Wishbone Ash
Locked In

Introduction:

It is the sixth of the thirty (!) studio albums released by the British band from 1970 to today. And it is their absolute nadir. 'Na chiaveca, as they would say in Naples.

Drab, with bad sounds, uninteresting melodic ideas, off-key choirs, appalling performances by the lead vocalist of the then still recent new addition, guitarist Laurie Wisefield. When the bassist Martin Turner sings instead, the vocal matters don't elevate much... but at least they don't smell of amateurism.

Lackluster and shamelessly anti-rock production by the most lackluster of famous producers, namely Tom Dowd, he of the Allman Brothers and Eric Clapton. Brr.

Context:

After three beautiful and continuously improving initial works, culminating with “Argus” reaching worldwide success, Wishbone stepped into their first big mistake with the insipid fourth album “Four,” changed one of the two guitarists, moved to America but continued to step into messes with the fifth “There’s the Rub” and persisted even with this one. Subsequently, moving back to living in England, they recovered, even greatly, but by then all the important trains had passed... Most enthusiasts would have lost interest, and from then on, their career would be more than dignified but nothing epic, and even very beautiful albums would not break through. A pity.

Scattered Messes in Quantity:

Allow me to enjoy highlighting a long series of things that DO NOT work, scattered among the eight tracks that constitute the work:

“Rest in Peace”: first off-time drum/guitar break, right away! Just to show who the producer is and how little care there is in his work. There will be other annoying performance inaccuracies throughout the album. But what annoys the most is the nagging presence of the talk box, right here to pester us from the right channel. That year, 1976, Peter Frampton had great success with his double live LP “Comes Alive,” in which the aforementioned talk box was used in a couple of instances. Guitarist Andy Powell gets one, puts it in his mouth, and it wreaks havoc here. And since this guitar effect amazes and “grabs” the first time, but gets boring by the second... and then it must be used to phrase well, as done by the aforementioned Frampton or others like Joe Walsh. Here instead, Wishbone amuse themselves by using it to counterpoint the sung parts, with ineffable flatness and a lousy sound.

“No Water in the Wall”: a big ballad introducing Laurie Wisefield's disgraceful voice, a meter and sixty of a good guitarist, but at the time almost devoid of vocal technique. Ugly timbre, uncertain vibrato, unbearable. It’s a shame because the lead guitar works well, in their usual “Allman Brothers de noantri” style.

“Moonshine”: Steve Upton, as a drummer, has never been a peak, lacking “groove,” expression, inventiveness. In Tom Dowd's hands, his rhythmic train (?) irritates definitively; rigidity and the obtuse metronomic nature of a Don Henley inhabit the hi-hat... Which is fine for the Eagles, who cares, since there’s other stuff to listen to, but in a rock blues folk progressive group like Wishbone, which requires impact to be effective with their rarefied melodies (and they have always managed to do so live), it doesn't work. Wisefield again delivers a very dry timbre, much like Stevie Wonder's electric harpsichord in “Superstition” already used in the opening track. The piece is played quite well but poorly sung by bassist Turner.

“She Was My Best Friend”: a bland ballad sung again by Turner, who doesn't have the skill to sustain the long notes with a full throat as he pretends to do here.

“It Started in Heaven”: oh my, here Wisefield unleashes a more sloppy and off-key Dylanism than what the master from Minnesota usually offers us. Then come the lead guitars in harmony, the trademark of Wishbone, to remind us that we are on “Locked In” and not “Desire.”

“Half Past Lovin’”: the unfortunate talk box reappears, counterpointing Martin Turner's ultra-standardized rhythm & blues musical phrases. As usual, he shouts and strains his voice beyond his limits, in a grotesque imitation of Wilson Pickett/John Fogerty/Rod Stewart.

“Trust in You”: starts well, deep and cadenced, finally with sufficient body. But then comes the poor and lonely voice of guitarist Powell, and everything plummets quite a bit. How badly does Tom Dowd produce the voices!

“Say Goodbye”: a typical semi-acoustic minor ballad by the group, with awful drums (sound, especially timpani, and execution), lifeless distorted guitar in the chorus, imprecise and repetitive choruses. And that's the end.

Final Verdict:

Even the cover, insipid as it is, says it all. Album only for completists (like me). From Wishbone, get yourself “Pilgrimage” (1971), “Argus” (1972), “New England” (1976), “Just Testing” (1980), “Twins Barrell Burning” (1982), “Illuminations” (1996), “Bona Fide” (2002), “Clan Destiny” (2006), “Blue Horizon” (2014). The group has delivered (and still does not stop) tons of excellent melodic rock, weak in vocals but exhilarating in guitar parts.