This is really a great album.Capturing the total absurdity of playing for half a million people on a farm in upstate New York, guitarist and lead singer Alvin Lee of Ten Years After announced the final song in the band’s Woodstock set this way: “This is a thing called “I’m Going Home”…by helicopter.”Ĭelebrating the 50th anniversary of the Woodstock festival, August 1969–2019 Day Three, Performer 3: Ten Years After In spite of this complaint, this is one of the four must have albums for Ten Years After fans, the other three are Cricklewood Green, A Space in Time and SSSH. Cricklewood Green worked so well not because of the diversity of the songs but because of very little rockabilly type songs overwhelming a creative rock effort, the same can be said of A Space in Time. This could have been Ten Years After finest album if they would have skipped including Sweet Little Sixteen from this album and added another jazz based song. Since there are only two or three rockabilly flavored blues based numbers on this album they can be tolerated since the jazz/blues numbers are so great. The blues based numbers are less to my liking and for blues/rockabilly material SSSH has far better songs. The jazz influenced numbers are among their best songs ever.
I love Cricklewood Green and it is probably their best album.
Watt is among the best of Ten Years After albums. In short, if you want to know something on TYA, Watt has to be the choice. I only admit that the closing Sweet Little Sixteen has been performed much better by other bands (and TYA themselves could play R'N'R classics far better indeed), but it does not hamper the overall feeling from listening to the album.
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Watt is the real achievement, the true result of previous learning how to play the blues. The value of Watt is probably in its very specific sound that has brought together divergent inspirations, from hard-rock to jazz. Just listen to the brief shift into a fantastic jazzy improvisation, years before the climax of the jazz-rock era. Maybe some R&B purists will not like it, but Watt heralds the great change from the music of the sixties to the actual modern rock sound of the seventies (what a progress if you compare it to their somewhat plain R&B debut some 3 years before). Alvin's guitar solos are at his best: more "homogenous" with more self-control, with greater than ever melodic invention. The totally happy tune, She Lies In the Morning, is really great (maybe adding some genuine British /Liverpool?/ inspiration to the mixture). The album has an extremely unique atmosphere (yes, also tired in a way, maybe frustrated, but also full of tenderness and love in Alvin's voice and music as well, straight from the heart, subdued lights mandatory), which is only partially captured on other TYA albums (e.g. I still feel the smell of the parties of the seventies in Prague, dancing with a gal to Think About the Times. It's probably my most frequently played album at all, still after those 30 years. This is truly an underrated album, and everyone must find a way to hear it.ĭefinitely TYA's masterpiece.
You'll probably fall in love with that melody the first time you hear it- it's extremely catchy. "She Lies in the Morning" is absolutely fascinating as far as highly enjoyable vocals is concerned. "Gonna Run" reminds me of Canned Heat a little bit, and I LOVE that song. It was a winning formula for the band during the early 70's, but the results are REALLY satisfying to me on Watt. Quality blues rock, but not necessarily the typical kind of blues rock most people immediately think of- Ten Years After liked to create blues rock in a way where the songs feel more like pop songs, but with a little bit of jamming thrown in for good measure. Something about this particular set of songs is really really good to me. What makes the music on the album so special to me? Well, I've heard Cricklewood Green, but the songwriting on that album isn't quite as high as it is here. WOW, talk about underrated- that pretty much sums up my feelings with the lost album by Ten Years After called Watts.
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