26 rujan, 2008

Alvin Lee & Ten Years After - Pure Blues (1995)


Pure Blues is a good sampler of Alvin Lee's music, both with Ten Years After and solo. It looks like a standard compilation, yet it concentrates solely on blues-based material. Ten Years After, though, was not just a blues-rock group. They were deeply rooted in '50s rock and roll and jazz in addition to blues, so this compilation really only shows one part of the Alvin Lee picture. But if you're a major blues lover like me, that's okay. It starts with the acoustic "Don't Want You Woman" from Ten Years After's self-titled debut (currently out of print). Other highlights are the heavy riff-driven "I Woke Up This Morning", and "The Stomp" (both from the SSSSH album) and two killer live tracks, "Slow Blues in C" and "Help Me" from the Recorded Live album. This is a nice sampler, but don't make the mistake of letting this be the only Alvin Lee/Ten Years After CD you check out.

Download-Link (Part 1):

http://rapidshare.com/files/148479871/1995_-_Pure_Blues.part1.rar.html

Download-Link (Part 2):

Alvin Lee - Zoom (1994)


Released in Europe on Castle Communications and distributed in the U.S. on Domino Entertainment, a label founded by producer Rob Fraboni, the album's tracks were all shuffled into a different order except for "A Little Bit of Love," "It Don't Come Easy," and "Use That Power." An oddity, but you could put the CD in your player on the shuffle setting and it would remain one of journeyman Alvin Lee's finest statements. The stellar track here is "Real Life Blues," which hit in spots around the states, notably in Texas and in Massachusetts. It was a Top 30 hit on the Billboard charts in Boston when the regional papers published such tracking. The track featured the unmistakable sound of George Harrison on slide guitar and Deep Purple keyboard player Jon Lord. This is a wiser, slower, more methodical sentiment than we once heard Lee make on "I'd Love to Change the World." A 16 page booklet accompanies the cover photo (the bull's eye on Lee's guitar), it's the other side of the flash guitar Lee's been known for. "A Little Bit of Love" is Ten Years After meets Power Station with thunderous drums and very smooth production. Steve Gould and Deena Payne's backing vocals chirp over Alan Young's boom-boom drumbeat on "The Price of Love," a bonafide dance tune that cries for the kind of production that the band Chic made famous — dance blues. "Moving the Blues" is a fun, Delaney & Bonnie type rocker with Clarence Clemons on tenor sax. Clemons appears on four tracks, including "Use That Power," "Jenny, Jenny" — a Little Richard meets Mitch Ryder by way of Chuck Berry fun stomper — and the funky "Wake Up Moma" which has that trademark Jon Lord keyboard filling in nicely. The instrumental "Lost in Love" is very tasteful. This is a major '60s/'70s figure making music on his own terms and it is very satisfying.

Download-Link (Part 1):

http://rapidshare.com/files/148475594/1994_-_Zoom.part1.rar.html

Download-Link (Part 2):

Alvin Lee - Ninteenninetyfour (1994)


While most gutiarists of his generation are either no longer with us, or a mere shadow of their former selves, Alvin Lee's gutiar playing is better than ever. From the opening licks of "Keep On Rockin" through a a great cover of the Beatles "I Want You(she's so Heavy)" This is the work of a true master in top form. "The Bluest Blues" features George Harrison on slide as well as one of the greatest gutiar solos of Alvin's career. Anyone who enjoys great gutiar playing (there seems to be very little of that these days) will love this album. Rock On Alvin!

Download-Link (Part 1):

http://rapidshare.com/files/148479144/1994_-_Ninteenninetyfour.part1.rar.html

Download-Link (Part 2):

Alvin Lee - Keep On Rockin (1994)


Download-Link (Part 1):

http://rapidshare.com/files/148479964/1994_-_Keep_On_Rockin.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/148479993/1994_-_Keep_On_Rockin.part2.rar.html

Download-Link (Part 3):

Alvin Lee - Detroit Diesel (1986)


By the time of 1986's Detroit Diesel, Alvin Lee had settled down somewhat. No longer were his songs simply showcases for his astonishingly fast technique, and he was able to open his blues jams into funky grooves. That doesn't mean that Detroit Diesel is a particuarly remarkable album, but it does have more enjoyable moments, such as the Stonesy "Too Late to Run for Cover," than the average latter-day Lee album.

Download-Link:

Alvin Lee - RX5 (1981)


1981 solo album, complete with 'Shuffle It' added as a bonus track, for a total of 11 cuts. 'RX 5' was his second & final album for Atlantic, and ninth overall. It's no blues album but a mix of excellent Mainstream Rock. The Songwriting has never been better. His guitarwork is great and very emotional. It's an album that wins the more often you listen to it. It's a pity that it was never a commercial success. Alvin Lee tried very hard to produce a hit album. His old fans were disappointed because his blues roots were hardly to hear.

Download-Link (Part 1):

http://rapidshare.com/files/148418992/1981_-_RX5.part1.rar.html

Download-Link (Part 2):

The Alvin Lee Band - Free Fall (1980)


Listen to the very first cut on Freefall and you'll understand the basic problem with the Alvin Lee Band: the track is a nice piece of mid-tempo rock, rather catchy, but is Alvin Lee in there anywhere? Repeated listenings reveal that he might be singing background vocals, and that guitar lead sounds like a slick studio player who listened to a few Ten Years After records one afternoon. From the sound of the whole track, the rest of the band had been listening to Foreigner. Not everything on this album is as anonymous as the first track, and some of it sounds pretty good. This band probably should have been called the Lee/Gould band, as former Rare Bird vocalist Steve Gould has at least as much to do with the sound of the band on those first few tracks. About four cuts into Freefall, Lee seems to wake up, and he turns in some really tasty guitar and a nice, energetic vocal on "Stealin'." There are even a few whoops and shrieks thrown in, and that's OK, because the song deserves it. So does "Ridin' Truckin'" and "Sooner Or Later," which has a nice horn flourish and a tasty little organ line by guest Al Kooper. The latter track is, in fact, one of the more successful mergers of Lee's straight-ahead style with a complex arrangement, and shows the potential of the band. The closer, "Dustbin City," might even be worthy of some air guitar for those who are so inclined. Still, there's a problem here. Fans of Lee will be unhappy that he is tamed on so many of these cuts, and fans of mid-tempo AOR ballads will find too many rockers here for their tastes. The album isn't bad, but it isn't unified or satisfying.

