HORSLIPS

In the grip of motorway madness

By its very nature, Tracks From The Vaults is a release for completionists and hard core fans and collectors. The contents is a mixed bag of old b-sides and out-takes that showcases the several of Horslips' many faces. As such, we get some pure Folk, some pure Pop, and some straightforward Rock 'N' Roll. Notably absent is the progressive attitude that so successfully shaped their best albums. The collection opens with Motorway Madness, a dull, middle-of-the-road rocker. This one later re-appears (among the four CD bonus tracks) in an every bit as unexciting live version. Familiar songs such as Dearg Doom and King Of The Fairies appear here in demo-versions inferior to the later album versions. Instrumentals such as The High Reel and Johnny's Wedding too can be found in better versions elsewhere (as on Horslips Live).

The silly Beatles tribute songs Beatles Come Back and Fab Four-Four (released under the name of Lipstick) are the real low points here.

Among the tracks not available elsewhere, there are some rather nice folky tunes. Some of these could have worked fine as link-pieces on some of the band's albums, but hold limited interest in their own right. These are interesting for a fan like me to hear once or twice, but are not really enough to make Tracks From The Vaults a worthwhile experience as such.

Trouble with a Capital "T"

During the period between the release of their first live album in 1976 and this, their second, live album in 1980, Horslips had gradually degenerated from Prog Folk to straight Rock. This transformation was taken to its logical extreme on 1979's Short Stories - Tall Tales, the band's final studio release and also their worst. Thankfully, only one track from that album is featured here in the decent Guests Of The Nation. The other three studio albums that had been released since Horslips Live was recorded are however not bad at all. The title track from 1978's The Man Who Built America, another decent rocker, represents that album here. Somewhat disappointingly there is not a single number from the often overlooked Aliens from 1977, however. Finally, the excellent Book Of Invasions - A Celtic Symphony is represented with Trouble With A Capital "T", The Warm Sweet Breath Of Love, The Power And The Glory, and (as a bonus track on the CD version) Sword Of Light. It is primarily the latter songs together with older classics like Blindman, King Of The Fairies, and Dearg Doom that prove that Horslips never strayed as far away from their roots in the live arena as they did in the studio setting. As a live band they still remained true to their past, at least to a larger degree.

The out-and-out Rock 'N' Roll number Shakin' All Over is the only real disaster here. This awful boogie could easily have been replaced by something more interesting (by a track from Aliens, for example). Other drawbacks of this live album is it's short running length and the fact that three of the nine songs had already been featured on Horslips Live. Still, The Belfast Gigs constitutes a much more fitting ending to the band's career than the poor Short Stories - Tall Tales (though, the end was not final as the band has recently reformed).

Compared to the two other live albums I've heard from Horslips (Horslips Live and the recent Live At The O2) the present one is clearly inferior. Make sure you get those others, as well as most of the band's studio albums, before turning to this one. But The Belfast Gigs is nonetheless a decent, though certainly not essential, addition to a comprehensive Horslips collection.

Mad Pat's on the road!

This was Horslips' first live album, recorded and released right in the middle of the best and most progressive period of their career. At this time they had a handful of studio albums under their belts already, including the excellent concept album The Tain. Horslips Live showcases a somewhat rockier side of Horslips than can be found on their studio albums from this period. It contains lively and energetic performances of a good selection of tracks from their early albums and as such it is an excellent addition to any Prog (Folk) collection. Some people would perhaps prefer this over the studio albums, while others would have the opposite preference. Personally, I like both for slightly different reasons, and I think they have different virtues. I would say that Horslips Live is an excellent complement to the band's studio albums, but it is by no means an accurate replacement for the studio albums.

There are several sections of continuous music with songs that flow into each other and Prog fans will take note of a 15 minute version of Furniture. Compared to the band's other live albums, the present one is in my opinion not quite as good as the recently released Live At The O2, but certainly better than The Belfast Gigs.

Highly recommended!

