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miércoles, 15 de julio de 2015

Jethro Tull - Stand Up (1969)


Artista: Jethro Tull
Álbum: Stand Up
Año: 1969
Género: Folk progresivo
Duración: 38:04
Nacionalidad: Inglaterra


Lista de Temas:
1. A New Day Yesterday
2. Jeffrey Goes To Leicester Square
3. Bourée
4. Back To The Family
5. Look Into The Sun
6. Nothing Is Easy
7. Fat Man
8. We Used To Know
9. Reasons For Waiting
10. For A Thousand Mothers

Alineación:
- Ian Anderson / voz, flauta, guitarra acústica, órgano Hammond, piano, balalaika y armónica.
- Martin Barre / guitarra eléctrica y flauta.
- Glenn Cornick / bajo.
- Clive Bunker / batería y percusión.
Arreglos de cuerdas y dirección por David Palmer.


Siguiendo con los aportes de Carlos el Menduco, acá está el segundo álbum de los Jethro Tull. Antes de la grabación del mismo, el guitarrista Mick Abrahams había abandonado la banda (como vimos en la entrada anterior, Abrahams deseaba seguir haciendo blues-rock, pero Ian Anderson quería hacer que evolucionase el sonido de la banda), y fue reemplazado por Martin Barre, que siempre tuvo un perfil muy bajo a pesar de toda su destreza, y a la audición fue cagado de miedo, al tiempo que siempre tuvo cierto miedo escénico a pesar de ser considerado uno de los mejores guitarristas de rock (he escuchado a un crítico que lo consideraba uno de los mejores 5 guitarristas actuales). Al mismo tiempo, Ian Anderson comienza a revelarse como un prestigitador de la flauta traversa, y todo ello empieza en este disco a general la magia propia del grupo. A pesar de que el sonido del álbum no es especialmente bueno, fue el primer clásico de la banda.


La banda británica de rock progresivo, blues rock y folk rock Jehtro Tull consiguió su primer número 1 en LPs con “Stand Up” (1969), su segundo y notable disco en estudio publicado en Island Records con producción de Ian Anderson y Terry Ellis que es reeditado en la actualidad.
En el álbum, trabajo con portada del artista James Grashow que ensanchó sus primeras bases blues rock con orientaciones folk rock y prog rock tras la marcha de Mick Abrahams, quien creó el grupo Blodwyn Pig, se pueden escuchar temas escritos por Ian Anderson como “A New Day Yesterday”, inicio del LP con un blues rock estilo Cream o Jimi Hendrix Experience que nos retrotrae a su debut, “This Was”, o “Fat Man”, corte con pretensiones humorísticas en el que Ian afirma con ironía que no quiere engordar… don’t want to be a fat man, people would think that I was just good fun… psico-folk rock con influencia oriental, sobresaliente percusión de Clive Barker y Anderson tocando la balalaika y la mandolina. También sobresale “Bouree”, instrumental con base en una pieza de Johan Sebastian Bach en la que Anderson muestra su virtuosismo con la flauta, destacando también la participación de Glen Cornick en el bajo.
AlohaCriticón

Con el control absoluto de la banda por parte de Anderson por primera vez, éste agregará elementos del folk celta y de música clásica y comenzarían a desasparecer los elementos bluseros, empezando a obtener la verdadera identidad de la banda.
El álbum llegó al primer puesto en las listas británicas y en él se incluyen algunos de los temas más famosos del grupo, como "Bourée" y "Fat Man". Todas las canciones fueron escritas por Ian Anderson (como sucedería en los posteriores álbums de la banda), excepto "Bourée" que es una composición de Johann Sebastian Bach con arreglos de la banda.

