Observation is either an activity of a living being, such as a human, consisting of receiving knowledge of the outside world through the senses, or the recording of data using scientific instruments. The term may also refer to any data collected during this activity. An observation can also be the way you look at things or when you look at something.

Observation in science

The scientific method requires observations of nature to formulate and test hypothesis. It consists of these steps: # Asking a question about a natural phenomenon # Making observations of the phenomenon # Hypothesizing an explanation for the phenomenon # Predicting a logical consequence of the hypothesis # Testing the hypothesis by an experiment, an observational study, or a field study # Creating a conclusion with data gathered in the experiment

Observation plays a role in the second and fifth steps. However the need for reproducibility requires that observations by different observers be comparable. Human sense impressions are subjective and qualitative making them difficult to record or compare. The idea of measurement evolved to allow recording and comparison of observations made at different times and places by different people. Measurement consists of using observation to compare the thing being measured to a standard; an artifact, process or definition which can be duplicated or shared by all observers, and counting how many of the standard units are comparable to the object. Measurement reduces an observation to a number which can be recorded, and two observations which result in the same number are equal within the resolution of the process.

Senses are limited, and are subject to errors in perception such as optical illusions. Scientific instruments were developed to magnify human powers of observation, such as weighing scales, clocks, telescopes, microscopes, thermometers, cameras, and tape recorders, and also translate into perceptible form events that are unobservable by human senses, such as indicator dyes, voltmeters, spectrometers, infrared cameras, oscilloscopes, interferometers, geiger counters, x-ray machines, and radio receivers.

One problem encountered throughout scientific fields is that the observation may affect the process being observed, resulting in a different outcome than if the process was unobserved. This is called the ''observer effect''. For example, it is not normally possible to check the air pressure in an automobile tire without letting out some of the air, thereby changing the pressure. However, in most fields of science it is possible to reduce the effects of observation to insignificance by using better instruments.

Considered as a physical process itself, all forms of observation (human or instrumental) involve amplification and are thus thermodynamically irreversible processes, increasing entropy.

Alternative definitions

In some specific fields of science the words "observer" and "observation" have to be redefined to take into account factors that don't seem so important in everyday observation:

Relativity: In relativistic physics which deals with velocities close to the speed of light, it is found that different observers may observe different values for the length, time rates, mass, and many other properties of an object, depending on the observer's velocity relative to the object. Therefore an observation must always be qualified by specifying the state of motion of the observer, his reference frame.

Quantum mechanics: In quantum mechanics, which deals with the behavior of very small objects, it is not possible to observe a system without changing the system, and the "observer" must be considered part of the system being observed. In isolation, quantum objects are represented by a wavefunction which often exists in a superposition or mixture of different states. However, when an observation is made to determine the actual location or state of the object, it always finds the object in a single state, not a "mixture". The interaction of the observation process appears to "collapse" the wavefunction into a single state. So any interaction between an isolated wavefunction and the external world that results in this wavefunction collapse is called an ''observation'' or ''measurement'', whether or not it is part of a deliberate observation process.

Biases

Observational bias

An observational bias occurs when researchers only look where they think they will find positive results, or where it is easy to record observations. This is called the "streetlight effect".

Confirmation bias

Human observations are biased toward confirming the observer's conscious and unconscious expectations and view of the world; we "''see what we expect to see''". In psychology, this is called confirmation bias. Since the object of scientific research is the discovery of new phenomena, this bias can and has caused new discoveries to be overlooked. One example is the discovery of x-rays. It can also result in erroneous scientific support for widely held cultural myths, for example the scientific racism that supported ideas of racial superiority in the early 20th century, and creation science today. Correct scientific technique emphasizes careful recording of observations, separating experimental observations from the conclusions drawn from them, and techniques such as blind or double blind experiments, to minimize observational bias.

