for Waiting'' and ''Look Into the Sun'' have some high points instrumentally. Still, STAND UP lacks that spark that gave THIS WAS character. ''We Used To Know'' is cute for five minutes due to the chord progression being similar to the Eagles' hit ''Hotel California'', but the novelty wears off soon after.

''A New Day Yesterday'' is the only song that could tie in with the debut; it's a great jazzy-blues track had Ian not tried to imitate Kermit the Frog. ''Bouree'' is the only instrumental track that serves as a foundation for flute and bass dexterity. The foray into world music with ''Fat Man'' and the powerful ''For a Thousand Mothers'' are the best works here. The bonus CD has the complex single ''Living in the Past'' and the epic ''Sweet Dream'' that add to the highlights.

I feel a bit passive on this album; Tull would reach greater heights later with THICK AS A BRICK, SONGS FROM THE WOOD and others, but STAND UP isn't a bad starting point. Very hit-and-miss, but also non-demanding making it a bit easier to digest than other Tull records. My biggest gripe is that I don't own a vinyl version with that legendary pop-up gatefold sleeve.

Review by Prog Leviathan
5 stars While this may not be one of Tull's most ambitious or progressive albums, it is far and away one of their most enjoyable.

Things start off with a bit of heavy blues with "A New Day Yesterday", welcoming Barre to the band by giving him an outstanding lead plart in this simple but very soulful blues tune. The playful "Jeffrey Goes.." follows, with a dancing melody and subtle mood, leading into the even better "Bouree", a flute-led jam session with great dynamics, powerful soloing, and an exceptional performance by the rhythm section. Very cool! "Back to the Family" gives Anderson's vocals a chance to shine, and gives the band another chance to crank out some heavy classic rock, made subtely artistic through some songwriting finesse. A touching folk ballad, energetic jam session and tongue-in-cheek melody making keep the pace going strong, while the elegant "Reason for Waiting" brings the emotive tone of Stand Up to its peak, only to let the instrumentally ambitious "For a Thousand Mothers" end the album with a show of upbeat excitement. There isn't a weak track here... not by a long shot, and the album feels very much like a "band" effort, rather than an Ian Anderson solo album.

While the music on Stand Up doesn't show off the prog flourishes in some of Tull's later works, it is the clear winner for me when it comes to style and enjoyability. It's artistic, thoughtful, dynamic, and emotive, with outstanding vocal and instrumental performances.

Songwriting: 4 Instrumental Performances: 5 Lyrics/Vocals: 4 Style/Emotion/Replay: 5

Review by Muzikman
5 stars Review of the 2CD/DVD Edition

With the departure of Mick Abrahams (who would go on to form Bloodwyn Pig) Jethro Tull would usher in a new guitarist named Martin Barre for their second studio release.

Stand Up would find the group heading more to their soon to be realized progressive rock sound that started to take form.

Ian Anderson (vocals, flute, acoustic guitars, keyboards, balalaika), Martin Barre (electric guitar, flute), Clive Bunker (drums), and Glen Cornick (bass), pushed Jethro Tull to new heights with Stand Up. The blues-rock foundation was still there however new roads where being travelled and very successfully. "Fat Man" and a fresh take on the classical "Bouree" were some of the highlights this recording had to offer. As Ian Anderson comments on his interview with the DVD included in this set, Abrahams was not willing to progress and go in another direction with his style. He was content being a blues rock guitarist and that is where he wanted to remain. So with that as a starting point Jethro Tull started on a new adventure after having released only one album. The decision would be the most prolific in the band's short lived career, changing their sound and chemistry entirely.

This three disc set, 2 CDs, which includes tracks from their Top Gear BBC Radio session and 1 DVD, was meant to be released as a celebration of the Stand Up 40th anniversary last year. Well as they say, better late than never and it is quite an enjoyable set. It was worth wait. You get the remastered original album from 2001 and a 1970 performance at Carnegie Hall. On the DVD you can listen to the Carnegie Hall concert (audio only) in different formats. Your choices are 48/24 Stereo LPCM, DTS or 48/24 Dolby Digital which I chose to listen to after hearing the normal stereo version on the CD. It might seem like too many choices for some folks but everyone is different and has various listening options dependent on their stereo and computer systems, so in that sense it is good thing. The improvements are noticeable in sound quality and the concert was a great treat.

Stand Up was an amalgam of rock, folk, classical, jazz, and blues that distinguished JT from all the other bands. This would be the pre-progressive rock sound (as Ian says in his interview) that would eventually develop further with each successive release. Ian also explained how they were not the same type of band as ELP or Yes, they were more vulgar and would be comparable to bands that became popular during the 90's grunge period like Pearl Jam and so forth. This I thought was an interesting comparison because I never really looked at it that way. I always considered JT as prog rock but you have to remember from whence they came and the roots of all their music that brought them to a mature progressive sound on their Thick As A Brick release. All the albums prior to this were a developing and experimental stage that combined various elements to afford the band their own unique stamp, not to mention Ian's vocals, on everything they did.

Stand Up was clearly a step in the right direction for Jethro Tull and it is fitting that a new set such as this was released to document it. The trifold cardboard case unfolds and the band pops up (Stand's Up). A booklet is included as well featuring a write up from Ian. All things considered this is a prized possession for all JT fans.

