"And at that point, all audience recordings become blanketed in screams. "The opportunity that this tape presents, which is completely out of the blue, is fantastic because we hear just on the cusp of the breakthrough into complete world fame," Lewisohn said.
(Photo by Daily Mirror/Mirrorpix/Mirrorpix via Getty Images). Not before long, The Beatles couldn't go anywhere without being chased by fans.
#Ten years after a space in time album art series#
The setlist was made up of tracks from their 1963 debut album Please Please Me such as 'I Saw Her Standing There'.Īs was usual during their earlier days, the boys would play a series of R&B cover versions - this show includes a rendition of of Chuck Berry's 1956 single 'Too Much Monkey Business'.īecause the crowd aren't screaming throughout, what's strange is that you can hear John, Paul, Ringo and George joking amongst themselves and even taking requests from the students.Īs it stands however, the only people to hear the recording aside from Bloomfield himself are Ahmed and Beatles historian Mark Lewisohn, after Bloomfield agreed to play the recording for the first time in nearly sixty years. The other members were similarly engaged in solo projects.It comes as somewhat of a surprise given the crowd reaction to The Beatles shows from then onwards, which resulted in the band stepping back from performing live as they couldn't hear themselves on stage. before retiring once more to his country mansion-cum-studio, where he produced bands that inter-ested him, such as FBI. In early 1974 Lee played a solo concert at London's Rainbow Theatre, subsequently performing a world tour as Alvin Lee and Co. Many of their subsequent audience, however, viewed this one song as their only style and were unprepared to accept anything else. In 1968 they gained major English and European attention, but it was their fast and furious rendition of 'I'm Going Home' in the Woodstock film that established them as a top world attraction. As Ten Years After they first gained attention at London's Marquee Club, soon signing a contract with Decca's Deram label, who released an album in 1967, 1st Album, without the benefit of the then obligatory establishing hit single.Īmerican promoter Bill Graham booked them into his Fillmore Auditoriums on the basis of this recording and they soon be-came a major concert attraction in the United States. Working in London in a West End production they met Ric Lee, a music scholar, and subsequently Chick Churchill, also well versed in musical styles. Brought up in Nottingham on his father's extensive blues collection, Alvin Lee established a successful local trio with Leo Lyons, journeying to Hamburg directly after the Bea-tles, where they established the direction that ultimately sur-faced as Ten Years After. 19, 1944), Chick Churchill (organ, born Jan. Ten Years After was formed in late 1966 by Alvin Lee (guitar, vocals, born in Nottingham on Dec. This reissue of the album is housed in a gatefold sleeve and includes new annotations by Chris Kimsey and band members Ric Lee, Chick Churchill and Leo Lyons. The result is stunning: the second disc in this set contains the original 1971 mix of the album, both mastered by Miles Showell at Abbey Road Studios. He has used modern plug-ins that perfectly emulate and enhance the original recording. This new (belated) 50th anniversary edition of the album features a brand new mix by original producer/engineer Chris Kimsey ( Rolling Stones/Emerson Lake & Palmer/Marillion) using the original 2" multitrack tapes.
#Ten years after a space in time album art tv#
With their most famous song, "I'd Love To Change The World", regularly featured in movies and TV shows, the band took a more melodic direction than previous releases and showed the band at their peak. "A Space In Time" is Ten Years After's sixth and best-selling album and was originally released in August 1971. (Chrysalis Records) 20 tracks, digisleeve, 50th Anniversary Edition
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