"Cargo cult" science

Another bias, which has become more prevalent with the advent of "big science" and the large rewards of new discoveries, is bias in favor of the researcher's favorite hypothesis; we "''see what we want to see''". Called pathological science and cargo cult science, this is different from deliberate falsification of results, and can happen to good-faith researchers. Possible examples of mistaken discoveries caused by this bias are Martian "canals", N rays, polywater, and cold fusion. Recent decades have seen scientific scandals caused by researchers playing "fast and loose" with observational methods in order to get their pet theories published. This type of bias is rampant in pseudoscience, where correct scientific techniques are not followed. The main defense against this bias, besides correct research techniques, is peer review and repetition of the experiment, or the observation, by other researchers with no incentive to bias. For example, an emerging practice in the competitive field of biotechnology is to require the physical results of experiments, such as serums and tissue cultures, be made available to competing laboratories for independent testing.

Processing bias

Modern scientific instruments can extensively process "observations" before they are presented to the human senses, and particularly with computerized instruments, there is sometimes a question as to where in the data processing chain "observing" ends and "drawing conclusions" begins. This has recently become an issue with digitally enhanced images published as experimental data in papers in scientific journals. The images are enhanced to bring out features that the researcher wants to emphasize, but this also has the effect of supporting his conclusions. This is a form of bias that is difficult to quantify. Some scientific journals have begun to set detailed standards for what types of image processing are allowed in research results. Computerized instruments often keep a copy of the "raw data" from sensors before processing, which is the ultimate defense against processing bias, and similarly scientific standards require preservation of the original unenhanced "raw" versions of images used as research data.

Observations in philosophy

Observation in philosophical terms is the process of filtering sensory information through the thought process. Input is received via hearing, sight, smell, taste, or touch and then analyzed through either rational or irrational thought. You ''see'' a parent beat their child; you ''observe'' that such an action is either good or bad. Deductions about what behaviors are good or bad may be based in no way on preferences about building relationships, or study of the consequences resulting from the observed behavior. With the passage of time, impressions stored in the consciousness about many related observations, together with the resulting relationships and consequences, permit the individual to build a construct about the moral implications of behavior.

The defining characteristic of observation is that it involves drawing conclusions, as well as building personal views about how to handle similar situations in the future, rather than simply registering that something has happened. However, observation according to Jiddu Krishnamurti does not necessarily imply drawing conclusions and building personal views. Instead of the accumulation of knowledge, a time-based, conditioning function he identified with the past, he stressed observation as a continuous process of learning, a timeless process that happens always in the present. Such observation, he asserted, frees the mind of its conditioning by discarding psychological dependence on the past.

See also

Introspection

List of cognitive biases

Naturalistic observation

Observational learning

Observations and Measurements

Observer effect

Uncertainty principle

Observational science

Observational astronomy

Observatory

References

Category:Cognition Category:Sources of knowledge Category:Philosophy of science Category:Aptitude

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Coordinates	21°24′33″N157°47′57″N
Background	solo_singer
Birth name	Olufela Olusegun Oludotun Ransome-Kuti
Alias	Fela Anikulapo KutiFela Ransome-Kuti
Birth date	October 15, 1938
Death date	August 02, 1997
Origin	Abeokuta, Nigeria
Instrument	Saxophone, vocals, keyboards, trumpet, guitar, drums
Genre	Afrobeat, Highlife
Occupation	Singer-songwriter, instrumentalist, activist
Years active	1958–1997
Label	Barclay/PolyGram (world except US, Japan, and Nigeria)MCA/Universal Records (US)Celluloid Records (US)EMI Nigeria (Nigeria)JVC Records (Japan)Wrasse Records (UK, US)Shanachie (US)Knitting Factory (US)
Associated acts	Africa '70Egypt '80Koola LobitosNigeria '70Hugh MasekelaGinger BakerTony AllenFemi KutiSeun KutiRoy AyersLester Bowie
Website	felaproject.net
Past members	}}

Fela Anikulapo Kuti 15 October 1938 — 2 August 1997), or simply Fela (), was a Nigerian multi-instrumentalist musician and composer, pioneer of Afrobeat music, human rights activist, and political maverick.