Key Tracks: Fat Man, Bouree, Nothing Is Easy Keith "MuzikMan" Hannaleck

Review by AtomicCrimsonRush
SPECIAL COLLABORATOR Honorary Collaborator
3 stars Jethro Tull's much celebrated 1969 album is one of the early examples of progressive creativity. Some of the material contained herein has become part of prog folklore, and standards in the Jethro Tull live set. It begins with that wonderful riff and blues feel of A New Day Yesterday, introducing the pallid vibrations of Ian Anderson's vocals, and his trilling flute. The guitar riff is killer, and there is even an accomplished lead guitar solo from Martin Barre that sounds psychedelic. Barre even contributes flute on "Jeffrey Goes To Leicester Square" and "Reasons For Waiting.

Bourée is one of the pieces that is much loved by Tullites as it is actually a reworking of Bach's Bourée in E Minor. As an instrumental it showcases Anderson's exuberant flute playing, and the bass solo of Glenn Cornick. It reminds me of Camel's Snow Goose in feel.

The wavering vocals of Look Into The Sun are worse than the bleating vocals of Family's vocalist, however Anderson settles down the vocal gymnastics as the album continues.

There are some quirky 60s things on the album such as Back To The Family that doesn't do much for me, apart from the choppy percussion of Clive Bunker, but there is enough on the album to warrant the high rating it consistently receives. Though it is nowhere near as good as "Thick as a Brick", "Aqualung" or "Benefit".

Nothing Is Easy is one of the Tull classics, featuring scintillating flute playing and a strong melodic beat, as is Fat Man, another song that appears on countless compilations. The instrumental break on Nothing Is Easy is a trade off between flute and lead guitar licks, a wonderful combination. The style exudes a sense of joy and good natured humour. Fat Man has that wild tempo, balalaika, and incessant flute. It is repetitious but mesmirising and totally different to other Tull tracks.

There are quiet moments such as We Used to Know, the obligatory acoustic based song, but this has a wah wah pedal driven spacey lead break. For sheer acoustic excellence there is Reasons For Waiting, a bit too slow for me though I love the flute interludes. The orchestra strings join in later and lift it to an epic romantic level.

The album ends with a rocker featuring many lead riffs and powerful flute playing at its best. For a Thousand Mothers has some excellent playing, the drums crash like jazz free form, and the breaks in tempo are jarring.

The Tull CDs have become renowned for the bonus materials and this CD is no exception. The 2001 digital remaster features 4 bonus tracks, Living in the past, Driving Song, Sweet Dreams and 17. Some good music amongst this especially the brilliant upbeat Living In The Past which is the same version found on all Tull compilations. Driving Song has a cool riff and some odd time sig changes.

Overall I enjoy listening to this album, it introduced the amazing talents of Martin Barre who would stay with Anderson from here on in, and it represents an era when prog was in its infancy, and Tull were one of the undisputed pioneers. 3 ½ stars.

Review by Warthur
4 stars The first Jethro Tull album following the departure of Mick Abrahams sees the start of an era of experimentation and searching for the band - they'd definitively decided to steer away from the heavily blues influenced direction that Abrahams had strongly advocated, but it seems at this point they hadn't quite embraced any particular alternative to that. New guitarist Martin Barre's talents seem, to me, to be slightly underused here, possibly as a reaction against Mick Abrahams' guitar work having such a powerful effect on the sound of the first album, and the songs range from psych-tinged folk rock to a full-on classical adaptation (like all the cool kids were trying). A fun album, but not a very cohesive one.
Review by friso
3 stars Jethro Tull - Stand Up (1969)

Now that's what I call wanting to make some exciting music. On Jethro Tull's second album the band already has a fully matured sound without loosing the banal energy that a successful rock act needs. At this time Jethro Tull was perceived as a heavy blues rock band, but already some progressive and folksy elements can be found in the music. This is by no means a miracle, almost all (heavy) rock bands were searching for ways to expand the music (think of Zeppelin, Purple, etc.).

The main attraction here is the rock energy (which soon became scarce on the following albums), the thick sounding bluesy parts, the great sounding and well played heavy rock drums by Clive Bunker, the melodic song-writing and the nice heavy rock grooves. The album as thick bass rock sound and the guitars sound great. The flute-playing of Anderson sounds less developed, but it really fits the blues rock style. The vocals of Anderson also sound less folksy and seem to have been influenced by soul and blues singers. Almost all track are attractive with either great melodic parts, great rock parts or both. The album also has some diversity, but this face of the album is best exposed on the second side. The album has only one real letdown, the song called 'We used to know', which is a sum of mistakes a complete band can make during a chord-progression that requires modulations in the melody. It's strange to see the band releasing a track like this, later on the band would be very intelligent when it comes to changing keys. Luckily it's follow-up 'Reasons for waiting' regains my full interest from the moment the song starts.

Conclusion. This is one of the most attractive Jethro Tull albums. Whilst it's less progressive, is does have groove, blues, melody, soul and a great thick sound. Great achievement, especially for '69. Four stars.

Review by Neu!mann
4 stars Jethro Tull's sophomore album was a transitional effort, and is still relatively underappreciated in the context of Tull's larger career arc. But in retrospect the album, and its 1970 successor "Benefit", shows exactly how strong a band This Was (sorry fans, I couldn't resist...)

