Description
Associated acts: Thin Lizzy, Rainbow, UFO, Uli Jon Roth, Pat Travers, Lone Star, Stampede, The Next Band, Wings, Small Faces, Dio, Motorhead
Wild Horses was formed by ex-Rainbow bassist Jimmy Bain and ex-Thin Lizzy guitarist Brian Robertson. Wild Horses music was guitar driven and loud. “Stand Your Ground” the title of their second album, was very fitting as Robertson and Bain, in a cloud of substance abuse were now arguing on the musical direction of the band. Perhaps the angst this caused was able to push the pair as the sophomore effort is every bit as good as the first, even if the music is not as uniform. Songs like “I’ll Give you Love” and “New York City” both are great examples of how good this band was and how big they could have become.
Ultra rare 1981 EMI cassette TAPE that even has an embroidered EMI cassette cover!!! TC-EMC 3368 [Dolby system]
Track Listings
1. I’ll Give You Love
2. In The City
3. Another Lover
4. Back In The U.S.A.
5. Stand Your Ground
6. The Axe
7. Miami Justice
8. Precious
9. New York City
10. Stake Out
1981 s excellent and Your Ground , produced by veteran knob twiddler Kit Woolven, proved to be something of a final roll of the dice for Wild Horses. Following its release, Neil Carter flew the coup for UFO and then undertook an extended tour of duty with one Gary Moore. Robertson was to become a somewhat unlikely replacement for Fast Eddie Clarke in Motorhead and drummer Edwards upped sticks to ex Whitesnake man Bernie Marsden s new band S.O.S. The band undertook a few shows at London s famed Marquee club but fairly inevitably EMI pulled the plug on the band before a tour in support of Stand Your round could really get underway.
5.0 out of 5 stars and Your Ground’ stands the test of time well!
WILD HORSES – and Your Ground’ is one of the unsung gems from the NWOBHM era. Always really loved this disc for some reason. The problem for Wild Horses was that they didn’t sound like your typical, leather clad, balls-to-the-wall NWOBHM band that were all the rage in the early 80 (Maiden, Saxon, Angel Witch, etc.) but operated on an altogether more sophisticated and refined level.
and Your Ground’ is a big step up from the Horses’ solid but ultimately unspectacular Trevor Rabin (later of Yes fame) produced ‘The First Album.’ Gone are most of the Beatles connotations as well as keyboardist/guitarist Neil Carter (joined UFO and later Gary Moore) whose replacement John Lockton shines alongside fellow axeman Brian Robertson. There are still a few Lizzy-isms (“”You can take the boy out of Thin Lizzy, but you can’t take Lizzy out of the boy…..””) to be found but overall Horses have clearly found a style of their own on and Your Ground’ and deliver 10 tracks of top shelf heavy rock.
Highlights include the seriously revved up opener ‘I’ll Give You Love’, powered along by an infectious Jimmy Bain (also the lead vocalist and doing a very nice job!) bass motif (think Ted Nugent ranglehold’ on speed!), the equally hard charging title cut, ‘The Axe’ (gotta love that great, funky opening riff!), the masterful, introspective ‘In The City’ (nice twin axe lead work by Sirs Lockton & Robertson), the anthemic, care-free ‘Back in the U.S.A’, and ‘Miami Justice’ (possibly inspired by Florida then newly reinstated death penalty). The band even manage to venture into jazzy territory on ‘Precious’ without embarrassing themselves. The album closes out in rockin’ fashion with ake Out.
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5.0 out of 5 stars Shades of Thin Lizzy…..
We’ve got some line-up changes from the initial incarnation/release. We now see Jimmy Bain – bass/vocals, Brian Robertson-guitars, John Lockton-guitars, & Clive Edwards on drums.
You’ve got all the wonderful elements at play here.
I never tire of hearing Brian Robertson play. So superior to so many “”poll winning”” guitarists out there.
There is definitely enough here to satisfy the most ardent Lizzy fan.
That not to say these guys were outright clones as they had an identity of their own (although the Lizzy shadow was ever far behind due to the particulars involved)
“”Another Lover”” is the stand-out track that just screams “”Thin Lizzy””.
