None at the moment.
Another bass player again. Mervyn "Spam" Spence has taken over the lead vocals too and moreover seems to be mainly responsible for composing the songs. Iíve really never could have "absorbed" this as a Wishbone Ash album.
Itís more like Wishbone Ash accompanying Mervyn Spence.
Hereís some "Wishbone Ash brands" that cannot be found in this album:
Something good has to be said too:
If the album was planned to be directed to the AOR audience of the 80's, it's pretty close to what's needed.
An interesting mixture of jingling and growling guitars. Spam singing high notes can be heard for the first time. One of the few double lead solos and with "discussing" guitars. The solo is too short though.
Strong vocals by Spam. In fact he dominates the song that this becomes most like "Spam with Wishbone Ash". The only "seed" of a solo is heard in the fade out.
Hereís some guitar licks too! The solo is once again very short. Just as you expect the solo to burst into a higher level, itís over.
Spiced with synthesizers and a ten second double lead solo. I have to lift my hat to the strength of Spamís voice. Itís remarkably powerful. At the same time the thought comes up that thereís no two or three voice harmonies. Maybe Spam cannot be competed with; all Andy and Laurie can do is "hum" in the background...
This one proves that Spam can lower the decibels too; the verse is quite peaceful. In the end there could have been a solo instead of the shouting Spam does. Oh oh, this song has a four note finale instead of a fade out.
A more guitar-oriented song borrowed from Lowell George. Not bad, though Iíd liked to hear a longer solo (again). Hereís an ending without a fade out too: the riff just stops.
A heavy riff and strong vocals by Spam. There's some decorations made with a guitar that gives a heavyish song, the "glazing" thatís typical for Wishbone Ash.
Some more jingling guitars and a synthesizer for the second time. The solos seem to have a maximum length if 15 seconds. Hereís another solo that strengthens the rule. Oh, how Iíd like to hear some more!
This song has the bass guitar mixed highest in front. The bass guitar hasnít been mixed too low in earlier songs, but here itís the main carrier of the riff.
At last a double lead riff. The riff is played with "perfect timing", of course! The part where Spam shouts the title of the song over and over again with the double lead riff played in between makes me think that itís made intentionally: Spam admires Andyís and Laurieís talent...
The solo in the middle might be the longest in the album (might even exceed the 15 second limit?)
Written by: Rainer Frilund - Last update: Jul, 2003