11-07-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1988-1997

11-07-2021 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1988-1997 # Lazy Lester, Tinsley Ellis, Bob Dylan, Champion Jack Dupree, Stevie Ray Vaughan and Double Trouble, Lil' Ed & the Blues Imperials, B.B. King, Charlie Musselwhite, Jimmy Johnson, Thornetta Davis,  Tommy Castro

B L U E S    M U S I C

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1988-1997

 

Swamp blues vocalist and harp-man of the 1950s and '60s who earned an impressively long revival beginning in the 1980s.

Lazy Lester 

I'm a Man (Bo Diddley) 4:00

Alligator Shuffle(Leslie Johnson) 2:45

from Harp & Soul 1988 

After a lengthy hiatus from the music business, Lester was in the midst of his comeback when he waxed this album for Alligator. The overall sound is redolent of those Louisiana swamp blues classics, but with a cannily updated contemporary edge that works well.

A fiery guitarist and talented songwriter who plays a unique blend of Memphis R&B, southwest blues, and urban funk.

Tinsley Ellis 

I've Made Nights By Myself (Albert King) 2:36

Lucky Lou (Jody Williams) 3:21

from Georgia Blue 1988

A hard-rocking, high-voltage blues guitarist most often compared to Stevie Ray Vaughan, Tinsley Ellis is hardly one of the legions of imitators that comparison might imply. Schooled in a variety of Southern musical styles as evidenced by his 1988 Alligator debut Georgia Blue (a label he has been signed to three different times) Ellis draws not only from fiery Vaughan-style blues-rock, but also Texas bluesmen like Freddie King and Clarence "Gatemouth" Brown, the soulful blues of B.B. King, the funky grit of Memphis soul, and numerous other electric bluesmen...

Iconic singer/songwriter and musical wanderer who rose to prominence during the '60s folk revival and changed the world of music.  Bob Dylan's influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream-of-consciousness narratives...

Bob Dylan 

Political World  (Bob Dylan) 3:48

Everything Is Broken (Bob Dylan) 3:13

from Oh Mercy 1989

Oh Mercy was hailed as a comeback, not just because it had songs noticeably more meaningful than anything Bob Dylan had recently released, but because Daniel Lanois' production gave it cohesion. 

MiXTAPE: ...when i was three... music from 1962 PnM.MiX

...when i was three...  music from 1962

M U S I C 1962

Booker T & the MGs – Green Onions

The Rollin' Stones - Roll over Beethoven (London, 12 July 1962 at the Marquee Club)

The Beatles - P.S. I Love You (Single Version, 11 September 1962)

Bob Dylan - House of the Risin' Sun

Lightnin' Hopkins - Awful Dreams

Muddy Waters, Howlin' Wolf, Little Walter - You Shook  Me

John Lee Hooker - Crawlin' King Snake

Arthur "Big Boy" Crudup - That's All Right

Albert King - This Morning

John Lee Hooker - Blues Before Sunrise

Alexis Korner - How Long, How Long Blues

Bob Dylan - Highway 51 Blues

Muddy Waters - Tiger in your Tank

B.B. King - Hully Gully Twist

Jimmy Smith - Beggar for the Blues  

Herbie Mann - Minor Groove

Rahsaan Roland Kirk - Domino

Oscar Peterson Trio With Milt Jackson - Work Song

Paul Desmond / Gerry Mulligan - Stardust

Louis Armstrong & Duke Ellington - I'm Beginning to See the Light

Herbie Hancock - Watermelon Man

Grant Green - Sometimes I Feel Like A Motherless Child

Donald Byrd - Royal Flush

Ike Quebec - Goin' Home

Grant Green - Blues In Maude's Flat

Rahsaan Roland Kirk - You Did It, You Did It

Stan Getz - Desafinado

João Gilberto, Antônio Carlos Jobim - One Note Samba

Jimmy Smith - Judo Mambo

Jimmy McGriff - M.G. Blues

Booker T & the MGs – You Can't Sit Down

Junior Parker - I Wanna Ramble

Gene Chandler - Stand By Me

John D. Loudermilk - Road Hog

Françoise Hardy - Le temps de l'amour

Petula Clark - Ya Ya Twist

The Beach Boys - Surfin' Safari

Elvis Presley - Good Luck Charm

Ray Charles & His Orchestra - Unchain My Heart

Ricky Nelson - My Babe

Duane Eddy - The Ballad of Paladin

Dave "Baby" Cortez - Rinky Dink

Sandy Nelson - Drums Are My Beat

Shelley Fabares - Johnny Angel 

Little Eva - The Loco-Motion 

Dee Dee Sharp - Gravy (For My Mashed Potatoes) 

