Stand Up | ||||
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Studio album by | ||||
Released | 25 July 1969 | |||
Recorded | 17 April – 21 May 1969 | |||
Studio | ||||
Genre | ||||
Length | 37:48 | |||
Label | Island (UK) Reprise (US) | |||
Producer | Terry Ellis and Ian Anderson | |||
Jethro Tull chronology | ||||
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Singles from Stand Up | ||||
Stand Up, released in 1969, is the second studio album by British rock band Jethro Tull. It was the first Jethro Tull album to feature guitarist Martin Barre, who would go on to become the band's longtime guitarist until its initial dissolution in 2011. Before recording sessions for the album began, the band's original guitarist Mick Abrahams departed from the band as a result of musical differences with frontman and primary songwriter Ian Anderson; Abrahams wanted to stay with the blues rock sound of their 1968 debut, This Was , while Anderson wished to add other musical influences such as folk rock. [2]
The album was released 25 July, and was No. 1 on the UK albums chart the following week, 3 August, [3] following up on the success of the non-album single "Living in the Past", which had reached No. 3 in the UK singles chart on the day the album was released. [4] [5] The album was Jethro Tull's first success in the United States, reaching No. 20 on the Billboard 200.
Jethro Tull released their debut album This Was in October 1968. During the recording of This Was, frontman Ian Anderson began writing new material which differed from the straight blues/jazz fusion style which the band were known for at the time. Anderson estimated that he wrote "50 percent" of Stand Up during the summer of 1968. Anderson wrote the album's songs on an acoustic guitar in his bedsit in Kentish Town, London, and cited Roy Harper, Ornette Coleman, Charlie Parker, Bert Jansch, Pentangle, Blind Faith and Jimi Hendrix as inspirations. The new material's departure from the band's blues-based style caused conflict with guitarist Mick Abrahams, who was a blues purist: Anderson recalled "running some of [the new songs] by Mick Abrahams, and coming to the conclusion that they weren't going up to be up his street at all" while drummer Clive Bunker stated that "when Ian started to write new and different stuff, that's when we realised we were going to have serious problems, because Mick just didn't want to do it." [6] The stylistic clash resulted in Abrahams' departure from the band in December 1968. The band initially began rehearsals for Stand Up with Black Sabbath guitarist Tony Iommi, however Iommi left the band after only a few weeks as he felt he did not fit in well with the group. [6] The job eventually went to Martin Barre, who immediately joined rehearsals for Stand Up before making his live debut with the band on 30 December 1968.
The band then embarked on a short Swedish tour to support Jimi Hendrix in January 1969 before embarking on a three-month U.S. tour (the band's first) during which the band recorded the non-album single "Living in the Past" and B-side "Driving Song" at the behest of manager Terry Ellis to "keep the pot boiling" in the UK. [6] Following the end of the tour in April, the band returned to the UK to begin recording sessions for the new album.
The album's sessions began on 17 April 1969 with the recording of "A New Day Yesterday", and ended on 21 May 1969 when the band finished "Look Into the Sun". There was a brief pause in early-mid May for the band to embark on a joint headlining tour of the UK and France with Ten Years After. All of the songs were recorded at Studio 2 of Morgan Studios, except for "Bourée" which was recorded at Olympic Studios because Morgan was already booked for the day (although takes of the song were also recorded at Morgan). [7] The general routine was that the band would arrive at the studio at 9:00 am to work on one or two songs which would be finished by 4:00 or 5:00 pm. [7] Anderson cited Morgan Studios' modern 8-track recording facilities as "a big help", saying that "8-track was the beginning of that creative freedom without which it would have been much harder to have made the Stand Up album." [6] The band praised recording engineer Andy Johns, who they found easy to work with. Johns tried some innovative recording techniques on the album; for example on "A New Day Yesterday" he achieved a swirling, stereo-shifting guitar effect by swinging an expensive Neumann U67 microphone on its cable in wide circles around the studio. [8]
The majority of the album was recorded live with the entire band, with minimal overdubs, however primarily acoustic songs such as "Look Into the Sun" and "Fat Man" were recorded mostly solo by Anderson. [6] The song "Bourée" proved the most difficult to record, with the band unsatisfied with any of the takes they recorded. The final version of the song was compiled later from several takes, with additional overdubs added by Anderson. [9] [10] Bass guitar on "Look Into the Sun" was recorded by Johns, as bassist Glenn Cornick was not present at the session (Johns' performance was uncredited on the album). [6] One song titled "Early in the Morning" had its backing track recorded but was aborted during the sessions and was never released. The band also recorded the backing track for "Play in Time" during the sessions, a song which would later be finished and released on the band's next album Benefit . [6]
The design of the album cover started with a visit to New Haven, Connecticut during a concert tour in late February 1969. Under the direction of producer Terry Ellis, the band met a woodcarver named James Grashow who followed them for a week in order to properly represent them in wood. [7] The resulting gatefold album cover, in a woodcut style designed by Grashow, originally opened up like a children's pop-up book so that a cut-out of the band's personnel stood up, evoking the album's title. Stand Up won New Musical Express's award for best album artwork in 1969. The pop-up was not carried over to the 1973 album reissue, but is now available on the 180g vinyl issue of the Steven Wilson remixed version of the album, released in 2017.