With the departure of guitarist Mick Abrahams, Ian Anderson assumed complete control of the music, the scope of which grew considerably, and seemingly overnight. The band's debt to the Blues is acknowledged in the opening notes of "A New Day Yesterday", the title itself pointing toward a novel cross-mix of musical touchstones. But after that it quickly becomes obvious that Anderson isn't "Living in the Past" anymore, despite having a hit with the non-album single of the same name, also in 1969.

It's odd that the best known track here isn't even a Tull original: the J.S. Bach cover "Bourée", a concert favorite for decades to come. But elsewhere on the album are several hidden gems that didn't survive into the band's later set lists. "Look Into the Sun" is one of the lovelier Ian Anderson ballads; ditto the somewhat edgier "Reasons For Waiting", the latter integrating a string arrangement more effectively than on future Tull albums. Elsewhere a touch of late '60s psychedelia rears its head in "We Used to Know" (pity about the unresolved fade-out), and the hard-hitting "Nothing Is Easy" still has the best extended rock 'n' roll coda of all time.

Arguably the same, succinct energy of the 1969-1970 Jethro Tull wouldn't be heard again until the "Songs From the Wood" album, seven years later. The original "Stand Up" LP was supposedly hobbled by an uneven production (although the recent CD reissue sounds fine to these old ears), and new guitarist Martin Barre hadn't yet asserted his position within the newly configured line-up. But, growing pains aside, and without the conceptual baggage of future releases, the album does exactly what its title says, with renewed confidence and vigor.

Review by siLLy puPPy
4 stars After the wrestling match between the band's original guitarist Mick Abrahams and Ian Anderson over musical direction, the winner as we all know was Ian Anderson who would from this album on steer JETHRO TULL into his own personal vision of band development leaving behind the full on blues rock and going more in a folk rock direction. This second album STAND UP is the transitional album that still retains a bunch of blues but the dominant sound here is in the folk realm. The original LP version opened up like a children's pop-up book and the whole band would stand up when you opened the album. Unfortunately my CD has no such accoutrements but it is remastered from the original recordings and even has a few bonus tracks.

This was one of my first TULL albums so I have a strong affection for this one, but despite that it holds up quite well in the melody department. This album may not be the album that rocks the most, is the most progressive, is the cleverest or any particular quality that makes it STAND UP and out amongst the future releases but it does offer one outstandingly beautiful song after another. Each track is the perfect blues rock and folk rock blend and this is the album where Ian Anderson's flute really starts to fit in with the song structure in a flawless way. His vocals are perfect for this kind of music. I really love every track on here but I particularly love the Bach turned TULL instrumental "Bouree," the space folk rockers "Back To The Family" and "Nothing Is Easy" and the lugubrious tone of "Look Into The Sun" where Ian seems to be lamenting the end of the hippie era and realization that the world is a more complicated affair where darkness abounds and sadness ensues. A great album and the first true TULL album after the debut oddball.

Review by ALotOfBottle
4 stars On their sophomore effort "Stand Up", Jethro Tull made a respectable progress from their debut with their original blues methods not being estranged, but made to shake hands with other influences, most notably folk and classical. John Evans is yet to join the band, all the (must admitt proficiently laid down) organ parts on the album are by Ian Anderson. Another personel change is Martin Barre, the Jethro Tull guitarist joining the band. Overall, I think this is quite an entertaining record. For "improved" blues numbers, the album opener "A New Day Yestarday" is highly recommended. For classical strains and more of a fresh sound for the band, "Bouree", a track inspired by J. S. Bach and baroque music is highly recommended. British folk music impact is also visible, notably on "Fat Man". This one, unlike their previous album manages to create a fairly interesting mood and what would later evolve to Jethro Tull we all know and love.

For all proto-prog enthusiasts and beyond! Recommended!

Review by VianaProghead
4 stars Review Nº 258

'Stand Up' is the second studio album of Jethro Tull and was released in 1969. 'Stand Up' was the album that marked the first change in the line up of the group. The original guitarist Mick Abrahams departed due to musical differences with Ian Anderson. He wanted to stay with the blues based rock sound of the previous album 'This Was', while Ian Anderson wants to depart to more varied musical influences such as jazz, rock, folk, classical and ethnic music.

So, 'Stand Up' became a very important album in the musical career of Jethro Tull, because it represents a radical musical change into the music of the band and where Ian Anderson takes the full control of the music and lyrics. It also marks the beginning of the new guitarist Martin Barre, which had a less restricted guitar style than Mick Abrahams, and that from that point, he would became the only band member to appear on all albums of the group, apart Ian Anderson.

The line up on the album is Ian Anderson (vocals, flute, acoustic guitar, Hammond organ, piano, balalaika and mouth organ), Martin Barre (electric guitar and flute), Glenn Cornick (bass guitar) and Clive Bunker (drums and percussion). As on 'This Was', 'Stand Up' had also the participation of David Palmer. He conducted and arranged the strings.