La música, sin lugar a dudas es una celebración, resalta en su propio leguaje lo más trascendente de cada momento y es así como se realiza dicha celebración. En 1969 la música jugo uno de los papeles mas importantes en cuanto al progreso social, de tal manera que cumpliendo plenamente su papel de celebrar logro que dicha época trascendiera hasta nuestros días.
En Inglaterra, Jethro Tull, compuesto por Ian Anderson (Voz, flauta, guitarra), Martin Barre (Guitarra eléctrica), Glen Cornick (Bajo) y Cliv Bunker (batería) continuaba construyendo su historia dentro de la música, y en ese mismo año, lanzó su segundo álbum nombrado stand up, uno de los álbumes mas icónicos para el rock de ese entonces.
Si bien podríamos descomponer a stand up en sus partes individuales y analizarlas de manera científica, comparando estilos y sonidos con los de otras piezas musicales, seria mas apropiado dar un recorrido por cada momento celebre de este álbum.
Como se menciono antes, en el 69 se vivía un tiempo que seria recordado por siempre, exploradores de la música se abrían paso entre la maleza del prejuicio, y Jethro tull, para eso utilizaba un arma que después seria adoptada por muchos, por eso inicia el álbum con “a new day yestreday” donde el bajo introduce lentamente al oyente a caminar al mismo ritmo que ellos por lo desconocido, con un sonido apegado al blues por la harmónica y la guitarra, y dandole el toque Anderson con la flauta transversal, así se camina sobre estand up, conociendo nuevos paisajes sonoros, hasta toparnos con Bouree, una pieza compuesta por el genio J. S. Bach pero adoptada por la banda e interpretada a flauta sobre una línea de bajo tremenda en estilo jazz, que sin embargo nos remonta a un tiempo medieval mientras Cornik recrea un solo en su instrumento. Pero a pesar de toda esta magia, “Nada es fácil” y eso se nos recuerda en el tema nombrado del mismo modo en ingles, nothing is easy, sin duda recordado y considerado uno de los mejores dentro del álbum, en esa canción cada músico posee un momento para si mismo, donde dejan su firma y si escuchamos con atención hasta hoy, se puede notar lo que esa banda estaba dispuesta a hacer por su música. We used to Know ha sido controversial por algún tiempo, pues algunos dicen que de esa canción se basó la banda norteamericana the eagles, para crear lo que seria su canción mas famosa, Barre con su guitarra nos recuerda que los solos de guitarra dentro del rock son lo mas importante y apreciable, el corazón de este.
Por ultimo "For a Thousand Mothers" que se convirtió en el tema que la banda interpretaría cada que su publico le gritara “otra, otra, otra”.
El álbum también posee temas acústicos, que no siendo menos importantes que los ya mencionados, nos dejan ver que Ian Anderson era un virtuoso en la guitarra, a pesar de que como el mismo lo dice: “yo escuchaba a Clapton y a Page y pensaba, jamás tocare como ellos, así que un día mientras caminaba pase por una tienda musical y decidí cambiar mi guitarra por ese artefacto metálico que colgaba de la pared, una flauta”, y así comenzó Jethro Tull.
Balam Latinoamerica

"Stand Up" es uno de los grandes y mejores trabajos de Jethro Tull, contiene logros musicales excepcionales. Aquí, en palabras del propio Anderson, confluyen las influencias de juventud del flautista como el jazz, el blues, la música clásica, el folk e incluso influencias étnicas.
Señeros, les dejo un gran disco, y no hacen falta más palabras.

A lo largo de los años mis preferencias en cuanto a discos de Jethro Tull han ido cambiando, hoy por hoy y después de multitud de escuchas, si me tengo que quedar únicamente con un solo álbum, me quedo con “Stand Up”. Quizás el disco de Jethro Tull sin un solo segundo para desperdiciar.
La llegada de Martin Barre para la banda supuso una bendición, abandonaron los trillados caminos del blues rock para comenzar un proyecto que a la larga se consolidó como uno de los más interesantes de la historia del rock. Jethro Tull es por derecho propio una banda inmortal que ha atravesado diversas etapas con mayor o menor éxito.
En “Stand Up” el grupo aun no se ha convertido a la “religión progresiva” del todo pero va camino. Un trabajo seminal y que tuvo una influencia enorme en bandas posteriores, ciertamente es el disco donde se clarifica un estilo propio y novedoso nunca antes visto. Las mezclas de folk, música clásica, hard rock y blues rock alcanzan en este disco cotas elevadísimas. La adaptación de la pieza de Bach es un clásico inmediato y sería imposible destacar una canción sobre otra entre el resto. Definitivamente un disco que es un hito en el Rock.
Perello



Y si quieren más, acá van algunos comentarios en inglés...

