Wild Horses - Thoroughbreds or also-rans?
Three rock notables who never missed a musical beat moving from the hard rock '70s to the more melodic '80s were British bands UFO, Rainbow and Thin Lizzy.
There are reasons for mentioning those particular groups and I'll come back to all three during this article.
Two of them lead to the subject of this Reflection...
One band who had British hard rock as their foundation and produced a hard melodic style as the decades turned were Wild Horses, but commercial success and longevity eluded them.
Wild Horses may well be the '80s equivalent of Mott, the British band from the mid-'70s who have also been the subject of a Muirsical Reflection.
There are some interesting similarities. Both groups featured band members who had achieved some success with noted acts (Mott the Hoople in the case of Mott) and both had solid line-ups as regards musical strength and song-writing ability.
And they both produced a brace of great rock albums containing some excellent material.
The biggest similarity is, sadly, neither band ever got the attention they deserved.
Wild Horses were formed around the Scottish duo of Jimmy Bain (bass, vocals) and Brian Robertson (guitars, vocals) who immediately gave the band an identity before they had even recorded so much as a song together.
The band were well named - Bain and Robertson were perceived to be two of the bad boys of rock, who liked a drink or three and loved to party.
True as that may be, they were in reality no different from many other rock musicians in how they would unwind, but they did carry a reputation and were occasionally labelled "the tartan terrors."
The history of Wild Horses goes back to 1978 when Bain and Robertson got together after they had been dropped from Ritchie Blackmore's Rainbow and Thin Lizzy, respectively.
Brian Robertson was a pivotal piece of the classic Lizzy line-up of the mid to late '70s and, along with guitarist Scott Gorham, was part of the bands trademark twin-harmony-guitar sound.
His final studio album with Lizzy was, rather fittingly, 1977s 'Bad Reputation'. Robertson only played on three songs however, having injured his hand in an accident (or incident, for those who like the "tartan terror" tag) in a bar.
Jimmy Bain had featured on the Rainbow and bona fide rock classic 'Rising' in 1976 and the subsequent world tour.
After being dropped by Blackmore in 1977, he found himself out of a job.
By the next summer he was putting Wild Horses together with Robertson.
Early incarnations of Wild Horses featured ex-Wings guitarist Jimmy McCulloch (another Scot) and ex-Small Faces sticksman Kenney Jones.
McCulloch was soon replaced by guitarist and keyboard player Neil Carter and Jones would soon depart for The Who, replacing the late great Keith Moon.
Dixie Lee then sat in the saddle at the Wild Horses kit but his stay was also short-lived.
The line-up that featured on their critically acclaimed but tragically under-rated debut was Robertson, Bain, Carter and drummer Clive Edwards.
Edwards, ex of The Pat Travers Band, had worked with Uli Jon Roth's Electric Sun prior to joining Wild Horses and was a good fit, becoming an integral piece of the short-lived Horses history.
The band toured in 1978 and played the Reading Festival in 1979. EMI signed the band shortly after that Reading appearance.
With EMI backing, Trevor Rabin's polished production and Bain and Robertson's musical pedigree, the debut album was eagerly anticipated.
'The First Album' was released in early 1980 and met with generally positive reviews, but didn't make the impact it deserved or perhaps even expected.
The three singles lifted from the album failed to chart.
Criminal Tendancies (from 'The First Album' 1980)
Three rock notables who never missed a musical beat moving from the hard rock '70s to the more melodic '80s were British bands UFO, Rainbow and Thin Lizzy.
There are reasons for mentioning those particular groups and I'll come back to all three during this article.
Two of them lead to the subject of this Reflection...
One band who had British hard rock as their foundation and produced a hard melodic style as the decades turned were Wild Horses, but commercial success and longevity eluded them.
Wild Horses may well be the '80s equivalent of Mott, the British band from the mid-'70s who have also been the subject of a Muirsical Reflection.
There are some interesting similarities. Both groups featured band members who had achieved some success with noted acts (Mott the Hoople in the case of Mott) and both had solid line-ups as regards musical strength and song-writing ability.
And they both produced a brace of great rock albums containing some excellent material.
The biggest similarity is, sadly, neither band ever got the attention they deserved.
Wild Horses were formed around the Scottish duo of Jimmy Bain (bass, vocals) and Brian Robertson (guitars, vocals) who immediately gave the band an identity before they had even recorded so much as a song together.
The band were well named - Bain and Robertson were perceived to be two of the bad boys of rock, who liked a drink or three and loved to party.
True as that may be, they were in reality no different from many other rock musicians in how they would unwind, but they did carry a reputation and were occasionally labelled "the tartan terrors."
The history of Wild Horses goes back to 1978 when Bain and Robertson got together after they had been dropped from Ritchie Blackmore's Rainbow and Thin Lizzy, respectively.
Brian Robertson was a pivotal piece of the classic Lizzy line-up of the mid to late '70s and, along with guitarist Scott Gorham, was part of the bands trademark twin-harmony-guitar sound.