Download-Link:

Alvin Lee & Ten Years Later - Ride On (1979)


Ten Years Later kick ass! On the first half of this album, that is. The second is dang dang BORING. Apparently, somewhere around this time Alvin Lee had finally lost the last drops of his songwriting talents. The five newly-recorded studio cuts that occupy half of the album are among the most faceless songs in his entire catalog - I can't even understand that oddity, seeing as the production is so neat and the dynamics so dynamic. Well, actually, no, the dynamics on here are entirely static. The solos suck, the riffs aren't memorable in any way, and the energy seems so faked and artificial it's frustrating. Could you try and recognize 'Too Much' as a good song? It's just generic Seventies' hard-rock. If you wanna write a simplistic five-chord riff, you gotta make it crunchy and powerful, not just stand there in the background and hit you with its dumbness. And why all these ridiculous guitar overdubs that give me a headache? Aren't guitar overdubs meant to emphasize something, not just provide a chaotic background? 'It's A Gaz' starts out promisingly, with a nice fuzzy guitar tone and a steady shuffle and overcharged echoey vocals, but that's hardly enough to make the song memorable, and the feeble whiny guitar solo is boring and unremarkable. 'Sittin' Here' begins with a riff recycled from 'Sunshine Of Your Love', but even that doesn't redeem the song. If anything, this studio side reminds me of Grand Funk Railroad, being based on the same principle Farner and his gang wrote their material: "if it's loud and has a heavy riff, it can easily qualify as a good song ready for official release". Sorry, no way. Anybody can write a heavy riff and turn up the amps, but not everybody is able to make that riff memorable or cool-sounding. The only song on the studio side that comes at least close to decent is the acoustic shuffle 'Ride On Cowboy' that sets a pretty romantic mood and has Alvin display some tasty fresh electric licks in the background. Not that it's a bit more memorable than the rest of this stuff, but it at least seems like a song with a purpose other than a need to prove to the world that 'we can rock'. And for my money, they prove that quite nice on the first side, recorded live in its entirety. Now that's where my quibbles disappear - sure enough, it's the same old Alvin Lee bendin' 'em strings, and his finger-flashing technique hasn't deteriorated a bit since the good old days. It's particularly well-proven on the opening number, 'Ain't Nothin' Shakin', which beats its studio predecessor into the dust. Yeah, same lightning-speed solos as before, and we all know that Alvin doesn't vary his solos all that much, but hey, that's a different song which we never had live before, so for this song Mr Lee has invented a new solo which I gladly take. Especially since we haven't heard a true lightning-speed solo from Mr Lee since Recorded Live in 1973. The rest of the live material is somewhat questionable, but by no means bad. 'Scat Encounter' is a reminder of all those 'Scat Things' and 'Silly Things' Alvin used to do at Ten Years After shows, and it's not any worse if you can stand Alvin's cheesy scat passages at all. After that, however, he goes into a lengthy rendition of 'Hey Joe', done extremely close to the Hendrix version, but without the blistering pyrotechnics of the Master himself. It's hardly a necessary element to possess in your collection, but... I think Alvin fans will surely appreciate the stuff. And finally, we're 'Going Home'! When was the last time you were goin' home with Alvin? Which actually reminds me of a thing that happened once to Pete Townshend some time in the early Nineties - he was invited to a TV show where he intended to do a cover of an old forgotten tune he happened to like, but then at the last minute he told himself 'Hey, wait a minute! Why am I fuckin' up? These people, they certainly want me to do 'Pinball Wizard' and not some unknown cover. So let's give the people what they want'. There's Alvin Lee, obviously giving the people what they want - and in a good sense at that, fuelled up and inflamed by the very idea of finally regaining common ground with the audience. That's why, surprisingly, this version of 'Going Home' sounds so damn good, maybe even better than the one present on Recorded Live: Alvin knows that people really need him to do this stuff, and he feels good because of it. So yeah, three cheers for the old man. If it weren't for the crappy studio side, that is. Ooh, does it ever stink. So annoying. I mean, was it necessary for Alvin to reduce himself to the lowest denominator and all? It's truly amazing how the pure and fresh energy of the first side contrasts with the genericness of the flip. Of course, it might have been the fault of the backing band, nowhere near as interesting sonically as Alvin's former colleagues, which might explain his disbanding Ten Years Later within months of the album's release. Not that I blame him.

Download-Link:

Alvin Lee & Ten Years Later - Rockpalast '78 In Essen


Recorded Live At Grugahalle, Essen, Germany on 9/13/78 for the T.V. show “Rockpalast”

Download-Link (Part 1):

http://rapidshare.com/files/148423640/1978_-_Rockpalast__78_In_Essen.part1.rar.html

Download-Link (Part 2):

Alvin Lee & Ten Years Later - Rocket Fuel (1978)


