Description "LOOK INTO THE SUN"  (Ian Anderson,1968)     Took a sad song of one sweet evening,   I smiled and quickly turned away.   It's not easy singing sad songs,   But still the easiest way I have to say.    So when you look into the sun,   And see the things we haven't done....   Oh, was it better then to run?   Than to spend the summer crying,   Now summer cannot come anyway.   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.     So when you look into the sun,   Look for the pleasures nearly won.   Or was it better then to run?   Than to spend the summer singing   And summer could have come in a day.     So if you hear my sad song singing,   Remember who and what you nearly had.   It's not easy singing sad songs,   When you can sing the song to make me glad.   So when you look into the sun,   And see the words you could have sung....   It's not too late, only begun,   We can still make summer.   Yes, summer always comes anyway.     So when you look into the sun,   And see the words you could have sung....   It's not too late, only begun.   Look into the sun. JETHRO TULL: "Stand Up" LP. VERY FIRST UK PRESSING ON THE FIRST PINK ISLAND LABEL, WITH AN OVAL   ENTWINED ORANGE & BLACK, ISLAND RECORDS LOGO.  ISSUED 1st AUGUST, 1969 IN STEREO ONLY.   Before I get into the pressing details, this is the most unique album I have seen that had positively concrete evidence of never   being played without inspecting the record or labels.  A status normally reserved for sealed shrink wrapped covers, this 1970   "Stand Up" was part of a collection of Mint records I have been listing on ebay since before Christmas.  Two days ago I listed a   Mint 1971 pressing of the Faces' "Long Player album, the back cover has an original 1971 UK record shop sticker on, not the usual   price sticker, the store's name and location.  A  purpose designed, oblong red and white sticker, "Cowlings - Leicester" stickers   are still on many 1960's and 1970's covers. Their policy was to put their sticker on the back cover of every record sold, but this   time one of their stickers served another purpose, it was stuck over the top opening edges of an original late 1970 blue Island   inner sleeve, in effect, sealing the record inside.  As this happened in the record shop itself and only 'Cowlings' in Leicester   had access to a brand new sticker in 1970, when buying the collection I was intrigued to see the cover was obviously unused   and the inner sleeve had never been opened, due to the "Cowlings - Leicester" sticker making it impossible to remove the record.   I told the guy I was happy to buy the album as it was but he really wanted to make sure it was the correct record in the cover,   so he tore the middle of the unaged, untouched sticker and for the first time in 47 years, there was an untouched, unplayed,   gleaming, true mint, EMI first pressing of  "Stand Up."  A lovely and true story, both sides of the blue Island sleeve with the   still attached but parted 'Cowlings' sticker, can be seen in my pictures. The only thing we could not work out, was the actual   reason for the inner sleeve having the sticker blocking the removal of the record in late 1970, I can think of many scenario's   but all that matters is an unplayed record, I need to fit this very first EMI pressing on the late 1970 pink rim Island label,   into the overall pressing sequence, 1969 - 1970, after that "Stand Up" was next pressed on the green Chrysalis label. The gatefold   cover itself is from 1969, the Island logo is the orange and black design and not the following 'i' logo pink labels, the time   period between the trio of pink Island labels and this first pink rim pressing, was only one year!  Yet during that one year,   Island had issued  "Stand Up" on no less than four different label designs!   SIDE 1 "A New Day Yesterday" "Jeffrey Goes To Leicester Square" "Bourée" (Bach - arranged by Jethro Tull)* "Back To The Family" "Look Into The Sun" SIDE 2 "Nothing Is Easy" "Fat Man" "We Used To Know" "Reasons For Waiting" "For A Thousand Mothers" Ian Anderson -  vocals, flute, acoustic guitar, Hammond organ, piano, balalaika & mouth organ Martin Barre - electric guitar & flute Glenn Cornick - bass guitar   Clive Bunker - drums & percussion All Songs Written By Ian Anderson Except "Bourée"*.   Recorded April 1969 At Morgan Studios, London. Strings Arranged & Conducted By David Palmer.   Engineered & Mixed By Andy Johns.   