![]() ![]() Positive Vibrations is the eighth studio album by the English blues rock band, Ten Years After, which was released in 1974 Contents. Higher ranked (39,110th) This album (46,648th) Lower ranked (56,264th) Live At The Filmore East 1970 Positive Vibrations Portfolio - A History. Ten Years After Positive Vibrations LP 1974 Alvin Lee Autograph Vinyl Record Condition: Used. Find the latest tracks, albums, and images from Ten Years After - 1971 - A Space in Time. Listen to music from Ten Years After - 1971 - A Space in Time like I'd Love To Change The World. Producers Chris Wright & Ten Years After. In fact, six of the disc's ten songs are built around acoustic guitar riffs.Ī Space In Time Q&A. ![]() The individual cuts are shorter, and Alvin Lee displays a broader instrumental palette than before. TYA's first album for Columbia, A Space in Time has more of a pop-oriented feel than any of their previous releases had. 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. ![]() Chrysalis, Chrysalis.Ī Space in Time was Ten Years After's best-selling album. It reached number 17 in the Billboard 200. A departure in style from their previous albums, A Space in Time is less 'heavy' than previous albums and includes more acoustic guitar, perhaps influenced by the success of Led Zeppelin who were mixing acoustic songs with heavier numbers. It was released in August 1971 by Chrysalis Records in the United Kingdom and Columbia Records in America. The album proves the author’s mastery over the careful selection of sonic sequences that build the multiple momentums on the record’s affective resonance.A Space in Time is the sixth studio album by the British blues rock band Ten Years After. The compositional quality of each of the recordings makes Rawes’ work so outstanding. The light changes its colour, the sound attains a new timbre. One can sense it’s a different time of a day. Clumsy clucking suddenly shifts to sweetest chirping and so immediately the rhythm changes again completely. That totally amplifies the theatricality of this animalistic act on sand. A slurp and soon after, there comes the unearthly roar of a seal. It is irresistible, the desire to anthropomorphise the sounds of these curious winged conversationalists.Īt one point a child-like whining and sobbing of birds brings sadness into this clouded East Anglian ambience. Approval, excitement, admiration, refusal, disregard, disapproval are all in there among the burning bird cries. Nothing is said this knowing is purely affective. Throughout the whole album, without the need for any intellectual understanding, there is still such a great feeling of getting the message. ![]() At the same time, the cacophony of birds’ assemblies of diffferent sorts feels like the distorted noise of a hectic human crowd. The full force of each of the recorded syrinx sounds, makes the listening experience an active act. Having his compositions released on the same label in the past, the phenomenal field recordist was closely related to Persistence of Sound, while composer Iain Chambers, who established the record label, would incorporate Rawes’s field recordings into his own works.įrom Dusk Till Dawn, throughout each of its eight tracks, is interwoven with bountiful birdsong. #Ten years afterr a space in time full album archive#Released posthumously on Persistence of Sound, this is possibly the last album by Ian Rawes, the founder, artist and archivist of The London Sound Survey website, known as an exceptional online archive of about 2000 field recordings, collected over more than ten years. From the start, the listener is carried away, entranced and ferried on sound waves along the coastal habitats of Lakenheath Fen, captured as perpetually playing a graceful dance of life and death. The new record by The London Sound Survey, From Dusk Till Dawn, is a dramatic journey, sonically celebrating the cyclical continuity of materiality’s impermanence. From Dusk Till Dawn by The London Sound Survey ![]()
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