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4.6 out of 5 stars
26
4.6 out of 5 stars
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on 24 May 2017
This is an excellent album capturing the feel of the live concerts and shows what a great band ten years after were live. I'm not sure I would have put the drum solo on the album but it was a feature of all live bands at the time. This is a great British Blues album with a bit of a Jazz influence. However if you don't have any live ten Years After albums I would recommend you get ten Years After live first as it is better as I prefer the track listing and it shows Alvin Lee at the very top of his game. This is still a great album and good value for money.
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on 4 February 2016
tya will never die
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on 15 July 2017
Took me back to my youth , awesome
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on 14 April 2017
Brilliant, thanks.
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on 2 August 2015
This was among the albums in constant rotation on the record players of myself & my friends in the Summer of 1968 & this 2015 remastered edition is not only most welcomed but still sounding great! I do, however, have a minor quibble. The info here is obviously either in error or I have purchased an 'alternate' edition because Disc One of my copy consists of the 6 tracks from the original 1968 vinyl release in stereo (i.e. I May be Wrong But I Won't Be Wrong Always, Woodchopper's Ball, Spider in My Web, Summertime/Shantung Cabbage & I'm Coming Home} & the additional Klooks Kleek recordings (also in stereo) are on Disc 2 accompanied by 6 BBC live recordings. Now, I distinctly recall a Mono release of this classic on Deram DML 1023, but the Mono versions are not included here- which is odd because the remastered versions of both the debut studio album & Stonedhenge (issued simultaneously with Undead) include the original mono masters as well as the stereo. So why no mono masters for Undead? Also: the same introduction prefaces both the opening tracks for different songs on both Disc 1 & Disc 2, which surely cannot be right? Neither can the booklet's ascription of the BBC live tracks to 1967 be correct- these are from the Top Gear show of August 1968 which propelled the album into the charts, and from the David Symonds Show of late December 1968. Anyone care to explain these discrepencies?
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on 2 October 2010
I'm a longtime TYA fan, and "Recorded Live" was the first rock album I bought in my teens. I acquired all the other TYA albums bar Undead as I felt that since I had RL, Undead would be a bit extravagant. Its interesting how similar the 2 albums are actually, for example the drum solo - which is called Hobbit on RL, and "I can't keep from crying sometimes/extension on one chord". RL is a more refined, controlled live performance whereas Undead is more raw and spontaneous - one reviewer reckons RL sounds a bit jaded, TYA just going through the motions, and its a fair observation, although there are a couple of tracks (good morning little schoolgirl" and "Slow blues in C" which I miss as I haven't bought RL on CD yet. Overall though I'm pleased with Undead its a good album and Alvin Lee's guitar work still stands up there with the best of them.
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on 15 July 2010
British bluesrock conquered the musicindustry in the middle of the sixites, giving many good bands. One of them was Ten Years After.

Although "Undead" is their second album, it's one of their strongest. This live record is simply a perfect example of how the British Blues Boom scene sounded in those days. The band plays tight, fresh and is in form. The bluesrocksongs sometimes have a jazzy-influences, wich makes your head nod with some of the faster songs. The songs have good tempo, Alvin Lee his playing is realy nice. He plays in control without overdoing himself. We all now "I'm going home" from Woodstock. But I prefer the original Undead version, because the band keeps the song in control.

Undead is live British Blues Boom. We should be thankful for that.
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on 19 February 2002
This is an explosive album. My first real introduction into blues at speed. I first heard this album in 1981. I had no idea who it was, but it sure impressed me. The first track and the second, Woodchopper's Ball, are great examples of a very tight blues band with warm jazz influences.
These live tracks take the listener into the audience of a London pub in the late '60s. An electrifying experience.
There is a 12 bar blues track and for the musical technician (drummers) a 5 minute solo.
4 stars because this could get somewhat monotonous for the non drummers!
The first two tracks are worth the price alone.
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on 9 August 2002
When Alvin Lee & Ten Years After were first invited to play in America by legendary rock promoter Bill Graham in 1968, they wanted to release an album to coincide with the tour. Their 2nd studio effort "Stonedhenge" was not yet complete, so it was decided to do a live album. The result was one of the best live recordings of the period, and it arguably remains as one of the best "Live Rock & Blues" albums ever! As indicated in my Visual History book on Ten Years After - when Alvin Lee first heard this album he thought "Well that's it, that is probably the best I'll ever play and there are going to be problems recording in the future because this encompasses just about everything the band can do". Fortunately things turned out much better for Ten Years After but, listening to UNDEAD, it quickly becomes evident that Alvin's initial concerns were not unfounded. This album absolutely "SMOKES" from the onset and the musicianship is remarkable throughout.
Ten Years After were quite different from the other "2nd British Invasion" blues bands of the late 60's because they effortlessly fused jazz and blues, and that characteristic is exemplified in this album. "Woodchoppers Ball" and "I May Be Wrong, But I Won't Be Wrong Always" are absolutely stunning and every bit as impressive today as when they were originally recorded. A few critics later got some sort of perverse pleasure from claiming that Alvin Lee's guitar playing was "all haste and no taste", but none of that is remotely evident on UNDEAD. His highly accomplished and precise technique on the aforementioned two songs dances above, around & under any solos recorded by the other so-called "guitar gods" of the time. The four new tracks, comprised of material originally excluded due to vinyl record time limits, have made the remastered CD even better. "Spoonful" and "Crossroads" were, of course, played by almost all of the British blues bands and Alvin obligingly introduces "Spoonful" as a "Clapton - Howlin' Wolf number". But it's a treat to now hear TYA's own version of these tunes with Alvin's own inimitable guitar work.
In the wonderful booklet that accompanies the CD, drummer Ric Lee describes the added "I Can't Keep From Crying Sometimes" as being, "a bit rough around the edges". Although it's not quite the polished version found on future TYA releases, it is very much a "diamond in the rough" - being an early and quite interesting 14 minute version of the song. The closer, "I'm Going Home", is only half the length of the famous Woodstock version that would emerge more than a year later - yet it is every bit as energetic, and perhaps even more so!
Following Woodstock and the increased stardom that resulted, Ten Years After concert venues quickly changed from clubs to sports arenas and their music subsequently emanated from stacks of 100 watt Marshall amplifiers. In most respects, the individual talents and contributions of all four band members (as heard on UNDEAD) were lost forever in that "wall of sound". This is another reason why UNDEAD is so special, you can actually hear what a great keyboard player Chick Churchill is!
I strongly recommended the other TYA re-releases ("Ten Years After", "Stonedhenge", "Live At The Fillmore East 1970" & "Cricklewood Green"). They all have bonus tracks and great new descriptive booklets authored by Ric Lee, with the original artwork plus several additional rare photos. But if you have not yet heard any of them, I suggest you start with UNDEAD ...It truly Rocks !!
Herb Staehr
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on 22 April 2016
This is as undead as it could be. A spectacular record of a young band firing on all cylinders, and the re-issue seriously enhances the album with songs left off the original LP, re-creating an authentic concert.

Buy this release from 2002 rather than the 2014 release - the 2014 one has the original album on one disc and the remaining songs on a second disc, thereby detracting the enjoyment by ruining the flow of the concert created by the 2002 release. The second disc of the 2014 release adds BBC recordings which are such poor quality that they also detract from the listening experience.
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