Alright, fellow crate-diggers and riff-worshippers, today we’re dialing the way-back machine to 1970. While most of the world was busy reeling from the Beatles’ breakup, a four-piece from Devon was quietly forging a blueprint that would change guitar music forever. I’m talking about Wishbone Ash and their self-titled debut. This isn’t just an album; it’s the birth of the "Twin Guitar Attack." Before Thin Lizzy or Iron Maiden made harmonized leads their entire personality, Andy Powell and Ted Turner were out here weaving Gibson Flying Vs and Stratocasters together like a high-voltage tapestry.
The production on this record is remarkably clean for 1970, thanks to Derek Lawrence, who also worked with Deep Purple. It’s got that raw, "live in the room" energy but with a sophistication that most debut records lack. The band didn't just want to play the blues; they wanted to take the blues, dress it in medieval robes, and send it on a progressive journey through the English countryside. It’s a mix of boogie-rock, folk sensibilities, and lengthy jam sessions that somehow never feel like they’re overstaying their welcome.
What’s fascinating about this record is how democratic it feels. There’s no ego-driven "lead guitarist" and "rhythm guitarist" hierarchy here. It’s a dual-lead conversation. And let’s not ignore the rhythm section—Martin Turner’s melodic bass lines and Steve Upton’s jazz-tinged drumming provide a foundation that’s as sturdy as a castle wall.
Personally, I have a massive soft spot for "Errors of My Way." There’s something about that folk-rock melancholy and those vocal harmonies that gets me every time. It feels like a rainy Sunday morning in a dusty London flat. However, if we’re being objective critics (and I try to be, between sips of coffee), the real heavy hitters—the tracks that show the sheer technical "quality" and ambition of the band—are undoubtedly "Handy" and "Phoenix." These aren't just songs; they are movements.
At its core, this album is a bridge. It bridges the gap between the psychedelic 60s and the hard-driving, progressive 70s. It’s bluesy without being derivative and complex without being pretentious. If you want to understand where the "harmony solo" came from, you have to start here. Let’s break down these six tracks of pure gold.
Blind Eye The album kicks off with a punchy, boogie-inflected rocker that lets you know exactly what’s in store. The twin guitars are locked in immediately, delivering a riff that’s infectious as hell. It’s perhaps the most straightforward track on the record, but the interplay between Powell and Turner during the solo section is a masterclass in "less is more." It’s the perfect appetizer for the complexity to come.
Lady Whiskey Things get a bit heavier here with a gritty, blues-rock stomp. This track has a swagger that reminds me of early Free or Fleetwood Mac (the Peter Green era, of course). Martin Turner’s bass is absolutely driving this bus, and the vocal delivery has just enough grit to make you believe every word. The dual guitar solos at the end are blistering, showing that these guys could play with fire just as well as they could play with finesse.
Errors of My Way And here is my personal favorite. It starts with a beautiful, clean folk-style picking pattern that always gives me chills. The triple-part vocal harmonies are lush and slightly mournful. It feels deeply English—steeped in a sort of pastoral regret. Even though it lacks the 10-minute soloing of the later tracks, its emotional weight and the way the guitars gently weep around the melody make it a total standout for me.
Queen of Torture Back to the hard stuff. This is a fast-paced, aggressive rocker with a riff that sounds like it’s chasing you down a dark alley. It’s the shortest track on the album, but it packs a serious punch. It serves as a great palate cleanser before we head into the "prog-epic" side of the record. Steve Upton’s drumming here is particularly sharp, keeping the frantic energy focused and lethal.
Handy Now we’re getting into the meat of the matter. Clocking in at over eleven minutes, "Handy" starts with a cool, jazz-inspired bass solo that evolves into a gorgeous, atmospheric jam. This is where the band’s "quality" really shines. It’s a sprawling instrumental journey that proves Wishbone Ash could out-jam almost anyone on the circuit. The transitions are seamless, moving from mellow jazz-blues to high-energy rock without breaking a sweat.
Phoenix The grand finale and arguably the greatest song they ever wrote. "Phoenix" is a literal masterpiece of slow-burn tension. It starts with a haunting, ethereal melody and slowly builds, layer by layer, into a frantic, soaring climax that feels like a bird taking flight. The trade-off solos between Andy and Ted are legendary here. If "Handy" showed their skill, "Phoenix" shows their soul. It is the definitive statement of the twin-lead guitar genre.
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