Wishbone Ash
Here to Hear

We previously mentioned that Wishbone, considered done in the mid-eighties for not being able to ride the fashionable waves of the time, neither the melodic/metal one nor the synthetic and new wave one, were fortunately regrouped within a couple of years, albeit bent to a very impersonal and estranged instrumental album from their style, and yet they were put back on the road, fully financed.

The instrumental album and especially the concerts have a satisfying following; the live performances in particular reassure them about the audience's appreciation, after all, the quartet has always been very skilled and graceful on stage, possessing a "historical" repertoire capable of still making an impact. And so here is the fourteenth album of their career, with yet another cover that’s a bit so-so, again with all four founding members of the band in place like the previous one, but this time singing as well as playing.

Only two of them behind the microphone, though… this time guitarist Andy Powell doesn’t open his mouth and only plays. He seems rather unmotivated and distracted, since he doesn’t compose anything and is clearly overshadowed on the guitar by his colleague Ted Turner, who is dominant on an instrumental level here. In the previous work “Nouveau Calls,” the unexpected return of Ted after about fifteen years, his presence wasn’t particularly felt, in that half new-age muddle led by external forces, let’s say. Here, however, this musician fully shows his artistic evolution: new, richer sounds, new instruments (in particular a lot of lap steel, the guitar held on the lap and played with a metal slide), a delightful melodic incisiveness, a beautiful freshness. He also provides the best of the two voices available for these recordings; his delivery is delicate (by rock standards) yet evocative and touching, very English.

The other voice is that of the other Turner (no relation), bassist Martin. The two divide the compositional duties and each sings their own songs. The best ones are those of the guitarist.

For example, "Why Don’t We," which enjoys a bouncy rhythm, with a guitar arpeggio that recalls a little the sound, style, and extensive use of echoed strumming found in Andy Summers’s work with The Police. The track rolls generously but without the slightest hint of fatigue up to six minutes and beyond, flavorful and lyrical, with Ted Turner's beautiful voice tracing his invocations and interspersing them with exquisite guitar solo attacks: a great piece!

Among his other tracks, "Keeper of the Light" is more aggressive, valid even if not as touching. "Mental Radio" brilliantly showcases his inspiration on the lap steel mentioned before and it seems not too distant from the Police style. In "Witness to Wonder," however, the guitar chimes magically in a sea of echoes, accompanying a very atmospheric and exquisite melody: another highlight of the album.

As for the creations of bassist Martin Turner, he also defends himself well on this occasion, appearing inspired in the opening "Cosmic Jazz," well supported by his namesake’s lead guitar. The same goes for "Walk on Water," where in the verses you can appreciate the interplay of two differently rhythmic guitars, one on the beat and the other offbeat; in the choruses, however, one enjoys the beautiful vocal melody.

Ancient Celtic rolls start and intersperse "Lost cause in Paradise," which ultimately disappoints because the song fails to equip itself with an interesting melody; nevertheless, it’s nice to hear the folk component of Wishbone Ash again, so important and intoxicating in their early albums. "In the Case," also penned by the bassist, is an uninspired instrumental, definitely a leftover from the previous album.

The final "Hole in My Heart," follows a pattern already used multiple times by Wishbone to "epically" conclude their works. It is divided into two parts, the first rarefied and tranquil, somewhat akin to David Gilmour, while the second (the only one collectively signed by the four musicians) is an extensive instrumental ride.

In my opinion, this album turned out like this: Ted Turner had accumulated some good compositions during the period he was not in the line-up. Same for Martin Turner. They added a leftover from “Nouveau Calls,” instrumentally developed the last track, and they were set.

Andy Powell uninterested, and therefore practically absent from the games. He will make up for it later, and with interest! But these are other, future pages of the semi-century-long great history of Wishbone Ash.