WILD HORSES: s.t , 1st, debut LP Wild Horses 1980. Check the exclusive video of the LP for sale! 100% Thin Lizzy sounding. RAINBOW, THIN LIZZY band members. Check video with Phil Lynott and a review video.

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Check the exclusive video of the LP for sale!


Associated acts:  Thin Lizzy, Rainbow, UFO, Uli Jon Roth, Pat Travers, Lone Star, Stampede, The Next Band, Wings, Small Faces, Dio, Motorhead.

The First Album is the debut album by British rock band Wild Horses, co-produced with South African Trevor Rabin at Konk Studios in London and released on April 14, 1980 on EMI Records.

Wild Horses – Reservation (live 1980):

Classic Hard Rock band from the U.K. performing live the 1st song from their debut (and self-titled) album on the TV show All Right Now (remember a song from Free?)

The show was hosted by Phil Lynott (Skid Row, Thin Lizzy, Grand Slam, The Rockers and solo artist) and also featured RockPile. On the end of the show Phil played the classic Thin Lizzy song Rosalie with the boys in the band.

Wild Horses are:

Jimmy Bain – Bass, lead and background vocals
Brian “”Robo”” Robertson – Guitar, lead and background vocals
Niel Carter – Guitar, Keyboards, background vocals
Clive Edwards – Drums

Jimmy Bain (R.I.P.) comes from Ritchie Blackmore’s Rainbow, band which he recorded Rainbow Raising (1976) and Rainbow On Stage (1978). After Wild Horses, he would re-group with his long time friend Ronnie Jamed Dio (R.I.P.) on the band DIO.

Brian Robertson started playing with Thin Lizzy on the record NightLife (1974) and stayed on the band until Live And Dangerous (1978). After Wild Horses, was on Motorhead for the album Another Perfect Day 1983 and then with the scotch singer Frankie Miller.

Niel Carter left Wild Horses to enter UFO in 1981 (The Wild, The Willing and The Innocent). After the record Making Contact he started playing with Gary Moore and stayed with Gary until 1989 (After the War).

Clive Edwards played the drums for various rock artists including UFO, Pat Travers, Uli Roth Eletric Sun and Bernie Marden S.O.S. to name a few.

The Band Wild Horses released the record called “”The First Album”” in 1980 (it was recorded in 1979).

Wild Horses Track Listing: 
“Reservation” – 3:47
“Face Down” – 3:30
“Blackmail” – 2:25
“Flyaway” (Bain, Phil Lynott) – 3:33
“Dealer” (Bain, Robertson, Scott Gorham) – 4:56
“Street Girl” – 3:28
“No Strings Attached” – 3:56
“Criminal Tendencies” – 3:46
“Nights on the Town” – 3:21
“Woman” – 4:01

Jimmy Bain – vocals, bass, guitars, keyboards
Brian Robertson – guitars, bass (on ‘Flyaway’ and ‘Nights On The Town’), vocals (on ‘Blackmail’ and ‘Nights On The Town’)
Neil Carter – guitars, keyboards
Clive Edwards – drums

here’s the 1980 debut from UK Hard Rockers Wild Horses who were formed by veteran ex-RAINBOW, STREET NOISE and HARLOT bassist Jimmy Bain and ex-THIN LIZZY guitarist Brian Robertson. An early line up of WILD HORSES included former WINGS and SMALL FACES guitarist Jimmy McCullouch in the ranks and SMALL FACES drummer Kenny Jones. McCullouch would soon be supplanted by guitarist / keyboard player Neil Carter (previously earning a wage with GILBERT O’SULLIVAN) and as Jones joined THE WHO erstwhile LONE STAR drummer Dixie Lee stepped into the vacant slot. Lee’s tenure was brief too though and PAT TRAVERS band drummer Clive Edwards eventually filled the gap.
Lee would join Canadian band STARCHILD. The Rock public eagerly awaited the first WILD HORSES album as Robertson and Bain both had colourful pasts and were often in the media as a result of their well documented wild ways. The first album was produced by South African guitarist TREVOR RABIN prior to his joining the reformed YES. Carter soon quit however to join UFO (later enjoying a stint with GARY MOORE).

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A forgotten gem
I had never heard this band, but got the LP because of the impressive line-up of the band. I’m very glad that I did. This is solid from start to finish. It sounds a lot like Robertson era Thin Lizzy with just a touch of Chapman era UFO. The songs are about middle of the road in terms of intensity–not as hard as the best Lizzy rockers, but not as poppy or mellow as Thin Lizzy sometimes got. It’s not a NWOBHM album; it’s a rock album–and a very good one at that. This is absolutely essential for any fans of Brian Robertson or 70’s Thin Lizzy. I would also recommend it highly to anyone who enjoys late 70s rock.