Freddy Cannon - Palisades Park 

Chubby Checker - Slow Twistin'

The Shirelles - Baby It's You

The Isley Brothers - Twist and Shout

Chris Montez - Let's Dance

Mary Wells - The One Who Really Loves You

 Sam Cooke- Twistin' the Night Away

Brian Hyland - Sealed With a Kiss 

Ketty Lester - Love Letters

Bent Fabric - Alley Cat 

King Curtis - Soul Twist 

 Ace Cannon - Careless Love

Clyde Mcphatter - Lover Please

Barbara George - I Know (You Don't Love Me No More)

Rick Nelson - Young World

Dion - The Wanderer 

Burl Ives - A Little Bitty Tear

Ernie Maresca - Shout Shout (Knock Yourself Out)

Sam Cooke - Having a Party 

Joanie Sommers - Johnny Get Angry

Joe Henderson - Snap Your Fingers

Ray Charles - You Are My Sunshine

Aretha Franklin - I Surrender Dear

Joey Dee and The Starlighters - Shout   

Billy Vaughn - A Swingin' Safari

Mary Wells - You Beat Me to the Punch -

Barbara Lynn- You'll Lose a Good Thing 

Billy Joe & The Checkmates - Percolator (Twist) 

The Ikettes - I'm Blue (The Gong-Gong Song) 

The Kingston Trio - Where Have All The Flowers Gone 

The Highwaymen - Cotton Fields

Peter, Paul & Mary - If I Had a Hammer 

Duane Eddy - Dance with the Guitar Man

Arthur Lyman - Caravan

Martin Denny - Black Orchid

Elvis Presley - Return to Sender

The Tokens - The Lion Sleeps Tonight

Ray Stevens - Ahab the Arab

Pat Boone - Speedy Gonzales

Tornadoes - Telstar

The Shadows - Wonderful Land

The Everly Brothers - How Can I Meet Her

Fats Domino - Jambalaya (On the Bayou)

Bruce Channel - Hey Baby

Duane Eddy - Deep in the Heart of Texas

The Vernons Girls - Lover Please

The Spotnicks - Orange Blossom Special

Jet Harris - The Man with the Golden Arm

The Mar-Kets - Surfer's Stomp

The Beach Boys - Surfin'

Jennell Hawkins - Moments (To Remember)

Ben E. King - Don't Play That Song (You Lied)

Jimmy Norman - I Don't Love You No More (I Don't Care About You)

Bobby Vee, The Crickets - Someday (When I'm Gone from You)

Les Cooper & The Soul Rockers - Wiggle Wobble

EVERY DAY i HAVE THE BLUES BLUES:MiX # 33 blues(y) songs from the BLUES circle 1965-1975

EVERY DAY i HAVE THE BLUES BLUES:MiX # 33 blues(y) songs from the BLUES circle 1965-1975 # B.B. King, The Paul Butterfield Blues Band, Cream, Muddy Waters, Jimi Hendrix,The Allman Brothers Band,Rory Gallagher, Koko Taylor,Robin Trower, Junior Wells

B L U E S    M U S I C

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1965-1975

 

One of the most important electric guitarists in history, whose bent notes and staccato picking style influenced legions to come. Universally hailed as the king of the blues, the legendary B.B. King was without a doubt the single most important electric guitarist of the last half of the 20th century. His bent notes and staccato picking style influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provided a worthy match for his passionate playing.

B.B. King 

Every Day I Have the Blues  (Peter Chatman / Memphis Slim)

Sweet Little Angel  (B.B. King / Jules Taub)

It's My Own Fault (John Lee Hooker / B.B. King / Jules Taub)

from Live at the Regal 1965

B.B. King is not only a timeless singer and guitarist, he's also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader's cues with almost telepathic accuracy. King's voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of "How Blue Can You Get," where the Chicago venue threatens to explode at King's prompting. Of course, the master's guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King's lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues.