The album still shows a great blues influence, as in the first track "A New Day Yesterday". Some songs on the album exhibit unusual instrumentation, such as "Fat Man," played on a mandolin, and "Jeffery Goes to Leicester Square," played on a balalaika. The acoustic pieces, like "Reasons for Waiting", already show Anderson under the influence of Roy Harper. The instrumental "Bourée" (one of Jethro Tull's popular concert pieces) is a jazzy re-working of "Bourrée in E minor" by Johann Sebastian Bach. [2] On the other hand, "Nothing Is Easy" is a jazz-rock song with drums and electric guitar that contrasts with the acoustic material on the album.
Ian Anderson has speculated that the chord progression in "We Used to Know" was picked up subconsciously by the Eagles when they toured together in 1971 or 1972 and used in their song "Hotel California". [11] However Don Felder, who wrote the music for "Hotel California", did not join the Eagles until 1974. In a 2016 interview, Anderson stated that the chord progression had likely been used in earlier songs and also called "Hotel California" a "much better song" than "We Used to Know". [12]
Anderson has described the album's lyrics as composing of a mixture of made up scenarios, occasionally mixed with biographical anecdotes or experiences from his personal life. Songs like "Back to the Family" and "For a Thousand Mothers" were influenced by Anderson's rocky relationship with his parents at the time, while "We Used to Know" describes the band's difficult life of financial hardship before finding success. [13] Anderson has denied that songs concerning relationships such as "A New Day Yesterday", "Look Into the Sun" and "Reasons for Waiting" were inspired by real life experiences, saying that "I've always had a feeling that you don't talk about real stuff when it comes to that, and that you shouldn't betray real relationships in songs." [6] Anderson wrote "Fat Man" as a reference to former guitarist Mick Abrahams (who was the largest member of the group), however Anderson has denied that the song was intended as an insult. [6] "Jeffrey Goes to Leicester Square" references Anderson's friend Jeffrey Hammond, who was also referenced on This Was and would later join Jethro Tull as bassist in 1970.
Review scores | |
---|---|
Source | Rating |
Encyclopedia of Popular Music | [14] |
The Rolling Stone Album Guide | [15] |
Stand Up received mixed reviews upon its release, but more recent evaluations praised the album as a whole, for the production and musicianship.