'Stand Up' has ten tracks. All songs were written and composed by Ian Anderson. The first track 'A New Day Yesterday' is a classic song of the band with a heavy blues influence. It isn't a song with a very complex arrangement, but it results so well that it became a great track. It has a fantastic instrumental performance, especially the Glen Cornick's aggressive bass line. The second track 'Jeffrey Goes To Leicester Square' is a fantastic and nice song on the album. The use of a mandolin gives to the song a more folk style and because of that it would became the first song of the group more oriented to the folk. This is also the shortest song on the album. The third track 'Bour'e' is one of the most recognisable Jethro Tull's tracks and it's based on a piece of music of J. S. Bach. This is an instrumental very interesting piece of music with some jazz influence with a great solo of flute and a fantastic bass line. This Jethro Tull's adaptation of the classical Bach's musical piece perhaps became as one of the most popular adaptations of classical pieces for the masses. The fourth track 'Back To The Family' is a strange song with diverse instrumentation and with rock and folk chords, and several elements at the same time. It seems to be a bit boring on its beginning but it turns progressively in a fast song and remains as one of best musical moments on the album. The fifth track 'Look Into The Sun' is a very simple, but it's also at the same time a very beautiful song. The performance of Ian Anderson's acoustic guitar and Martin Barre's electric guitar is perfect and the interplay between both is fantastic and results beautifully. It also should still be noticed the soft flute and the sweet vocals on the song. The sixth track 'Nothing Is Easy' is another classic Jethro Tull's song. This is a fantastic biting rock track with several musical sections and with incredible musical performance. It has fine drumming and once more the interaction between the flute and the guitar is predominant and perfect. The balance between the power and elegance in this music is wonderful. The seventh track 'Fat Man' is the second smallest track on the album. It's a very happy and fast song where the use of the balalaika gives to it a very special musical atmosphere. This is typically a classic Jethro Tull's folk rock song with a very unique sound. The eighth track 'We Used To Know' is a very beautiful song performed in a rock ballad style. It has also a superb and fantastic blues/rock guitar solo performed by Martin Barre that reminds me strongly the Jimi Hendrix's style, and it has also an important Clive Bunker drumming work. The ninth track 'Reasons For Waiting' is a beautiful and very calm ballad performed more in the acoustic style. The flute and the vocals on the song are nice and the addition of the strings and the beautiful arrangement of David Palmer are absolutely delightful and give to the song a perfect musical balance and ambience. The tenth and last track 'For A Thousand Mothers' is the song that closes magnificently the album. It's, in reality, an extraordinary song with a diverse and a perfect mix of folk, blues, jazz and rock. These are basically all the main elements that makes of Jethro Tull as one of the biggest bands of the history of the progressive rock music.

Conclusion: 'Stand Up' is a great step into Jethro Tull's music and a giant step from their previous debut studio album 'This Was'. As with Genesis with their debut studio album 'From Genesis To Revelation', we may say that 'Stand Up' is the first Jethro Tull's album and 'This Was' was their zero album. 'Stand Up' represents almost what the band wanted to do in the near future. So, 'Stand Up' is a much better album than 'This Was' is, a better album than 'Benefit' is and is very close to 'Aqualung' in its musical quality. It's perfectly clear to me why 'Stand Up' is one of all-time favourite Jethro Tull's albums to Ian Anderson. I have no doubt in saying that 'Stand Up' is one of the best Jethro Tull's studio albums. It's true that it isn't as good as some other Jethro Tull's albums, but it remains an amazing album.

Prog is my Ferrari. Jem Godfrey (Frost*)

Review by TCat
SPECIAL COLLABORATOR Honorary Collaborator / Retired Admin
4 stars Stand Up is the 2nd album released what was then a rather fledgling of a band, Jethro Tull. It is also probably the best of the first 3 albums that pre-dated 'Aqualung', before most people in America had heard of them, but in the UK, it quickly became a number one album. There were a few milestones for this album, which also contribute to making it the most important of the first 3 albums. For one thing, it was the first album that guitarist Martin Barre would be on. The original guitarist, Mick Abrahams, had quit the band because he wanted the band to stay with the blues-oriented style that was evident in the first album 'This Was', while Ian Anderson wanted to explore other avenues, including folk rock. Barre, in the meantime, has been on every Jethro Tull album since.

Another milestone on this album is that it was the first time that Anderson would have complete control over the songs and the lyrics. Interestingly enough, except for occasionally borrowing some folk elements, this album would still focus on blues oriented songs, even though there are elements of other styles that really stand out on this album.

The band had a fairly fixed schedule they followed during the recording of their second album. They would get to the studio at 9 am and work on a few songs, then be done by 4 or 5 pm. Most of the songs were finished in the first day, except for at least one noteworthy track, the instrumental 'Bouree', (based on Bach's 'Bourree in E minor', proof of Anderson's desire to work with other styles), which had to be done in several takes before the band was satisfied with it. They ended up editing together the best bits from various takes.

Besides Martin Barre (who of course was lead guitarist and who also provided some flute backup on a couple of tracks), the rest of the band remained the same as the previous album; Ian Anderson on vocals, flute, acoustic guitar, organ, piano, mandolin, balalaika, harmonica; Glenn Cornick on bass; and Clive Bunker on drums and percussion. Cornick would end up leaving the band after the 3rd album 'Benefit', and Bunker would by with the band until after the released of 'Aqualung', but would go on later to work with Robin Trower, Steve Howe and Manfred Mann among others.