With a style honed in the gritty blues bars of Chicago's south side, the Butterfield Blues Band was instrumental in bringing the sound of authentic Chicago blues to a young white audience in the mid-'60s, and although the band wasn't a particularly huge commercial success, its influence has been enduring and pervasive. 

The Paul Butterfield Blues Band 

I Got a Mind to Give Up Living (Traditional)

All These Blues (Public Domain / Traditional)

East-West

from East West 1966

The raw immediacy and tight instrumental attack of the Paul Butterfield Blues Band's self-titled debut album were startling and impressive in 1965, but the following year, the group significantly upped the ante with its second LP, East-West. The debut showed that Paul Butterfield and his bandmates could cut tough, authentic blues (not a given for an integrated band during the era in which fans were still debating if a white boy could play the blues) with the energy of rock & roll, but East-West was a far more ambitious set, with the band showing an effective command of jazz, Indian raga, and garagey proto-psychedelia as well as razor-sharp electric blues. Butterfield was the frontman, and his harp work was fierce and potent, but the core of the band was the dueling guitar work of Mike Bloomfield and Elvin Bishop, especially Bloomfield's ferocious, acrobatic solos, while Mark Naftalin's keyboards added welcome washes of melodic color, and the rhythm section of bassist Jerome Arnold and drummer Billy Davenport were capable of both the rock-solid support of veteran blues players and the more flexible and artful pulse of a jazz combo, rising and relaxing with the dynamics of a performance...

The first and best power trio, whose brand of highly amplified, free-form playing took blues and rock in new directions. Although Cream were only together for a little more than two years, their influence was immense, both during their late-'60s peak and in the years following their breakup. Cream were the first top group to truly exploit the power trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s. It was with Cream, too, that guitarist Eric Clapton truly became an international superstar...

Cream 

White Room (Pete Brown / Jack Bruce)

Crossroads (Ahmad Jamal / Robert Johnson / Traditional)

Politician (Pete Brown / Jack Bruce)

Born Under a Bad Sign (William Bell / Booker T. Jones)

from Wheels of Fire 1968

If Disraeli Gears was the album where Cream came into their own, its successor, Wheels of Fire, finds the trio in full fight, capturing every side of their multi-faceted personality, even hinting at the internal pressures that soon would tear the band asunder. A dense, unwieldy double album split into an LP of new studio material and an LP of live material, it's sprawling and scattered, at once awesome in its achievement and maddening in how it falls just short of greatness. It misses its goal not because one LP works and the other doesn't, but because both the live and studio sets suffer from strikingly similar flaws, deriving from the constant power struggle between the trio... And in many ways Wheels of Fire is indeed filled with Cream's very best work, since it also captures the fury and invention (and indulgence) of the band at its peak on the stage and in the studio, but as it tries to find a delicate balance between these three titanic egos, it doesn't quite add up to something greater than the sum of its parts. But taken alone, those individual parts are often quite tremendous.

The giant of postwar blues, who eloquently defined Chicago's swaggering, Delta-rooted sound with his declamatory vocals and piercing slide guitar.

Muddy Waters 

I Am the Blues (Willie Dixon)

Rollin' and Tumblin' (McKinley Morganfield)

Blues and Trouble (McKinley Morganfield)

Hurtin' Soul

from After the Rain 1969

...The album mostly featured higher-wattage remakes of a lot of familiar repertoire, including "Honey Bee" and "Rollin' and Tumblin'," and also reintroduced Muddy's own electric guitar, which had mostly been unheard on his recordings of the 1960s (and completely missing from Electric Mud). And on the tracks where he does play lead, they're first-rate representations of his talent as it stood at the tail end of the 1960s, powerful and bold, like a king (or maybe even a god) surveying a blues landscape he had shaped, and ranging across it freely...

In his brief four-year reign as a superstar, Jimi Hendrix expanded the vocabulary of the electric rock guitar more than anyone before or since. Hendrix was a master at coaxing all manner of unforeseen sonics from his instrument, often with innovative amplification experiments that produced astral-quality feedback and roaring distortion.