His final studio album with Lizzy was, rather fittingly, 1977s 'Bad Reputation'. Robertson only played on three songs however, having injured his hand in an accident (or incident, for those who like the "tartan terror" tag) in a bar.
Jimmy Bain had featured on the Rainbow and bona fide rock classic 'Rising' in 1976 and the subsequent world tour.
After being dropped by Blackmore in 1977, he found himself out of a job.
By the next summer he was putting Wild Horses together with Robertson.
Early incarnations of Wild Horses featured ex-Wings guitarist Jimmy McCulloch (another Scot) and ex-Small Faces sticksman Kenney Jones.
McCulloch was soon replaced by guitarist and keyboard player Neil Carter and Jones would soon depart for The Who, replacing the late great Keith Moon.
Dixie Lee then sat in the saddle at the Wild Horses kit but his stay was also short-lived.
The line-up that featured on their critically acclaimed but tragically under-rated debut was Robertson, Bain, Carter and drummer Clive Edwards.
Edwards, ex of The Pat Travers Band, had worked with Uli Jon Roth's Electric Sun prior to joining Wild Horses and was a good fit, becoming an integral piece of the short-lived Horses history.
The band toured in 1978 and played the Reading Festival in 1979. EMI signed the band shortly after that Reading appearance.
With EMI backing, Trevor Rabin's polished production and Bain and Robertson's musical pedigree, the debut album was eagerly anticipated.
'The First Album' was released in early 1980 and met with generally positive reviews, but didn't make the impact it deserved or perhaps even expected.
The three singles lifted from the album failed to chart.
Criminal Tendancies (from 'The First Album' 1980)
'TFA' is an excellent melodic hard rock release, but it's relative failure may be down to the age-old problem of 'name'.
Thin Lizzy and Rainbow continued into the 1980s with some personnel changes and while Lizzy came close to equalling the musical heights of their classic 1970s output, Rainbow bettered theirs (at least commercially).
Blackmore's boys trod the melodic rock path in the '80s and became more successful than they had been in their heavy rock era.
But their names were established, almost guaranteeing continued success.
Some of the names within Wild Horses were certainly known, but it's the name on the tin that sells or makes the difference - even when the contents may be no better or worse than the competitors on the shelves.
A fact of musical life that continues to this day.
Thin Lizzy and Rainbow continued into the 1980s with some personnel changes and while Lizzy came close to equalling the musical heights of their classic 1970s output, Rainbow bettered theirs (at least commercially).
Blackmore's boys trod the melodic rock path in the '80s and became more successful than they had been in their heavy rock era.
But their names were established, almost guaranteeing continued success.
Some of the names within Wild Horses were certainly known, but it's the name on the tin that sells or makes the difference - even when the contents may be no better or worse than the competitors on the shelves.
A fact of musical life that continues to this day.
Wild Horses. Thoroughbreds or also-rans?
The former in critical overview, the latter as regards overall success
Bain and Robertson certainly had a musical chemistry, especially evident in their song writing. They were responsible for nearly all the songs that were written for the albums although there was another notable name that co-wrote or provided a song or two...
Phil Lynott, Robertson's old sparring partner in Thin Lizzy, contributed. He was also a friend of Bain's and the bass player repaid the co-writing compliments by writing some material with Lynott for the charismatic front man's solo albums of the early '80s.
There was undeniably a Lizzy sound or arrangement on a few Wild Horses numbers and there are a couple that are the best Thin Lizzy songs Lizzy never wrote.
The latter was more to do with Robertson than any Lynott co-writing credits however - Robertson co-wrote many Lizzy classics and had a guitar-hand in many of the arrangements.
Most songs were sung by Bain, with Robertson contributing a couple of leads on each album.
Never the greatest singers in the world but they could both hold a tune and were singing songs they created, giving them an immediate identity.
One of Robertson's infrequent vocal outings featured on 'Flyaway', the lightest song they ever recorded yet one of their strongest.
Flyaway (from 'The First Album' 1980)
The former in critical overview, the latter as regards overall success
Bain and Robertson certainly had a musical chemistry, especially evident in their song writing. They were responsible for nearly all the songs that were written for the albums although there was another notable name that co-wrote or provided a song or two...
Phil Lynott, Robertson's old sparring partner in Thin Lizzy, contributed. He was also a friend of Bain's and the bass player repaid the co-writing compliments by writing some material with Lynott for the charismatic front man's solo albums of the early '80s.
There was undeniably a Lizzy sound or arrangement on a few Wild Horses numbers and there are a couple that are the best Thin Lizzy songs Lizzy never wrote.
The latter was more to do with Robertson than any Lynott co-writing credits however - Robertson co-wrote many Lizzy classics and had a guitar-hand in many of the arrangements.
Most songs were sung by Bain, with Robertson contributing a couple of leads on each album.
Never the greatest singers in the world but they could both hold a tune and were singing songs they created, giving them an immediate identity.
One of Robertson's infrequent vocal outings featured on 'Flyaway', the lightest song they ever recorded yet one of their strongest.
Flyaway (from 'The First Album' 1980)
'Stand Your Ground' followed in 1981 and was a rockier and riffier release with keyboards posted Missing In Action.
