Customer Reviews

Ssssh

5 star:		(6)
4 star:		(5)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

The three primary vices of the late 1960's are on vivid display on this, Ten Years After's fourth album, released in 1969. While songs giving a sympathetic ear to underage sex ('Good Morning Little Schoolgirl') and drug usage ('Stoned Woman') are frowned upon today, it's revealing what Alvin Lee and his 'mates were committing to vinyl way back in the 1960's. You would probably draw the ire of Bill O'Reilly and perhaps the FBI for uttering lyrics like "I want to b_ _l you all night long" to an imagined "little schoolgirl" in this, the second millennium (I suppose Alvin could implicate original writer Sonny Boy Williamson for the faux pas, however). Alvin was 24 years of age when he suggested to this little schoolgirl that there was "nothing wrong" with such yearnings, nor does he sound disgruntled over his observation that "she's gonna keep him stoned out of his mind all the time" on 'Stoned Woman'. While Alvin and many of his contemporaries may have second thoughts about such judgements today, it's clear that very liberal attitudes were being quite freely propogated, and certainly followed in this era. And while it may be easy to dismiss such indulgences as typical of the times or youth in general, the problem is that it's so hard to separate Alvin's questionable sentiments with the great rock and roll music he composed to accompany it. While the B-side of the original vinyl version of 'Ssssh' is a bit uneven, the A-side is pure, unadulterated, rabid rock and roll heaven. The sound of the first four tracks stand up nicely against any comparable 16 minute sequence anywhere in rock.

The album leads off with the great up-tempo rocker, 'Bad Scene'. The lyrics deliver an angry rant about life's hassles, from "hurtin'" to "chokin'", with Alvin's vocals processed through something that makes his voice sound like a tinny 1930's radio broadcast. I'm not sure what the intent is of that processing, but it sounds extremely cool. 'Two Time Mama' follows, opening with a bouncy acoustic riff and morphing into a boogie along the lines of Canned Heat's 'Goin Up the Country'. There's a great slide guitar to be had under the cautionary lyrics. 'Stoned Woman' is up next, featuring a sweet bass beat, fine guitar hooks, and Alvin delivering up plenty of tasty 'Ugh's, 'Ooh's, and 'Aah's. 'Good Morning Little Schoolgirl' winds up the quartet with 6:34 of solid-rock, and more orgiastic screams, grunts, moans, and groans.

The B-side of the original vinyl starts out with a melodious acoustic track spiced up with a bit of wah-pedal guitar in the background, but 'If You Should Love Me' slowly gains steam until you're seriously folk-rockin' with fine organ support from Chick Churchill. After a two minute acoustic guitar and piano ballad, 'I Don't Know That You Don't Know My Name' (a real challenge to decipher for any TYA fan who's stoned out of his mind all the time...), serving as an intermission, TYA return to the blues-rock with a decided groove in 'The Stomp'. The disc winds up with perhaps the weakest track, a heavy and solid, but derivitive standard electric blues number, 'I Woke Up This Morning'.

If you're a fan of heavy blues-rock music with excellent hooks and riffs, this vintage TYA disc is made for you, especially if you're okay with the provocative lyrical content. Be forwarned that this particular version (and there are versions aplenty of 'Ssssh'... which really should be 'Shhhh', shouldn't it?) of 'Ssssh' is marketed as a remastered disc from EMI Special Markets, but nowhere in the package is remastering mentioned, nor does the EMI moniker appear anywhere. Entering the bar code into the ebay listing generator, however, does identify this as a remastered disc from EMI. The label on the disc is Chrysalis, but the recording date is listed as 1975, which is a total mystery. Nevertheless, it sounds good, and perhaps that is all that matters in the final analysis.

This could very well be the ultimate combination of blues and rock. I can only imagine how satisfying it must have been for those lucky enough to experience this terrific album back in 1969 when it was brand new. It takes the traditional style of hard rock blues to a *much* heavier level and it wouldn't surprise me if bands like Zeppelin or Sabbath were influenced by this album.

Might I also add how disappointed I am that it's not a more popular album. It truly deserves to be. You'll agree the moment you hear it.

For those who might be going into Ssssh expecting exceptional vocal melodies... well, you'll probably be disappointed because even though the vocals are melodic enough to get the job done, it's the guitar work that makes me a firm believer everyone should have Ssssh in their album collection.

The highlight is probably "Good Morning Little Schoolgirl". With a vocal melody very ordinary by blues standards, you'll never guess what happens around the 2 minute mark. Oh just you wait and hear for yourself! Alright alright, I'll reveal what happens- a guitar solo that sounds like absolutely no other makes a very groundbreaking appearance, and some of these licks are truly extraordinary. If you're not happy with the actual notes (which, might I add, DO grow on you over time- I didn't care for this song at all at first but now I absolutely LOVE it) I'm sure you'll at least be impressed with the relentless approach Alvin Lee takes it.

In this track, Alvin Lee plays with a certain style of speed and combines it with a melodic structure, and it doesn't resemble anything else from the late 60's. Some of these flashy and speedy guitar solos make me wonder how one person can play so well without missing a beat.