Jimi Hendrix 

The Jimi Hendrix Experience

In From the Storm (Jimi Hendrix)

Hear My Train A-Comin' (Jimi Hendrix)

Ezy Ryder  (Jimi Hendrix)

Red House  (Jimi Hendrix)

from Live in Maui 1970 

...However, they were seasoned pros, and Live in Maui presents in full the two sets they played before the cameras on July 30, 1970. These recordings document Hendrix and his accompanists -- bassist Billy Cox and drummer Mitch Mitchell -- as a well-oiled machine that delivered this material with a confidence and strength that also gave them room to stretch out without losing the plot. Hendrix delivers the guitar pyrotechnics that were his trademark, demonstrating his skills with a clear focus while using the swoops and cries of his Stratocaster to explore the outer limits of his songs. ..

Blending rock, blues, country, and jazz, the godfathers of Southern rock in all its wild, woolly glory.

The Allman Brothers Band 

Statesboro Blues (Blind Willie McTell)

Don’t Keep Me Wonderin’ (Gregg Allman)

Stormy Monday (T-Bone Walker)

from  Fillmore West '71

Graham's left coast venue, the Fillmore West, in San Francisco in January of 1971. They were slotted between openers the Trinidad Tripoli Steel Band and Hot Tuna. These three shows are presented in their entirety in a four-disc set. Sourced from original two-track, reel-to-reel soundboard masters, they were held in ABB crew members Twiggs Lyndon's, Joe Dan Petty's, and Mike Callahan's closets for nearly five decades. They were then acquired by archivist Kirk West, who set the painstaking restoration process in motion... A revelation of these recordings is what they say about the Allmans' development and how much more polished they were just six weeks later, which doesn't diminish the earlier dates one iota: These performances are absolutely electrifying. They are wooly and intensely exploratory.

Influential Irish guitarist who played an earthy, stripped-down brand of blues-rock that touched everyone who heard it.

Rory Gallagher 

Used to Be (Rory Gallagher)

Whole Lot of People (Rory Gallagher)

There's a Light (Rory Gallagher)

from Deuce 1972

Released in November 1971, just six months after his solo debut, Rory Gallagher's second album was the summation of all that he'd promised in the wake of Taste's collapse, and the blueprint for most of what he'd accomplish over the next two years of recording. Largely overlooked by posterity's haste to canonize his next album, Live! In Europe, Deuce finds Gallagher torn between the earthy R&B of "Used to Be," a gritty blues fed through by some viciously unrestrained guitar playing... "There's a Light", too, plays to Gallagher's sensitive side, while stating his mastery of the guitar across a protracted solo that isn't simply spellbinding in its restraint, it also has the effect of adding another voice to the proceedings...

Accurately dubbed "the Queen of Chicago blues" (and sometimes just the blues in general), Koko Taylor helped keep the tradition of big-voiced, brassy female blues belters alive, recasting the spirits of early legends like Bessie Smith, Ma Rainey, Big Mama Thornton, and Memphis Minnie for the modern age.

Koko Taylor 

I'm a Little Mixed Up(Criss Johnson)

What Kind of Man Is This? (Koko Taylor)

Twenty-Nine Ways to My Baby's Door (Willie Dixon)

from South Side Lady 1973 

Cut during the period when she was between Chess and Alligator, this 15-song selection, cut in a French studio and live in the Netherlands in 1973, is a potent set that finds Koko Taylor ably backed by the Aces, guitarist Jimmy Rogers, and pianist Willie Mabon. Lots of familiar titles -- a live "Wang Dang Doodle," studio remakes of "I'm a Little Mixed Up" and "Twenty-Nine Ways" -- and a few numbers that aren't usually associated with Chicago's undisputed blues queen.

One of rock's prime guitarists due to his uncanny ability to channel the blues-psych, Fender Strat-fueled playing style of Jimi Hendrix.

Robin Trower 

Day of the Eagle (Robin Trower)

Bridge of Sighs (Robin Trower)

Too Rolling Stoned (Robin Trower)

from Bridge Of Sighs 1974

Guitarist Robin Trower's watershed sophomore solo disc remains his most stunning, representative, and consistent collection of tunes. Mixing obvious Hendrix influences with blues and psychedelia, then adding the immensely soulful vocals of James Dewar, Trower pushed the often limited boundaries of the power trio concept into refreshing new waters. The concept gels best in the first track, "Day of the Eagle," where the opening riff rockingly morphs into the dreamy washes of gooey guitar chords that characterize the album's distinctive title track that follows. .. One of the few Robin Trower albums without a weak cut, Bridge of Sighs holds up to repeated listenings as a timeless work, as well as the crown jewel in Trower's extensive yet inconsistent catalog.