Alvin gets himself a new band! Guess what's it called: "Ten Years Later". This time around, though, Alvin is clever and sticks "Alvin Lee & Ten Years Later" on the album cover - you know, so that if the project backfires, he can always come out and say, 'hey, the guys just wanted a name for themselves, but it's simply my solo project and it doesn't mean that I'm such an asshole to assemble a band for an album and then fire 'em". Tom Compton plays the drums on here, Mick Hocksworth plays bass, and probably some other guy plays the keybs, but I wouldn't wanna know. All I know is, this album's not very good. The basic idea is simple and understandable: Alvin wanted to "give the people what they want" - get back to the good old hard-rockin' formula. There are no ballads on the album at all, not even a subtle relaxing shuffle; no gospel singers, no moody organ, no Mel Collins intruding with his saxophones. Nothing that would deviate the listener from the ass-kicking, wall-rattling energy. The question is: what's so nice about that? If it's an intentional attempt to recapture the Ten Years After vibe, it's a failure, due in part to sterile overproduction. All the songs are mercilessly FAT, with overdubbing, special effects, nagging stupid keyboards and riffs that revel in their complexity (or simplicity) over the most generic guitar tones available. To tell the truth, some of the songs remind me of Kiss with less offensive lyrics and less intrusive vocals: same approach to riffage (the riff should be fat and ugly and totally unmemorable) and atmosphere (the song should be loud and proud of itself and that's the song's main virtue). There's no virtuous subtlety anywhere to be found; this is just half-decent arena-rock made to please the simplistic public that would be ready to swallow anything from Mr Lee as long as it features some killer guitar solos. And, to tell some more truth, I'm absolutely unmoved by the 'killer guitar solos'. Alvin does often revert to the finger-flashing style on here, but it's all painfully derivative and therefore boring; the solo on 'Gonna Turn You On', for instance, just rips off all of his earlier tricks from old standards like 'Good Morning Little Schoolgirl' or 'I'm Goin' Home'. I like finger-flashing as good as anybody, but if you're gonna be replaying the same finger-flashing solo on every second song, that's what I call a profanation. do like a few of these rockers. 'Somebody Callin' Me', for instance, starts out real well - fast and nervous, just like 'I'd Like To Change The World' six years before, with a quirky Robin Trower-like R'n'B riff; however, just a few minutes into the song it changes tonality and tempo and becomes a slow arena-rock dazzle with self-indulgent soloing. Of course, the difference between "inspired" and "self-indulgent" is rather subjective, isn't it? Let's just put it this way: generic soloing is soloing I've heard many times before, and inspired soloing offers me a unique touch I haven't yet had the pleasure to experience. In this respect, the soloing on 'Somebody Callin' Me' doesn't move me one bit. Rather like on 'Comfortably Numb'. But boy, does the song start off cool... Another song that's impossible not to mention, if only because it's the intentional center of attention on the record, is the nearly ten-minute long epic 'The Devil's Screaming'. I have a feeble hypothesis that this was originally one song not intended for this album - it sounds way different, more like the psychologic, paranoid, thrilling numbers on Alvin's previous albums. Starting out as a slow, moody blues tune, it then goes off into different directions, from a relatively normal blues jam to a psychedelic phased guitar extravaganza, and then to all-out chaos as Alvin tries to replicate in the studio the same set of "simultaneous-tune-and-play" effects he used to incorporate in the middle of 'I Can't Keep From Crying Sometimes' at Ten Years After concerts (you can hear the passage on Recorded Live, or even see it captured on tape on the Message Of Love Isle Of Wight 1970 Festival video). The song's not a masterpiece, but in the context of all those generic arena rockers, it probably is, and it's definitely the only moment of true inspiration on the record. Elsewhere, you just... well, you know, you just get all those three-chord riff-rockers ('Friday The 13th', title track, etc., etc.). I don't wanna say a single thing about them. They're more listenable than an average Kiss song, but only slightly, and mainly because I don't get visions of Alvin Lee screwing young girls whenever I listen to this stuff. (Of course, that's a flaw to some people, but hey, let's try to distinguish between sexuality and pornography, shall we?).

Download-Link:

Alvin Lee - Let It Rock (1978)


Pretty solid record, although, as is usual with Alvin, it takes some time to grow on you. This time Mr Lee is on a thoroughly unpretentious spree - no saxes or flutes tampering with the raw atmosphere, no weird experimental passages, just straight ahead rock'n'roll with little ornaments. The songs are as unimaginative as can be, but after all, that's just what an Alvin Lee song is supposed to be: lack of imagination compensated by rawness, inspiration and a special edge in the delivery that is able to inflame even the most generic blues number. Again, this is all rather gloomy - the title track, coming right at the very end, closes the record on a rather silly 'n' lightweight boogie-woogie note which doesn't really fit in with all the venom and poison displayed elsewhere. And it's not that the songs are really so scary and desperate: no, many of them sport titles like 'Love The Way You Rock Me' and are totally harmless in the lyrical sense. But you can't get rid of the feeling that, despite the title and the title track, despite the lack o' lyrical ambitions and suchlike, this is really one heavy record, in the sense that it really wears down on you. Let It Rock sure is not an album I'd like to put on in order to have some good clean fun; this is an album I'd put on when I'm weary and sick of the world and want somebody to empathize. Judging by Alvin's own standards, the songs are all pretty damn fine. In fact, I can't help but feel a great amount of respect towards the man - without a doubt, Alvin has one of the best senses of taste and measure among the entire blues-rock crowd of the day, and his ability to do so much with so little is fascinating. He still hasn't returned to the finger-flashing twists of old, but there are plenty of nice guitar lines everywhere, some of which are quite soulful. And he's very rarely content with playing a typical blues or blues-rock number in a "by-the-book" way: perhaps the closest to a "by-the-book" blues-rocker on the album is 'Through With Your Loving', but that exact number actually begs to be cranked up loud and proud, with extremely sharp, jagged guitar playing and fiery, raunchy vocals that totally kill off any possible accusations of "sterility". The Allman Brothers Band would be proud. Elsewhere, you get a bunch of "philosophic introspective" ballads that plunge us into typical moody, "deep-produced" atmosphere. 'Chemicals, Chemistry, Mystery And More' (what a groovy title) is almost Santanaesque in its structure (and no, I don't mean guitar solos - I mean the feeling that you get when listening, that you're standing at the foot of a high snowy mountain and the guy is singing from the top), and contains quite a few endearing vocal hooks. 'Images Shifting' is perhaps the least effective song here, as its glossy gospel sheen is nowhere near idiosyncratic, and the main melody suggests that Alvin had been listening to 'Nights In White Satin' a bit more than necessary; however, 'Time To Meditate' is one truly excellent way to make you go to sleep, with sparkling moonlight guitar lines and dreamy female backup vocals. Even the somewhat aggressive, lightly phased guitar solo that gradually picks up steam isn't at all disturbing - making up for a solid mood piece, if hardly anything else. The rockers on here, contradicting the title, are hardly disturbing either. Too many of them are in "soft barroom" style, with a hint of gloominess and melancholy running throughout. I'm pretty partial towards 'Love The Way You Rock Me', with its wonderful 'ooo-ooh, love the way you rock me when you roll...' incantation; I love the way 'Little Boy' starts out with that driving harmonica pattern and thought-provoking descending guitar riffs; and I deeply adore Alvin's hilarious modulation of his voice on 'Downhill Lady Racer'. The very best number of all this bunch, though, is undoubtedly 'The World Is Spinning Faster', another one of those quasi apocalyptic numbers that Alvin is so fond of, replete with a magnificent looping riff in between the verse lines and a sharp solo on the fade-out. It's hardly on the breathtaking level of 'I'd Love To Change The World', but it has a special grandeur and solemnity of its own that are unmistakable.Of course, if Let It Rock had been recorded by a less unpretentious, more professional, more restricted roots-rock performer, it would have gotten a much lower rating - and unless you have a very high tolerance for roots-rock, better stay away and grab a Ten Years After classic album instead. But lovers of moody guitar based slow blues-rock can't go wrong here. Where else can you find such a classy record, where it is seen so well how youthful rocking enthusiasm slowly metamorphoses into middle-age painful meditation? Digitally remastered reissue of the former Ten Years After leader's 1978 solo album, complete with 'Snake Jam' & 'BreakJam' added as bonus tracks, for a total of 12 selections. 'Let It Rock' was his first for Chrysalis & fifth overall. Jon Astley, who did all of The Who reissues, remastered thisalbum as well.