The 1969 Rolling Stone review was quite positive, stating that the album "has a fairly low raunch quotient, true to form, but it is quite marvellous" and also that "the album is not really funky; rather, it is a meticulously crafted work (no sterility implied) which deserves careful listening. At a time when many of the established stars are faltering, it is a particular pleasure to hear an important new voice." [16] The contemporary Disc and Music Echo review was less favourable; it considered the expensive cover the "most impressive" part of the album and Jethro Tull a good live band but still incapable of producing a "musically interesting" release. [17] American critic Robert Christgau reiterated his dislike of the band, but judged the album "adequate" in his Village Voice review. [18]
A retrospective AllMusic review was positive, saying that the band had "solidified their sound" with the album, bringing an "English folk music" influence to several of the songs, atop an overall blues rock foundation. [19] Sean Murphy of PopMatters more emphatically wrote that Stand Up was a "meaningful document from what turned out to be a very transitional moment in rock history... a document created in a rapidly closing artistic window, pre-prog but post-British blues and psychedelic rock." He praised the musicianship of the players and remarked the first examples of "the first-rate lyricist Anderson would quickly become." [20] The Record Collector review highlights how "the album captured the band on a vertiginous upswing, jubilant with confidence following the drafting in of guitarist Martin Barre" and contained "a fresh batch of diverse but uniformly strong compositions". [21]
A variety of rock artists have cited Stand Up as an all-time favourite album, including Pearl Jam's Eddie Vedder, [22] Aerosmith's Tom Hamilton, [23] Joe Bonamassa, [22] and Joe Satriani. [24] Black Francis of Pixies also spoke glowingly of the album, commenting, "Stand Up is the [Jethro Tull] record that moves me the most. It's only their second album and they're still kind of scruffy. There's a heavy rock influence but they had that English thing going on, you know, university dudes who were really into folk music. It didn't seem like an affectation to me – it still seems real". [25] During an interview with BraveWords in 2015, Anderson selected Stand Up as his favourite Tull album: "I suppose if you were to really twist my arm, I would probably go back to 1969, with the Stand Up album, because that was my first album of first really original music. It has a special place in my heart." [22] Barre and Bunker have also ranked it as being among their favorite Tull albums. [6] It was voted number 513 in Colin Larkin's All Time Top 1000 Albums 3rd Edition (2000). [26]
The album was reissued in 1973 by Chrysalis Records.
In 1989 a MFSL remaster was released, with catalogue number UDCD 524. The booklet featured the pop-up woodcut band.
The album was reissued again in 2001 as a digital remaster, this time with 4 bonus tracks.
It was reissued on 5 October 2010 as a deluxe edition, including six bonus tracks on disc one, and two additional discs: a CD of live material recorded at Carnegie Hall on 4 November 1970, and a DVD with a DTS surround mix of the concert as well as an Interview with Ian Anderson. The material was mixed by Peter Mew at the Abbey Road studios.
It was released again in November 2016 in a box set with two CDs and one DVD, named Stand Up - The Elevated Edition. The box contains rare and previously unreleased music (such as an alternate take of "Bourée", BBC tracks, radio spots and vintage stereo promo mixes of "Living in the Past" and "Driving Song" previously unreleased on CD) including new stereo and 5.1 mixes of the album and bonus tracks by Steven Wilson, and a live presentation, from a concert in Sweden in 1969 (original mono mix). It also includes a 112-page booklet featuring track-by-track annotations by Ian Anderson, an extensive history of the album, rare and unseen photographs and a reproduction of the original pop-up book artwork designed by James Grashow. [27]