Swaggering Chicago blues harmonica player, a solo star who also worked frequently with Buddy Guy.

Junior Wells 

What My Momma Told Me (Junior Wells)

Key to the Highway (Big Bill Broonzy / Charles Segar)

The Train I Ride (Junior Wells)

from On Tap 1975

Underrated mid-'70s collection boasting a contemporary, funky edge driven by guitarists Phil Guy and Sammy Lawhorn, keyboardist Big Moose Walker, and saxman A.C. Reed. Especially potent is the crackling "The Train I Ride," a kissin' cousin to Little Junior Parker's "Mystery Train."

23-10-2020 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1959-1968

23-10-2020 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1959-1968 # Al Smith, Snooks Eaglin, Lonnie Donegan, Jack McDuff, Jimmy Witherspoon feat: Ben Webster, Lightnin' Hopkins, Reverend Gary Davis, B.B. King, The Paul Butterfield Blues Band, John Lee Hooker,Cream

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1959-1968

 

Albert B. Smith was born in Bolivar County, Mississippi, on November 23, 1923. His family moved to Pace, Mississippi, in 1927. He danced with a jug band on the streets of Rosedale, Mississippi, when he was 7. He learned how to play the string bass in a school band after hearing Big Joe Williams and other Delta bluesmen at his mother's barrelhouse...
Al Smith
Night Time Is The Right Time
Tears in My Eyes
from Hear My Blues 1959
As a rule, people who appreciate the late Jimmy Witherspoon have a very favorable reaction to Al Smith -- that is, if they get a chance to hear him. Neither of the two albums that Smith provided for Bluesville (Hear My Blues in 1959 and Midnight Special in 1960) are well-known. While Witherspoon was a big name in the blues world, Smith was a gospel singer who dabbled in secular music. But when Smith did venture outside the gospel realm, his approach was quite comparable to Witherspoon's -- like Witherspoon, he favored a jazz-influenced approach to blues and R&B...

When they referred to consistently amazing guitarist Snooks Eaglin as a human jukebox in his New Orleans hometown, they weren't dissing him in the slightest. The blind Eaglin was a beloved figure in the Crescent City, not only for his gritty, Ray Charles-inspired vocal delivery and wholly imaginative approach to the guitar, but for the seemingly infinite storehouse of oldies that he was liable to pull out on-stage at any second...
Snooks Eaglin
Looking for a Woman
Careless Love
Let Me Go Home, Whiskey
from New Orleans Street Singer 1959
Folkways Records released New Orleans Street Singer in 1959 and the album set the world of folk and acoustic blues fans on fire. Snooks Eaglin was in the early stages of his long R&B career when folklorist Harry Oster heard him playing solo on the streets of the French Quarter...

The "King of Skiffle" was huge in pre-Beatles England and even managed a hit or two stateside.
Lonnie Donegan
The House of the Rising Sun
Talking Guitar Blues
from Skiffle Folk Music 1960
To look at Lonnie Donegan today, in pictures taken 40 years ago when he was topping the British charts and hitting the Top Ten in America, dressed in a suit, his hair cut short and strumming an acoustic guitar, he looks like a musical non-entity. But in 1954, before anyone (especially anybody in England) knew what rock & roll was, Donegan was cool, and his music was hot. He's relatively little remembered outside of England, but Donegan shares an important professional attribute with Elvis Presley, Bill Haley, the Beatles, the Rolling Stones, and the Sex Pistols -- he invented a style of music, skiffle, that completely altered the pop culture landscape and the youth around him, and for a time, completely ruled popular music through that new form.