Produced By Ian Anderson and Terry Ellis. I deliberately detailed all the pressing info above because I really want to concentrate on the music from here on, as explained,   a huge selling album, but for any of the 1969 - 1970, be it 48 or 47 years of age, time and the constant use has really taken a   large toll on both the covers and the records. "Stand Up" virtually financed Island label's non selling artist's records in that   era, certainly 'holding the fort' until the cavalry arrived in the shape of the combination of Fairport Convention & King Crimson to boost the coffers, another massive selling album in 1969 - 1970 was of course "In The Court Of The Crimson King." Traffic had helped establish Island from 1967 and it was unusual just now to detail how long one of Island's albums held a chart position, after Jethro Tull's brilliant debut "This Was" LP reached No.10 in the British charts in 1968, really great things were expected   from their follow up album... and did they deliver!  No forgetting how their "Living In The Past" single made  No.3 in May,1969   either, so successful, it has become thought of as their debut Island 45 today, but that was "A Song For Jeffrey" & "Love Story" the second single issued in the same 1968.    Jethro Tull were formed on the crest of the UK late 60's blues wave, Jethro Tull were signed to Island under a leasing deal made   with Chrysalis Records, every original Island cover and record label will have both record company logo's.  From their brilliant debut "This Was" released in November, 1968, in two years on Island, Jethro Tull were one of their most successful artists.  Just one personnel change involved original lead guitarist Mick Abrahams, he clashed with Ian Anderson because he wanted to continue with the blues direction of "This Was", Ian Anderson's songwriting was becoming so prolific he could no long be restricted to that.   The true greatness of "Stand Up" was because Ian did 'stand up' and from here his music direction would never again be questioned by the band, producing the most unique sequence of albums ever recorded for Ian's lyrics and music.  With all due respect to Mick   Abrahams, the replacement guitarist Martin Barre remained with the band indefinitely, he was perfectly suited to Ian Anderson's   quest for reaching out for innovative new sounds that would lead to whole concept albums over the coming years.   In May, 1969,   Martin recorded his first track with Jethro Tull,  there was not a radical difference to their original sound for "Living In The Past,"   a huge single, by making No.3 Jethro Tull appeared on our TV's for the first time.  Jethro Tull bedded in Barre during that summer and their live performances made them favourites at that year's festivals, the loss of Mick Abrahams included his songwriting but   Ian Anderson was now in full inspirational composing form.  They began recording this album as early as April in Island's Morgan    Studios, with Island's Andy Johns engineering and the production, it was jointly handled by Terry Ellis & Ian Anderson. This time   Ian wrote every track for "Stand Up", the only exception was the Bach composition "Bouree," all the band were credited for the   arrangement.  Unlike the far more blues oriented "This Was" LP, "Stand Up" featured their first ever use of orchestration for the track, "Reasons For Waiting." The strings were arranged by David Palmer who arranged the brass in 1968 on the "This Was" album.   The resulting album was a genuine masterpiece, now widely regarded as not just Jethro Tull's finest ever album, but also one of   the late 1960's greatest recording.  Yes, I am biased to "Stand Up", but that bias demands the finest condition cover, record and   even the original inner sleeve.  Such happy memories of personally experiencing buying Island's pink label records right from   the formation in 1967, when label re-designs came fast and furious... because they could and were, that experience meant easily   understanding events in era of constant change. I have fully detailed where the very first 1969 pink Island label evolved in four   stages, to precisely place where this rare unplayed record fits into the 1969 - 1970 scheme. I often use "Stand Up" to illustrate   how the four pink label logo's were so closely connected, it always feel strange to finally explain it for the Jethro Tull album   that holds all of the necessary clues to understanding Island labels from the late 60's to the dawn of the 1970's decade.  Even   the Beatles never had an album that underwent three label designs in only 12 weeks, but that was still not the end of evolving into the stability of the final 1970 design, that would remain unchanged for five years.  What a remarkable story on reflection!   "Stand Up"appeared on all three of those pink labels within the few weeks, then it didn't stop there because in November, 1970   it was pressed for the first pink rim or palm tree, before reverting to a Chrysalis only album.  The most important and hardest     part of all is to find 48- 47 year old records playing condition, and the 1969 pop-up cover in respectable condition, in this case,   the seemingly 'highly unlikely' has miraculously been proved to be possible. So, the first ever play of an EMI mastered and pressed very first pressing on the final pink associated Island label, I know this   pressing very wekk because I have this very pressing myself.  