Biography

Fela was born Olufela Olusegun Oludotun Ransome-Kuti in Abeokuta, Ogun State, Nigeria into a middle-class family. His mother, Funmilayo Ransome-Kuti was a feminist activist in the anti-colonial movement and his father, Reverend Israel Oludotun Ransome-Kuti, a Protestant minister and school principal, was the first president of the Nigerian Union of Teachers. His brothers, Beko Ransome-Kuti and Olikoye Ransome-Kuti, both medical doctors, are well known in Nigeria. Fela was a first cousin to the Nigerian writer and Nobel laureate Wole Soyinka, the first African to win a Nobel Prize for Literature.

Fela was sent to London in 1958 to study medicine but decided to study music instead at the Trinity College of Music. While there, he formed the band Koola Lobitos, playing a fusion of jazz and highlife. In 1960, Fela married his first wife, Remilekun (Remi) Taylor, with whom he would have three children (Femi, Yeni, and Sola). In 1963, Fela moved back to Nigeria, re-formed Koola Lobitos and trained as a radio producer for the Nigerian Broadcasting Corporation. He played for some time with Victor Olaiya and his All Stars. In 1967, he went to Ghana to think up a new musical direction. That was when Kuti first called his music Afrobeat. In 1969, Fela took the band to the United States. While there, Fela discovered the Black Power movement through Sandra Smith (now Izsadore)—a partisan of the Black Panther Party—which would heavily influence his music and political views and renamed the band Nigeria '70. Soon, the Immigration and Naturalization Service was tipped off by a promoter that Fela and his band were in the U.S. without work permits. The band then performed a quick recording session in Los Angeles that would later be released as ''The '69 Los Angeles Sessions''.

After Fela and his band returned to Nigeria, the band was renamed The Africa '70, as lyrical themes changed from love to social issues. He then formed the Kalakuta Republic, a commune, a recording studio, and a home for many connected to the band that he later declared independent from the Nigerian state. Fela set up a nightclub in the Empire Hotel, named the Afro-Spot and then the Afrika Shrine, where he performed regularly. Fela also changed his middle name to Anikulapo (meaning "he who carries death in his pouch"), stating that his original middle name of Ransome was a slave name. The recordings continued, and the music became more politically motivated. Fela's music became very popular among the Nigerian public and Africans in general. In fact, he made the decision to sing in Pidgin English so that his music could be enjoyed by individuals all over Africa, where the local languages spoken are very diverse and numerous. As popular as Fela's music had become in Nigeria and elsewhere, it was also very unpopular with the ruling government, and raids on the Kalakuta Republic were frequent. During 1972 Ginger Baker recorded ''Stratavarious'' with Fela appearing alongside Bobby Gass. Around this time, Kuti was becoming more involved in Yoruba religion. In 1977 Fela and the Afrika '70 released the hit album ''Zombie'', a scathing attack on Nigerian soldiers using the zombie metaphor to describe the methods of the Nigerian military. The album was a smash hit with the people and infuriated the government, setting off a vicious attack against the Kalakuta Republic, during which one thousand soldiers attacked the commune. Fela was severely beaten, and his elderly mother was thrown from a window, causing fatal injuries. The Kalakuta Republic was burned, and Fela's studio, instruments, and master tapes were destroyed. Fela claimed that he would have been killed had it not been for the intervention of a commanding officer as he was being beaten. Fela's response to the attack was to deliver his mother's coffin to the Dodan Barracks in Lagos, General Olusegun Obasanjo's residence, and to write two songs, "Coffin for Head of State" and "Unknown Soldier", referencing the official inquiry that claimed the commune had been destroyed by an unknown soldier.