Download-Link (Part 1):

http://rapidshare.com/files/148420077/1978_-_Let_It_Rock.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/148418930/1978_-_Let_It_Rock.part2.rar.html

Alvin Lee - Pump Iron! (1975)


Alvin's first "serious" venture into a solo career. Generally speaking, I'd put it this way: the songwriting is hardly any worse than on In Flight, but most of the tracks have been recorded in the studio, and this massacres the atmosphere, pure and simple. Here, Alvin tries to be more professional and less keen on spontaneous guitar heroics, and this is where Her Majesty Boredom knocks at the door. All the ballads and all the rockers tend to merge and blend in with each other, but without the good-time attitude and hilariousness of the preceding album. And Alvin won't get far based on songwriting alone - I know he tries, but his hooks and original ideas are so painfully limited I simply can't bring myself to create some profound definition of the album's "identity". I like it, and I don't find it to be a guilty pleasure - that's enough for a thumbs-up reaction, but hardly anything more. That said, a bunch of songs can said to be minor classics. Here, Alvin is often trying to milk his 'grim' personality, the dark, philosophic mood he was introducing on A Space In Time and particularly on the thoroughly pessimistic Cricklewood Green. If his last album opened with 'Got To Keep Moving', a simple, ballsy, unpretentious rock number, this one opens with 'One More Chance', an angry, evil little shuffle with sarcastic synth tones and needle-sharp guitar solos that almost recall something Floydish at times. The lyrics are nothing special - intentionally nothing special ('I'm gonna give you one more chance, I'll play the music, you just dance'), but the arrangement definitely contradicts the lyrics. Cool song; lovers of the 1970-72 Ten Years After period will be on cloud nine about it. Somewhere in the middle you'll also meet 'Have Mercy' - don't forget that one, it's unarguably one of the best ballads Alvin ever had the idea to come up with. It must be stated that by this point, he was a real expert with gospel-pop, being able to breathe as much sincerity and inspiration into that kind of numbers as, say, David Bowie simply wouldn't be able to come up even on mobilizing all of his forces (not that this is a Bowie slamming, mind you - the man excelled in other things. It just irks me when some people describe Bowie as a 'master of spirituality' or something when he was nothing more than a posing clown in this respect). If you don't feel inspired at AlvinAlvin does have a gift for overproducing, with layers of synthesizers, phased guitars and screechy guitar solos symbolizing the end of the world and stuff like that. Unfortunately, we really had that kind of stuff before, so there's nothing original about that approach. The rest of the songs are decent. Just like that - decent, solid enough for one or two listens but not really requiring multiple assessments. I like all of them, and there's certainly more inspiration and talent displayed here than on the latest Ten Years After album, but when Mr Lee approaches the gates of St Peter, he sure won't be sporting this particular record on his chest. (Speaking of chests, don't you hate the album cover? What a sick joke...). If anything else stands out on some level, it will probably be 'Julian Rice', with its catchy, yet a bit annoying refrain; the acoustic shuffle 'Time And Space', recorded live with the help of a wonderful trumpet (or was that oboe?) part; the classy funky jam 'Burnt Fungus' with a brilliant organ part; and yet another ballad, 'The Darkest Night', which might seem a bit too sappy and sentimental for Alvin, but its sappiness and sentimentality are definitely undermined by his 'unprofessional' delivery, plus, how can you resist that delicious bit of romantic piano? I would actually be glad to know who's playing what on this album - because all I know in general is the general list of players, and it's almost as lengthy as the list of players on All Things Must Pass. Apparently, Alvin just didn't have any stable team at the moment - people were coming and going, and there are tons of contributors as a result, including even yet another King Crimsonian (Boz Burrell) on bass, although there are not any less than four different bass players on the album. Despite this, the band sounds pretty tight on almost every track; Alvin didn't hire good-for-nothings. The CD re-issue of the album adds two worthy bonus tracks - a short guitar-based instrumental called 'Madness', with some of Alvin's best funky chops, and his funny rendition of 'Midnight Special', which probably won't turn you away from the definitive version of CCR, but will be a nice addition to the song's immense bunch of interpretations nevertheless. screaming 'have mercy on a child of God', you're definitely liking Music for reasons different from me. A somewhat 'disputable' classic is the album closer, 'Let The Sea Burn Down', which definitely reminds me of all those "epic" overproduced numbers on late-period Ten Years After albums. It's pretty good, I think:

Download-Link (Part 1):

http://rapidshare.com/files/148417496/1975_-_Pump_Iron_.part1.rar.html

Download-Link (Part 2):

25 rujan, 2008

Alvin Lee & Co. - In Flight (1974)