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This record is delicious. Enjoyable, a treat of no artistic importance. Goes good with beer. Your wife won’t hate it. Sweet guitars and lyrics about chicks. The 70’s. I’ll take it, every time.””;s:7:””summary””;s:1100:””Associated acts:
Thin Lizzy, Rainbow, UFO, Uli Jon Roth, Pat Travers, Lone Star, Stampede, The Next Band, Wings, Small Faces, Dio, Motorhead

The First Album is the debut album by British rock band Wild Horses, co-produced with South African Trevor Rabin at Konk Studios in London and released on April 14, 1980 on EMI Records.

Classic Hard Rock band from the U.K. preforming live the 1st song from their debut (and self-titled) album on the TV show All Right Now (remember a song from Free?)

The show was hosted by Phil Lynott (Skid Row, Thin Lizzy, Grand Slam, The Rockers and solo artist) and also featured Rock Pile. On the end of the show Phil played the classic Thin Lizzy song Rosalie with the boys in the band.


1978-1980: Genesis and First Essay
Due to his numerous escapades (eventful outings, absence from the US tour following a scuffle with Jeff Beck in a pub, national scandal which made headlines in the English tabloids, “temporary” resignation the previous year), Brian Robertson ends up by considerably exceeding Phil Lynott; to the point where the latter had to separate from this fiery redhead, to preserve the longevity of Thin Lizzy.
A separation which fortunately did not prevent Lynott and Robertson from remaining in contact (after perhaps a waiting period, to let things cool down)
Gary Moore replaced him. Namely that the latter conceded that Thin Lizzy was never as good as with the Gorham-Robertson tandem.

This Scotsman (born September 12, 1956 in the small town of Clakson), a fine melodist, who began music by studying the piano and cello, certainly entered a merciless “rock’n’roll circus” too young . Robertson  was a real crazy horse at this time, and had a lot of trouble managing himself. His taste for certain drinks hardly helps matters. Certainly the lads of Fine Elisabeth (notably Downey and Lynott who did not have the reputation of leaving their drinks with the neighbor) must have taken great pleasure in his nocturnal education (Brian was not eighteen when he joins the famous Dublin group), in pubs.

It was in the summer of 78 that he founded, with Jimmy Bain (born December 19, 1947 in Newtonmore, Highlands), Wild Horses.
Jimmy gained his credentials working with Rainbow (“Rising”, “On Stage”) and as a studio musician (Kate Bush).

The first version brought together Jim McCulloch as second guitarist (ex-Stone the Crow, Wings), and Kenney Jones (ex-Small-Faces, Faces, Who). The latter two were replaced respectively by Neil Carter (future Gary Moore & UFO), and Clive Edwards (Pat Travers, UFO, Uli Jon Roth). The singing is provided by Jimmy Bain, who does quite well (!), even if there is no possible comparison with Lynott or Ronnie James Dio (to name 2 people who were important in the career of Brian and Jimmy).
A certain Dixie Lee made a brief stint, between the two versions, to tour in 1978.

Although it is generally accepted that Wild Horses is the group of Brian Robertson, in particular because he is the instigator, it would be more accurate to present it as the fruit of complicity between the two Scots. Moreover, all the compositions (unless otherwise noted) are signed by the two friends. Brian and Jimmy even, exceptionally, swap positions: Brian on bass, or vocals, and Jimmy on guitar.

The music of Wild Horses is situated between a heritage of English Heavy-Rock from the end of the 70’s, the nascent N.W.O.B.H.M, Thin Lizzy obviously (let’s remember in passing that Robertson contributed to the development of the personality of Lynott’s group from the album “Night Life”), a US Rock-FM from the late 70’s-early 80’s (before it got bogged down under tons of keyboards), and a little touch of New-Wave. In many ways, many of the compositions of the two Scots anticipate Lynott’s compositions, such as “Nineteen” or “Military Man”, as well as certain pieces from the album “Wild Frontier” by Gary Moore, where we find precisely Neil Carter, even from “Run for Cover”. However, Lynott and Moore’s compositions are of a higher level, notably thanks to impeccable production. Which is, unfortunately, not the case here. The production, provided by Wild Horses and Trevor Rabin (yes, the one who relaunched Yes’ career with the album “90125”), suffers from a lack of ambition and definition; a bit as if everything had been recorded with the VU meter needles in the red. This gives it a dirtier sound, which tends to saturate at high frequencies. Additionally, the drums were not the priority during mixing.