The sheer power allowed the bottom end to impact with a colossal   and overwhelming effect, the bass never sounded better and I can't wait to hear this record.  No doubt an absolute minimum of   natural static during the music or the track gaps, allowing the quietest tracks to be fully enjoyed.  Anyone not agreeing about a   'first pressing', please study EMI's stamping and if you have yet to hear this amazing pressing, take a listen to the potency EMI   gave to the Master Tapes.  Abbey Road Studio had recently harnessed the massive sounds developed in the psychedelic era   of the just passed late 1960's decade, with the Beatles and Pink Floyd innovating sensation sounds and music, why not the same   deluxe approach for Jethro Tull?  Musically the main features of "Stand Up" as a truly great album, is the wealth of outstanding    songs and they offer a fantastic variety of music. Side 1 has near silent run-in grooves,'near' signifies vinyl's natural static in the grooves nearest the outside rim, then total   silence when the actual music begins.  So magnificent audio clarity and perfectly clean sound quality for the superb intro to   "A New Day Yesterday," heard with all the amazing power and impact of an Island Records / EMI, very first pressing ever made!   The audio definition is just stunning, sharp edged detail on every note played and sung and precisely as I know exists and why I   demand that for "Stand Up".  A fantastic sounding record, Glen Cornick's bass just booms out with an astonishing power but also   as crystal clear sound. The song is extremely close to the more blues flavoured "This Was,"with Ian Anderson's flute a vital part   of Jethro Tull's unique sound and music.  The amazing true stereo mix gives a wonderful balance to the instruments and vocals,   the actual panning has sound movement effects typical of the late 60's psychedelic era, above all else, the sheer clarity of the   music itself creates an additional emphasis.  As I just said before, any ultra faint natural static is at an absolute minimum and   as much as I am prepared to be unnecessarily critical of any record, any trivial static during the whole record, is precisely how the 1969 - 1970 Island pressings sounded.  I will stress how trivial that is in reality, and for such a loved album, that is really my way of saying how perfect the sound is!   Finishing into a near silent gap says it all, a clean, clear intro for the sublime "Jeffrey Goes To Leicester Square," I do find it absurd having to say a record sounds... like a record, the true sounds of the music and mix from a Mint 1969 first pressing, is a listening experience second to none.  Here is some of the true stereo mix and panning from a sensational sounding first pressing, a real pleasure to detail from such amazing clarity.  From the right speaker, Michael Barre's electric lead guitar plays the track's main riff,  the left speaker sparks into life with Clive Bunker's percussion and Glenn Cornick's bass guitar, followed by Ian Anderson's incredible vocal from the left.  1960's stereo separation   is so total, turning the speaker's balance to cut out the right channel reveals just the slightest 'bleed' from the vocals, Ian's   voice is entirely panned from the left channel.  You might well wonder why this is a part of my descriptions, apart from my own   personal fascination how these amazing albums were first recorded and mixed, I believe that is the only way to positively make   statements, after all you can only compare any pressing or mastering variations to the first / original mix.   That perfectly defines    exactly what is unique to the 1969 pressings, the sound itself!  Which is also the definition of first pressings, mono becomes   much easier to describe in that context because there are not the individual parts of a track in separated channels.  The sheer   power of the first / original pressing impacts and on this perfect clarity, it turns the clock back to the sound I grew to know and   and love in 1969.  A stereo mix also keeps me on my toes when sound grading!  The impulse to lean back and just listen without   all the tedious typing is a temptation I daily battle with for these loved records.  I cannot write that amount for every track and no   need to further illustrate the panning effects, another stunning sounding song finishing into a near enough silent gap, with the   lowest possible static during the flute only intro to "Bouree," I do not mean crackles or clicks, just faint natural vinyl sound.    Bach's composition was given a special arrangement to create a truly great instrumental, with Jethro Tull inspiredly performing   the lovely melody.  