It was re-released again on 180 gram vinyl with the original tracks in February 2017. This time it came with the gatefold cover and the "pop up" band inside.
Reissued on 2 LPs at 45RPM in October 2022 by Analogue Productions. Mastered and cut by Kevin gray from the original U.K. Island analog tape. Plated at QRP with Initial press run at RTI. Gatefold "tip on" jacket manufactured by Stoughton Printing, faithfully reproducing the original pop-up of the band members from the initial release.
All songs written by Ian Anderson, unless otherwise indicated. (Original LP album states "All titles written by Ian Anderson").
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "A New Day Yesterday" | 4:10 | |
2. | "Jeffrey Goes to Leicester Square" | 2:12 | |
3. | "Bourée" (Instrumental) | J. S. Bach; arranged by Ian Anderson | 3:46 |
4. | "Back to the Family" | 3:48 | |
5. | "Look into the Sun" | 4:20 |
No. | Title | Length |
---|---|---|
1. | "Nothing Is Easy" | 4:25 |
2. | "Fat Man" | 2:52 |
3. | "We Used to Know" | 4:00 |
4. | "Reasons for Waiting" | 4:05 |
5. | "For a Thousand Mothers" | 4:13 |
Total length: | 37:48 |
No. | Title | Length |
---|---|---|
11. | "Living in the Past" | 3:23 |
12. | "Driving Song" | 2:44 |
13. | "Sweet Dream" | 4:05 |
14. | "17" | 3:07 |
No. | Title | Length |
---|---|---|
1. | "A New Day Yesterday" (2001 Digital Remaster) | 4:07 |
2. | "Jeffrey Goes to Leicester Square" (2001 Digital Remaster) | 2:09 |
3. | "Bourée" (2001 Digital Remaster) | 3:44 |
4. | "Back to the Family" (2001 Digital Remaster) | 3:48 |
5. | "Look into the Sun" (2001 Digital Remaster) | 4:18 |
6. | "Nothing Is Easy" (2001 Digital Remaster) | 4:22 |
7. | "Fat Man" (2001 Digital Remaster) | 2:49 |
8. | "We Used to Know" (2001 Digital Remaster) | 3:58 |
9. | "Reason for Waiting" (2001 Digital Remaster) | 4:03 |
10. | "For a Thousand Mothers" (2001 Digital Remaster) | 4:13 |
11. | "Living in the Past" (2001 Digital Remaster) | 3:19 |
12. | "Driving Song" (2001 Digital Remaster) | 2:38 |
13. | "Sweet Dream" (2001 Digital Remaster) | 4:01 |
14. | "17" (2001 Digital Remaster) | 6:09 |
15. | "Living in the Past" (Original Mono Single Version; 2001 Digital Remaster) | 3:22 |
16. | "Bourée" (John Peel Session, 16 June 1969) | 3:57 |
17. | "A New Day Yesterday" (John Peel Session, 16 June 1969) | 4:13 |
18. | "Nothing Is Easy" (John Peel Session, 16 June 1969) | 5:03 |
19. | "Fat Man" (John Peel Session, 16 June 1969) | 2:53 |
20. | "Stand Up (US Radio Spot #1)" (2010 Digital Remaster) | 1:02 |
21. | "Stand Up (US Radio Spot #2)" (2010 Digital Remaster) | 0:51 |
Total length: | 74:59 |
No. | Title | Writer(s) | Length |
---|---|---|---|
1. | "Nothing Is Easy" | 5:43 | |
2. | "My God" | 12:43 | |
3. | "With You There to Help Me" / "By Kind Permission Of" | Ian Anderson, John Evan | 13:34 |
4. | "A Song for Jeffrey" | 5:25 | |
5. | "To Cry You a Song" | 6:03 | |
6. | "Sossity, You're a Woman" / "Reasons for Waiting" / "Sossity, You're a Woman" | 5:28 | |
7. | "Dharma for One" | Ian Anderson, Clive Bunker | 13:37 |
8. | "We Used to Know" | 3:41 | |
9. | "Guitar Solo" | Martin Barre | 8:24 |
10. | "For a Thousand Mothers" | 4:43 | |
Total length: | 79:21 |
No. | Title | Length |
---|---|---|
1. | "Introduction" | 1:26 |
2. | "Nothing Is Easy" | 7:41 |
3. | "My God" | 14:34 |
4. | "With You There to Help Me" / "By Kind Permission Of"" | 15:26 |
5. | "A Song for Jeffrey" | 7:07 |
6. | "To Cry You a Song" | 6:43 |
7. | "Sossity, You're a Woman" / "Reasons for Waiting" / "Sossity, You're a Woman" | 8:53 |
8. | "Dharma for One" | 23:20 |
9. | "We Used to Know" | 4:03 |
10. | "Guitar Solo" | 8:23 |
11. | "For a Thousand Mothers" | 4:50 |
12. | "Interview with Ian Anderson, London 2010" |
No. | Title | Length |
---|---|---|
1. | "A New Day Yesterday" | 4:11 |
2. | "Jeffrey Goes to Leicester Square" | 2:13 |
3. | "Bourée" | 3:48 |
4. | "Back to the Family" | 3:54 |
5. | "Look into the Sun" | 4:37 |
6. | "Nothing Is Easy" | 4:27 |
7. | "Fat Man" | 2:52 |
8. | "We Used to Know" | 4:04 |