'In Flight' is a two-disc live recording made by 'Alving Lee & Co.' in 1974 at the Rainbow Theatre in London. It was the follow-up to 1973's 'On the Road to Freedom', Lee's first album without his Ten Years After colleagues. Alvin arrived with a cargo hold ('In Flight' analogy...) of new tunes and a supersized backing band, including horn man Mel Collins and a trio of backing singers called Kokomo. It's a lively, high-energy set, sure to please someone, but probably not the old TYA crowd. Until the second half of the second disc, Alvin's trademark lead guitar excursions are in short supply, instead being supplanted primarily by Collins' up-front and center presence. The texture of the music has changed as well. While Ten Years After segued effortlessly from blues-rock to psychedelia to folk and country-rock, this new Alvin Lee is pounding out something perhaps best described as boogie-rock. 'In Flight' has it's moments, but should certainly not be confused with Lee's gritty and brusk previous work; so be forewarned. Being different isn't necessarily a bad thing, and this music definitely possesses appeal. The compositions unquestionably announce Alvin as a matured writing talent. There is a wealth of new, well-turned tunes that Lee pulls out of his back pocket here, beginning with the "chug-along blues" (as Lee describes it in his personally scripted liner notes) opener, 'Got To Keep Moving'. Other highlights include the funky 'You Need Love Love Love' which possesses a great vocal hook, the sweet boogie of 'Let's Get Back', and the most TYA-sounding number, 'Ride My Train'. As you move deep into the second disc, Alvin moves his lead guitar heroics to the front burner, displaying his firy skills on tracks such as 'Keep a Knocking', and a Chuck Berry sound-alike 'Johnny B. Goode' rave-up on 'I've Got Eyes For You Baby'. For whatever reason, 'I'm Writing You a Letter' is offered up twice, as track number five on the first disc, and as track eleven (and the last from the Rainbow Theatre set) on the second disc. It's a decent number, but I'm unsure why Lee felt compelled to include both performances. There are several covers that deserve mention here. Alvin's version of 'Slow Down' may best represent how 'In Flight' and Alvin Lee & Co. differ from TYA. While you might expect Alvin to go bonkers with his guitar and vocals on this potentially scintillating track, it comes across as a much more smooth and polished piece. The mid-1970's did that to a lot of psychedelic and blues-rockers from the 1960's, and Alvin seems infected (tracks 3 and 5 on disc 2 do blend a bit of wah-pedal guitar in the background, but it's a case of Johnny-come-lately). The same can be said for his covers of Elvis Presley's 'Don't Be Cruel' and 'Mystery Train' (these tracks represent The King as he was in 1974, not 1968, if you know what I mean), as well as 'Money Honey'. Each of these songs relies far too heavily on Mel Collin's sax and Kokomo's backing vocals rather than Lee's astounding guitar virtuosity, which is what made him great. Disc one runs 40 minutes as does disc two, although disc two tacks on two worthy bonus tracks that add another 14 and 1/2 minutes of music, sporting one live track and the lone studio recording in the package. Track 12, 'Somebody Callin' Me' is another 6:25 of boogie-rock from an unidentified venue. The recording is of good quality, but because the Rainbow Theatre tracks are simply stunning in their vibrancy, this one comes off a bit bland. Lee's vocals, in particular, feel buried. The last track runs 8:06, and was recorded in 1977. 'Put It In a Box' is, I would venture to say, the best track on the entire disc. It launches into a sweet funk-groove from the first strains, and features a fat, fuzzy guitar foundation, setting up Lee's exquisite leads. Kokomo is included on the track, but in this case their contribution strikes a nice balance with the other key elements of the performance. This album really needed this final touch-up. Given the right audience, 'In Flight' could certainly bring hours of listening pleasure... I just don't happen to have an ear for much of what Alvin Lee is queing up here. It seems unfortunate to me that as the 1970's progressed, so many of the great talents from the 1960's abandoned their formula for success to adopt the restrained sound of the times. That's evident here as Alvin's guitar essentially gets mothballed. As mentioned, Lee does supply his own liner notes, but other than that, 'In Flight' is a fairly sparse package. This one's interesting to hear to bring closure to Lee's career, but I don't consider it a 'keeper'. Check out 'Cricklewood Green' to see what Alvin Lee is truly capable of.

Download-Link (Part 1):

http://rapidshare.com/files/147900781/1974_-_In_Flight.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/147900867/1974_-_In_Flight.part2.rar.html

Download-Link (Part 3):

Alvin Lee & Mylon LeFevre - On The Road To Freedom (1973)


This side project of Alvin Lee (departing from Ten Years After's no-holds-barred style) contains some of his best work. Those who are only familiar with such monster albums as 'Cricklewood Green' and 'A Space in Time' may find this work puzzling. Hooking up with American gospel singer Mylon Le Fevre, Lee served up helpings of more textured, sophisticated music than TYA. Even overt rockers like 'Riffin' and 'Fallen Angel' exhibit a more "roots-rock" sound than such songs as '50,000 Miles Beneath My Brain'. Using the talents of many big names (including George Harrison and several 'Traffic' members), the result is more varied and intricate than previous works. Even his blistering guitar work shows more finesse than usual with TYA's releases. The songs here range from the interesting-but-mediocre ('Lay Me Back' and 'Carry My Load') to the truly superlative (the title tune, 'The World is Changing' and the country-fried 'Funny'). In my opinion, one of Alvin Lee's best songs (maybe his very best) is the titular 'On the Road to Freedon'; with Mylon Le Fevre providing only backing vocals on this track, it effectively is Alvin Lee and Traffic (Steve Winwood on piano, Jim Capaldi on drums and Rebob on congas). Boy, is it one great song. Searing guitar, solid drumming, tasteful piano, a rousing melody and Lee's vocals never sounding better.

Download-Link:

Ten Years After - The Bronx (2006)


Recorded live at Gaelic Park - The Bronx, New York on August 26, 1971.

Download-Link (Part 1):

http://rapidshare.com/files/147901198/2006_-_The_Bronx.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/147900978/2006_-_The_Bronx.part2.rar.html

Ten Years After - Roadworks (2005)


Founder members Chick Churchill, Leo Lyons and Ric Lee, together with ace guitarist/vocalist Joe Gooch, have done it again. Roadworks, recorded on their sell-out tour of Europe in November/ December 2004 is the smash follow-up to their hugely successful studio album Now. A splendid mix of old and new, this double live CD contains classics such as the UK Top Five track 'Love Like A Man', the Woodstock Festival anthem 'I'm Going Home' ,'Good Morning Little Schoolgirl' (never previously released by this line-up), 'Hear Me Calling' and the first ever live version of 'I'd Love To Change The World' which was featured in the movie Fahrenheit 9/11. Bonuses include one never-before released tune, 'Living It Up' and a brand new version of 'Big Black 45'. Wow! One question I have to ask is, where the hell has this fellah Joe Gooch been hiding? The guitar skills displayed on this double CD are remarkable, and the vocals are carried out very well too. It was great to see that Gooch is not copying Alvin Lee in every detail on the classic songs (Eg there is no "How how how"(Trademark Lee grunts) etc on "Goin home). The new songs from "Now" were the songs which impressed me most. All of them are great great driving Blues Rock, and on the song "Reason why", it brought memories of "Roadhouse Blues" and the Live version of Status Quo's "4500 times". The Rhythm section of Ric Lee and Leo Lyons is remarkably tight, and the keyboard skills of Chick Churchill shine brightly. It is obvious that this band are enjoying themselves once again. I never met ALvin Lee personally, but I did meet Ex Ten Years Later Bassist Mick Hawksworth a few years ago, and all I can remember of that chat was the mention of Alvin Lee having one hell of a big Ego. However, I do predict one thing though, and that is for Joe Gooch to follow in the footsteps of another current Blues Rock hero, Walter Trout, by playing in a 60s Classic Blues Rock Band and then going on to greater heights as a Solo artist with acclaimed success. He is THAT good. To the doubters, DON'T. This Album is highly enjoyable.