The group's second album, with Ian Anderson (vocals, flute, acoustic guitars, keyboards, balalaika), Martin Barre (electric guitar, flute), Clive Bunker (drums), and Glenn Cornick (bass), solidified their sound. There are still elements of blues present in their music, but except for the opening track, "A New Day Yesterday," it is far more muted than on their first album -- new lead guitarist Martin Barre had few of the blues stylings that characterized Mick Abrahams' playing. Rather, the influence of English folk music manifests itself on several cuts, including "Jeffrey Goes to Leicester Square" and "Look into the Sun." The instrumental "Bouree," which could've passed for an early Blood, Sweat & Tears track, became a favorite concert number, with an excellent solo bit featuring Cornick's bass, although at this point Anderson's flute playing on-stage needed a lot of work. As a story-song with opaque lyrics, jarring tempo changes, and loud electric passages juxtaposed with soft acoustic-textured sections, "Back to the Family" is an early forerunner to Thick as a Brick. Similarly, "Reasons for Waiting," with its mix of closely miked acoustic guitar and string orchestra, all hung around a hauntingly beautiful folk-based melody, pointed in the direction of that conceptual piece and its follow-up, A Passion Play. The only major flaw in this album is the mix, which divides the electric and acoustic instruments and fails to find a solid center, but even that has been fixed on recent CD editions. The original LP had a gatefold jacket that included a pop-up representation of the band that has been lost on all subsequent CD versions, except for the Mobile Fidelity audiophile release. In late 2001, Stand Up was re-released in a remastered edition with bonus tracks that boasted seriously improved sound. Anderson's singing comes off richer throughout, and the electric guitars on "Look into the Sun" are very well-delineated in the mix, without any loss in the lyricism of the acoustic backing; the rhythm section on "Nothing Is Easy" has more presence, Bunker's drums and hi-hat playing sounding much closer and sharper; the mandolin on "Fat Man" is practically in your lap; you can hear the action on the acoustic guitar on "Reasons for Waiting," even in the orchestrated passages; and the band sounds like it's in the room with you pounding away on "For a Thousand Mothers." Among the bonus tracks, recorded at around the same time, "Living in the Past," "Driving Song," and "Sweet Dreams" all have a richness and resonance that was implied but never heard before.
Bruce Eder

Through it’s not their first album — that would be ‘This Was,’ from the year before — ‘Stand Up’ represents the moment when Jethro Tull was born. Released on Aug. 1, 1969, this project found Ian Anderson molding the band’s sound to reflect his personal, highly original and idiosyncratic musical vision.
Before, Anderson had collaborated more extensively with now-departed guitarist Mick Abrahams on ‘This Was,’ and even had a brief partnership with Black Sabbath guitarist Tony Iommi, in early ’69. As Anderson began to fully assert his leadership, however, Jethro Tull headed down the path towards progressive rock greatness.
Indeed, a single listen to ‘Stand Up’ is enough to marvel at its confident eclecticism, one that saw Anderson taking inspiration from numerous sources: Led Zeppelin for the post-blues heavy rock riff-crunch of ‘A New Day Yesterday,’ ‘Nothing is Easy’ and ‘For a Thousand Mothers’; Roy Harper for the eccentric folk stylings of ‘Look into the Sun’ and ‘Fat Man’; and everything at once on ‘Back to the Family’ and ‘We Used to Know.’ Elsewhere, there were even more exotic experiments in classical (the beautifully scored ‘Reasons for Waiting’; Bach’s rearranged ‘Bouree’) and world music (see ‘Jeffrey Goes to Leicester Square,’ where Anderson plays a Russian ‘Balalaika’).
New guitarist Martin Barre, who’d eventually become the only consistent member of Jethro Tull’s ever-evolving lineups over the years, joined a standing rhythm section of Glenn Cornick and Clive Bunker in creating this whirlwind of sound. Through it all, the only consistent threads were Anderson’s quirky, elliptical lyrics, distinctive vocal affectations (worlds away from his tentative croon on ‘This Was’) and, of course, his ever-more present flute — which soon became a signature part of the Jethro Tull legend.
Fans responded, sending Jethro Tull to the top of the U.K.’s album charts for the first time. ‘Stand Up’ also reached the American Top 20, signalling a new era of creativity and success. Seven straight Tull albums, beginning with this one, would reach at least gold-selling status in the U.S.
Read More: 45 Years Ago: Jethro Tull Comes Into Its Own with 'Stand Up' | http://ultimateclassicrock.com/jethro-tull-stand-up/?trackback=tsmclip
Eduardo Rivadavia