“”Precious”” could have been something off of thin Lizzy Jailbreak album < Wonderful solo on this one
“”Stake Out”” has that undeniable guitar riff/groove and one of Bain better vocal performances.
“”I’ll Give You Love”” has hypnotic bass and full fledged guitar. Great driving song! Just watch your speed!!!
“”The Axe”” is worth the price of admission for the soloing alone. 🙂
“”In the City”” & “”Back in the U.S.A.”” add some further ammo to this album.
Not a stinker on here and a great album to drive or work out in the gym too!
In many ways I actually prefer the 2nd Stand Your Ground to the first album.
With that said, if you are a fan of Thin Lizzy, Rainbow, or Dio, do yourself a favor and give it a try.
It well worth the cost. : )
This band had huge potential and some serious talent going on.
5.0 out of 5 stars Superb!,
I first brought this on vinyl and it was played everyday. As far as I am concerned it was the best album of its time and it must surely rate as one of the better albums today.
If you like good plain simple rock then this has to be in your collection. Musically brilliant, vocally brilliant. What more can you ask for?
Buy it! You will not be disappointed!
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5.0 out of 5 stars Brian Robertson At His Best!,
Musically they play attractive lighter rock with the emphasis on the songs rather than instrumental showboating. If you have ever come across this, take a chance and buy it, it makes a change from all the other overblown, self-indulgent garbage that was around at the time.
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5.0 out of 5 stars Greatly underrated band,
Another great album following on nicely from their debut album.
It hard to say which album is better as they are both good strong albums.
You’ll be playing this over and over again. Robertson and the whole band are a class act.
This band should of been massive.
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5.0 out of 5 stars rocking horses,
a great second album from wild horses much better than the first album by far Brian Robertson guitar playing is brilliant and the songs are much better its a shame the group didn’t last longer
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5.0 out of 5 stars
Sadly forgotten obviously due to lack of commercial breakthrough this second album by Wild Horses (check out the nice first one as well though it not as effective as this one)has everything fans of Thin Lizzy and Gary Moore (hard rock era) might want, and maybe more. A good deal of pleasure is undoubtedly guaranteed. Jimmy Bain (of Rainbow and Dio fame) sings and plays bass and rhythm guitars. Fine riffs, lovely soloing (Brian Robertson brings his Lizzy style in for a band cooler than Motorhead but in no way a soft act), a good balance between the energy of rock’n’roll and the colourful heritage of the seventies. Fans the rare good rock albums made in the 80 by 70 artists should try this as well (it has globally aged well despite a few awkward sounds here and there), and most of all any British Isles hard rock fan (from UFO to Thunder) are likely to enjoy it.
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5.0 out of 5 stars glad to finally have it
this second album by the wild horses was probably better then there first album from 1980, neil carter had left in mid 1980 to join UFO so when jimmy and brain got into the studio in late 1980 to record this opus they made it more heavy, this is certainly a lost classic, if you are a fan of UFO with Paul Chapman from the early 80s or a fan of thin Lizzy 70s or early 80s you will love this opus, its great!!!!!!!!
1981: Second album
In August 1980, after a tour with Ted Nugent, the Motorcity Madman, Neil Carter left the group to join UFO (he then quickly joined Gary Moore).
Carter is replaced by John Lockton (best known for having worked for the Victory Teutons). Jimmy Bain remains on vocals, where he seems to have progressed and gained confidence. On the other hand, something very notable is that the wah-wah, an effect previously inseparable from Robbo’s playing, is almost completely abandoned. Likewise, while retaining a particular lyricism, the playing is less fiery than before.
Probably at the 1979 Reading Festival
From the outset, this new essay is striking with much better production. It is more controlled and balanced and finally allows us to appreciate the rich playing of Clive Edwards. (It still lacks a little more power, a slightly meatier coating, but we are in 1981). This time, production is handled by Kit Woolven (Thin Lizzy, Lynott, Magnum, Vow Wow, Guana Batz, Cathedral, Anathema, Lycosia), assisted by Bain and Robertson.
The shadow of Thin-Lizzy, whether in terms of rhythmic construction, melody, guitar duets, and even bass, remains relevant. We can also sometimes detect a reminiscence of post-Schenker UFO, as well as an occasional New-Wave touch.