9. | "Reasons for Waiting" | 4:07 |
10. | "For a Thousand Mothers" | 4:19 |
11. | "Living in the Past" | 3:25 |
12. | "Driving Song" | 2:50 |
13. | "Bourée (Morgan Version)" | 4:18 |
14. | "Living in the Past" (Original 1969 Stereo Single Mix) | 3:27 |
15. | "Driving Song" (Original 1969 Stereo Single Mix) | 2:48 |
16. | "A New Day Yesterday" (Mono BBC Session) | 4:17 |
17. | "Fat Man" (Mono BBC Session) | 2:56 |
18. | "Nothing Is Easy" (Mono BBC Session) | 5:06 |
19. | "Bourée" (Mono BBC Session) | 4:02 |
No. | Title | Length |
---|---|---|
1. | "Introduction" | 0:21 |
2. | "My Sunday Feeling" | 4:46 |
3. | "Martin's Tune" | 12:08 |
4. | "To Be Sad Is a Mad Way to Be" | 4:00 |
5. | "Back to the Family" | 4:07 |
6. | "Dharma for One" | 14:14 |
7. | "Nothing Is Easy" | 15:28 |
8. | "A Song for Jeffrey" | 3:57 |
9. | "To Be Sad Is a Mad Way to Be" (First Show Version) | 4:06 |
10. | "Living in the Past" (Original 1969 Mono Single Mix) | 3:27 |
11. | "Driving Song" (Original 1969 mono Single Mix) | 2:52 |
12. | "Stand Up radio spot #1" | 1:06 |
13. | "Stand Up radio spot #2" | 0:52 |
No. | Title | Length |
---|---|---|
1. | "A New Day Yesterday" (5.1 Surround Mix) | 4:11 |
2. | "Jeffrey Goes to Leicester Square" (5.1 Surround Mix) | 2:13 |
3. | "Bourée" (5.1 Surround Mix) | 3:48 |
4. | "Back to the Family" (5.1 Surround Mix) | 3:54 |
5. | "Look into the Sun" (5.1 Surround Mix) | 4:37 |
6. | "Nothing Is Easy" (5.1 Surround Mix) | 4:27 |
7. | "Fat Man" (5.1 Surround Mix) | 2:52 |
8. | "We Used to Know" (5.1 Surround Mix) | 4:04 |
9. | "Reasons for Waiting" (5.1 Surround Mix) | 4:07 |
10. | "For a Thousand Mothers" (5.1 Surround Mix) | 4:19 |
11. | "Living in the Past" (5.1 Surround Mix) | 3:25 |
12. | "Driving Song" (5.1 Surround Mix) | 2:50 |
13. | "Bourée (Morgan Version)" (5.1 Surround Mix) | 4:18 |
14. | "A New Day Yesterday" (2016 Stereo Mix) | 4:11 |
15. | "Jeffrey Goes to Leicester Square" (2016 Stereo Mix) | 2:13 |
16. | "Bourée" (2016 Stereo Mix) | 3:48 |
17. | "Back to the Family" (2016 Stereo Mix) | 3:54 |
18. | "Look into the Sun" (2016 Stereo Mix) | 4:37 |
19. | "Nothing Is Easy" (2016 Stereo Mix) | 4:27 |
20. | "Fat Man" (2016 Stereo Mix) | 2:52 |
21. | "We Used to Know" (2016 Stereo Mix) | 4:04 |
22. | "Reasons for Waiting" (2016 Stereo Mix) | 4:07 |
23. | "For a Thousand Mothers" (2016 Stereo Mix) | 4:19 |
24. | "Living in the Past" (2016 Stereo Mix) | 3:25 |
25. | "Driving Song" (2016 Stereo Mix) | 2:50 |
26. | "Bourée (Morgan Version)" (2016 Stereo Mix) | 4:18 |
27. | "A New Day Yesterday" (Original Stereo Mix) | 4:11 |
28. | "Jeffrey Goes to Leicester Square" (Original Stereo Mix) | 2:13 |
29. | "Bourée" (Original Stereo Mix) | 3:48 |
30. | "Back to the Family" (Original Stereo Mix) | 3:54 |
31. | "Look into the Sun" (Original Stereo Mix) | 4:37 |
32. | "Nothing Is Easy" (Original Stereo Mix) | 4:27 |
33. | "Fat Man" (Original Stereo Mix) | 2:52 |
34. | "We Used to Know" (Original Stereo Mix) | 4:04 |
35. | "Reasons for Waiting" (Original Stereo Mix) | 4:07 |
36. | "For a Thousand Mothers" (Original Stereo Mix) | 4:19 |
37. | "Living in the Past" (Original Stereo Mix) | 3:25 |
38. | "Driving Song" (Original Stereo Mix) | 2:50 |
39. | "Living in the Past" (Original Mono Mix) | 3:25 |
40. | "Driving Song" (Original Mono Mix) | 2:50 |
41. | "Film footage recorded 9 January 1969 at the Stockholm Konserthuset of the songs "To Be Sad Is a Mad Way to Be" and "Back to the Family"" | 7:10 |
Jethro Tull
Production
Chart (1969–1970) | Peak position |
---|---|
Australian Albums (Kent Music Report) [29] | 12 |
Canada Top Albums/CDs ( RPM ) [30] | 20 |
Danish Albums (Hitlisten) [31] | 5 |
Dutch Albums (Album Top 100) [32] | 2 |
Finnish Albums (The Official Finnish Charts) [33] | 3 |
German Albums (Offizielle Top 100) [34] | 5 |
Norwegian Albums (VG-lista) [35] | 5 |
UK Albums (OCC) [36] | 1 |
US Billboard 200 [37] | 20 |
Chart (2008) | Peak position |
---|---|
Italian Albums (FIMI) [38] | 92 |
Chart (2016) | Peak position |
---|---|
Scottish Albums (OCC) [39] | 99 |
UK Rock & Metal Albums (OCC) [40] | 9 |
