![]() Martin marvels: “Derek came to me on behalf of the band saying it was such a poppy flavoured song, maybe it belonged on another album. In an amazing twist, Blowin’ Free almost didn’t make final cut for Argus. We could doubletrack the guitars and add shadow harmonies to the vocals. “It opened up a whole new range of possibilities. ![]() “That made a massive difference,” Powell says. “I didn’t even own a lap steel at the time, so had to modify my black Les Paul Custom by putting an extension nut on to raise the action.”Īfter Wishbone used De Lane Lea for their first two records, the studio moved across London from Kingsway to Wembley, and updated their facilities from eight-track recording to 16 tracks. “I was listening to Ry Cooder a lot in those days, and Blowin’ Free was the first song I had played slide guitar on,” Ted explains. Ted Turner’s solo, an integral component of its success, was something of an experiment. ![]() And, sure enough, the track fell into place. Martin says that “when it came to Argus, I was determined to get it right”.įor their third album in succession, Argus saw the band retain the production team of producer Derek Lawrence and engineer Martin Birch. Powell remembers “bashing the song into some sort of shape during a sound-check at the Whisky A Go Go in Hollywood” during the tour for Pilgrimage. It summed up a generation trying to find its feet.”īlowin’ Free’s origins date back to the sessions for Pilgrimage, the album before Argus, but Martin recalls that “it just didn’t work”. The song lopes along, full of hope and promise. “Steve Upton’s drumming – that very English take on a shuffle – is so charming. “Let’s not forget, it was a great song for the four of us,” Powell insists.
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