While remaining faithful to the same equipment (the Gibson Les Paul, a Deluxe and a vintage ’59 with the famous PAF Seth Lover pickups, from which he removed the protective covers), the redhead raised, for the occasion, the rates of distortion. During this period, we were able to surprise this skinny Scottish man in the act of infidelity, strutting around with a natural blonde Fender Telecaster (which had swapped its original small neck pickup for a larger one).

For the first attempt, the album soberly named “The First Album”, Wild Horses begins hostilities with a square heavy-rock title (“Reservation”), quite conventional, but illuminated by dazzling choruses of suave wah-wah .
Follows “Face Down”, mixed between lyricism à la Thin-Lizzy and robotic rhythm à la Angel City (aka The Angels), and “Blackmail” where one could almost hear the ghost of Lynott. Although not credited for this purpose, the voice tone here seems to more closely match that of Robertson.
“Flyaway”, a nice ballad (released on 45 rpm with “Blackmail”), in the post-Schenker UFO style with reminiscences inherited from the Beatles (Scott Gorham participated in the writing) and sung by Brian.
Choice piece with “Dealer”, punchy heavy-rock, composed by Bain and Lynott himself, which takes us to the era of the fabulous “Jailbreak”. “Street Girl” prefigures the archetype of US Hard-FM, with monolithic drums, square riff, saved by a magnificent solo; title which can also evoke the future of Def Leppard (you can find on the net the demo of this title which then presents itself in a rougher and more direct aspect). “No Strings Attached” continues the momentum of Hard US, this time with a slightly more playful tempo. “Criminal Tendencie” could almost be the meeting of the Honeymoon Suite, or even the hardest of the Saga, with the Rock of Eddie Money; in this genre, a great success. “Nights on the Town”, a foray into Hard-Funk, nice but a little stiff. Finally, the passable “Woman”, UFO trend with a “Fast Eddie Clarke” touch.

Overall a good album, with a few tracks which demonstrate a real concern for innovation, unfortunately provided with inadequate or insufficient production; which does not do justice. However, many cakes from this era cannot boast of better execution.

It’s Phil Lynott himself who presents Wild Horse


1978-1980 : Genèse et Premier essai
     De par ses nombreuses frasques, (sorties mouvementées, absence de la tournée US suite à une échauffourée avec Jeff Beck dans un Pub, scandale national qui fit les choux gras des tabloïds anglais, démission « temporaire » l’année précédente), Brian Robertson  finit par passablement excéder Phil Lynott ; au point où ce dernier dû se séparer de ce fougueux rouquin, pour préserver la pérennité de Thin Lizzy.
Une séparation qui heureusement n’empêcha pas Lynott et Robertson que rester en contact (après peut-être un délai de carence, pour laisser refroidir les esprits)
C’est Gary Moore qui le remplaça. A savoir que ce dernier concéda que Thin Lizzy n’a jamais été aussi bon qu’avec le tandem Gorham-Robertson. 

     Cet écossais (né le 12 septembre 1956 dans la petite ville de Clakson), fin mélodiste, qui a débuté la musique par l’étude du piano et du violoncelle, est certainement rentré trop jeune dans un « rock’n’roll circus » impitoyable. Robertson  était à cette époque un vrai cheval fou, et a bien du mal à se gérer. Son goût pour certaines boissons n’arrangeant guère les choses. Certes les lascars de la Fine Elisabeth (notamment Downey et Lynott qui n’avaient pas la réputation de laisser leur verre au voisin) ont dû prendre un malin plaisir à faire son éducation nocturne (Brian n’a pas dix-huit ans lorsqu’il intègre le fameux groupe de Dublin), dans les pubs.

C’est lors de l’été 78, qu’il fonda, avec Jimmy Bain (né le 19 décembre 1947 à Newtonmore, dans les Highlands), Wild Horses.
Jimmy a acquis ses lettres de noblesses en travaillant avec Rainbow (“Rising”, “On Stage”) et en tant que musicien de studio (Kate Bush).

     La première mouture regroupait Jim McCulloch en second guitariste (ex-Stone the Crow, Wings), et Kenney Jones (ex-Small-Faces, Faces, Who). Ces deux derniers furent remplacés respectivement par Neil Carter (futur Gary Moore & UFO), et Clive Edwards (Pat Travers, UFO, Uli Jon Roth). Le chant est assuré par Jimmy Bain, qui s’en sort plutôt bien (!), même s’il n’y a aucune comparaison possible avec Lynott ou Ronnie James Dio (pour citer 2 personnes qui comptèrent dans la carrière de Brian et de Jimmy).
Un certain Dixie Lee fit un passage éclair, entre les deux moutures, pour assurer une tournée en 1978.