Region | Certification | Certified units/sales |
---|---|---|
United Kingdom (BPI) [41] release of 2016 | Silver | 60,000‡ |
United States (RIAA) [42] | Gold | 500,000^ |
^ Shipments figures based on certification alone. |
Jethro Tull are a British rock band formed in Blackpool, Lancashire in 1967. Initially playing blues rock and jazz fusion, the band soon incorporated elements of English folk music, hard rock and classical music, forging a signature progressive rock sound. The group's founder, bandleader, principal composer, lead vocalist, and only constant member is Ian Anderson, a multi-instrumentalist who mainly plays flute and acoustic guitar. The group has featured a succession of musicians throughout the decades, including significant contributors such as guitarists Mick Abrahams and Martin Barre ; bassists Glenn Cornick, Jeffrey Hammond, John Glascock, Dave Pegg, Jonathan Noyce, and David Goodier; drummers Clive Bunker, Barrie "Barriemore" Barlow and Doane Perry; and keyboardists John Evan, Dee Palmer, Peter-John Vettese, Andrew Giddings, and John O'Hara.
Thick as a Brick is the fifth studio album by the British rock band Jethro Tull, released on 3 March 1972. The album contains one continuous piece of music, split over two sides of an LP record, and is intended as a parody of the concept album genre. The original packaging, designed as a 12-page newspaper, claims the album to be a musical adaptation of an epic poem by fictional eight-year-old genius Gerald Bostock, though the lyrics were actually written by the band's frontman, Ian Anderson.
Aqualung is the fourth studio album by the English rock band Jethro Tull, released in March 1971 by Chrysalis Records. Though it is generally regarded as a concept album, featuring a central theme of "the distinction between religion and God", the band have said there was no intention to make a concept album, and that only a few songs have a unifying theme. Aqualung's success signalled a turning point in the career of the band, who went on to become a major radio and touring act.
Heavy Horses is the eleventh studio album by British progressive rock band Jethro Tull, released on 10 April 1978.
A is the 13th studio album by British rock band Jethro Tull. It was released on 29 August 1980 in the UK and 1 September of the same year in the United States.
Ian Scott Anderson is a British musician best known for his work as the singer, flautist, acoustic guitarist, primary songwriter, and sole continuous member of the rock band Jethro Tull. He is a multi-instrumentalist who also plays harmonica, keyboards, bass guitar, bouzouki, balalaika, saxophone and a variety of whistles. His solo work began with Walk into Light in 1983; since then he has released another five albums, including the sequel to the 1972 Jethro Tull album Thick as a Brick, titled TaaB 2: Whatever Happened to Gerald Bostock? (2012).
Roots to Branches is the 19th studio album by the British band Jethro Tull released in September 1995. It carries characteristics of Tull's classic 1970s progressive rock and folk rock roots alongside jazz and Arabic and Indian influences. All songs were written by Ian Anderson and recorded at his home studio. This is the last Tull album to feature Dave Pegg on the bass, and the first to feature keyboardist Andrew Giddings as an official band member, although he had contributed to Catfish Rising (1991) on a sessional basis. As a result, the album notably features the five longest serving members to date in Jethro Tull’s history. It was also the final Tull album to be released through long-time label Chrysalis Records.
This Was is the debut studio album by the British rock band Jethro Tull, released in October 1968. Recorded at a cost of £1200, it is the only Jethro Tull album with guitarist Mick Abrahams, who was a major influence for the sound and music style of the band's first songs. When the album was released the band were performing regularly at the Marquee Club in London, where other successful British groups, such as the Rolling Stones and the Who, had started their careers.