Download-Link (Part 1):

http://rapidshare.com/files/147623490/2005_-_Roadworks.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/147623421/2005_-_Roadworks.part2.rar.html

Download-Link (Part 3):

Ten Years After - Now (2004)


Ten Years After without Alvin Lee is utter blasphemy in some longtime fans' eyes, but that's exactly what occurred on the 2004 release by this veteran blues-rock outfit, Now. Out went Lee, and in came replacement singer/guitarist Joe Gooch, who joins longtime members Chick Churchill (keys), Leo Lyons (bass), and Ric Lee (drums). Interestingly, although Lee does not appear on the album, he earns co-songwriting credits on the majority of the album (five of the nine tracks). Any fans having reservations about how well Gooch fits in will quickly have their worries erased — the group's newest member possesses a fine voice (check the laid-back closing track, "Changes"), and can throw down boogie riffs with the best of them ("When It All Falls Down," "Time To Kill," etc.). It may even appear as though the presence of Gooch has breathed new life into the band, as Now is their most focused and strongest studio album in quite some time. As evidenced by Now, the classic Ten Years After sound and approach remains the same, although now it's a bit more refined and mature than the wilder, early records. [Note — as of late 2005, Now is available only as an import in the U.S..]

Download-Link (Part 1):

http://rapidshare.com/files/147617156/2004_-_Now.part1.rar.html

Download-Link (Part 2):

Ten Years After - One Night Jammed (2003)


This is the live album start of the new T.Y.A.without Alvin Lee. And it`s a dreamstart, because this CD is great. Now you can see that the boys are not only background musicans, and you can hear - they do a fantastic job. Joe Gooch, the new guitarplayer is 27 years old, but incredible good.

Download-Link (Part 1):

http://rapidshare.com/files/147623959/2003_-_One_Night_Jammed.part1.rar.html

Download-Link (Part 2):

Ten Years After - Live At The Fillmore East (2001)


With its devotion to '50s rock and blues coupled to a manic, if decidedly middlebrow performance tack, Ten Years After could seem positively Jurassic, even by late-'60s standards. This collection culls magnificently recorded performances (kudos to Hendrix/ELP engineer Eddie Kramer) from a February 1970 weekend stand at the Fillmore East, capturing the band at its post-Woodstock performing peak. The running times of most of the tracks (three-quarters of which clock in at seven-plus minutes) will tip listeners to the show's jam-heavy take on covers of Sonny Boy Williamson (an ominous, revamped "Good Morning Little Schoolgirl"), Willie Dixon (a slow, 16-minute burn through "Help Me"), and Chuck Berry (atypically economic romps of "Sweet Little Sixteen" and "Roll Over Beethoven"). But with the band's own primordial originals (the titles "Skooby-Oobly-Doobob" and "Extension on One Chord" speak for themselves) there's an elemental, effusive--and, dare we say it--Ramones-like stoopidity to the tracks. Even Alvin Lee's trademark fret-burner "I'm Going Home" is hard to resist. This set perfectly captures one of the era's hardest working bands in a concise, double-disc time capsule.

Download-Link (Part 1):

http://rapidshare.com/files/147624248/2001_-_Live_At_The_Fillmore_East.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/147624295/2001_-_Live_At_The_Fillmore_East.part2.rar.html

Download-Link (Part 3):

Ten Years After - I'm Going Home (1996)


This CD contains all the better Ten Years After songs.It's basically a greatest hits package.A good sampler for those unfamiliar with TYA and a nice collection for those who are familiar with Alvin and the band.

Download-Link (Part 1):

http://rapidshare.com/files/147624394/1996_-_I_m_Going_Home.part1.rar.html

Download-Link (Part 2):

Ten Years After - Live 1990 (1994)


An aural document of the reunion tour in support of ABOUT TIME (the band's first new studio album in 15 years), LIVE 1990 demonstrates that time had not dimmed Ten Years After's firepower as a live act. Actually, thanks to the wonders of technology--gated ... Full Descriptiondrums, synthesizers, effects pedals--they sound tougher than ever, closer in fact to Z.Z.Top than to their legendary UNDEAD album.

Download-Link (Part 1):

http://rapidshare.com/files/147550247/1994_-_Live_1990.part1.rar.html

Download-Link (Part 2):

Ten Years After - Essential (1991)


While it doesn't include all of their prime material, Essential features enough of their best songs to make it a fine introduction.

Download-Link (Part 1):

http://rapidshare.com/files/147551753/1991_-_Essential.part1.rar.html

Download-Link (Part 2):

Ten Years After - Boston Theatre - WBCN - FM Broadcast (1989)


Paradise Theatre, Boston, Ma. November 14, 1989 Tuesday 11pm. WBCN-FM Stereo.

Download-Link (Part 1):

http://rapidshare.com/files/147551282/1989_-_Boston_Theatre_-_WBCN_-_FM_Broadcast.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/147551405/1989_-_Boston_Theatre_-_WBCN_-_FM_Broadcast.part2.rar.html

Download-Link (Part 3):

Ten Years After - About Time (1989)


This is a fantastic album. I bought it following a live show at the old Hammy Odeon in London after TYA got back together in 1988. It really captures the flexibility of the band moving smoothly from rock and roll to blues through the genius of Alvin Lee's exciting, fluid guitar work. I do not like all of TYA's 60's compositions many of which now sound dated, but this album is instantly recognisable as TYA but is also very modern. My musical taste includes Stevie Ray Vaughan, Robert Cray, Lynyrd Skynyrd, Pink Floyd, Rainbow, BB King, Black Sabbath.

Download-Link (Part 1):

http://rapidshare.com/files/147547330/1989_-_About_Time.part1.rar.html

Download-Link (Part 2):

Ten Years After - Live At Reading 1983


Recorded live at Reading '83. The Friday rock show sessions.

Download-Link (Part 1):

http://rapidshare.com/files/147546547/1983_-_Live_At_Reading.part1.rar.html

Download-Link (Part 2):

22 rujan, 2008

Ten Years After - Tarrant County Convention Centar, Fort Worth, Texas (1974)


Recorded live at Tarrant County Convention Centar, Fort Worth, Texas, June 6, 1974.