My second favorite song is probably "I Woke Up This Morning". Some of Alvin's guitar work here resembles the classic period of live Cream/Eric Clapton, but done very very well so I won't complain about any similarities. "Bad Scene" actually has a really great vocal melody and I like the way the song shifts in a few different directions before eventually slipping into a heavy guitar solo that puts a sudden and shocking end to all those awkward shifts. "Stoned Woman" has a really fantastic vocal melody and an even better groove, and that's honestly all it needs because it sounds so good.

In fact the entire album sounds *awesome*. The production I mean. The way it was recorded. A significant improvement over Cricklewood Green and Rock & Roll Music to the World.

Anyway, let me mention a few more songs. "The Stomp" is flat out awesome and the vocals totally remind me of the good Captain Beefheart. Anything (and I mean *anything*) that sounds like Captain Beefheart is just fine and dandy by me because I'm such an enormous fan of his work. This song also reminds me of the Rolling Stones classic "Shake Your Hips". "If You Should Love Me" is a drastic step away from all the bluesy guitar solos and solid grooves that dominate most of the album, and is just a really pleasant, soulful ballad. I can't recall what other ballad this song closely resembles, but I'm thinking this track wouldn't be out of place on either a Rascals or Animals album.

Please please please buy this album. I may be underrating the vocal melodies, true, but it's honestly because the guitar work is the main attraction here (for me at least).

This album must be thrill for any fan of English heavy blues/hard rock.

I had the album on vinyl years ago, and I recently bought the album again on CD. Somehow my favourites have changed with the time. It seems that some of my old favourites go on a bit too long. It is beyond question that Lee is a terrific guitarist and that Ten Years After was a great band, but Lee's songwriting on this album is mostly very traditional blues/rock, and some songs may sound a little dated.

"I Woke Up This Morning" and "Good Morning Little Schoolgirl" are still great tracks, but less aggressive songs like "Two Time Mama" and "If You Should Love Me" are my favourites today; especially the great build up on "If You Should Love Me" makes this song a highlight.

As the liner notes say this IS the music of Ten Years After. This cd is one of the bands greatest. It came out about the time Alvin and the boys became bonefide stars. The music is blues based with some jazz leanings, very well written and performed. All four musicians are at their peak just prior to Cricklewood Green's release. 10 stars for this cd.

I will agree with everything said about this album but what they don't tell you is the persistance of a psychedelic buzz throughout this album. There is a very harmonious combination of blues-based and psychedelic 'noodling' combined with a kind of quirky songwriting style mainly characterized by 'Bad Scene' and 'Stoned Woman'. 'Bad Scene' alternates between garage/psych and changes tempo to a casual jazzy mid section then returns to the faster tempo. TYA like a lot of groups from the era were influenced by the new psychedelic sounds of the time while at the same time keeping their blues/jazz based roots and this CD is probably the best example of this. You also have the perfunctory love songs 'Two Time Mama' & 'If You Should Love Me'. 'The Stomp' is a wonderfully casual boogie number with a nicely understated guitar break. 'Good Morning Little School Girl' was perhaps the most successful song from the album and was played for years as part of their live sets.

Good Ten Years After album, their fourth. It's not "A Space In Time" (definitely their best), but lots of energy, and Alvin Lee...well, what can you say? He's still one of the best to this day. Speed, finesse, and soul, a rare combination. You can feel the emotion of every note he plays, as if his emotions came right out through his fingers. An incredible depth of feeling.

I first heard of Ten Years After, when they were on the Woodstock album, where they did a great rendition of "Going Home". I bought the album in an 8 track format to listen to in the car. After playing and enjoying this over and over, I went out and bought other albums by the group, which I basically wore out. At this stage of thier career, they are at the top of thier game. A great slice of physicdelia that brings back a lot of great memories. Other albums I would recommend by TYA from this period would be "Stonehenge" "Cricklewood Green" and "Watt". The late sixties and early seventies, was a watershed for British Blues Bands, who now instead of doing mainly covers of Chigaco Blues were writing some great stuff on thier own. This album is a great example.

In many ways a current listen to the music recorded on this CD is like hearing a very familiar voice, but for the first time. Sonically, it sounds better and clearer than I remember the vinyl. This is a bit odd, because my hearing is less acute, so it must be the improved quality of the recording medium and my playback units' abilities that are now superior. The members of TYA actually seem to be playing better than I remember them playing. Alvin is not quite the Million Note Man. His guitar is positively tasty compared to Speed Metal. The ability to actually distinguish the keyboard contributions is stunning; not so much in their technical quality, but the keyboards can now be heard, which provides greater depth and contrast within the music itself. Overall, this is a much better recording than it was at the time. How oxymoronic is that? If you can overlook the rather juvenile viewpoint of the lyricists [Can you recall your thought processes in the late 1960s?}, then 'Ssssh' is quite fun and a definite Flashback worth experiencing.

This is an awesome blues album. I have listened to this on vinyl since I was a wee one and bought it for my brother-in-law...a good introduction to the blues :)

Quick service. Good price. Great music, other than it belongs on vinyl rather than CD. Recommended by a boat captain (John) on Mille lacs lake.