Irish rock bands Queen and Horslips release new album of BBC recordings
A remarkable find of archive Horslips material has been compiled into a comprehensive five-disc set, titled Horslips – At the BBC. This collection showcases the band’s performances on various BBC shows over the span of three decades. It encapsulates the band’s peak years in the 1970s and includes recordings from their reunion era, which followed their disbandment in 1980. The set encompasses live shows, interviews, detailed linear notes, and rare photographs featuring band members Barry Devlin, Jim Lockhart, Charles O’Connor, Eamon Carr, and Johnny Fean in their extravagant glam rock attire.
A standout gem from this compilation is a recording of Horslips performing with the Ulster Orchestra at Belfast’s Waterfront Hall on St. Patrick’s Day in 2011. This particular gig is considered one of Horslips’ finest moments, featuring an unforgettable eight-minute rendition of “I’ll Be Waiting”, a showcase for the band’s lead guitarist, Johnny Fean, who sadly passed away in 2023. Jim Lockhart recalls the incredible experience of collaborating with the Ulster Orchestra, comprising 69 members led by conductor Brian Byrne, who crafted brilliant arrangements for the event.
The collection also includes charming footage from Horslips’ appearance on The Old Grey Whistle Test TV show in 1974, hosted by the renowned DJ “Whispering Bob Harris”. Their relationship with the BBC dates back to October 1973 when they were invited to perform on John Peel’s radio show before the release of their second album, The Táin. Reflecting on this era, Barry Devlin acknowledges John Peel’s appreciation for traditional music, albeit with a preference for a more austere interpretation, which slightly diverged from Horslips’ style.
During the vibrant era of British rock music, Horslips found themselves rubbing shoulders with iconic bands like Queen, The Clash, and The Sex Pistols as they navigated the UK music scene. Their encounters at venues like The Blue Boar Inn provided opportunities for unexpected collaborations and shared experiences. Devlin reminisces about the eclectic characters and distinct atmospheres of venues like Dingwalls in Camden, where Mick Jones of The Clash was a familiar presence.
At the forefront of the 1970s music scene, David Bowie’s innovative approach to music set the tone for the industry, with his albums serving as a compass for the future direction of pop music. Despite the prevalence of recreational drugs in the music scenes of that era, the Irish landscape maintained a relatively subdued drug culture compared to the UK and the US, with substances like weed being more prevalent than harder drugs like cocaine or heroin.
Horslips’ impact extended beyond the UK and Ireland, as they embarked on multiple tours across North America following the release of their album Dancehall Sweethearts in 1974. The band’s relentless touring schedule made them a familiar presence in the American music scene, with collaborations with bands like The Police further solidifying their transatlantic influence.
In conclusion, Horslips – At the BBC offers fans a captivating journey through the band’s evolution and legacy, capturing significant milestones from their illustrious career. With a blend of live performances, insightful interviews, and rare archival material, this collection serves as a testament to Horslips’ enduring impact on the music landscape.