Ten Years After
Ssssh.

THE REVIEW

I start with a word that you'll understand only by reading the review: INAUDITA.

In 1969, riding the wave of emerging hard rock, Ten Years After presented to the world their idea of how to interpret the genre with the album "Ssssh". Coming off the production of three blues records, each better than the last, the work is considered the first example of rock played by the group, with good results, although a certain blues influence remains evident.

It starts with "Bad Scene", which immediately makes it clear that Ten Years After have changed. Distorted guitar (an unusual fact for Alvin Lee, who had accustomed us to very clear and clean strokes), driving rhythm, angry voice, and as usual, gut-wrenching solos that leave you speechless.
It's up to "Two Time Mama" to break the tension with a carefree country-rock that brings us back to Earth before "Stoned Woman" ruins everything again. Another decidedly successful example of hard rock, with an attached solo (just for a change) very fast. Like Lee, no one ever before.
Then comes the time for "Good Morning Little Schoolgirl", the only cover on the album, which the band perfectly reinterprets, with Leo Lyons's bass played at decidedly high volumes laying the ideal carpet for... guess what? a memorable guitar solo. It also adds a nice drum section (let's not forget he's there too!).
And as in every respectable hard rock album, a song for your beloved: "If You Should Love Me", which starts on relaxed tones to gradually evolve as the song develops, with Lee's screams declaring all his love for the fortunate one to whom this wonderful song is dedicated.
Here there's also room for the organ (the musical instrument, that is) of Chick Churchill, who in this album remains a bit in the background compared to previous ones.
We stay on topic with "I Don't Know That You Don't Know My Name", a relatively short piece (2 minutes) but still catchy and pleasant.
"The Stomp", with prominent bass marking the rhythm, also leaves space for Churchill in a song that is mainly remembered for the riff running throughout the song.
We close the album beautifully (lasting about 33 minutes) with "I Woke Up This Morning" where the Gibson ES 335 expresses itself in an unheard-of way (and I repeat unheard-of) in the hands of one of the best guitarists my ears have ever heard.

Everything clear now?