Fela and his band then took residence in Crossroads Hotel as the Shrine had been destroyed along with his commune. In 1978 Fela married twenty-seven women, many of whom were his dancers, composers, and singers to mark the anniversary of the attack on the Kalakuta Republic. Later, he was to adopt a rotation system of keeping only twelve simultaneous wives. The year was also marked by two notorious concerts, the first in Accra in which riots broke out during the song "Zombie", which led to Fela being banned from entering Ghana. The second was at the Berlin Jazz Festival after which most of Fela's musicians deserted him, due to rumors that Fela was planning to use the entire proceeds to fund his presidential campaign.

Despite the massive setbacks, Fela was determined to come back. He formed his own political party, which he called Movement of the People. In 1979 he put himself forward for President in Nigeria's first elections for more than a decade but his candidature was refused. At this time, Fela created a new band called Egypt '80 and continued to record albums and tour the country. He further infuriated the political establishment by dropping the names of ITT vice-president Moshood Abiola and then General Olusegun Obasanjo at the end of a hot-selling 25-minute political screed titled "I.T.T. (International Thief-Thief)".

In 1984, Muhammadu Buhari's government, of which Kuti was a vocal opponent, jailed him on a charge of currency smuggling which Amnesty International and others denounced as politically motivated. His case was taken up by several human-rights groups, and after 20 months, he was released from prison by General Ibrahim Babangida. On his release he divorced his twelve remaining wives, saying that "marriage brings jealousy and selfishness." Once again, Fela continued to release albums with Egypt '80, made a number of successful tours of the United States and Europe and also continued to be politically active. In 1986, Fela performed in Giants Stadium in New Jersey as part of the Amnesty International Conspiracy of Hope concert, sharing the bill with Bono, Carlos Santana, and The Neville Brothers. In 1989, Fela and Egypt '80 released the anti-apartheid ''Beasts of No Nation'' album that depicts on its cover U.S. President Ronald Reagan, UK Prime Minister Margaret Thatcher and South African Prime Minister Pieter Willem Botha.

His album output slowed in the 1990s, and eventually he stopped releasing albums altogether. In 1993 he and four members of the Afrika '70 organization were arrested for murder. The battle against military corruption in Nigeria was taking its toll, especially during the rise of dictator Sani Abacha. Rumors were also spreading that he was suffering from an illness for which he was refusing treatment. On 3 August 1997, Olikoye Ransome-Kuti, already a prominent AIDS activist and former Minister of Health, stunned the nation by announcing his younger brother's death a day earlier from Kaposi's sarcoma which was brought on by AIDS. More than a million people attended Fela's funeral at the site of the old Shrine compound. A new Africa Shrine has opened since Fela's death in a different section of Lagos under the supervision of his son Femi Kuti.

Music

The musical style performed by Fela Kuti is called Afrobeat, which is a complex fusion of Jazz, Funk, Ghanaian/Nigerian High-life, psychedelic rock, and traditional West African chants and rhythms. Afrobeat also borrows heavily from the native "tinker pan" African-style percussion that Kuti acquired while studying in Ghana with Hugh Masakela, under the uncanny Hedzoleh Soundz. The importance of the input of Tony Allen (Fela's drummer of twenty years) in the creation of Afrobeat cannot be overstated. Fela once famously stated that, "without Tony Allen, there would be no Afrobeat".

Afrobeat is characterized by a fairly large band with many instruments, vocals, and a musical structure featuring jazzy, funky horn sections. The "endless groove" is used, in which a base rhythm of drums, shekere, muted West African style guitar, and melodic bass guitar riffs are repeated throughout the song. Commonly, interlocking melodic riffs and rhythms are introduced one by one, building the groove bit-by-bit and layer-by-layer to an astonishing melodic and polyrhythmic complexity. The horn section then becomes prominent, introducing other riffs and main melodic themes.

Fela’s band was notable for featuring two baritone saxophones, whereas most groups were using only one of this instrument. This is a common technique in African and African-influenced musical styles, and can be seen in funk and hip hop. Fela’s bands at times even performed with two bassists at the same time both playing interlocking melodies and rhythms. There were always two or more guitarists. The electric West African style guitar in Afrobeat bands are paramount, but are used to give basic structure, playing a repeating chordal/melodic statement, riff, or groove.