Bien qu’il soit généralement admis que Wild Horses soit le groupe de Brian Robertson, notamment parce qu’il en serait l’instigateur, il serait plus juste de le présenter comme le fruit d’une complicité entre les deux écossais. D’ailleurs, toutes les compositions (sauf mention) sont signées par les deux compères. Brian et Jimmy s’échangent même, exceptionnellement, leur poste : Brian à la basse, ou au chant, et Jimmy à la guitare.

La musique de Wild Horses se situe entre un héritage d’un Heavy-Rock anglais de la fin des 70’s, la N.W.O.B.H.M naissante, Thin Lizzy évidemment (rappelons au passage que Robertson a contribué au développement de la personnalité du groupe de Lynott dès l’album « Night Life » ), un Rock-FM US de la fin des 70’s-début 80’s (avant qu’il ne s’englue sous des tonnes de claviers), et d’une petite touche de New-Wave. Par bien des côtés, bon des compositions des deux écossais anticipent les compositions de Lynott, telles que “Nineteen” ou “Military Man”, de même que certaines pièces de l’album « Wild Frontier » de Gary Moore, où l’on retrouve justement Neil Carter, voire de “Run for Cover“. Toutefois, les compositions de Lynott et Moore sont d’un niveau supérieur, notamment grâce à une production irréprochable. Ce qui n’est pas, hélas, ici le cas. La production, assurée par Wild Horses et Trevor Rabin (oui, celui qui relança la carrière de Yes avec l’album « 90125 »), pêche par un manque d’ambition et de définition ; un peu comme si tout avait été enregistré avec les aiguilles des vu-mètres dans le rouge. Ce qui lui confère ainsi un son plus sale, qui a tendance à saturer dans les hautes fréquences. De plus, la batterie n’a pas été la priorité lors du mixage.

   Tout en restant fidèle au même équipement ( la Gibson Les Paul, une Deluxe et une vintage de 59 avec les fameux micros PAF Seth Lover, auxquels il retira les capots de protection), le rouquin a relevé, pour l’occasion, les taux de distorsion. Durant cette période, on a pu surprendre ce filiforme écossais en pleine action d’infidélité, en se pavanant avec une Fender Telecaster blonde naturelle, (qui a troqué son petit micro manche d’origine pour un plus gros).

Pour le premier essai, l’album sobrement baptisé “The First Album“, Wild Horses entame les hostilités avec un titre Heavy-rock carré (“Reservation“), assez conventionnel, mais illuminé par de fulgurants chorus d’une suave wah-wah.
Enchaîne « Face Down », mixte entre lyrisme à la Thin-Lizzy et rythmique robotique à la Angel City (aka The Angels), et « Blackmail » où l’on pourrait presque entendre le fantôme de Lynott. Bien que non crédité à cet effet, le timbre de voix semble ici plus correspondre à celui de Robertson.
« Flyaway », une gentillette ballade (sortie en 45 tours avec “Blackmail”), dans le style UFO post-Schenker avec des réminiscences héritées des Beatles (Scott Gorham a participé à l’écriture) et  chantée par Brian.
Morceau de choix avec « Dealer », Heavy-rock pêchu, composé par Bain et Lynott himself, qui nous projette à l’époque du fabuleux “Jailbreak” . « Street Girl » préfigure l’archétype du Hard-FM US, avec une batterie monolithe, riff carré, sauvé par un magnifique solo ; titre pouvant aussi évoquer le futur d’un Def Leppard (on peut trouver sur le net la démo de ce titre qui se présente alors sous un aspect plus rude et direct). « No Strings attached » continue sur la lancée d’un Hard US, avec cette fois-ci un tempo un peu plus enjoué. « Criminal Tendencie » pourrait presque être la rencontre de Honeymoon Suite, voire le plus dur de Saga, avec le Rock d’Eddie Money ; dans le genre, une belle réussite. « Nights on the Town », incursion dans un Hard-Funk, sympathique mais un peu raide. Pour finir, le passable « Woman », tendance UFO avec une touche « Fast Eddie Clarke ».

Dans l’ensemble un bon album, avec quelques titres qui font preuve d’un réel souci d’innovation, hélas pourvu d’une production inadéquate, ou insuffisante ; qui ne rend pas justice. Cependant, bon nombre de galettes de cette époque ne peuvent se targuer d’une meilleur réalisation.

C’est Phil Lynott himself qui présente Wild Horse

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