As a band, Wishbone Ash tend to divide the room over whether they are prog or not, mainly because they don't use keyboards. Whilst the debut definitely has a blues rock overall sound, 'Pilgrimage' is more ambitious and folkier, while 'Argus' is the perfect synthesis of both worlds. This IS a prog masterpiece, in my opinion, with the intricacy and complexity you would expect of prog, albeit with guitars to the forefront rather than keyboards.

'Time Was' is one of the band's very best, but then so is everything else on this album. It begins with a glistening, gentle acoustic guitar intro which sets in motion the laid back tone to the first section of the track. The guitars lilt nicely throughout this section, and the layered vocals are gorgeous, being far more polished than anything heard on their previous albums. This gives way to a furious rock-out section, though, characterised by the driving twin guitars of Ted Turner and Andy Powell, precise and rocking percussion from Steve Upton and the mellow vocal of Martin Turner. There are some stunning guitar solo sections here, with the folkier mid section being particularly memorable, but the best is saved until last- a gloriously extended climax with bluesy, hard driving twin guitar work and shuffling percussion. A genuine classic by any standards.

'Sometime World' is a mellower track, to begin with. It has a hazy, laid back feel with shimmering guitar work and fine lead vocals from Martin Turner. Steve Upton's light percussion work is well judged and the perfect foil for the generally subdued guitars, but it's Upton's work which switches the mood as he increases the tempo and the guitars get rockier. The harmonies are in the same mould as 'Vas Dis' from 'Pilgrimage' and accompany the furious guitars very well indeed.

'Blowin' Free' is a definite favourite of mine- it has a boogie flavour, not a million miles away from songs like 'Blind Eye' or 'Jailbait' from earlier albums, but again, mellower and the guitar work is a lot more intricate right from the off. The dual vocals of Martin Turner and Andy Powell (these days fronting two separate versions of Wishbone Ash- a la Barclay James Harvest, but without the acrimony, it seems) handle the melody wonderfully, and the guitar solos are amongst the most melodic and memorable I know of. The mellower mid section, with group harmonies and strummed guitar, is a highlight of the band's career and the climax with full on slide guitar is still amazing to behold. This has doubtless been played in every gig since it was first aired by the band.

'The King Will Come' is a mid tempo rocker, with a slowburning intro that has an almost reggae (!) flavour due to the syncopated twin guitars. Steve Upton's percussion is loose and funky, before plunging into the main riff with the heavy guitars to the fore. This song reminds me a little of 'Full House' era Fairport Convention, with its folky dual vocals, but the twin guitar work keep things rocking throughout. The guitar heavy climax is particularly intricate from a musical standpoint.

'Leaf and Stream' tends to be overlooked in favour of the rockier tracks, but it's a shame as it's a gorgeous folk gem. It's like the acoustic instrumental 'Lullaby' from the previous album, with its very gentle guitars but this one has a fine lead vocal performance.

'Warrior' is more typical Ash fare, with its strident heavy guitar work, powerful percussion and a more reposed mid section with hazy guitar, neat harmony vocals and pared down percussive work. The chorus here is one of the band's most iconic of all, and this has a smorgasbord of great guitar solos, before segueing into 'Throw Down The Sword' which gives the impression of an ongoing epic. This begins slowly but surely, with the twin guitar riff rising in tension alongside Steve Upton's spiralling drum rolls. Again, the chorus is stirring stuff, with a glorious guitar solo to round the album off wonderfully.

This remains one of my favourite albums, and is definitely a 5 star masterwork by any standards, flowing beautifully throughout and as such, is highly consistent. I personally felt the remix of a few years ago was superbly done, and as a result the album overcame slight sonic murk to sound like it could have been recorded yesterday. Quite why the sleeve of this remastered/remixed version has done away with the UFO on the cover, though, is anybody's guess!