The blues-influenced rock is quite obvious in the heavy 'A New Day Yesterday', which is based around the now familiar guitar and harmonica riff. Barre really got to show off early on the album, showing that Tull wanted to let everyone know that even though he was a new guitarist for the band, that he meant business. The music is a bit rough compared to the slicker sound the band would come up with in the future. But that makes the blues riff even more authentic. This is followed with the more folkish and pastoral sounds of 'Jeffrey Goes to Leicester Square', and it seems that the flute finds it's home comfortably into Tull's music, even though this is one of the tracks where Barre provides flute backup. Then comes the excellent 'Bouree', the jazz-classical mix, and Anderson now gets the chance to really show off. The bass quite adeptly takes the more complex bottom line, or contrasting counterpoint of the Back original, and turn it into a jazz standard. Of course, this track winds up being a concert and fan favorite. Now, the Tull is in the house!

The melodic and lovely 'Back to the Family' follows now, and the blues / folk sound comes to the fore here. The verses have the folk sound while the chorus, bridge and instrumental break go for the heavy sound, and the first semblance of their later progressive sound comes apparent, but the complexity of their later music is only hinted at here. 'Look to the Sun' has a more acoustic approach using the soft guitar and piano with little flute embellishments that are almost buried too deep into the mix. The band's desire to try out new things and effects are evident in Anderson's vocals here as there is an interesting warble to his voice on this track.

'Nothing is Easy' opens the second side of the album with a track that has a heavier rock edge. It is based on the band's experience of hard living they must have had before their real worldwide popularity. Again, the blues influence is still strong, as the band was not quite ready for a full transition yet. 'Fat Man' however, again shows the acoustic side of the band again, and also features Anderson playing the mandolin. Back in 1969, the mandolin was very rarely used in rock bands, so this was showing a big step towards the desire to try out new things. These days, a mandolin might not seem so cutting edge, because the instrument is used often, and that is usually a good thing. Here also is evidence of the use of lilting music for the band and incorporating that folkish vibe into rock music.

'We Used to Know' has a chord progression that is very similar to the later hit by the Eagles 'Hotel California'. Anderson never felt slighted by The Eagles use of the progression because he claims that it was probably used before Tull used it too, and also says that Hotel California is a better song anyway. There is a well balanced mix of acoustic and electric guitar here, but the music is once again more rock and blues oriented. There is also more proof of Barre's amazing guitar work during the instrumental sections here as he really gets to stand out. 'Reasons for Waiting' steps back again to a more pastoral feel with acoustic guitar and the flute playing the melodic theme, this time once again supported by Barre on flute. Anderson's vocals are very expressive on this one, and he does play some of the fancier flute passages however. It's a very nice song, but rather straightforward with some lovely strings later in the song. 'For a Thousand Mothers' ends the original album with a heavier track, again leaning towards a blues-influenced track with heavy flute and guitar.

The 2001 remaster then adds 4 more tracks. 'Living in the Past' is the non-album hit song that was released around the same time as this album. It was released in the UK just as Tull was finishing up it's US tour in 1969, but became more famous especially in the US in 1972. It does seem to fit in more with the music released later which is why many were surprised that it was released in 1969, as it has a tricky 5 / 4 rhythm. 'Driving Song' was the b-side to the original 'Living in the Past' UK single. This track is quite rock oriented based off of a repeating guitar hook and standard rhythm. 'Sweet Dream' is another non- album single released in the UK which has the distinction of being the first Chrysalis release in the UK. It was recorded during the same sessions as the Stand Up album. It has a familiar instrumental riff and the use of brass (which really stands out) and orchestra, again the music is very rock oriented and based around that riff, but both electric and acoustic guitars are well used in the track. '17' is the last of the bonus tracks, and is also the b-side to 'Sweet Dream'. It is a straightforward, yet interesting rock song. These bonus tracks only add more great music to the album, and they mostly fit in quite well with the music originally on the album.

This is my favorite of the original Tull trilogy. I find the music to be more interesting than the somewhat rough sound of the debut 'This Was' and more focused and complete than the rushed 'Benefit' album. The album has a great amount of variety, gives all the musicians time to shine, and goes farther in the development of a legendary band than either of the other two albums did. The songs are more memorable and almost every track has its own individual reason why it is important. Though it is better than the other two, I can only still give it 4 stars, because it hasn't quite reached that perfect or essential status that other Tull albums were able to achieve, but it is still one that I wholeheartedly enjoy to listen to.

Review by DangHeck
3 stars With a purported stylistic shift away from the Blues/Jazz-Rock of their debut album (This Was, 1968), Stand Up marked the beginning of Ian Anderson's taking of the creative helm, as he became responsible as the primary (and, here, sole) songwriter for the band. This was following the departure of original lead guitarist Mick Abrahams, unhappy with the changes in direction. This will be a review for the 2001 remastered edition featuring the four bonus tracks listed above.

Certainly, I would describe the opener, "A New Day Yesterday", very much as an of-the-time Blues Rock number. Like something out of the canon and tradition of Cream or early Deep Purple. Solid, straight-ahead number with nice soloing from new guitarist Martin Barre followed by Anderson on flute. Unsurprising Tull track is to follow in "Jeffrey Goes to Leicester Square", a sort of troubadour-type ballad. Very cool, sparse instrumentation, in the form of distant, clanging guitars and simple percussion (like bongos or congas).

Next is the classical "Bourée", based on Bach's "Bourrée in E minor", which, though starting straight, goes into a very satisfying Rock groove approaching the middle. Simply put, this is classic early Prog, through and through. "Back to the Family" has a super classic sound. One of the nicer, less Andersonian vocal performances from Anderson (I can't say his voice ever helped in my already lacking draw to Jethro Tull). Real solid song, real classic early Prog once more.