Download-Link (Part 1):

http://rapidshare.com/files/147326309/1974_-_Tarrant_County_Convention_Centar__Fort_Worth__Texas.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/147326339/1974_-_Tarrant_County_Convention_Centar__Fort_Worth__Texas.part2.rar.html

Download-Link (Part 3):

Ten Years After - Positive Vibrations (1974)


There's not much happening here. By the time Positive Vibrations was released, Ten Years After had run out of gas. Leader Alvin Lee had already released two solo albums, "On the Road to Freedom" and "In Flight," and the band was simply going through the motions on this album. The band broke up following its release.

Download-Link:

Ten Years After - Recorded Live (1973)


This live set is OK in small doses. Ten Years After were always rooted in the blues, and the highlights here, such as "Good Morning Little Schoolgirl" and "Slow Blues in C," show they hadn't changed. While this set is competent enough, there just isn't enough of the excitement you would expect coming from this band. You could say that they could do no more and no less, and that proved to be the conundrum for Ten Years After. With Recorded Live they had become predictable, and there wasn't really anywhere left for them to go.

Download-Link (Part 1):

http://rapidshare.com/files/147326896/1973_-_Recorded_Live.part1.rar.html

Download-Link (Part 2):

Ten Years After - Winterland 1972


Live at winterland 1972-12-02.

Download-Link (Part 1):

http://rapidshare.com/files/147278565/1972_-_Winterland_1972.part1.rar.html

Download-Link (Part 2):

http://rapidshare.com/files/147278543/1972_-_Winterland_1972.part2.rar.html

Download-Link (Part 3):

Ten Years After - Rock & Roll Music To The World (1972)


Here, Ten Years After expanded on their boogie base and continued the hits. The title cut was the hit, and while they continued to groove along in the boogie atmosphere, things on Rock & Roll Music to the World sounded a bit too tame for the thundering hordes to chant along to at the time. "Turned Off T.V. Blues" showed just how tiring touring was getting for the band, and there wasn't much else here to bring out the beast to party with. A little too much of the same thing was starting to stunt this band's growth, except in their wallets.

Download-Link (Part 1):

http://rapidshare.com/files/147271520/1972_-_Rock___Roll_Music_To_The_World.part1.rar.html

Download-Link (Part 2):

Ten Years After - Alvin Lee And Company (1972)


After Ten Years After found commercial success with a new record label, Columbia, and the hit single "I'd Love to Change the World," the band's former label released this collection of outtakes from earlier recording sessions. One listen shows why these tracks were not included on album releases at the time of their recording.

Download-Link (Part 1):

http://rapidshare.com/files/147271270/1972_-_Alvin_Lee_And_Company.part1.rar.html

Download-Link (Part 2):

Ten Years After - Watt (1971)


Watt had many of the same ingredients as its predecessor, Cricklewood Green, but wasn't nearly as well thought out. The band had obviously spent much time on the road, leaving little time for developing new material. Consequently, a cover of Chuck Berry's "Sweet Little Sixteen," recorded live at the Isle of Wight Festival, is included here, as is a short instrumental with the uninspired title "The Band With No Name." Other song titles like "I Say Yeah" and "My Baby Left Me" betray the lack of spark in Alvin Lee's songwriting. Nonetheless, his guitar work is fast and clean (though the licks are beginning to sound repetitive from album to album), and the band continues to cook in the manner exemplified best on Cricklewood Green.

Download-Link:

Ten Years After - A Space In Time (1971)


A Space in Time was Ten Years After's best-selling album. This was due primarily to the strength of "I'd Love to Change the World," the band's only hit single, and one of the most ubiquitous AM and FM radio cuts of the summer of 1971. 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. After the opener, however, the album settles back into a more relaxed mood than one would have expected from Ten Years After. 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. Though not as consistent as Cricklewood Green, A Space in Time has its share of sparkling moments.

Download-Link:

Ten Years After - The Lost ''Watt'' Tour Concert (1970)


Recorded live at Community Center, Berkeley, California - November 21, 1970.

Download-Link (Part 1):

http://rapidshare.com/files/147278194/1970_-_The_Lost___Watt___Tour_Concert.part1.rar.html

Download-Link (Part 2):

Ten Years After - Cricklewood Green (1970)


Cricklewood Green provides the best example of Ten Years After's recorded sound. On this album, the band and engineer Andy Johns mix studio tricks and sound effects, blues-based song structures, a driving rhythm section, and Alvin Lee's signature lightning-fast guitar licks into a unified album that flows nicely from start to finish. Cricklewood Green opens with a pair of bluesy rockers, with "Working on the Road" propelled by a guitar and organ riff that holds the listener's attention through the use of tape manipulation as the song develops. "50,000 Miles Beneath My Brain" and "Love Like a Man" are classics of TYA's jam genre, with lyrically meaningless verses setting up extended guitar workouts that build in intensity, rhythmically and sonically. The latter was an FM-radio staple in the early '70s. "Year 3000 Blues" is a country romp sprinkled with Lee's silly sci-fi lyrics, while "Me and My Baby" concisely showcases the band's jazz licks better than any other TYA studio track, and features a tasty piano solo by Chick Churchill. It has a feel similar to the extended pieces on side one of the live album Undead. "Circles" is a hippie-ish acoustic guitar piece, while "As the Sun Still Burns Away" closes the album by building on another classic guitar-organ riff and more sci-fi sound effects.

Download-Link:

21 rujan, 2008

Ten Years After - Texas International Pop Festival (1969)


Recorded live in Dallas, Texas, Monday, September 1, 1969.

Download-Link (Part 1):

http://rapidshare.com/files/146984948/1969_-_Texas_International_Pop_Festival.part1.rar.html

Download-Link (Part 2):

Ten Years After - Ssssh (1969)


Ssssh was Ten Years After's new release at the time of their incendiary performance at the Woodstock Festival in August, 1969. As a result, it was their first hit album in the U.S., peaking at number 20 in September of that year. This recording is a primer of British blues-rock of the era, showcasing Alvin Lee's guitar pyrotechnics and the band's propulsive rhythm section. As with most of TYA's work, the lyrics were throwaways, but the music was hot. Featured is a lengthy cover of Sonny Boy Williamson's "Good Morning Little Schoolgirl," with reworked lyrics leaving little doubt as to what the singer had in mind for the title character. Also included was a 12-bar blues song with the ultimate generic blues title "I Woke Up This Morning." Ssssh marked the beginning of the band's two-year run of popularity on the U.S. album charts and in the underground FM-radio scene.

