Published on Jul 13, 2004
Jethro Tull is a band, damn it!
Sorry, I had to say that, as I once again recently had a
well-meaning fan say “Oh yeah, Jethro Tull, he’s cool!” He probably
thinks Pink Floyd is a cool guy too. It’s nice that you’re a fan,
but get it straight. The guy with the flute is
multi-instrumentalist extraordinaire and gentlemen farmer Ian
Anderson; Jethro Tull is the name of the band.
Jethro Tull emerged in the late sixties as a hard-edged blues
band, who could have easily gone the stylistic route of Cream, John
Mayall or the early Fleetwood Mac. Their debut
This Was is a textbook of British electric blues. As the
Summer Of Love was fading into our collective memories, these
bluesmen made a significant turn that probably helped make them the
world-renowned icon they are today. One reason for this turn was
the departure of original guitarist Mick Abrahams, whose hard-core
blues stylings help to form the sound that was the impetus for
Tull’s initial success. Replacing him was the amazingly talented
Martin Barre, who is still with Tull 35 years later. Barre’s
inclusion on
Stand Up would herald the seed that would make them known as
progressive rock’s folksy standard-bearer. Tull would make better
use of acoustic stringed instruments and woodwinds than just about
any other their peers during the 70s.
Along with Anderson and Barre, Glen Cornick (bass) and Clive
Bunker (percussion) made up Jethro Tull when
Stand Up was released in 1969. Barre is nowadays, legendary
among classic rock guitarists. Cornick and Bunker, are to this
reviewer, among the unsung heroes of rhythm in my book. During
their short stint together (Cornick would leave Tull 2 years later,
Bunker the year after that), they would lay down some of the most
solid rhythm you’ll ever hear. Note for note, I’d put these two up
against any rhythm section you want to throw down.
Along with the inclusion of Barre, Tull began a turn away from
the blues, towards a more folk-influenced sound. Also, they made
their first steps toward the influences of jazz and classical
music, most notably the spectacular “Bouree,” an improvisation
based on a Bach composition for lutes. Not that they abandoned
their roots altogether. “Nothing is Easy” retains more than a
nuance of the blues. The opening track “New Day Yesterday” is a
soulful blast of throaty blues delivered with power and gutty
intensity. “New Day Yesterday” is a classic, and one of the few
from this era, along with “Bouree,” that is still part of their
live show.
Their new musical direction is heard quite clearly on “Jeffrey
Goes To Leicester Square,” and also on “Fat Man,” which features
Anderson wailing away on a balalaika. The wistful “Reasons For
Waiting” is another standout track that showcase their turn towards
English folk stylings.
My favorite track from this disc is one you will never hear
alongside the Tull classics. “Back to the Family” features the
now-familiar juxtaposition of folksy acoustic ballad and
hard-driving rock that would become Tull’s trademark. With
suggestions of things to come, “Back To The Family” is reminiscent
of many of the best-known cuts that Tull would later create, most
notably “Thick As A Brick” and “Aqualung.”
All said, this is a great album, from a band that made A LOT of
great albums. Heralding a time of change and transformation, from
blues to quasi-folk-progressive rock. For a taste of things to
come, and close look at the music that would help transform an
obscure blues combo into one of classic rocks most recognizable
bands,
Stand Up is a treat for all Tull fans, from diehards to
neophytes.