"Look into the Sun" is very of the Psychedelic era, comparable in feel (though less sweet) to Led Zeppelin's "Thank You" to my ears. Next, we are back in a flute-fronted groove on the at-first quieted "Nothing is Easy". Solid performance here by drummer Clive Bunker. Then we're back to the more traditional percussion on "Fat Man". Not a whole lot happens here and the instrumentation just hits me as overly harsh...

A return to Blues Rock on "We Used To Know", a low and slow jam. And then a return to very personal sweetness on "Reasons for Waiting", which in all of that sweetness has an underlying heaviness. Loveliest things thus far as we approach the original album's end. Not sure what I have to say on "For a Thousand Mothers". It's lively, but I was pretty bored with this album at this point.

Onto the bonus tracks, we first have the very recognizable "Living in the Past", a surefire classic. This was released as a single prior to Stand Up. Then is the straight-ahead "Driving Song". It was alright. Then it was the single that followed the album, "Sweet Dream", which had a very interesting beat and had some very cool instrumentation, honestly. Finally was its B-side, "17", a very upbeat number. Decent song.

Review by octopus-4
SPECIAL COLLABORATOR RIO/Avant/Zeuhl,Neo & Post/Math Teams
4 stars My mind follows strange paths: this morning I woke up with "A New Day Yesterday" in my mind, from an album that I've likely listened to 30years ago for the last time if not more. So it urged me to go back to it trying to understand why. I'm back to my original vinyl copy, so no bonus tracks, remixes and their likes.

Of course, the main riff of "A New Day YesterdaY" is catchy and being it repeated so many times it's like it has been designed to find its place inside my few neurons, but I don't know if it would have had the same effect without Ian Anderson's voice and harmonica. Bluesy, some may say, but even if this a progressive rock site, I love the blues.

Said so, let's see what else this album has to offer. First of all, Jethro Tull in 1969 are still a sort of blues revival band with strong British folk influences. Later folk will put the blues out of focus, but the path is already clear: the medieval atmosphere of "Jeffrey Goes To Leicester Square", with bongos instead of drums and the flute marks the beginning of a trademark.

J.S. Bach "Bouree" arrangement combines baroque with a jazzy reinterpretation. It will become a constant presence in the live gigs as it gives Ian the possibility of improvising his flute performance. Anyway, it's mainly Glenn Cornick's bass line that makes the job.

"Back To The Family" is on the bluesy side but with a vibe that reminds a bit to Van Morrison and Donovan. The fact is that we are all very familiar with Ian's voice and flute, so he could even play the qua-qua dance and be still recognizable as Jethro Tull. Well, relistening to it after all those years I don't hear so much blues as I was remembering. Great instrumental riffs but, I would dongrade the rating for the fade-out. Something that was going on so well, truncated in that way. I hope an integral version has been published on the various re-release/remixes, but as I have said I'm basing on the original vynil only.

"Looking To The Sun" has again that late 60s feeling: acoustic, with folk influences with a touch of psychedelia enhanced by Martin Barre's guitar. Unfortunately this fades out, too.

Side B now... "Nothing Is Easy" opens it and is a full Jethro Tull track: signature changes, Ian's flute and a very interesting chord progression. Ok, there's a sort of chain of 5th, but it ahs also a jazzy bass, drums solos, and of course Ian's flute plus a very good but short (bluesy) guitar solo before the coda.

Percussion open "Fat Man". This is not too far from what Pentangle where actually doing. The bongos give it a hippy feeling.

"We Used To Know" has by coincidence the same chord progression of Hotel California and to my years sounds like the grandpa or the father of Aqualung. It also came out 7 years before the Eagles. Curiously, it may be the chord progression but some guitar passages seems to have been reused by the Eagles. In the 80s a similar progression will be used by Andy Latimer on Stationary Traveller.

Clean flute on "Reasons for Waiting". An acoustic song with just some organ in the background. The easiest way to describ it is "a british folk song". Not a traditional one, but in that vein.

A rock track closes the album. "For A Thousand Mothers" wouldn't be misplaced on Aqualung and the 5/4 signature will become typical of this kind of Jethro Tull songs. Heavy with some blues influence.

Is this an excellent addition? Yes, it is. Not yet a masterpiece but an excellent album, and two years after it we'll have Aqualung.

Review by Hector Enrique
4 stars Following the departure of Mick Abrahams after the release of "This Was", Ian Anderson took over the artistic and musical direction of Jethro Tull on "Stand Up", their second album. The Scotsman's intentions to expand the band's musical horizons, without abandoning their bluesy vein, lead them into folkloric experimentations with medieval reminiscences, which, combined with rock elements underpinned by the recently incorporated guitarist Martin Barre and the unmistakable sonority of Anderson's flute, delineate the beginning of the path that Jethro Tull would follow from then on.

Stand Up" develops with a more tight-knit band, starting with their original bluesy approach on the opening "A New Day Yesterday" and Barre's punchy guitar riff, and on the rhythmic "Nothing is Easy". But unlike "This Was", folk begins to occupy a preponderant place in the British proposal, as in the brief and cheerful "Jeffrey Goes to Leicester Square" and Clive Bunker's bongos, or in the beautiful acoustic ballad "Look into the Sun" or in the arpeggiated melancholy of "Reasons for Waiting". There is also room for the energy of the incipient prog rock of "Back to the Family" and the stupendous solo with which Barre adorns the confessional "We Used to Know"; and even for the adaptation of baroque music in the luminous "Bourée", taken from the German classical composer Johann S. Bach's "Suite in E Minor for Lute" with a great bass solo by Glenn Cornick and converted over the years into a fundamental piece of the band's live performances.

