Definitely TYA's masterpiece, issued 1970. It's probably my most frequently played album of all times, still after those 40 years. I still feel the smell of the parties of the seventies in Prague, dancing e.g. to Think About the Times. The album has an extremely unique atmosphere (yes, also tired in a way, maybe frustrated, but also full of tenderness and love in Alvin's voice and music as well, subdued lights mandatory), which is only partially captured on other TYA albums (e.g.
Cricklewood Green,
Space In Time). The totally happy tune, She Lies In the Morning, is really great (maybe adding some genuine British /Liverpool?/ inspiration to the mixture). Alvin's guitar solos are at his best: more "homogenous", with greater than ever melodic invention. In addition, the perfect musicianship of the other 3 members of the group ought to be mentioned (Leo Lyons-bg, Chick Churchill-kb, Ric Lee-ds). Watt heralds the great change from the music of the sixties to the actual modern rock sound of the seventies (what a progress if you compare it to their pure R&B debut some 3 years before). Just listen to the brief shift into a fantastic jazzy improvisation (Gonna Run), years before the climax of the jazz-rock era. There are also heavenly rocky improvisations (I Say Yeah, She Lies In the Morning). The value of Watt is probably in its very specific sound that has brought together divergent inspirations, from blues, jazz to hard-rock. Watt is an extraordinary achievement, the result of previous years of playing the blues (and I guess they must have had experience with jazz as well). I only admit that the closing live piece taken at the Isle of Wight festival, Sweet Little Sixteen, has been performed better by other bands (and TYA themselves could play R'N'R classics also much better), and it never seemed to fit to the remaining tracks of the album. However, it does not hamper the overall feeling from listening to the album. In short, if you want to discover why TYA are so genuine in history of R'N'R, Watt has to be the choice.