Some elements often present in Fela's music are the call-and-response within the chorus and figurative but simple lyrics. Fela's songs were also very long, at least 10–15 minutes in length, and many reaching the 20 or even 30 minutes, while some unreleased tracks would last up to 45 minutes when performed live. This was one of many reasons that his music never reached a substantial degree of popularity outside Africa. His LP records frequently had one 30 minute track per side. Typically there is an instrumental “introduction” jam part of the song, perhaps 10-15 mins. long before Fela starts singing the “main” part.

His songs were mostly sung in Nigerian pidgin, although he also performed a few songs in the Yoruba language. Fela's main instruments were the saxophone and the keyboards, but he also played the trumpet, electric guitar, and took the occasional drum solo. Fela refused to perform songs again after he had already recorded them, which also hindered his popularity outside Africa.

Fela was known for his showmanship, and his concerts were often quite outlandish and wild. He referred to his stage act as the Underground Spiritual Game. Fela attempted making a movie but lost all the materials to the fire that was set to his house by the military government in power. Kuti thought that art, and thus his own music, should have political meaning.

Political views

Kuti thought that the most important thing for Africans to fight is European cultural imperialism, Kuti being a supporter of traditional religions and lifestyles. The American Black Power movement influenced Fela's political views. He was also a supporter of Pan-Africanism and socialism, and called for a united, democratic African republic. He was a candid supporter of human rights, and many of his songs are direct attacks against dictatorships, specifically the militaristic governments of Nigeria in the 1970s and 1980s. He was also a social commentator, and he criticized his fellow Africans (especially the upper class) for betraying traditional African culture. The African culture he believed in also included having many wives (polygyny) and the Kalakuta Republic was formed in part as a polygamist colony. He defended his stance on polygyny with the words "A man goes for many women in the first place. Like in Europe, when a man is married, when the wife is sleeping, he goes out and fucks around. He should bring the women in the house, man, to live with him, and stop running around the streets!" His views towards women are characterized by some as misogynist, with songs like "Mattress" typically cited as evidence In a more complex example, he mocks the aspiration of African women to European standards of ladyhood while extolling the values of the market woman in his song "Lady".

Bypassing editorial censorship in Nigeria's predominantly state controlled media, Kuti began in the 1970s buying advertising space in daily and weekly newspapers such as ''The Daily Times'' and ''The Punch'' in order to run outspoken political columns. Published throughout the 1970s and early 1980s under the title ''Chief Priest Say'', these columns were essentially extensions of Kuti's famous Yabi Sessions—consciousness-raising word-sound rituals, with himself as chief priest, conducted at his Lagos nightclub. Organized around a militantly Afrocentric rendering of history and the essence of black beauty, ''Chief Priest Say'' focused on the role of cultural hegemony in the continuing subjugation of Africans. Kuti addressed a number of topics, from explosive denunciations of the Nigerian Government's criminal behavior; Islam and Christianity's exploitative nature, and evil multinational corporations; to deconstructions of Western medicine, Black Muslims, sex, pollution, and poverty. ''Chief Priest Say'' was cancelled, first by ''Daily Times'' then by ''Punch'', ostensibly due to non-payment, but many commentators have speculated that the paper's respective editors were placed under increasingly violent pressure to stop publication.

The Fela revival

In recent years there has been a revitalization of Fela's influence on music and popular culture, culminating in another re-release of his catalog controlled by Universal Music, off-and-on Broadway biopic shows, and new bands, such as Antibalas, who carry the Afrobeat banner to a new generation of listeners.