Now, I own the extended addition of this album (with the singles), so I shall only review the main part of the album. I really love Jethro Tull, and this album officially made them into my top 5 bands, and with good reason.
"A New Day Yesterday" has a jazzy, blues-rock feel, but, for me, is one of the low lights. It is a fine song in all. In "Jeffrey Goes to Leicester Square" , I find the feel a bit funny, but I really enjoy it. "Bouree" is amazing, and you can see that Ian is quite a show man, judging by his noises in the background before he plays flute, and considering his live concerts. "Back to the Family" is the other low light, and is just a bit better then "A New Day Yesterday". "Look Into the Sun" I absolutly love, and is one of the best on the album.
"Nothing is Easy" is awesome, and the music really flows with the singing. "Fat Man" is hilarious, and automatically is one of my favortie Jethro Tull songs. "We Used to Know" seems like "Look Into the Sun" at first, but turns into an cool rock song. "Reason for Waiting", as BinokularWest said, is 'absolutly gorgeous'. Lastly, "For a Thousand Mothers" is a great song with some confusing lyrics that I enjoy.
"Stand Up" is a must-have for fans of Jethro Tull.
CW553

Not as renowned as Aqualung or Songs From The Wood or whatever, but who cares? It’s better.
*Best Album*
Gentle reader, please be kind if my style feels a bit rusty and my prose a bit forced. For, you see, it has been a good seven months since I last wrote a review—scratch that, a GREAT seven months. Clichés. Expect to see them in abundance in the following paragraphs, ‘cos they’re all I got. I won’t go into the details of my absence, but I will divulge that it included a hard drive malfunction, my return to the ever-prestigious University Of Oregon School Of Music, and a handful of overeager wildebeests wielding some overzealous McFlurry machines [citation needed] (product placement?).
So, what do we have here again? Oh yes, Stand Up. Kickass album. Class. END OF REVIEW.
lol jk. But seriously. I do love this album pretty darn dearly. To be honest, though, it took me many a month and many a fried brain cell to determine precisely whether I my preference lie with Stand Up or the equally awe-inspiring Thick As A Brick. On one hand, Brick definitely made a greater immediate impact on me. I was struck by how seamlessly Ian managed to string so many different pieces of music into one cohesive 45-minute work. I mean, I’ve tried my hand at composing multi-part suites (Shostakovich makes me want to become Russian and write a satirical Soviet symphony), and it is no simple feat. That takes talent—something Mr. Anderson had in spades in the early ears of the Tull.
So yeah, Stand Up certainly isn’t as technically impressive as Thick As A Brick—also seeing as the latter is fully-fledged prog rock while the former is, with all due respect, more or less just a souped up blues rock record. But on the other hand, I do concede that the second half of Brick does drag a bit. And meanwhile, Stand Up, though more conventional it may be, has an edge in consistency, and also boasts the plus of every song being simply great—it sounds easy enough a feat, but it, as well, is not.
Being caught between liking the two albums’ respective styles roughly equally, being impressed by the technical perfection and eloquence of Brick, but finding Stand Up a more consistent listen, I couldn’t quite bring myself to a decision for some time. Eventually I, for whatever reason, sided with Stand Up. I suppose part of my reasoning could be grounded in the fact that Stand Up had the good fortune of entering my life at a more amiable time than Thick. So personal bias may play a slight role, but even in its absence I advise taking my opinion with a grain of salt, as I could have just as easily chosen Thick As A Brick as my favorite (that ought to quell any potential hate mail. Just kidding, that would require someone to actually read my reviews).
In the interest of full disclosure, I should admit that I have absolutely no plan of attack for the purposes of this review. I’m just going to make it up as I go along. BECAUSE I LIKE TO LIVE ON THE EDGE, BABY. *wicked-ass guitar solo*
I should also note that I am eating a quesadilla as I write this, so should any textual anomalies occur, chalk it up to a viscous hybrid of cheese and salsahggggggggggggggghhhhhhhhhhhhhhhhhhhhhhhh
Fuck.
I like to consider both This Was and Stand Up as the two largely blues-based Tull albums (by Aqualung the band was fully immersed in progressive rock, while the in-between Benefit is highly transitional). So how, then, does Stand Up differ from This Was—and more importantly, what makes it so much better?