Though I call myself an ardent lover of Celtic rock, I find this album too much a part of its time. Only a few of the songs are progressive rock- most of this is Irish rock from the 1970s. The vocal melodies and chord progressions are uninteresting, but the instrumentation is quite lovely.

"Daybreak" Inspiring harmonics introduce a pleasant electric-based song that is centered on a dual lead guitar harmony, followed by a flute and organ duet.

"March into Trouble" The lively clavichord runs around the acoustic guitar before lively flute enters.

"Trouble with a Capital "T" Vocals mimicking the flute similar to Camel's stunt on The Snow Goose ends abruptly when a singer bursts in sounding very much like John Wetton. Speaking of which, there's excellent bass playing. The main theme sounds like what my favorite Celtic rock band Seven Nations would do.

"The Power and the Glory" Keyboards lead into a grungy rhythm. This is a simple rock and roll song with deceptive fiddle and synthesizer.

"The Rocks Remain" Surprisingly, this sounds like Boston. It is more folky and has a slide guitar.

"Dusk" Beginning with an electric guitar and organ reprise, this brief interlude has Celtic violin bursting in.

"Sword of Light" Integrating elements that came before into something consistent, "Sword of Light" gives way to the Wetton-like vocals. This is a very lively track that is among the most progressive here.

"Dark" The opening harmonics remind the listener of the opening track, but lead right into a full-bodied piece of music. The woodwind and organ are there close behind, followed by a more grandiose rendition.

"Warm Sweet Breath of Love" After a concertina introduction, a piano-based boogey ensues. The guitars, from the dual leads to the quickly picked acoustic, are nice.

"Fantasia - My Lagan Love" Channeling Carlos Santana in both style and tone here, there is a sprightly piece run by lead guitar, electric piano, and lively drums.

"King of Morning, Queen of Day" This is a lively, quasi-medieval styled song. It is electric piano-based with some nice guitar and bass things happening.

"Sideways to the Sun" Lovely electric guitar, violin, and harmonics set the listener up for a simple Three Dog Night-like song.

"Drive the Cold Winter Away" Acoustic guitar and concertina move swiftly through a cold chord progression.

"Ride to Hell" The final track is a disjointed one, with calming acoustic guitar that moves quickly into busy organ, cowbell, and heavy rock music. The chorus is happy, hippy dippy 1960s music. The bass playing and the organ lead are both stellar, as is the violin solo. The ending cadence sounds so much like Echolyn.

If you look at the discography of Horslips, over time there is a clear shift from traditional folk to folk-rock to, finally, just plain rock. The album Aliens finds it somewhere in the middle, and in my view, on this record they got the mix down just perfect. The songwriting has never been (and would never be) more tight and consistent. It is hard to point out highlights, as this album from beginning to end is one tour de force. I can say this is one of my all-time favourite records, and I'm quite surprised it got some so-so reviews here. Possibly it has to do with the fact that a lot of long time fans (and I'm one of them) consider this from a folk-purist standpoint, and they were disappointed at the increase of the rock element. But if you look at this album on its own merit, you'll find one of rock's undiscovered gems.

— First review of this album —

They've still got the power and the glory!

Horslips is one of the very best Prog Folk bands, and this double live album from 2010 runs like an extended greatest hits collection performed live. The impressive set list is chockfull of classics from the band's nine studio albums released between 1973 and 1979, including many selections from the two highly regarded concept albums The Tain and Book Of Invasions - A Celtic Symphony. Other numbers that you might remember are King Of The Fairies, Mad Pat, and Flirting In The Shadows. Like on their studio albums, Horslips here play a plethora of stringed acoustic instruments as well as flutes and whistles in addition to the standard Rock instruments of electric guitars, organ, drums and bass. This is Prog Folk that really rocks, without sacrificing any of the folksiness. An all-acoustic section showcases the more subtle side of the band and keeps the set varied.