In 1999, Universal Music France, under the aegis of Francis Kertekian, remastered the 45 albums that it controlled and released them on twenty-six compact discs. These titles were licensed to other territories of the world with the exception of Nigeria and Japan, where Fela's music was controlled by other companies. In 2005, Universal Music USA licensed all of its world-music titles to the UK-based label Wrasse Records, which repackaged the same twenty-six CDs for distribution in the USA (replacing the MCA-issued titles there) and the UK. In 2009, Universal created a new deal for the USA with Knitting Factory Records and for Europe with PIAS, which included the release of the ''Fela!'' Broadway cast album.

Thomas McCarthy's 2008 film ''The Visitor'' depicted a disconnected professor (Oscar nominee Richard Jenkins) who wanted to play the djembe. He learns from a young Syrian (Haaz Sleiman) who tells the professor he will never truly understand African music unless he listens to Fela. The film features clips of Fela's "Open and Close" and "Je'nwi Temi (Don't Gag Me)."

In 2008, an off-Broadway production of Fela Kuti's life titled ''Fela!'' began with a collaborative workshop between the Afrobeat band Antibalas and Tony award winner Bill T. Jones. The show was a massive success, selling out shows during its run, and garnering much critical acclaim. On November 22, 2009, ''Fela!'' began a run on Broadway at the Eugene O'Neill Theater. Jim Lewis helped co-write the play (along with Bill T. Jones), and obtained producer backing from Jay-Z and Will Smith, among others. On May 4, 2010, ''Fela!'' was nominated for 11 Tony Awards, including Best Musical, Best Book of a Musical, Best Direction of a Musical for Bill T. Jones, Best Leading Actor in a Musical for Sahr Ngaujah, and Best Featured Actress in a Musical for Lillias White.

On August 18, 2009, award winning DJ J.Period released a free mixtape to the general public via his website that was a collaboration with Somali-born hip hop artist K'naan paying tribute to Fela, Bob Marley and Bob Dylan entitled ''The Messengers''.

In October 2009, Knitting Factory Records began the process of re-releasing the 45 titles that Universal Music controls, starting with yet another re-release of the compilation ''The Best of the Black President'' in the USA. The rest is expected to be released in 2010.

In addition, a movie by Focus Features, directed by Steve McQueen and written by Biyi Bandele about the life of Fela Kuti went into production in 2010. It was announced in 2010 that Chiwetel Ejiofor would play the lead role.

Discography

Filmography

''Fela in Concert'' 1981, (VIEW)

''Music is the Weapon'' 1982, Stéphane Tchal-Gadjieff & Jean Jacques Flori, (Universal Music)

''Fela Live! Fela Anikulapo-Kuti and the Egypt ’80 Band'' 1984, Recorded Live At Glastonbury, England (Yazoo)

''Femi Kuti—Live at the Shrine'' 2005, Recorded Live At Lagos, Nigeria (Palm Pictures)

Notes

References

[authorized biography].

External links

'He was in a godlike state' - Guardian feature

The Shrine Unofficial website for Fela Kuti and Afrobeat Music with news, bio's, tour dates, gig reviews, interviews, lyrics and forum.

Fela Kuti article from the New Official Ginger Baker Archive and Drummers forum launched by the Baker family September 2010

Fela Kuti biography at World Music Central, includes biography, discography and bibliography

Category:1938 births Category:1997 deaths Category:Nigerian musicians Category:Nigerian songwriters Category:Nigerian saxophonists Category:Bandleaders Category:Pan-Africanism Category:People from Abeokuta Category:AIDS-related deaths in Nigeria Category:Polygamy Category:Yoruba musicians Category:World music musicians Category:Trinity College of Music alumni Category:MCA Records artists

de:Fela Kuti et:Fela Kuti es:Fela Kuti eo:Fela Kuti fr:Fela Kuti it:Fela Kuti sw:Fela Kuti nl:Fela Kuti ja:フェラ・クティ no:Fela Kuti nn:Fela Kuti pl:Fela Kuti pt:Fela Kuti simple:Fela Kuti fi:Fela Kuti sv:Fela Kuti tr:Fela Kuti yo:Fela Kuti

