Steve Hackett “Ace of Wands”: Guitar Technique and Musical Analysis

Steve Hackett “Ace of Wands” drew me in through the guitar line. The performance becomes more revealing when that detail is heard alongside the bass line and the drumming.

One minute the band sounds bright and upbeat. Then the music takes a turn you don’t see coming, including a section that reminded me of Asian melodies and another that hit like an explosion from the drums.

As a classical guitarist with over 25 years of experience, I listen for how players build texture and keep a piece moving. What grabbed me most here was the bass, which roams freely and climbs so high on the fretboard that I confused it with a guitar more than once.

Watch my full reaction on YouTube

First-Listen Reactions

The first thing that jumped out at me was the bass. It sits right in front of the mix and moves freely instead of just holding down root notes.

• The bass work — funky, free, and often up in the high register.
• The two-guitar harmonized section — it has a metal-leaning sound to my ears, even though this predates the bands I’d normally connect that to.
• The Mellotron — that instrument adds a unique texture I could pick out right away.

Right around that moment, I heard a sound I can only describe as an explosion with the drums. That surprised me, and I was still thinking about it afterward.

Progressive Rock Structure and Rhythm Changes

I noticed right away how often the rhythm shifts in this song. Just when I got comfortable with a groove, the band moved into something new. That constant change is a big part of what makes this feel so progressive to me. It keeps you listening because you can’t predict where the next section is going.

• A part that sounded a little Asian to my ear, which returns later in the piece.
• A darker, stranger section where I thought the song was ending.

That moment where I thought the song was wrapping up caught me off guard. The guitar played odd, unsettled sounds, and then the band went somewhere new instead of finishing. I’m still thinking about that big drum moment. It came out of nowhere and pushed the music into a whole different feel.

Bass, Drums, and Ensemble Performance

The rhythm section on this track really grabbed my attention. Mike Rutherford handles bass and bass pedals, and Phil Collins plays drums. I noticed most how free the bass sounds. It doesn’t just sit in the background holding down the bottom end. Around the middle of the song, the bass starts climbing higher and higher on the fretboard. I actually confused it with the guitar for a moment because it went up so far.

That’s the kind of bass playing I love. It has room to move and explore, and it pushes the music forward instead of just following it.

• The bass in the mix — it’s right in my face, and I mean that in a good way.
• The high register runs — the bass moves up the neck and starts sounding almost like a guitar.
• The funky sections — the bass line gets really groovy in places, and the ending pushes into fusion territory.
• The rhythm changes — the band shifts between different rhythms throughout the piece.

The drums also surprised me. There’s a moment near the end where something hits that sounded like an explosion to me. I was not expecting it, and it caught me off guard. That kind of moment works because the song had been building toward what felt like an ending. Then the band turns and goes somewhere new instead. These are strong musicians, and you can hear how comfortable they are playing together. The rhythm section isn’t just support here — it’s part of the conversation.

Guitar Textures and Instrumental Highlights

The guitar work in this track kept surprising me. There’s a section with two guitars harmonizing that gave me a heavier feel than I expected. It sounded close to rock and even a bit like metal. I found the timing of this guitar harmony especially interesting. The recording came out before that twin-guitar sound became common in metal, so I heard it as an early example of something I’d recognize later.

Then I heard a 12-string guitar part. That section sounded beautiful and stood in real contrast to the heavier moments.

• A 12-string section with a much softer feel
• Some unusual chord choices near what sounded like an ending

That “almost ending “moment stands out. The guitar plays chords that feel unusual but satisfying, and I thought the song was about to finish.

Unexpected Transitions and Darker Passages

But the music doesn’t end. Instead, it shifts somewhere new, and that surprise became my favorite part of the track. That stretch goes into darker territory. It’s not heavy or scary, just a change in mood that pulls you out of the bright, happy feeling from earlier.

• Strange guitar chords that don’t settle where you expect them to

After that surprise, the song drops into something very funky. It reminded me of fusion music, like Miles Davis in the late 1980s. There’s another passage that had an Asian flavor. It appears more than once, and the band returns to it later.

What to Listen For

• The bass playing stands out, moving freely and reaching into a high range that sounds almost like a guitar.
• A section with two guitars harmonizing that leans toward a metal or rock sound.
• The guitar line: notice when this feature comes forward and when it gives space to another part.
• The bass line: follow its role in supporting the pulse, harmony, or direction underneath the main idea.
• The drumming: listen for its effect on the color or scale of the performance.

My Final Reaction

The bass grabbed my attention right away. It felt free, especially when it moved high up the fretboard. Sometimes I even confused it with the guitar.

The Genesis connection kept popping up. Certain sections reminded me strongly of that classic sound.

The rhythm changes kept the song fresh. It shifts often, which made my first listen exciting.

Continue exploring with Steve Hackett “The Journey”, Steve Hackett “Fly on a Windshield” Live in London, or Yes “Close to the Edge” Live 1975, or browse my full music-reaction library.