Wishbone Ash Argus (1972)

From thevinyldistrict.com

Four English song-smithies who couldn’t figure out if they wanted to be guitar heroes or fey sylvan Medievalists playing music to seduce water sprites by, Wishbone Ash really gets my goat–wowing me one minute, and making me want to scream the next.

Take 1972’s Argus, Wishbone Ash’s most successful outing. This baby totally befuddled me as a kid; I loved the groovy guitar interplay between Andy Powell and Ted Turner, but got thrown every time by all the King Arthur’s-in-the-house horseshit. The damn thing sounded like a cross between a Renaissance Faire and Lou Reed’s Rock n Roll Animal, and I simply couldn’t wrap my poor teen mind around it.

You got, for instance, “Sometime World,” which begins life as a moody evocation of England’s green and pleasant land and ends it as a guitar rampage for the ages. “Throw Down the Sword,” similar deal. It opens with a drum tattoo like you might have heard at the beheading of Anne Boleyn before going all Alfred, Lord Tennyson–or Styx–on your ass. But just when you’re ready to dismiss it as a piece of pretentious prog wankery, it goes out blazing in a fiery fandango of guitars that’ll set your hair on fire. It’s furious-making.

Why, oh why, couldn’t these princes of pettifoggery just throw away their suits of armor and kick out the jams like righteous 20th Century motherfuckers? “Warrior” comes on like a case of 21st Century schizophrenia, man, it’s all blistering guitars and cymbal smash and you think “Yes! Finally!” Only to then collapse like Percy Bysshe Shelley in a poetic swoon!

Well, vocalist Martin Turner doesn’t actually collapse so much as get all arm-waving melodramatic like he’s singing opera, and things look pretty bleak indeed until along comes this big, song-saving crescendo, during which Powell and Turner condescend to kick out the pudding like they live in flats and not inside a hollow tree somewhere in the environs of Sherwood Forest.

They pull their shtick off big time on LP opener “Time Was,” which is like totally mellow and opens real slow with a lot of acoustic guitar plucking prettily until the drums kick in and the song turns into a kissing cousin of “Sweet Jane.” Thereafter you get lots of tasty guitar fills and plenty of time changes that amazingly aren’t irritating and a pair of guitar solos so deadly they belong in holsters. To say nothing of a few big windmilling power chords they swiped from The Who!

“Blowin’ Free” kinda reminds me of Uriah Heep and opens with the immortally dumb words, “I thought I had a girl/And all because I seen her.” But its got a snazzy beat and ain’t half bad until things slow down and the boys put their voices together and suddenly you’re trapped in a CSN&Y song! How the fuck did THAT happen?

And then just to fuck with your head some more “the Ash” tosses in a very nifty guitar solo and takes the song out in a slide guitar frenzy that is totally gonzo! It’s like they’re pulling the old good cop/bad cop routine on you, but just what crime is it you were supposed to have committed exactly?

Those of you familiar with you Greek mythology (I had to look it up) will know Zeus had Argus slain by Hermes, who put Argus to sleep with a spoken charm before smashing his head in with a rock. I tell you this because there are moments when I want to do the same thing with this album.

Wishbone Ash Argus (1972)

From progarchives.com

Review by Sean Trane

Unanimously recognized by all WA fans, Argus is also the main reason why the group is in our beloved Archives. One of the reasons for progheads liking this album so much is the absolutely superb gatefold artwork depicting a medieval soldier on a misty morning in a mountainous landscape observing a strange flying saucer. One of the more puzzling things about this album is that almost every single Cd re-issue has had that artwork duplicated without the spaceship, which remains a mystery to this writer about the whys of this fact. Much discussion about this album has occurred on whether it was a concept album (four tracks clearly allude to warrior- related issues, but this reviewer prefers to speak of a thematic album rather than a conceptual one. At most, only the second side of the vinyl is strongly thematic in its heroic-fantasy imagery.

Every little thing that seems not perfect on the first two albums here are completely absent and the album is close to flawless in this gorgeous set of tracks. From the 9 min+ stunning opener Time Was (and its quiet intro, and strong tightness of the group) to the catchy Blowin’ Free (again returning more towards the tighter and more macho side of the group) and passing through the awesome Sometime World (with its superb intro and then the superb bass line supporting the now-famous scatting, great succeeding guitar solos), the first side of the album ends all too shortly (but time-wise this vinyl was anything but short). But I have only one regret: though, most of the songs ends in fade-outs – maybe the last little flaw in the songwriting, but that was the common thing to do back then.

