Few live performances in the history of rock and blues have captured the raw power, energy, and musicianship of a band like Ten Years After’s iconic rendition of “I’m Going Home” at the Woodstock Festival in 1969. While it may have been their most widely recognized moment, the song itself—part of the album Undead released in 1968—showcases a style and intensity that cemented Ten Years After’s place among the elite of late 1960s British blues-rock bands. In this blog, we’ll explore the origins and context of this track, dissect its instrumentation, and reflect on why this piece of music remains one of the most exhilarating live recordings ever produced.
The Album: “Undead” (1968)
Before Ten Years After took the Woodstock stage by storm, they had already established themselves with a handful of studio and live recordings. Undead, released in 1968, is their second album, and it stands apart because it’s a live album, capturing their performance at a small jazz club called Klooks Kleek in London.
Undead was pivotal—it marked a transition from their early jazz-blues roots to a more electrified, high-tempo rock & roll. The album includes songs like “Woodchopper’s Ball” and “I May Be Wrong, But I Won’t Be Wrong Always,” each of which showcases the band’s experimental approach and improvisational skills. But it is “I’m Going Home” that serves as the centerpiece—a frenetic, high-octane medley that combines rockabilly, blues, and early rock influences with blistering speed and agility.
At over nine minutes long in its studio version, and often even longer in live performances, “I’m Going Home” became a definitive statement for the band. It was not merely a song—it was a showcase of what a live rock act could accomplish when pushed to its limits.
Instruments and Sounds: A Sonic Frenzy
The song “I’m Going Home” is, at its core, a rock and roll medley that blazes through snippets of classics like “Blue Suede Shoes” and “Whole Lotta Shakin’ Goin’ On.” But what truly sets it apart is how Ten Years After reimagined these classics in a style all their own. The instrumentation is straightforward in terms of band configuration but extraordinary in execution:
1. Guitar
The focal point of the track is undoubtedly Alvin Lee’s guitar work. Using his signature Gibson ES-335, Lee delivers rapid-fire licks and solos that blend Chuck Berry-style riffs with bluesy bends and rockabilly drive. His picking speed and phrasing are astonishing, and the solos often feel like they’re on the verge of exploding, yet never lose coherence.
The guitar tone is slightly overdriven, not excessively distorted, allowing the natural woodiness and dynamics of the instrument to come through. It’s a perfect balance that serves both the aggressive energy of the song and its bluesy undertones. It’s no exaggeration to say that Lee’s guitar in this track set a benchmark for what blues-rock guitar could sound like live.
2. Piano
Though less pronounced than the guitar, the piano (played by Chick Churchill) adds a boogie-woogie flair that roots the song in early rock traditions. The piano lines are rapid and rhythmic, complementing Lee’s guitar riffs with a kind of call-and-response energy. While the piano never takes the lead, it enriches the sonic palette, especially during transitions between sections.
For fans of vintage rock who appreciate the seamless interplay between guitar and piano, this piece of music delivers in spades.
3. Bass
Leo Lyons’ bass playing is another highlight—busy yet never intrusive. Lyons walks, climbs, and gallops along with Lee, always one step behind or beside, never ahead. His agile lines provide harmonic depth and rhythmic propulsion. Without this backbone, the frenetic energy of “I’m Going Home” might easily fall apart.
4. Drums
Ric Lee’s drumming is a lesson in controlled chaos. It’s not flashy, but it’s relentless, full of tight snare rolls, hi-hat syncopation, and sudden cymbal crashes that give the song its manic edge. The drums are a key reason why the song feels like a race to the finish line—a non-stop adrenaline rush from start to end.
Performance at Woodstock: A Legacy Sealed
No discussion of “I’m Going Home” would be complete without mentioning the legendary Woodstock performance. Alvin Lee famously joked afterward, “I played the fastest, longest guitar solo of my life,” and indeed, the performance was jaw-dropping. That moment transformed the song from a cult favorite to a defining piece of the counterculture era.
The Woodstock version is even more explosive, with extended solos and crowd interactions that feel almost punk in their energy. The sheer physical stamina needed to play this version is a testament to the band’s musicianship.
This live rendition was also featured in the 1970 documentary film Woodstock, which catapulted Ten Years After into global recognition. For many viewers, it was their first exposure to the band, and it left an indelible mark.
Why It Still Matters
“I’m Going Home” is more than just a song; it’s an experience. It captures the essence of late 1960s rock: rebellion, freedom, virtuosity, and communal joy. It stands as a time capsule, yes—but also as a masterclass in live performance.
From a high CPC keyword perspective, it’s worth noting that guitar lessons and blues rock vinyl are topics that consistently attract interest. If you’re exploring ways to learn from classic performances or looking to collect physical music formats, this track and album are essential listening.
This song teaches aspiring guitarists and drummers a lot about speed, control, and phrasing. Meanwhile, for listeners, it remains one of the most exhilarating pieces in rock history.
A Piece of Music That Still Rocks
Whether you’re a vinyl collector, a live music enthusiast, or a student of music history, “I’m Going Home” deserves your attention. This piece of music, though born in an era long gone, still feels fresh. There’s a sense of urgency, of freedom in Lee’s playing that defies age or context.
The album Undead as a whole is worth rediscovering—not just for “I’m Going Home,” but for how it represents a pivotal time when British rock was evolving rapidly. If you love guitar-driven rock, and especially if you enjoy the interplay of piano and guitar, this is a record that should be on your shelf or playlist.
Recommended Listening
If “I’m Going Home” resonated with you, here are a few other tracks and artists to check out that embody a similar spirit of virtuosity and vintage rock energy:
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Cream – “Crossroads (Live at the Fillmore)”
Eric Clapton’s live soloing here is in the same league as Alvin Lee’s—blues-based but wildly expressive. -
The Allman Brothers Band – “Whipping Post (Live at Fillmore East)”
Another legendary live track that builds intensity through instrumental mastery. -
Rory Gallagher – “Tattoo’d Lady”
A blues-rock tour de force from one of the most underrated guitarists of the 70s. -
Johnny Winter – “Be Careful with a Fool”
Winter’s playing echoes the same blend of speed and soul that defines Lee’s style. -
Jimi Hendrix – “Machine Gun (Live at Fillmore East)”
Hendrix’s improvisational prowess and raw emotion parallel the energy of “I’m Going Home.”
Final Thoughts
“I’m Going Home” is a triumphant display of energy, musicianship, and the power of live performance. It’s more than a song—it’s a journey. For those who have never heard it, the experience can be electrifying. For those revisiting it, the song offers endless nuances to appreciate.
In a world dominated by studio perfection and digital manipulation, this recording reminds us of a time when a band, a stage, and raw talent were all you needed to make history.