Benefit is the third studio album by the British rock band Jethro Tull, released in April 1970. It was the first Tull album to include pianist and organist John Evan – though he was not yet considered a permanent member of the group – and the last to include bass guitarist Glenn Cornick, who was fired from the band upon completion of touring for the album. It was recorded at Morgan Studios, the same studio where the band recorded its previous album Stand Up; however, they experimented with more advanced recording techniques.
Songs from the Wood is the tenth studio album by British progressive rock band Jethro Tull, released on 11 February 1977 by Chrysalis Records. The album is considered to be the first of three folk rock albums released by the band at the end of the 1970s, followed by Heavy Horses (1978) and Stormwatch (1979).
Martin Lancelot Barre is an English guitarist best known for his longtime role as lead guitarist of British rock band Jethro Tull, with whom he recorded and toured from 1968 until the band's initial dissolution in 2011. Barre played on all of Jethro Tull's studio albums from their 1969 album Stand Up to their 2003 album The Jethro Tull Christmas Album. In the early 1990s he began a solo career, and he has recorded several albums as well as touring with his own live band.
Jeffrey Hammond, often known by his former stage name Jeffrey Hammond-Hammond, is an English artist and former musician best known for being the bassist of progressive rock band Jethro Tull from 1971 to 1975. With Jethro Tull, Hammond played on some of the band's most successful and well-known albums, including Aqualung (1971) and Thick as a Brick (1972).
The Broadsword and the Beast is the 14th studio album by rock band Jethro Tull, released in April 1982 by Chrysalis Records. The album's musical style features a cross between the dominant synthesizer sound of the 1980s and the folk-influenced style that Jethro Tull used in the previous decade. As such, the band's characteristic acoustic instrumentation is augmented by electronic soundscapes. The electronic aspects of this album would be explored further by the band on their next album, Under Wraps (1984), as well as on Ian Anderson's solo album Walk into Light (1983).
Crest of a Knave is the sixteenth studio album by British rock band Jethro Tull, released in 1987. The album was recorded after a three-year hiatus caused by a throat infection of vocalist Ian Anderson, resulting in his changed singing style. Following the unsuccessful electronic rock album Under Wraps, Crest of a Knave had the band returning to a more hard rock sound. The album was their most successful since the 1970s and the band enjoyed a resurgence on radio broadcasts, appearances in MTV specials and the airing of music videos. It was also a critical success, winning the 1989 Grammy Award for Best Hard Rock/Metal Performance Vocal or Instrumental in what was widely viewed as an upset over the favorite, Metallica's ...And Justice for All. The album was supported by "The Not Quite the World, More the Here and There Tour".
Michael Timothy Abrahams is an English guitarist and band leader, best known for being the original guitarist for Jethro Tull from 1967 to 1968 and the frontman for Blodwyn Pig.
Bourrée in E minor is a popular lute piece, the fifth movement from Suite in E minor BWV 996 written by Johann Sebastian Bach between 1708 and 1717. The piece is arguably one of the most famous among guitarists.
Living in the Past is a double LP compilation album by Jethro Tull, released in 1972. It collects album tracks, outtakes and several standalone singles spanning the band's career up to that point. Also included are the 1971 "Life Is a Long Song" EP and two live recordings taken from a performance at New York City's Carnegie Hall in November 1970.
"Living in the Past" is a song by British progressive rock group Jethro Tull. It is one of the band's best-known songs, and it is notable for being written in the unusual 5
4 time signature. The use of quintuple meter is quickly noted from the beginning rhythmic bass pattern, though it can also be explained as a distinct 6
8 + 2
4 syncopated rhythm.
"Sweet Dream" is a song recorded by the English rock band Jethro Tull on 31 August 1969, at Morgan Studios, London. It was their second straight UK Top Ten single, reaching number 7 in the UK singles chart. The b-side was a non-album track, "17", recorded on 11 September 1969, also at Morgan. It later appeared as a bonus track on remastered versions of Stand Up. "Sweet Dream" has appeared on many Tull compilation albums, while "17" has been rarely seen. In the UK, the single was the first release on Chrysalis Records.
"The Witch's Promise" is a single by the British rock band Jethro Tull, released in January 1970, on the Chrysalis label. It reached No. 4 in the UK Singles Chart, and was promoted by an appearance on the British chart show Top of the Pops. The B-side was "Teacher", an alternate version of which later appeared on the US release of the album Benefit. In the U.S., the single was released on the Reprise label.
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