The second side of the album manages to top the first one, with their seminal the King Will Come, with Ted turner playing his best solo in the five records (the double live included) he recorded with WA. Just as superb is leaf and stream with its beautiful arpeggios and that superb pastoral ambiance, a quiet and reflective track from beginning to end and a pure joy. Spine chills guaranteed!! Out comes one of the most awesome track ever written, Warrior and its message for force to become a free man. Throw Down The Sword is a fitting exit to an almost perfect album with both Powell and Turner playing so emotionally that one can only want to spin the album again.

Recent re-issues of this album have included as bonus tracks a rare live three track EP or in my case (the Japanese mini-Lp) the B-side to the Blowin’ Free single – No Easy Road. In either case, the tracks are not a suitable addition to this great album and actually ruin a bit the feeling of mighty beauty once Throw Down The Sword is over. Most of this album is still played in concert thirty years after it was written and that fact speaks for itself, does it not?

Somehow it is so sad that they never did another album like that one, but maybe the group knew its strengths well enough not to want to try to repeat this album without cheapening it by making a carbon copy. Nevertheless every proghead is still crying at the sudden change of musical direction taken after this album, despite its wide critical acclaim and excellent commercial success.

Review by Australian

 The band of Andy Powell, Martin Turner and Steve Upton creates Argus, the crown masterpiece of Wishbone ash which, for me goes down as one of the best albums. The title, “Argus” comes from the Greek myth of “Argus” who is a giant with 100 eyes, it also can be used to describe a vigilant or observant person. With this name comes a conceptual album of war, time and history all of which are mentioned in “Argus.” Even without listening to the album it is clear that “Argus” is based around warriors and war, the cover and song titles emulate this idea. “Argus” is an undoubtedly progressive album, changes in dynamics and tempo complement this claim as well as the epic concept surrounding the album.

Wishbone Ash developed their ideas to the point of perfection for the first and arguably only time and were rewarded with a number 3 charting in England, from which the band attained a moderate following, which remains to this day. “Argus” is a musical journey, taking the listener into a land of old, while still retaining an element of modern times, if you understand me. “Time Was” is a progressive song with time changes and extended song length as well as ingenious guitar work and lyricism. The song begins with a short acoustic section before moving into a fully blown rock/prog song with various guitar solos and lyrics. There is absolutely nothing dark about “Time Was” and it is actually an uplifting song and enjoyable to listen to. “Sometime World” follows “Time Was” and opens as a slow-ish song of a man waiting and lamenting basically. The song gradually gains momentum and eventually changes tempo and for the last four minutes of the song there is upbeat guitar work and supporting lyrics.

“Blowin’ Free” is perhaps the most off-topic song, about the usual stuff. The songs takes on more of a conventional rock feel, but still retains progressive elements and tempo changes. Coming up next is “King Will Come” which opens with a instrumental jam consisting of a mainly a snare drum with guitar and bass overlay. The song follows on with the concept of history and talks of what will happen when the “King will Come” and various related propaganda. Next up is “Leaf and Stream” which reminds me greatly of ‘The Church.’ Anyway the song has a splendid atmosphere and a mellower feels than feel than the rest of “Argus”, while still retaining great effect. Next is “Warrior” one of the best songs on the album, very infectious and just a great listen with stunning lyricism and guitar work. It really follows on with the concept of warriors and war. Last off is the legendary “Throw Down You Sword” whose guitar solo was named number 14 in Planet Rock’s top 40 guitar solos. Once you listen to it you’ll surely agree it is a entwined guitar solo from both Andy Powell and Ted Turner, amazing stuff which ends and amazing album and song.

1. Time Was (5/5) 2. Sometime World (5/5) 3. Blowin’ Free (4/5) 4. King Will Come (4/5) 5. Leaf and Stream (5/5) 6. Warrior (5/5) 7. Throw Down the Sword (5/5) Total = 33 divided by 7 (number of songs) = 4.714 = 5 stars Essential: a masterpiece of progressive music

I posted my “Argus” review because at the moment the album is at around 4.80 (makes this review timeless, wink, wink<“>) stars which is insanely good, the fact is it is a fair rating.The UK remaster of the album comes with three live bonus tracks, two of which run for over 10 minutes and are recorded live with great sound quality. I’d recommend “Argus” to all Art Rock fans and to all of you who love a good concept album. Also, a time less album.

Wishbone Ash Argus (1972)

From guypetersreviews.com

While the self-titled debut and Pilgrimage each contained some excellent songs and especially outstanding musicianship, they also suggested that the band could do even better if they turned their strengths into advantage and didn’t rely as much on the mid-tempo boogies many of their contemporaries focused on as well.