Judging from this great live recording, it seems that the band has lost little of their power and glory since their 70's heyday. They have no new material to draw on as they haven't recorded anything in the studio since the late 70's (except an album of acoustic remakes of older songs called Roll Back that was released in 2004), but the staying power of the band more than justifies this live album. I hope that they will now consider recording a studio album of new material in the style of their classic output. The vocals here are not perfect, but the evident passion and energy makes up for it. They audience certainly seem to be appreciative as well, and rightly so.

The Tain and Book Of Invasions remain the most essential Horslips albums, but this live album is an excellent addition to any Horslips collection and indeed to any Prog Folk collection

Don't get me wrong, most of the songs here are first class but I should warn everyone that if you come across this CD do not buy it.

Reasons: 1. This compilation was released without the band's consent and they did not receive one cent in royalties. 2. The recordings are atrocious. The quality of almost all recordings is way below standard. I should know as I bought it over 20 years ago but got rid of it as soon as I could.

For completists only. Well, not even for completists, as I am a Horslips completist and I don't want this one! So half a star. Has anyone given a half a star before?

BTW. If you are looking for a great Horslips compilation then buy the "Treasury" 2CD compilation released in 2009 or 2010. The band got back the rights to their catalogue and "Treasury" is truely a great snapshot of their work.

Horslips: The Best Of' (Edsel Records MEDCD 700) This is a 29 track, 2 CD set drawing from all their studio albums released between 1972 and 1979 - and what a fantastic range we have! All tracks remastered at Abbey Road and the quality shines through - here we have the gestation of Celtic Rock by a good Irish Rock Band (contemporaries of Thin Lizzy with a similar rocking music bed) and multi-instrumentalists to boot! Their music is a fusion of Celtic themes, folk and good old 70s rock and if you're looking into the genealogy of the likes of Blue Horses, Mostly Autumn, Karnataka and Iona - one could argue you should start here. 'Sideways To the Sun' a fascinating track about fairies that will haunt you ' oh itwill, itwill, itwill, itwill. 'Speed The Plough' with a good guitar duel, 'Sword of Light' ' the type of track you keep replaying in the car whilst shaking your head (as if to Queen). 'Come Summer' - is that Jethro Tull? ' No, I didn't think so, but it came close!

Anyway my brother is into bands with violins, for it was he who introduced me to Mostly Autumn (in return I gave him Flock - poor deal), So to make up for that ' Andy, get your aural teeth into this one! Its damn fine like a good wine (you lot go and listen too ' this is a quality Best Of).

This band was recommended to me, and this album given to me, back in the seventies by an Irish friend of mine, who understood my love of prog rock. Back then, the album didn't capture my interest. But perhaps the years have mellowed my tastes. Now I appreciate the album much more. I'm still not much of a fan of celtic music, but I appreciate it's value.

The album is primarily Celtic folk rock, with a bit of prog thrown in. The band is certainly technically adept, and able to blend the styles well. The best prog tracks to my ears are Hall Of Mirrors and Furniture. And I also like the rock jig, The Musical Priest.

I'm still not sure if I'm ever going to pursue more from Horslips, but I'm glad I own this album.

"The Tain" is Horslips second release and it's an Irish Rock Classic with an intruiging concept. Much like the band's first album, it is quite a package with plenty of traditional Irish airs intermingled throughout all the tracks. Back in 1973, Horslips breathed life into Irish music making it more interesting to teenagers by giving it their rock edge. "Sentanta" actually kicks it all off with some weird psychedelic moods before we prepare for "Charolais", one of the main highlights. "You Can't Fool The Beast" and "Time To Kill" are also a real crackers. The instumentation is marvellous with thumping drums, beautiful flute and guitar work and even a fiddle solo. "Dearg Doom" is perhaps the most unusual with its solo from the pipes. There's some nice mellow sections too with "Cu Chulainn's Lament" and "Faster Than The Hound". And I just love the instrumentals, especially "Morrigan's Dream" which pops up towards the end. Lovers of the prog-folk genre should enjoy this album very much.