Coordinates	21°24′33″N157°47′57″N
name	Ten Years After
background	group_or_band
origin	Nottingham, England
genre	Blues-rock, British blues, rock and roll, hard rock, jazz rock
years active	1966–197419831988–present
label	Polygram, Chrysalis, EMI, CBS
website	http://tenyearsafter.com/
current members	Leo LyonsChick ChurchillRic LeeJoe Gooch
past members	Alvin Lee }}

Ten Years After is an English blues-rock band, most popular in the late 1960s and early 1970s. Between 1968 and 1973, Ten Years After scored eight Top 40 albums on the UK Albums Chart. and are best known for their tracks "I'm Going Home", "Hear Me Calling", "I'd Love To Change the World" and "Love Like a Man".

History

After several years of local success in the Nottingham/Mansfield area as a band known since 1962 as The Jaybirds (its core was formed in late 1960 as Ivan Jay and the Jaycats), and later as Ivan Jay and the Jaymen, Ten Years After was founded by Alvin Lee and Leo Lyons. Ivan Jay sang lead vocals from late 1960 to 1962 and was joined by Ric Lee in August 1965, replacing drummer Dave Quickmire, who had replaced Pete Evans in 1962. In 1966 The Jaybirds moved to London, where Chick Churchill joined the group. That November the quartet signed a manager, Chris Wright, and decided to change its name to Blues Trip, Blues Yard (under which they played a show at the Marquee Club supporting the Bonzo Dog Doo-Dah Band), and finally in November 1966, to Ten Years After, (in honor of Elvis Presley, an idol of Lee's whose momentous year in rock - 1956, helps to better explain the band's name). The group became the first act booked by the soon-to-be Chrysalis Agency. It secured a residency at the Marquee, and received an invitation to play at the Windsor Jazz Festival in 1967. That performance led to a contract with Deram, a subsidiary of Decca – the first band so signed without a hit single. In October, its 1967 self-titled debut album was released.

In 1968 after touring Scandinavia and the United States, Ten Years After released its second album, the live ''Undead'', which brought the noteworthy song "I'm Going Home". This was followed in February 1969 by the studio issue ''Stonedhenge'', a British hit, that included another well-known track, "Hear Me Calling" (it was released also as a single, and covered in 1972 by the British glam rock rising stars, Slade). In July 1969 the group appeared at the Newport Jazz Festival, in the first event to which rock bands were invited. In August, the band performed a breakthrough American appearance at Woodstock; their rendition of "I'm Going Home" featuring Alvin Lee as lead singer, was featured in both the subsequent film and soundtrack album and catapulted them to star status.

During 1970, Ten Years After released "Love Like a Man", the group's only hit in the UK Singles Chart. This song was on the band's fifth album, ''Cricklewood Green''. The name of the album comes from a friend of the group who lived in Cricklewood, London. He grew a sort of plant which was said to have hallucinogenic effects. The band did not know the name of this plant, so the members called their album ''Cricklewood Green''. It was the first record to be issued with a different playing speed on each side – one a three-minute edit at 45rpm, the other, a nearly eight-minute live version at 33rpm. In August 1970, Ten Years After played the Strawberry Fields Festival near Toronto, and the Isle of Wight Festival 1970.

In 1971 the band switched labels to Columbia Records and released the hit album ''A Space in Time,'' which marked a move toward more commercial material. It featured the group's biggest hit, "I'd Love to Change the World". In late 1972 the group issued their second Columbia album ''Rock & Roll Music to the World'' and in 1973 the live double album ''Ten Years After Recorded Live''. The band subsequently broke up after their final 1974 Columbia album ''Positive Vibrations''. The members reunited in 1983 to play the Reading Festival, and this performance was later released on CD as ''The Friday Rock Show Sessions - Live At Reading '83' ''. In 1988 the members reunited for a few concerts and recorded the album ''About Time'' (1989). In 1994, they participated in the Eurowoodstock festival in Budapest.