Quick overview of “Stand your Ground”:
“I’ll give you Love” which attacks hard with pure Lizzy in its hardest approach. We sometimes think of the “Chinatown” album.
“In the City”, again, anticipates Lynott’s “Nineteen” and “Military man”, by incorporating, therefore, a certain New-wave approach, notably through some discreet arrangements. Sharp and refined at the same time.
The melodic lines of “Another lover” take us back to Thin Lizzy; unfortunately, Bain lacks Lynott’s warm, thinly veiled timbre.
“Back in the USA” also walks into Fine Elisabeth territory, rather that of the “Bad Reputation” period.
“Stand your Ground” street in stretchers; it’s lively and impactful.
“The Axe” attempts to follow the momentum of its predecessor but fails to do so; it’s more common, less fresh and lacks a little scope, like the first two Michael Schenker Group.
“Miami Justice,” an almost Hard-FM debut, slowly progresses toward the Gary Moore of “Run for Cover.”
“Precious”, syncopated rhythm, slightly funk-rock, slowed down to the point of bordering on slow. Brian starts in a natural chorus (without effect), celestial and refined.
“New York City”, US Rock(‘n’Roll) close to Bob Seger.
And “Stake out” is suspicious of XTC (notably “Making plan for Nigel” from 79) with a “Kossof” touch.
Be careful, this is by no means flooded with keyboards; although there are a few scattered notes of Moog, you have to be attentive to discern them. It’s just a discreet cover-up.
No Hard-FM (except “Precious”, “Miami Justice”?), just worked Heavy-rock, with assertive melodies focused on guitar duets, based on chiseled rhythms punctuated by goldsmith solos. Even if certain compositions could easily have been broadcast (especially at the time), they have no connotations with a Rock studied, polished, and formatted to correspond to certain commercial canons.
The first reissue, that of Zoom Club Records, offers two bonuses: an acceptable “The Rapist” (side B of the 45 rpm of “Criminal Tendencies”), highlighted by some beautiful choruses from Brian, and a painful “The Kid”. Almost a caricature of Heavy-rock as there abounded within the NWOBHM; a hollow, cold and rigid title which somewhat spoils the good performance of this skeud.
The second, that of Krescendo, offers four live bonuses: “Everlasting Love” (published only in 45 rpm; a piece that breathes “Cheap-Trick”), “I’ll Give Your Love”, “Stake Out” and ” Stand Your Ground.”
A record which perhaps has nothing particularly transcendent, but which provides a real listening pleasure from start to finish; good and interesting compositions, which deserve attentive listening (and more if you like).
Alas, following his previous escapades (notably his affair with Ron Wood’s wife which delighted the tabloids), the English press shamelessly shunned his project. It should be noted that this melodic heavy-rock (certainly produced five years too early) was partly obscured by the steamroller of the NWOBHM, then in full glory.
But ultimately, Wild Horses seems to have aged better than some past “glories”.
L to R: Edwards, Bain, Robertson and John Locktron
After Brian’s defection, Jimmy Bain tried to continue the adventure with Jimmy Locktron by recruiting Frank Noon on drums (Bernie Tormé, Lionheart, Waysted, Stampede, Di’Anno), Laurence Archer on guitar (Stampede, Grand Slam) and Ruben Archer on vocals (Stampede, Lionheart).
Then, he leaves to join his former colleague from Rainbow, Ronnie James Dio. He returned to success in 1983 thanks to “Holy Diver”.
A few years later, after the Motörhead break (“Another Perfect Day”), Brian reformed his group without further success.
Carter est remplacé par John Lockton (plus connu pour avoir œuvré pour les teutons de Victory). Jimmy Bain reste au chant, où il semble avoir progressé, et pris de l’assurance. Et le rouquin fêtard reste fidèle au même équipement. Par contre, chose fortement notable, la wah-wah, effet indissociable jusqu’alors du jeu de Robbo, est presque totalement délaissée. De même que, tout en gardant un lyrisme particulier, le jeu est moins fougueux, qu’auparavant.
L’ombre de Thin-Lizzy , que cela soit au niveau de la construction rythmique, de la mélodie, des duos de guitares, et même de la basse, reste d’actualité. On peut déceler également parfois une réminiscence de l’UFO de l’après Schenker, ainsi qu’une petite touche New-Wave occasionnelle.Survol rapide de “Stand your Ground” :
« I’ll give you Love » qui attaque fort avec du pur Lizzy dans son approche la plus dure. On pense parfois à l’album “Chinatown”.