When the music drops back to leave just Glen Cornick's beautiful bass lines and light percussion, then just   the bass, this unworn outstanding pressing has remarkably little static, to my ears next to nothing. The last flute note and the   percussion finish into a completely silent gap, allowing a problem free ultra clean intro to "Back To The Family".   The intro is   softly played, then only a few taps on the hi-hats,razor sharp edge sound confirm unworn grooves and the music signals are at   their original 1969 fullest strength. Ian Anderson's vocals are just awesome, beginning very demurely before turning on his full   power for the last verse, the whole band now shift the emphasis to blues for an inspired finish,simply incredible musicianship,   particularly from Michael Barre. The last track on this side begins from a completely silent gap, so the perfectly clean acoustic    guitar plays entirely panned entirely on the right.  This is rarely found on the intro to "Look Into The Sun" and the reason I have   waited for ten years to list "Stand Up", in fact, the entire length of the track is a clean and clear of any vinyl sounds...as a CD!   A strong statement but as a much loved Jethro Tull song and performance, I would not say that lightly, featuring that great   blend of acoustic and electric guitars, the sensational original 60's stereo mix pans the acoustic guitar from the right channel,    the electric guitar fires out from the left speaker with the the piano. Ian Anderson's brilliant vocal has a lovely dreamy floaty   feel, moving freely between both speakers.  A melody of the deepest beauty, perfect to play in the heart of winter, with warnings   about safety with the forecast & arrival of heavy snow and sub zero freezing temperatures from the Arctic, it's rather pleasant   hearing Ian singing about the 'warmth of the summer'!  The full lyrics are at the top of the page, the sound quality is nothing   less than stunning, the rarity of "Look Into The Sun" without irritating wear inflicted noise, is enormous.   Handling Mint records has always been as natural as breathing, fingertips on the outside edges only is how to turn singles and   albums over, then precisely align the spindle hole to the spindle and I always manually lower the stylus to prevent 'skidding.'   Never rely on the auto mechanism because the 'landing' can catch the outside ridge and skid across the surface, I never release   the cartridge, a gentle but firm grip until the stylus is comfortably into the initial grooves, now to put that into practice.   Side 2 starts from exceptionally quiet run-in grooves before "Nothing Is Easy," faint static only, a quiet and faded down intro   on first pressings, then the volume increases just before the vocals begin, suddenly the track explodes into awesome power as Anderson and Barre trade licks on their respective instruments, a flute and an electric guitar.  All heard in crystal clear audio, the stereo mix is too amazing to ignore, the flute is panned left left with the drums, the bass and electric guitar from the right, nothing will remain static for the whole song, Clive Bunker's drums in particular have non-stop fluid movements between the speakers, a great effect.   A brilliantly sung Anderson vocal for such a beautiful melody, with all the band's instruments taking turns for a display of their musical ability, a fantastic blues guitar solo is my pick of the bunch.  A recording so amazing, you either hear them tightly together or a spacious sound & feel when the individual sections happen, hard to express, but I tried my best. The first gap is near silent, what a pressing this is, perfectly cleanly into "Fat Man," how great to hear a noiseless intro, the percussion is typically late 1960's bongo's, the tambourines and acoustic guitars etc. are in extremely sharp edged detailed audio, analogue sound at it's very finest.  Ian Anderson's vocal is sheer perfection, I guess you would call it folk music, if only for the acoustic instruments but this really reflects the era that inspired the album, because a touch of a psychedelic feel meets blues / jazz , the result is senses tingling music.  The immaculate sound quality on this acoustic track is again precisely as I anticipate for a first pressing, although I recognise and report almost inaudible natural static common to all records, that is equally true when I am hearing audio perfection, records are capable of this perfection and I am mighty proud to offer this one! The stark truth is records always varied from track to track, nobody took any notice back then, the music was all that mattered.   The bongo's and tambourine's gradually fade away naturally into a set of virtually silent linking grooves, now for my positively all time favourite Jethro Tull song from all the era's of their great  music, the magnificent, "We Used To Know".   