The bluesy "For a Thousand Mothers", with Anderson displaying his enormous talent and particular histrionic flute playing, omnipresent as it is throughout the album, marks the closing of "Stand Up" as much as the opening of the band's definitive stage among the greats of the progressive genre.

A couple of details of the defining "Stand Up": it was number one for over a month in the British charts in 1969, and won the award for best cover design of the year, from the renowned New Musical Express (NME).

Very good

4 stars

Review by A Crimson Mellotron
4 stars Jethro Tull came out with their beloved second studio album 'Stand Up' in 1969, following up the bluesy and tight 'This Was' and preceding one of their heavier releases, the excellent 'Benefit', making this album simultaneously transitional yet pretty important for the development of the band's music, as it was the first album on which Ian Anderson was in full control of what was being produced, also resulting in an album full of very eclectic sounds, with the band trying out several different styles, ranging from their blues rock roots to more hard rock territory, also experimenting and introducing finally some folk rock affinities, mixed up with a bit of acoustic rock and even symphonic rock. The album was recorded over the course of one month, and features the drumming of Clive Bunker, Glenn Cornick's bass playing, and guitar player Martin Barre, who debuted right here and went on to become Tull's long-term guitarist.

Surely the period after the release of their debut album must have been rough, with some musical differences coming to the front, leading to the departure of Mick Abrahams, who played guitars in Tull originally and was more interested in developing their bluesy leanings, leading also to the famous trial with Tony Iommi, who felt he doesn't fit very well within the band, leading to the introduction of Barre, a guitarist seemingly much more open to experiment and to explore the possibilities of Tull's new direction. And, of course, 'Stand Up' is an album that spreads out to many different territories, in a way displaying snippets of everything that Tull were excited about musically, making it the very promising second album that does not, however, unfold the full potential of a band searching for its sound. The introduction of the folkier and acoustic songs on here is fantastic, the more hard rock-oriented numbers are also quite memorable, but of course, this is an album packed with classic Tull songs that have transcended the test of time. And while 'Stand Up' might be imperfect in several ways, it is also promising and unleashed, which is precisely what makes it so special, a necessary and crucial step towards the evolution of one of classic rock's most creative bands. Also, this is an album famously revered by many great musicians, including Joe Bonamassa and Joe Satriani, as well as being one of Ian Anderson's personal favorites, too, so it has to be needless to say anything else.

Latest members reviews

5 stars Jethro Tull's next studio album, 1969's Stand Up, was a huge step forward in the band's musical progression. Due in part to that leap forward, Ian Anderson has cited this as his personal favorite Tull record. It was also their first #1 record, thanks in part to popularity gained by touring with Led ... (read more)

Report this review (#2903206) | Posted by TheEliteExtremophile | Friday, March 31, 2023 | Review Permanlink

4 stars Great advancement from their first album, which was fine, but nothing very special. Here, they take a major step forward, as they are still starting from a blues-based structure, but introducing more progressive elements, with more varied songwriting, instrumentation, and arrangements, and starting ... (read more)

Report this review (#2873006) | Posted by BBKron | Wednesday, January 4, 2023 | Review Permanlink

5 stars This was (no pun intended) my first Tull album, bought soon after its release. Whereas their debut LP "This Was" was bluesy this follow-up is a showcase for Ian Anderson's songwriting and goes beyond the bluesy feel on many songs. Martin Barre makes his debut as lead guitar because Mick Abrahams did ... (read more)

Report this review (#2820087) | Posted by Progexile | Wednesday, September 14, 2022 | Review Permanlink

4 stars Review #59 JETHRO TULL's second album was considerably different than the first one. With Martin BARRE taking Mick ABRAHAMS' place in the band, the songs in here took a less jazzy and bluesy sound and went more into an electric Rock one with the unmissable folky acoustic touch that has always ... (read more)

Report this review (#2482580) | Posted by Uruk_hai | Saturday, December 5, 2020 | Review Permanlink

4 stars JT's follow up to their solid debut That Was came screaming out of the gate with new guitarist Martin Barre's powerful Tony Iomi type riffs on A new day yesterday, a hard rocking blues opener. Jeffrey goes to Leicester Square is the first true folky number we will grow to love esp. In the 77 ... (read more)

Report this review (#2463482) | Posted by yeshead 777 | Friday, November 6, 2020 | Review Permanlink

4 stars The keyword here: Excitement. Mick Abrahams left the band in late 1968. Jethro Tull tried new guitarists, one of them being Tony Iommi a.k.a. Hand of Doom. For some reason it didn't work out, I believe Tony wanted to roll out with his silly hard rock group from Birmingham named Earth. To each his ... (read more)

Report this review (#2087129) | Posted by thief | Saturday, December 15, 2018 | Review Permanlink

4 stars The best early Tull. Stand Up is a great album, very consistently musical. It continues the bluesy feel of the first album, but channels the energy into a set of highly memorable, distinct and topical songs. The tunes vary considerably in style, from harder blues-rock of "A New Day Yesterday", to ... (read more)

