| | Ten Years After Space In Time CD Ten Years After Discography of CDs
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A SPACE IN TIME was Ten Years After's biggest commercial success. The reasons are pretty obvious; Alvin Lee's songwriting had improved markedly and there was far more stylistic variety than on their previous albums.
The big hit here was "I'd Love to Change the World," with its catchy acoustic guitar hook and the immortal opening line, "Everywhere is freaks and hairies." Other highpoints include: "Baby Won't You Let Me Rock 'n' Roll You," the band's first stab at Stones-style raunch (complete with a riff from Led Zeppelin); the country-ish romp "Once There Was a Time"; and the gently folky and surprisingly self-deprecating "Over the Hill," which features strings, a move that would have been unthinkable for this band a year or two earlier.
Recorded at Olympic Studios, London, England.
Ten Years After: Alvin Lee (vocals, guitar); Chick Churchill (keyboards); Leo Lyons (bass); Ric Lee (drums).
Rolling Stone (10/14/71, p.49) - "...The original material and arrangements are terribly lame....As the Romans used to say...let the buyer beware..." Ten Years After Space In Time Songs Space In Time Music Review Average Rating: (4.3 out of 5 stars)   List All Reviews True Rock Classic
If you listened to rock in the early 70's, this is Alvin Lee's best and you have to add it to your collection.
Submitted by geardawg (Houston, Tx) 
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 TEN YEARS AFTER ALMOST TOPS ITSELF
The quartet known as Ten Years After can hit on many different cylinders: blues, stadium rock, flok and even swing. The "Space In Time" CD will constantly be compared and rated next to their other stellar work, "Cricklewood Green". The difference may be that 'Space" scores more commercial points while 'Green' flexes the amazing muciality and versatility that drew audiences around the world to see the band live. Alvin Lee has such a distinctive voice and guitar style and it shows true maturity on 'Space' along with the bands songwriting. Tied with 'Green' as TYA's best studio effort.
Submitted by a reviewer (Los Angeles)
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Simply Their Best
Many other reviewers have claimed that this was TYA's commercial sellout. If this a sellout then more sellouts should be as good! The acoustic work mixed in with the smokin' rock has been often imitated, but not duplicated. The individual strengths of the band members show through on each song. I burned out the 8 track I had years ago, and I'm estatic to have a remastered CD quality version now.
Submitted by a reviewer (San Diego, Ca, USA)
Was This Review Helpful? Yes No  awsome trip to the past
return trip to membery lane
Submitted by a reviewer ("warren ,mi , usa)
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Ten Years After belongs in the Rock hall of fame
This was not their best album from an artistic point of view but still remains a good classic album.This group never made it big because they refused to make 2 min AM radio type pop singles,a lot of people dont like Alvin Lee because they say all he does is play fast..I believe he is one of the best rock blues ax men I have ever heard.I would love the save the world single did make AM radio and is a great song, the rest of the album is sort of luke warm to me. Cricklewood Green is a better album to me (Love like a man is a great song)or the double live album in Europe.
Submitted by lc (nyc,ny)
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Chris Von Sneidern's fame is an underground sort, but it's easy to hear from this compilation drawing on his solo work why the power pop universe holds the guy in pretty high esteem. It's fair to say that he's a practitioner of the form rather than an innovator, but he draws on both classic sources and similarly inclined friends (guests include Smithereens' vet Dennis Diken, Richard X. Heyman and Neko Case) to create enjoyable confections. When his songs are at their spikiest he's at his best -- "Go On Go On" has a couple of fine breaks that help the song careen along -- though more than once it would be nice to hear him fire up with the full rampaging abandon of Cheap Trick. Von Sneidern's voice is often Lennon-and-his-descendants in his phrasing and delivery ("Like Me That Way" at times almost scarily so), but it's not just Beatles worship on show, with nods to a continuing country fascination on songs like "Feel" and "Identity," while "Don't Worry Now" and "Remember" have a smooth-'60s pop undercarriage thanks to the trumpets. (There's also a direct homage with the cover of Petula Clark's "Downtown.") Perhaps the secret highlight is the slow-building, majestic "Great American Dream," which belies the seeming pomposity of the title with a lovely piano melody, just enough extra twists and tweaks in the arrangement buried deep in the mix, and a bravura vocal. While there's enough variety as it goes through the disc, ultimately Like Me That Way is probably all most casual listeners will need, a fine journeyman's collection. The booklet contains a brief appreciation from U.K. writer Nick West, though an actual breakdown of what tracks came from where would have been welcome. ~ Ned Raggett
Down a little passageway off Denmark Street-London's Tin Pan Alley-you'll find the 12 Bar Club. It's a little oasis of calm just yards from the relentless rush of Charing Cross Road, and a brief perusal of the posters in the hallway indicate that it's also an oasis of taste. Singers and songwriters from across the globe know that this is a place where quality is paramount and they're assured of recognition and a respectful audience.The 12 Bar Club is where Chris von Sneidern plays when he comes to London. A phone call or an email announcing his imminent arrival ensures that a slot is found and a poster printed up. The word goes out on the bush telegraph and the clans gather. Chris von Sneidern, or CvS as he's universally known, attracts a degree of devotion that others can but wish for, and while his following remains relatively small, the loyalty and appreciation of his fans is never in doubt.CvS is a pop singer in the classic mold. A Pop Singer in the way the Beatles were a Pop Group, possessed of a voice that chimes with the cadences of both Lennon and McCartney but is simultaneously his own. A voice that ...
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