From when I first heard this in 1969, it stood out as a key track on "Stand Up," first an acoustic guitar and Ian's vocals build up very slowly, the band come in and a lovely piece is played on the flute, then some really scorching electric blues guitar courtesy of Martin. The vocals from Ian Anderson are comparable with his very best, a fantastic song, I will never grow tired of hearing it and the stereo panning effects here is reason enough to only ever hear this album from the original pressings. In 1969 - 1970, we just thought it was normal to have four pink labels on Island singles and albums.  For example, in 1969, the same year as "Stand Up," I bought "In The Court Of The Crimson King" single before the album was released, the 45 was on the solid black block logo pink label but a few weeks later the album was on the first white 'i' labels, the same happened in 1969 to Free and Fairport's current singles and albums.  Anyway, I had better keep to the subject matter, the sheer power when the music reaches a volume peak, is massive, the audio clarity is simply awesome and I can't praise the sound quality  highly enough. The stunning blues guitar fades   away slowly at the finish, the gap is once again silent before "Reasons For Waiting" begins. The very gentle acoustic guitar and   flute intro is superbly clean, EMI's ability to produce such amazing quality records is the very reason Island's reputation is still so highly regarded around the world, even if this is 47 years old. The acoustic guitar dominates the melody even when the strings come in to swell out the track with really glorious sounds, they were of course given a subtle placement in a crafted   stereo mix.  As mentioned in my introduction, "Reasons For Waiting" became the first ever Tull recording to include orchestration and the  sound quality during this very special track, is as sharp as a knife, no static and the music itself is just stunning. Reluctantly I have reached the last last track, "For A Thousand Mothers," time has just flown past after becoming totally absorbed   in a record... once again!   Yet another of Ian Anderson's finest compositions, "For A Thousand Mothers" was ideally suited for placement at the end of a truly inspired album, by that I mean the last track is the one that stays with you long after the album has finished.  Bordering between a rock and  blues / jazz feel and sound, but this is so much more, because the band really rock out the album, the music is free flowing and performed at a really fast tempo.  There is a wonderful moment about two thirds into the track when they stop playing, as if they had finished.  For a few seconds there's silence and then the drums slowly begin to hit the infectious rhythm again, they all storm back in and the music now is completely improvised as they take it home with the force of a hurricane!   In those few seconds when they stopped before the reprise, was indeed silent and "For A Thousand Mothers" was thoroughly enjoyed in immaculate audio sharpness, an ultimate very first pressing record and an ultimate first edition cover! {Roy}     R & M RECORDS. My lifetime's love of music and records began at a very young age, the arrival of the Beatles and the 1960's decade   in general had a very profound effect. It was only natural to bring all my first hand experience of collecting vinyl   into becoming a professional record seller.  Nearly thirty years ago we entered into the wonderful atmosphere of record fairs with the highest possible standards set. When the Internet became the world's new market place for   vinyl, in 2001 it was time to join ebay. Those standards were rigidly adhered to as they will always continue to be, the basics of honesty and integrity were very much part of the era the music I love originated in, so here is our friendly and very efficient service we are proud to provide; EVERY RECORD IS FULLY PLAYED AND COMES WITH A 'NO ARGUMENT' MONEY BACK GUARANTEE.   I USE GOOD OLD COMMON SENSE AS WELL AS A GLOBALLY ACCEPTED GRADING TERMINOLOGY   FROM THE U.K. "RECORD COLLECTOR PRICE GUIDE" BOOK. THERE IT CLEARLY STATES "Sound Quality" AFFECTS EVERY GRADING LEVEL AND THAT IS THE ONE AND ONLY POSSIBLE WAY TO ACCURATELY GRADE RECORDS. i.e. COMBINING A STRICT VISUAL INSPECTION WITH VERY CLOSELY LISTENING TO EVERY SECOND, UNLESS PERHAPS IN THE CASE OF GENUINELY UNPLAYED VINYL.  EVEN THEN WE STILL TAKE FULL RESPONSIBILITY FOR A RECORD WHEN A CUSTOMER RECEIVES EITHER A SEALED OR AN UNPLAYED RECORD.     We take 100% responsibility after an item has been posted and offer our fullest support in the event of any problems. "There Are No Problems, Only Solutions" (John Lennon) MY DESCRIPTIONS WILL ALWAYS BE 100% HONEST AND TOTALLY ACCURATE ON ALL GRADINGS FROM 'V.G.' ( VERY GOOD), TO THE ULTIMATE 'MINT' CONDITION. ANY QUESTIONS ON OUR ITEMS ARE WELCOMED AND WILL BE PROMPTLY REPLIED TO.   WE ARE FULLY EXPERIENCED AT SHIPPING WORLDWIDE AND NO EFFORT IS SPARED TO PROTECT RECORDS AND COVERS ETC.  WE WELCOME BIDDERS FROM ANY COUNTRY IN THE WORLD. 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