Report this review (#1695718) | Posted by Walkscore | Tuesday, February 21, 2017 | Review Permanlink

4 stars One of the best rock albums of the 60s, fair and square. Let's make a track-by track analysis on this one. A New Day Yesterday: For my taste, one of the best songs in the entire rock History. Phenomenal groove, outstanding riff, orgasmic drumming... I always imagined a 10 minutes long version tha ... (read more)

Report this review (#1378674) | Posted by BigDaddyAEL1964 | Friday, March 6, 2015 | Review Permanlink

5 stars Tull had just parted ways with guitarist Mick Abrahams after their first album "This Was' (Abrahams went on to make a really good blues album "Ahead Rings Out" with Blodwyn Pig, by the way), and had chosen Martin Barre as the their new lead guitarist. Tull took a u-turn off the blues highway a ... (read more)

Report this review (#1348713) | Posted by The Dark Elf | Monday, January 19, 2015 | Review Permanlink

3 stars Leaps and Bounds ahead of their debut but nowhere near the mammoth that would be Aqualung. At this point, Tull seemed to be in a transitional period in many ways, not only was the lineup fragile with the inclusion of new guitarist Martin Barre (and soon to change even more with the inclusio ... (read more)

Report this review (#1156950) | Posted by MJAben | Wednesday, April 2, 2014 | Review Permanlink

5 stars 9/10, yet too young. This for me almost beats Aqualung, but its kind imature and raw, they are not quite certain of what to do, but the result anyway is incredible. A New Day Yesterday - 8/10 Nice, but too bluesy for me. Jeffrey Goes To Leicester Square - 8/10 Very odd number, looks l ... (read more)

Report this review (#1026903) | Posted by Ethelred7 | Sunday, September 1, 2013 | Review Permanlink

4 stars NEW THOUGHTS ABOUT THE ALBUM: Well, Stand Up is the only Tull album that I haven't bought yet, my feeling about this album was made years ago listening to the LP from a friend of mine. So, after my review, a reader told me to try again. And I tried, after many years. There's no weak track, for my ... (read more)

Report this review (#987215) | Posted by VOTOMS | Thursday, June 27, 2013 | Review Permanlink

4 stars Out with Abrahams and in with Barre on lead. A great deal of the bluesy style of the previous album has dissipated here and the Tull start to cement together the bricks that make up their true sound. There is a lot of flute work on this album and I enjoy that side of Anderson and Tull. I don't ... (read more)

Report this review (#941990) | Posted by sukmytoe | Wednesday, April 10, 2013 | Review Permanlink

5 stars Another Jethro Tull album that almost has (finally) the avaliation it deserves. In 1969, one of the great characteristics of music as a whole was the blend of Blues, Jazz, Folk, Classical and the rock music itself, all together without being only one. Thats what is magical in albums around this p ... (read more)

Report this review (#897357) | Posted by GKR | Tuesday, January 22, 2013 | Review Permanlink

4 stars God I loved the little stand-up guys on my original album! While STAND UP is not a masterpiece in the class of THICK AS A BRICK, AQUALUNG, or SONGS FROM THE WOOD, it is an excellent Tull album nonetheless. In the all-time ranking, maybe somewhere near HEAVY HORSES or MINSTRAL IN THE GALLERY. A ... (read more)

Report this review (#518769) | Posted by mohaveman | Friday, September 9, 2011 | Review Permanlink

3 stars When Ian Anderson decided to go solo, and abandon the group format following This Was, merely surrounding himself with virtual session musicians, albums like Stand Up should have prepared us for what lay ahead. Always charming vocals, quirky tunes, and lively flute, but cold meat on the bones, contr ... (read more)

Report this review (#447438) | Posted by JeanFrame | Friday, May 13, 2011 | Review Permanlink

5 stars Timeless Tull classic. "Stand Up" is probably my favourite Jethro Tull album ever. Not really a prog album, but sure it is an album full of different musical styles. The "bluesy" songs are still present, but compared to the previous album "This Was", here we also find clear references to folk ... (read more)

Report this review (#439442) | Posted by Dark Nazgul | Tuesday, April 26, 2011 | Review Permanlink

5 stars I bought Stand Up in the late 1977; it was one of my first purchaise in the prog rock's field, and after 30 years, I am still listening this album with a great pleasure. Even if this album lack of the homogeneity of a concept album such as the subseguent and more mature works, "Aqualung" and " ... (read more)

Report this review (#437454) | Posted by Pietro Otello Romano | Friday, April 22, 2011 | Review Permanlink

5 stars This is the Tull album I listen to most and while I'm not going to say its their best album its the one that I enjoy listening to more than any other. The blues orientated sounds are still ever present, but for me that is not a bad thing, but an essential part of what JT is all about. Barre ... (read more)

Report this review (#415235) | Posted by By--Tor | Sunday, March 13, 2011 | Review Permanlink

5 stars The 2nd album of Jethro Tull, titled "Stand Up" is a real surprise for me. Blues is still present (see "A New Day Yesterday" or "For A Thousand Mothers"), Jazz Rock is present in "Bourée" (Ian Anderson new arrangement of "Suite for Lute N°1 BWV 996 by J.S. Bach) and one song, "Fat Man", is a p ... (read more)

Report this review (#398212) | Posted by 1967/ 1976 | Friday, February 11, 2011 | Review Permanlink

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