Alvin Lee has since then mostly played and recorded under his own name. In 2003, the other band members replaced him with Joe Gooch, and recorded the album, ''Now''. Material from the following tour was used for the 2005 double album, ''Roadworks''. Ric Lee is currently in a band called The Breakers, along with Ian Ellis (ex-Clouds).

Band members

Alvin Lee: guitar, vocals, harp; born Graham Barnes, 19 December 1944, Nottingham, Nottinghamshire.

Leo Lyons: bass; born David William Lyons, 30 November 1943, Mansfield, Nottinghamshire.

Chick Churchill: keyboards; born Michael George Churchill, 2 January 1946, Ilkeston, Derbyshire.

Ric Lee: drums; born Richard Lee, 20 October 1945, Mansfield, Nottinghamshire.

Joe Gooch: guitar, vocals; born 3 May 1977, Highbury, North London (joined in 2003).

Discography

Studio and live albums

{| |- | width=300px|''Ten Years After'' ||Deram, 1967|| |- | width=300px|''Undead'' (live album) ||Deram, 1968|| |- | width=300px|''BBC Sessions'' ||1967–1968|| |- | width=300px|''Stonedhenge'' ||Deram, 1969|| |- | width=300px|''Ssssh'' ||Deram, 1969|| |- | width=300px|''Cricklewood Green'' ||Deram, 1970|| |- | width=300px|''Watt'' ||Deram, 1970|| |- | width=300px|''A Space in Time'' ||Columbia, 1971|| |- | width=300px|''Rock & Roll Music to the World'' ||Columbia, 1972|| |- | width=300px|''Recorded Live'' (double live album) ||Columbia, 1973|| |- | width=300px|''Positive Vibrations'' ||Columbia, 1974|| |- | width=300px|''Rocket Fuel'' ||RSO, 1978|| by Alvin Lee & Ten Years Later |- | width=300px|''Ride On'' ||RSO, 1979|| by Alvin Lee & Ten Years Later |- | width=300px|''About Time'' ||Chrysalis, 1989|| |- | width=300px|''Live at the Fillmore East 1970'' (double live album) ||2001|| |- | width=300px|''One Night Jammed (Live)'' ||2003|| |- | width=300px|''Now'' ||2004|| |- | width=300px|''Roadworks'' (double live album) ||2005|| |- | width=300px|''Evolution'' ||2008|| |- | width=300px|''Live at Fiesta City'' (live DVD) ||2009|| |}

Compilations

''Double Deluxe'' (1970)

''Ten Years After'' (1971)

''Alvin Lee and Company'' (Deram, 1972)

''Goin' Home'' (Deram, 1975)

''Classic Performances of'' (Columbia, 1976)

''London Collector – Greatest Hits'' (London, 1977)

''Profile'' (1979)

''Ten Years After'' (1980)

''Timewarps'' (1983)

''The Collection'' (1985)

''At Their Peak'' (1987)

''Universal'' (1987) (Chrysalis Records)

''Portfolio: A History'' (1988)

''The Collection'' (1991)

''Essential'' (1991)

''Pure Blues'' (1995)

''I'm Going Home'' (1996)

''Premium Gold Collection'' (1998)

''The Best of'' (2000)

''Very Best Ten Years After Album Ever'' (2001)

''Ten Years After Anthology'' (2002)

Bibliography

''The New Musical Express Book of Rock'', Star Books, 1975. ISBN 0 352 300744.

''Alvin Lee and Ten Years After–Visual History'' - Herb Staehr, Free Street Press,

References

External links

Ten Years After Now — official website of the new band

Interview with Alvin Lee

Alvin Lee official website

Chrome Oxide information

Category:Blues rock groups Category:Columbia Records artists Category:British blues music groups Category:Decca Records artists Category:English hard rock musical groups Category:Musical groups established in 1966 Category:Musical groups disestablished in 1974 Category:Musical groups reestablished in 1988

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