Clearly a conscious decision, but also dictated by a change of personnel - guitarist John Lockton joined in the Autumn of 1980, replacing Neil Carter, who had departed to join UFO.
The opener on their second album, 'I'll Give You Love', is a perfect example of the edgier material - Bain's vocal is almost spat out and he drives the song with his galloping bass runs. It was a style of bass playing that notables such as Steve Harris would make famous, featuring on many Iron Maiden classics of the same era and later years.
I'll Give You Love (from 'Stand Your Ground' 1981)
Clearly a conscious decision, but also dictated by a change of personnel - guitarist John Lockton joined in the Autumn of 1980, replacing Neil Carter, who had departed to join UFO.
The opener on their second album, 'I'll Give You Love', is a perfect example of the edgier material - Bain's vocal is almost spat out and he drives the song with his galloping bass runs. It was a style of bass playing that notables such as Steve Harris would make famous, featuring on many Iron Maiden classics of the same era and later years.
I'll Give You Love (from 'Stand Your Ground' 1981)
The band did loosen up a couple of times on the second album - 'New York City' for example is just a fun piece of rock and roll.
They could also loosen up on stage - their version of the soul-pop classic 'Everlasting Love' was performed live on occasion and was more fun than finesse. It was rumoured this was to be recorded for single release and produced by Phil Lynott, but sadly that never materialised.
By the summer of 1981, with only limited success forthcoming, Wild Horses were effectively over when Robertson and Edwards left shortly after a London show in May (recorded and later broadcast by BBC Radio).
The Wild Horses albums match the early '80s releases by Thin Lizzy and UFO.
They were also, like the aforementioned acts, very strong live performers.
But it wasn't enough.
Bain retained the name and continued with Lockton, bringing in stepfather and son musicians Reuben and Laurence Archer (vocals and guitars respectively) and Frank Noon on drums.
All three left only months later and Wild Horses were put out to pasture.
New York City (from 'Stand Your Ground' 1981)
They could also loosen up on stage - their version of the soul-pop classic 'Everlasting Love' was performed live on occasion and was more fun than finesse. It was rumoured this was to be recorded for single release and produced by Phil Lynott, but sadly that never materialised.
By the summer of 1981, with only limited success forthcoming, Wild Horses were effectively over when Robertson and Edwards left shortly after a London show in May (recorded and later broadcast by BBC Radio).
The Wild Horses albums match the early '80s releases by Thin Lizzy and UFO.
They were also, like the aforementioned acts, very strong live performers.
But it wasn't enough.
Bain retained the name and continued with Lockton, bringing in stepfather and son musicians Reuben and Laurence Archer (vocals and guitars respectively) and Frank Noon on drums.
All three left only months later and Wild Horses were put out to pasture.
New York City (from 'Stand Your Ground' 1981)
The real twist to this Horses tale is that a number of the band's pivotal members are remembered more for the groups they worked with prior to Wild Horses, or shortly after.
Brian Robertson will always be associated with Thin Lizzy and after Wild Horses joined, somewhat surprisingly, Motorhead, where he remained for two years.
Jimmy Bain reunited with his Rainbow colleague Ronnie James Dio in 1983 when he became part of the singer's own band, Dio. He was an integral part of Dio for most of the decade.
Neil Carter was a significant component in UFO's early '80s line-up before working with Gary Moore for a number of years.
There is another UFO and Wild Horses connection - Clive Edwards (who worked with a number of bands after Wild Horses including Bernie Marsden's S.O.S.) and Laurence Archer were part of the early '90s UFO line-up.
In 2009 Krescendo Records issued both albums on CD including bonus tracks, superseding the 1999 CD issue by Zoom Club.
When the records were first released the rush to the record shops didn't exactly become a stampede, but thanks to Krescendo you can trot along to your favourite music site or shop, check them out, revisit them or replace your originals.
Ross Muir
October 2010
The audio tracks are presented to accompany the above article and to promote the work of the artist/s.
No infringement of copyright is intended.
Brian Robertson will always be associated with Thin Lizzy and after Wild Horses joined, somewhat surprisingly, Motorhead, where he remained for two years.
Jimmy Bain reunited with his Rainbow colleague Ronnie James Dio in 1983 when he became part of the singer's own band, Dio. He was an integral part of Dio for most of the decade.
Neil Carter was a significant component in UFO's early '80s line-up before working with Gary Moore for a number of years.
There is another UFO and Wild Horses connection - Clive Edwards (who worked with a number of bands after Wild Horses including Bernie Marsden's S.O.S.) and Laurence Archer were part of the early '90s UFO line-up.
In 2009 Krescendo Records issued both albums on CD including bonus tracks, superseding the 1999 CD issue by Zoom Club.
When the records were first released the rush to the record shops didn't exactly become a stampede, but thanks to Krescendo you can trot along to your favourite music site or shop, check them out, revisit them or replace your originals.
Ross Muir
October 2010
The audio tracks are presented to accompany the above article and to promote the work of the artist/s.
No infringement of copyright is intended.