Well, for one, stronger songwriting. Aside from the input of one Mr. J.S. Bach (whom I hear was a big fan of Tull), all of the songwriting is taken care of by Ian. No more blues covers or gaffes like Cat’s Squirrel. And Mr. Ian must have taken a weeklong spiritual rebirth ceremony atop some high mountain (what mountains are there in England? Mount James Bond? I don’t know geography), because the quality of the writing has improved tenfold. Every single song here is just on, and the result is magnificent.
[Editor’s note: yes, I know who Bach is. Goddamn.]
Furthermore, whereas This Was was largely a smorgasbord spattering of different styles (blues, rock, folk, baroque), its follow-up here blends them all into some wonderful new style unlike anything else I’ve ever heard. Blurofolroque? No? I’ll get back to you on a title.
As for the blues, in its purest form is it nowhere to be found on Stand Up, for it has been effectively assimilated into the other styles (OBEY), giving us a sampling of wonderful blues rock tracks. I suppose the closest thing we get to pure blues here is the album opener, A New Day Yesterday (perhaps so as to give us a slight taste of the past?). Oh, I do love this one. Tasty distorted 12/8 guitar riff, and Ian’s soulful vocal delivery, paying homage to the great blueswailers of the past. Hell, Ian could have made one himself. Then we’ve got Back To The Family, another personal favorite of mine, with Ian detailing a constant lack of satisfaction with both city life and a quieter home life—a sentiment I think a lot of people can certainly share. While the lyrics are aces, I just love the music: the cool, crisp guitar riff opening the song and each chorus, the guitar riffing underlying the bluesy vocal melody, and the contrast between the laid-back verses and pissed-off choruses. Oh man. Then there’s the rollicking and solo-filled Nothing Is Easy—not one of my personal favorites, but still great nonetheless and WHAT THE HELL ISN’T IT EVER GOING TO END THE ENDING JUST KEEPS ON GOING WHAT IS THIS IS THIS THE REAL LIFE. And towards the end we get the closing For A Thousand Mothers—admittedly my least favorite song, as there’s just a bit too much guitar wailing and not enough melody—and the moody, semi-melancholic rocker-ballad hybrid We Used To Know, famously borrowed by the Eagles for Hotel California (“hey man, I’ve had a long night and I hate the fuckin’ Eagles!”). Dig them psychedelic guitar solos, man. Great stuff.
But we’ve also got two of Ian’s most breathtakingly gorgeous ballads here: the acoustic guitar and strings-driven Reasons For Waiting and, my favorite of the two, and perhaps my favorite on the entire album, the piano-driven Look Into The Sun. I’ve seldom heard the regrets and doubts and nostalgia of life so eloquently and effectively expressed in a song as done in Look Into The Sun. Not that I purport to know that much about life regret—I’m only a few weeks away from 20—but still, what a song. I particularly love those little bluesy electric licks lining the verses and concluding each chorus.
Oh fuck, I completely forgot. So yeah, Mick Abrahams quit right after This Was and was replaced by none other than Tony Iommi. Yes, that Tony Iommi. He stuck around only briefly and was promptly replaced by Martin Barre for Stand Up, but still, interesting factoid. How could I forget that? See, that’s what happens when you go seven months without writing.
And then we’ve got a few oddball tracks here. Not in a bad way, actually; these tracks are among my favorites. If eccentric psychedelia ye liketh, then proceedeth ye toeth Jeffrey Goes To Leicester Square (next in our fabulous series “Songs About Jeffreys By Jethro Tull”). It’s short and unassuming, but it’s a great deal of quirky fun. Or check out the band’s nod to the growing influence of Indian motifs in Western music, Fat Man. It admittedly took me a while to get into, but I got there. The main riff is actually rather blues-influenced, the instrumentation is groovy and the lyrics are a quite humorous take on obsession with physical appearance. Awesome.
And then there’s Bouree, a famous jazzy/bluesy rendition of Bach’s Bourrée in E minor (man, what is the deal with rock musicians only ever taking cues from Bach?). This is one coooooool piece of music. Multi-movement, prefacing the band’s later turnings toward prog rock, a great showcase of both bass and Mr. Anderson’s flute prowess (foreshadow!), and overall just a great deal of fun. Words can’t really do the piece justice, so I’ll simply advise you to check it out on your own, if you haven’t already. Hell, buy the whole album, if only for that one song. Stuff like Aqualung might be more renowned, regarded or more “classic,” but I dunno, those later albums seem a bit more filler-laden to me, nor do they have the vigor, freshness and excitement of this, their second outing. That’s enough to convince me.
[Note: if at all possible, try to pick up the remastered edition of the album. It comes with four bonus tracks, one of which is possibly my favorite Tull song ever, Living In The Past. If only they had put it on the album, it’d be even that much better.]
Kid_Charlemagne