Author of one of the funkiest, most soulful, Hammond B-3 styles of all time, with rock-solid basslines and blues-drenched solos.
Jack McDuff
Dink's Blues
Blues and Tonic
from The Honeydripper 1961
The remaster of Jack McDuff's hard swinging 1961 album The Honeydripper was overseen by Rudy Van Gelder himself... The date featured the big tenor Jimmy Forrest, drummer Ben Dixon, and Grant Green on guitar in his recording debut. Green not only held his own with McDuff on the title track, "Dink's Blues," and "Blues and Tonic," ... Green was always more than a sideman as this date attests, and though he was part of the rhythm section, his playing is a standout on this date. McDuff was already in full possession of his voice as an organist, and his hard bop leanings began to subside here as he embraced a more soulful approach, no doubt informed by the effect Jimmy Smith was having on jazz with his crossover. This is an excellent date and should be picked up by anyone interested in McDuff as a great place to start, or for any serious collector because of the gorgeous sound of the remaster itself.

05-06-2020 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1973-1964

FREE

05-06-2020 BLUES:MiX # 33 blues(y) songs from the BLUES circle 1973-1964 # Free, Long John Baldry, Ten Years After, Fleetwood Mac, Otis Spann with Fleetwood Mac, B.B. King, Canned Heat, J.B. Lenoir, Howlin' Wolf, The Rolling Stones

B L U E S    M U S I C

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1973-1964

Free helped lay the foundations for the rise of hard rock, stripping the earthy sound of British blues down to its raw, minimalist core to pioneer a brand of proto-metal later popularized by 1970s superstars like Foreigner, Foghat and Bad Company. 

Free 

Heartbreaker (Paul Rodgers) 6:13

Seven Angels (Paul Rodgers) 5:04

from Heartbreaker 1973

The final Free album, Heartbreaker was patched together from a variety of sessions -- and it often sounds like it. Aside from drummer Simon Kirke and singer-guitarist Paul Rodgers, the band was in fragments. Lead guitarist Paul Kosoff -- who was suffering from the drug demons that would eventually kill him -- appears on only half of the album, and it certainly takes away some of the communal vibe that Free was all about. There are some great moments... The rest of the record is by no means filler, but only proves what a great band Free was, even if their ranks had dwindled.

R&B-and-blues drenched British pop singer of the 1960s of imposing stature... As a historical figure, he has undeniable importance. When he began singing as a teenager in the 1950s, he was one of the first British vocalists to perform folk and blues music. 

Long John Baldry 

You Can't Judge a Book 4:21

Hambone 4:02

Jubilee Cloud 4:16

from Everything Stops For Tea 1972

Like its companion It Ain't Easy, the second half of Long John Baldry's early-'70s comeback Everything Stops for Tea initially attracted the most attention via its producers, former Baldry sidemen Elton John and Rod Stewart... With Baldry's musical tastes now drawing folkier textures into his blues (and eschewing the big ballad pop altogether), it's a varied and oft-times eclectic collection. But the strength of Baldry's performance smooths over any rough edges that might have tripped other singers and, though It Ain't Easy remains the superior of these two albums, this one really isn't that far behind it.

Hard-rocking British blues band led by virtuosic guitarist Alvin Lee... A storming blues and boogie band from the U.K., Ten Years After rocketed from modest success to worldwide fame in the wake of their performance at the Woodstock Rock Festival in 1969, where their nine-minute rendition of "I'm Going Home" showed off the lightning-fast guitar work and howling vocals of Alvin Lee, the unrelenting stomp of bassist Leo Lyons and drummer Ric Lee, and the soulful support of keyboard man Chick Churchill.

Ten Years After 

One of These Days (Alvin Lee) 5:58

Baby Won't You Let Me Rock 'N' Roll You (Alvin Lee) 2:14

Let the Sky Fall (Alvin Lee) 4:20

Uncle Jam (Chick Churchill / Alvin Lee / Ric Lee / Leo Lyons) 2:00

from A Space in Time 1971

A Space in Time was Ten Years After's best-selling album...  TYA's first album for Columbia, A Space in Time has more of a pop-oriented feel than any of their previous releases had. The individual cuts are shorter, and Alvin Lee displays a broader instrumental palette than before. In fact, six of the disc's ten songs are built around acoustic guitar riffs. However, there are still a couple of barn-burning jams. The leadoff track, "One of These Days," is a particularly scorching workout, featuring extended harmonica and guitar solos... Many of the cuts make effective use of dynamic shifts, and the guitar solos are generally more understated than on previous outings. The production on A Space in Time is crisp and clean, a sound quite different from the denseness of its predecessors...