« In the City », là encore, anticipe les « Nineteen » et « Military man » de Lynott, en incorporant, donc, une certaine approche New-wave, notamment par quelques discrets arrangements. Tranchant et raffiné à la fois.
Les lignes mélodiques d’« Another lover » nous ramène à Thin Lizzy ; malheureusement, Bain n’a pas le timbre chaleureux, à peine voilé, de Lynott.
“Back in the USA” marche également en plein territoire de la Fine Elisabeth, plutôt celui de la période “Bad Reputation”.
« Stand your Ground » rue dans les brancards ; c’est vif et percutant.
“The Axe” tente de suivre l’élan de son prédécesseur sans y parvenir ; c’est plus commun, moins frais et manque un peu d’envergure, dans le genre des deux premiers Michael Schenker Group.
« Miami Justice », un début presque Hard-FM, progresse lentement vers le Gary Moore de « Run for Cover ».
“Precious“, rythmique syncopée, légèrement funk-rock, ralenti au point de frôler le slow. Brian part dans un chorus nature (sans effet), céleste et épuré.
“New-York City“, Rock(‘n’Roll) US proche de Bob Seger.
Et « Stake out » louche sur XTC (notamment « Making plan for Nigel » de 79) avec une touche “Kossof”.
Attention, ce n’est aucunement inondé de claviers ; même s’il y a quelques notes éparses de Moog, il faut être attentif pour les discerner. Ce n’est qu’un discret habillage.
Point de Hard-FM (sauf « Precious », « Miami justice » ?), juste du Heavy-rock travaillé, aux mélodies affirmées et axées sur des duos de guitares, reposant sur des rythmiques ciselées ponctuées de soli d’ orfèvres. Même si certaines compositions auraient pu aisément être diffusées (surtout à l’époque), elles n’ont aucunes connotations avec un Rock étudié, policé, et formaté pour correspondre à certains canons commerciaux.
La première réédition, celle de Zoom Club Records, propose deux bonus : un “The Rapist” acceptable (face B du 45 tours de “Criminal Tendencies”), éclairé par quelques beaux chorus de Brian, et un pénible “The Kid”. Presque une caricatures de Heavy-rock comme il en pullulait au sein de la NWOBHM ; un titre creux, froid et rigide qui gâche un peu la bonne tenue de ce skeud.
La seconde, celle de Krescendo, propose quatre bonus live : “Everlasting Love” (édité uniquement en 45 tours ; une pièce qui respire le “Cheap-Trick”), “I’ll Give Your Love“, “Stake Out” et “Stand Your Ground“.
Un disque qui n’a peut-être rien de spécialement transcendant, mais qui procure un réel plaisir d’écoute de bout en bout ; de bonnes et intéressantes compositions, qui méritent une écoute attentive (et plus si affinités).
Hélas, suite à ses frasques précédentes (notamment son aventure avec la femme de Ron Wood qui fit la joie des tabloïds), la presse anglaise bouda de façon éhontée son projet. Il faut signaler que ce Heavy-rock mélodique (certainement réalisé cinq ans trop tôt) fut en partie occulté par le rouleau compresseur de la NWOBHM, alors en pleine gloire.
Mais finalement, Wild Horses semble avoir mieux vieilli que certaines anciennes “gloires” passées.
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| de G à D : Edwards, Bain, Robertson et John Locktron |
Après la défection de Brian, Jimmy Bain tente de continuer l’aventure avec Jimmy Locktron en recrutant Frank Noon à la batterie (Bernie Tormé, Lionheart, Waysted, Stampede, Di’Anno), Laurence Archer à la guitare (Stampede, Grand Slam) et Ruben Archer au chant (Stampede, Lionheart).
Ensuite, il part rejoindre son ancien collègue de Rainbow, Ronnie James Dio. Il renoue avec le succès en 1983 grâce à “Holy Diver“.
Quelques années plus tard, après la parenthèse Motörhead (« Another Perfect Day »), Brian reforma son groupe sans plus de succès.
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