Massive progress from This Was. JT move towards hard rock with a really raw guitar sound. I love it. Still lyrically naive this album has a huge charm. It's only when the hard rock level drops that the album loses out. Excellent. I absolutely love the raw but clear production and simple use of stereo! I so want to give this 5 stars because most 1960's music to me has the quality of caveman music , but this is so far above that. The exceptions though are too bad to make this a 5 star album, "Jeffrey Goes to Leicester Square" is even worse than the title. "Fat Man" is an awful stupid number the band still insist on playing often.
"A New Day YesterdaY' is heavier in a hard rock sense than most people ever thought Tull could be. "Bouree" the Bach instrumental I've heard too many times to love, when I first heard it I did. "Back to the Family", "For a Thousand Mothers" are lyrically naive explorations of growing up and the Anderson sneer is invented here. The sort of thing to horrify your parents if you were a teen in 1969. (I was too young!)
"We Used to Know" aka "Hotel California" prototype. Just listen to the 2 songs back to back and to be kind there is at least subliminal influence as the tempo' timechanges, guitar technique, placement in the latter is virtually identical. Three differences; "we used to know" is original, came first, and is better with Martin Barre's guitar on this one being out of this world.
So a major album if not in chart terms has sold steadily over years and launched Tull forward. Had they stayed in the style of the previous album they would have drifted to total cult obscurity. (Blodwyn Pig like!)
hawkfanatic

This ranks up there with alot of near perfect albums that really don't get talked about alot in magazines or shows about great albums but it should.
I remember the first time hearing this whole album on vinyl at a friends house and it just blew my mind and this was back in 2002 not 1969. This just shows you how great the songs are and the guitar playing is on this, the fact that it still rocks yet has a really melodic soft side says something. I think this needed maybe another couple of harder rockin tracks to make it just picture perfect though.
Choice cuts off this to me would have to be the album opener "A New Day Yesterday" one of my favorites to play on my bass and sing along to. The next few would have to be Look Into the sun,Nothing Is Easy,Reasons for waiting and for a thousand Mothers.
My only complaints would have to be with stuff like Jeffrey goes to Leicester Square and fat man would have worked a tiny bit better with a harder guitar part along with the folky sound.
The great instrumental "Bouree" is a great relaxing sunday instrumental to listen to, while sipping tea and relaxing after a long week at work. The last ballad on the album "Reasons For Waiting" is perfect to play for a young lady in hopes of showing her your sensative side.
It may not be the most heavy or talked about tull album but its certainly among their best and if someone only has this and says the rest of the Tull albums weren't for them I could totally understand that.
BenBassPlayer84

Otro discazo infaltable en el blog cabezón, y agradezcan a Carlos que los quiere mucho... Está demás decirles que este disco está super recontra recomendado, no?





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