Download-Link:

Ten Years After - Eagles Auditorium 1969


Recorded live at SEATTLE, WASHINGTON, MARCH 22ND 1969. Excellent uncirculated FM Broadcast soundboard, awesome performance.

Download-Link (Part 1):

http://rapidshare.com/files/146988552/1969_-_Eagles_Auditorium_1969.part1.rar.html

Download-Link (Part 2):

Ten Years After - Undead (1968)


Recorded live in a small London club, Undead contains the original "I'm Going Home," the song that brought Ten Years After its first blush of popularity following the Woodstock festival and film in which it was featured. However, the real strength of this album is side one, which contains two extended jazz jams, "I May Be Wrong, But I Won't Be Wrong Always" and Woody Herman's "Woodchopper's Ball," both of which spotlight guitarist Alvin Lee's amazing speed and technique. Side two is less interesting, with an extended slow blues typical of the time, a drum solo feature, and the rock & roll rave-up of "I'm Going Home."

Download-Link (Part 1):

http://rapidshare.com/files/146987795/1968_-_Undead.part1.rar.html

Download-Link (Part 2):

Ten Years After - Stonedhenge (1968)


Stonedhenge was a great album, it was one of Ten Years Afters best albums. What people fail to relaize is the skill that is put into this album. Sure the work is different, but it shows the unique talents of the band showing their ability to play different types of music. People who dislike this album just want to hear the basic blues that some Ten Years Songs are. But you have to listen the bass sounds in Sad Song, and some of the work with the guitar playing with the bass a little bit. This album took awhile to grow on me, and I seem to enjoy muisc more when it seems to grow on me then liking it right away. I learn to apperitate the skill that was put into this awsome work. THIS ROCKS.

Download-Link (Part 1):

http://rapidshare.com/files/146985928/1968_-_Stonedhenge.part1.rar.html

Download-Link (Part 2):

Ten Years After - Ten Years After (1967)


This is the hot debut album by an english blues group who perhaps never quite reached the top of the mountain at the time, but for my part still counts among the classics today. Singer/guitarist Alvin Lee and the rest of the group give a warm, intense and very personal touch to much of the standard material on this record, with certainly has that lively edge you sometimes can hear in virgin performances.My personal favourites are their dynamic treatment of Sonny Boy's "Help me" and the hectic starter "I want to know". Alvin shows his ability to blend bluesy guitar riffs with smoking, jazz figures all over the record, while organist Chick Churchill adds much of the uniqueness to the easily detectible TYA sound. In my book this album was their best ever because of a beautiful freshness in sound and attitude which has never faded.

Download-Link:

Alvin Lee & Ten Years After biography


Born in Nottingham England, ALVIN LEE began playing guitar age 13 and formed the core of the band Ten Years After by aged 15. Originally influenced by his parent's collection of jazz and blues records, it was the advent of rock and roll that truly sparked his interest and creativity, and guitarists like Chuck Berry and Scotty Moore provided his inspiration.

The Jaybirds, as Lee's early band was called, were popular locally and had success in Hamburg, Germany, following the Beatles there in 1962. But it wasn't until the band moved to London in 1966 and changed its name to TYA that international success beckoned. The band secured a residency at the legendary Marquee Club, and an invitation to the famous Windsor Jazz & Blues Festival in 1967 led to their first recording contract. The self titled debut album surprisingly received play on San Francisco's underground radio stations and was enthusiastically embraced by listeners, including concert promoter Bill Graham, who invited the band to tour America for the first time in the summer of 1968. Audiences were immediately taken Lee's distinctive, soulful, rapid fire guitar playing and the band's innovative mix of blues, swing jazz and rock, and an American love affair began. TYA would ultimately tour the USA 28 times in 7 years, more than any other U.K. band.

Appearing at the famed Woodstock Festival, Lee's virtuoso performance was one of the highlights and remains today a standard for many other guitarists. Captured on film in the documentary of the festival, his inspired playing catapulted him into superstardom, and soon the band was playing arenas and stadiums around the globe. Although Lee later lamented that he missed the intimacy of smaller venues, there is no denying the impact the film made in bringing his music to a worldwide audience.

TYA had great success, releasing ten albums together, but by 1973, Lee was feeling limited by the band's style. With American gospel singer Mylon LeFevre and a host of rock talents like George Harrison, Steve Winwood, Ron Wood and Mick Fleetwood , he recorded and released On The Road To Freedom, a highly acclaimed album that was at the forefront of country rock. A year later, in response to a dare, Lee formed Alvin Lee & Company to play a show the Rainbow in London and released it as a double live album, In Flight. An energetic mix of rhythm & blues and rock, with a tribute to Elvis Presley thrown in for good measure, Lee once, in his understated fashion, called this band "a funky little outfit". They were far more than that and various members of the band continued on with Lee for his next two albums, Pump Iron and Let it Rock. He finished out the 70s with a powerhouse trio he called Ten Years Later who also released two albums, Ride On and Rocket Fuel, and toured extensively throughout Europe and the United States.

The 80s brought another change in Lee's direction, with two albums that were strong collaborations with Rarebird's Steve Gould and an extensive tour with the Rolling Stones' Mick Taylor joining his band.

Lee's overall musical output includes more than 20 albums, including 1985's Detroit Diesel and the back to back 90s collections of Zoom and 1994 (I Hear You Rocking). Guest artists on both albums include George Harrison, whose brilliant slide guitar perfectly complements Lee's lead. Their duet on 1994's The Bluest Blues led one reviewer to call it "the most perfect blues song ever recorded."

"Alvin Lee in Tennessee", a 2004 release, was recorded with rock and roll legends Scotty Moore and D.J. Fontana. It's an upbeat selection of songs that are timely and forward looking, yet borrow from his beloved 50s rock and roll. There's even a new version of his signature song, I'm Going Home, performed here, according to Lee "as it always should have been".

Lee's newest album, Saguitar, released September 2007, showcases the artist's bluesy vocals and dazzling guitar work on 14 new songs that range from melancholic blues to raucous rock to an innovative interpretation of rap. Lee says the album "celebrates the sheer joy of making music". For the listener, the celebration starts when they crank up the volume and groove to the latest offering from this enduring and superbly talented musician.