seemed to be stuck wandering aimlessly from faceless blues to inconsequential art-rock. In Argus they've tightened up considerably, established a direction, and, with debts to the Who, Traffic and the Beatles as well as to Yes, recorded a collection of songs that, while not without their weak points, are loaded with energy and overall good feelings.

The kinship with Yes is too blatant to be ignored, although the only time it seriously gets in the way is during the second half of "Sometime World" (especially a "da da da" chorus). Most of the cuts are long, and are as much vehicles for extended breaks as they are statements in their own right. Like Yes, their songs unfold slowly and deliberately before picking up and rolling into steaming instrumental breaks. Like Yes, they play rich, lovely melodies against a strong, thick instrumental sound. Both guitarists (Ted Turner and Andy Powell) have in them some of the technique (particularly Turner's chicken-cluck tone), if not the speed and versatility, of Steve Howe, and the resonant bass and full drum work of Martin Turner and Steve Upton won't fail to remind you of Squire and Bruford. Turner does the lead vocals, and his breathy, powerful voice and soothing tone sound a lot like guess who.

But they are less flashy than Yes, their dynamic shifts are not so severe, and their employment of technology is much more subtle. Theirs is a basic rock instrumentation, and while that limits them as far as extensive experimentation is concerned, it also keeps them honest.

"Time Was" is one of their strongest pieces, and it's the one that owes the least to Yes. The first half begins slow and soft, swells a bit and then subsides, then breaks into a Who-like segment, complete with Daltry timbre and twang and sweeping, open pace. "Sometime World" starts with a vocal that's a cross between Paul McCartney and Jon Anderson before it speeds into pure Yes territory.

All three cuts on side one ("Blowin' Free," also very Yesish, is the third) are long, and the focus is squarely on the solo and dual leads of Turner (Ted) and Powell. Wishbone Ash is being hyped on precisely that strength, and it's a good angle. Neither is extremely fast or acrobatic, but both possess a Claptonesque fluidity, intelligent sense of structure, taste, and a striking degree of empathy in their interplay.

Their rapport and sensitivity are most evident in "Leaf an