On Argus, they finally manage to fulfil the promise, leaving out the less interesting material almost altogether and doing what they were best at: combining lush English folk with melodic, guitar-dominated hard rock. Well, maybe ‘hard rock’ is a bit of an exaggeration, as they rarely turned in dirty or heavy performances like Led Zeppelin, but they had a twin guitar attack that must’ve influenced dozens and dozens of hard rock bands. Now that I mentioned Led Zeppelin… the people in that band were arguably even better musicians and (if they wanted) songwriters than those of Wishbone Ash. On top of that, they were also more eclectic, incorporating folk, hard rock, blues, pop, eastern-tinged stuff and funk in their music.

Yet, I do enjoy Argus as much as any Led Zeppelin album. It doesn’t contain a track as superbly well-crafted as “Stairway to Heaven,” one as hard-rocking as “Heartbreaker,” or as intense as “Since I’ve Been Loving You,” but it’s more consistent and smarter. Led Zeppelin was absolutely one of the best bands of its era – they had enough talent for three bands – but with that came also a talent for messiness and self-indulgence. Though it’s hard to make a case for the statement that any of their first three or four albums contains a truly bad song, there were always songs that didn’t manage to live up to the incredible high standard of the winners. Wishbone Ash didn’t have these extremes, and on Argus, you basically get one successful track after another, and while they’re not all stellar (“Blowin’ Free” employs that thumping mid-tempo boogie – but to fine results), they’re still quite amazing 32 years later.

With its peculiar cover (I’ve rarely seen one that fits the music it conceals this good) and lyrical stress on themes such as war and love and the place of mankind throughout the ages, it’s often regarded as progressive rock (a seven-song conceptual album! YEAH!), and while that’s not far-fetched, the band basically follows the course that was already hinted at before. The key elements – the folk-influence and the melodic nature of the songs and the playing – are intact and even highlighted. More than anything, this is an album for guitar aficionados (or basically, musicians) who’ll drool over the immaculately produced instrumental passages (and the liner notes tell you who’s playing which solo – nifty!) and interplay.

The album opens with delicate, acoustic finger-picking and harmonies that would’ve fit on, say, Led Zeppelin III, but after three minutes (yes, this song takes up nearly ten minutes of your precious time) develops into a swift rocker that’s lighter than anything Led Zeppelin ever did, and that’s also the biggest difference with most of their contemporaries. Even though they – like all hard rock bands – dug in the blues history for inspiration, they turned as much to folk. While most guitarists out there seemed to deliver variations on Clapton’s work with Cream, Turner and Powell – like Richard Thompson, for instance – nearly boasted as much virtuosity, but this was devoid of the overpowering dominance of the blues. Instead of the gut-targeting misery of the black music, they managed to infuse many of their songs with a more lyrical, ethereal style that almost seems the lush, direct opposite of raw and dirty emotion. “Leaf and Stream,” written by bass player Martin Turner is also an enchantingly gentle folk number, with lovely guitar parts and suitably fragile vocals.

These guys weren’t the greatest of vocalists, but their harmonies fit perfectly in the folk tradition and, come to think of it, these songs really wouldn’t have been any better if they’d been sung by a more powerful, “soulful” voice. These enigmatic slices evoke the moist dreariness of a desolate English landscape, and that’s why these wimpy voices are perfect. Anyway, there’s more great stuff to be found: “The King Will Come” with its rumbling rhythm, does a great job at creating the musical equivalent of its lyrical content (just like the ruffling drums rolls of “Throw Down the Sword”), the extended guitar solo of course being the icing on the cake, just like in “Warrior,” which contains some spectacular guitar playing during its first minute before growing into something more folk-oriented.

The album’s unquestionable highlight, however, is “Sometime World,” a simply beautiful song that contains some of the nicest melodies and guitar solos in ‘70s rock. Again, it starts of on a calm note, with a fluent key motif, before reaching a climax after two and a half minutes and then launching into a fantastic section containing a melodic bass solo, vocal harmonies and some of the most majestic solos Turner and Powell (or anyone else, for that matter) ever laid down, several minutes of sheer brilliance. Had the entire album been like this, it would’ve been one of the best albums I’d ever heard, now it’s “merely” the cherry on a delicious cake, an album that lives up to a promise and does so with style and grace, because if there’s one word that’s applied to this album at my place, it must be class.

Note: As a bonus, the remastered edition of Argus also includes the rare promotional EP Live from Memphis, which was recorded around the release date of the album, and contains three tracks that lengthen the album to 77 minutes: the boogie “Jail Bait” and “The Pilgrim” from their second album, as well as a mind-baffling, 17-minute version of the grandiose “Phoenix,” from their debut. Pretty essential.