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Horslips. The Belfast Gigs. 1980 (Remastered). *FLAC*

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Description

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Horslips - The Belfast Gigs. (Remastered).

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Artist...............: Horslips

Album................: The Belfast Gigs

Genre................: Rock

Source...............: CD

Year.................: 1980

Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520

Codec................: Free Lossless Audio Codec (FLAC)

Version..............: reference libFLAC 1.2.1 20070917

Quality..............: Lossless, (avg. compression: 70 %)

Channels.............: Stereo / 44100 HZ / 16 Bit

Tags.................: VorbisComment

Information..........: Ripped by me.



Ripped by............: Me on 02.03.2009

Posted by............: Me on 02.03.2009

News Server..........: news.astraweb.com

News Group(s)........: alt.binaries.sounds.mp3.metal.full.albums



Included.............: NFO, M3U, LOG, CUE

Covers...............: Front Back CD



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Tracklisting

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1. (00:03:44) Horslips - Blindman

2. (00:07:20) Horslips - Dearg Doom

3. (00:03:14) Horslips - Guest Of The Nation

4. (00:04:10) Horslips - King Of The Fairies

5. (00:05:23) Horslips - Shakin' All Over

6. (00:03:40) Horslips - The Man Who Built America

7. (00:03:41) Horslips - The Power And The Glory

8. (00:03:48) Horslips - Trouble With A Capital "T"

9. (00:03:45) Horslips - Warm Sweet Breath Of Love



Playing Time.........: 00:38:46

Total Size...........: 274,26 MB



NFO generated on.....: 02.03.2009 18:05:08

:: Generated by Music NFO Builder v1.19 - www.nfobuilder.com ::





Bio and Review.



At one point in the mid-1970s, Horslips bidded to be Ireland's answer to Steeleye Span. But they also had a shot at
being the next Jethro Tull (only a better hard rock outfit), or maybe Genesis, or even Yes in its folkier moments. Those
events never quite happened, but Horslips released a half dozen superb albums along the way, becoming Ireland's most
acclaimed folk-rock and progressive band.



From Allmusic.com



Horslips was founded in Dublin during 1970 as a quintet playing a brand of folk-based rock music whose only parallel
could be found in the early work of Fairport Convention, who themselves had only been together for two or three years.
Where Fairport freely mixed British and American folk and folk-rock traditions, however, Horslips drew on their
distinctly Irish roots, and were capable of playing straight folk material when the moment called for it, but weren't
afraid to turn up loud and hard, in the best art-rock style, on the right songs.



Barry Devlin (bass, vocals), Sean Fean (lead guitar, vocals) Eamonn Carr (drums, vocals), Charles O'Connor (violin,
mandolin, vocals), and Jim Lockhart (flute, tin whistle, keyboards, vocals) sounded a bit at different moments like
either Genesis or Jethro Tull, depending on the moment, and actually had stronger original material to draw from than
Tull did. Fean, in particular, was equally good at playing soft folk-like passages and loud, ringing electric runs on
his instrument, and could easily have held his own in a guitar duel with Martin Barre or Steve Howe, among others. But
where Tull (after their first album) became exclusively a vehicle for Ian Anderson's wild-man flute antics and his
complex, pretentious, satiric and scatological lyrical conceits, Horslips, until their final years, had ample room for
each player to show what he did best, and no single member dominated the group. They spent three years gigging
constantly in Dublin, tightening and honing their sound to a fine point, and formed their own record company, OATS, to
produce and release their debut album, Happy to Meet, Sorry to Part, in 1973.



That first album, with its mixture of traditional Irish folk instruments and a hard art-rock sound recalling the sounds
of Genesis from Nursery Cryme and Foxtrot, outsold the work of many established acts in Ireland, and led to a
distribution deal with RCA and tours of England and continental Europe. With the release of their second album, The Tain
-- a concept album built on Irish mythological sources -- in 1973, Horslips began finding an audience on the other side
of the Atlantic as well. Their third album, Dancehall Sweethearts (1974), brought them to the United States and Canada
on tour, and they followed this up with The Unfortunate Cup of Tea (1975). Neither of these albums was quite as strong
as the first two, and both revealed more of a modern rock sound in their music and songwriting. The group returned to
Ireland to take stock of who and what they were and what kind of music they would do.



Horslips returned to their roots with a Christmas album entitled To Drive the Cold Winter Away, released in 1976, which
was recorded entirely on acoustic instruments. This record put them back in the center of the folk-rock boom of the
1970s, compared favorably with such English electric folk acts as Steeleye Span (with whom they toured) and Fairport
Convention. Additionally, as an Irish electric folk-rock band, even though they weren't overtly political, Horslips
hooked into the audience of younger Irish-Americans during a period of wide new ethnic consciousness-raising brought
about by the renewed strife in Northern Ireland. They were no more than a cult phenomenon in the U.S.A., never remotely
as popular as the Chieftains (who had a decade's head start and a ton of soundtrack appearances to promote their work),
even with Atlantic Records releasing their mid-1970s albums, but it was a bigger cult than they would have had in the
late 1960s.



In England and Ireland, however, Horslips was a highly successful act, sufficiently popular to justify cutting a double
live album that perfectly captured their repertory of this period, if not their sound. The group's next studio record,
The Book of Invasions (1977), subtitled "A Celtic Symphony," was, like The Tain, inspired by Irish mythology,
this time the story of Tuatha De Danann's conquest of ancient pre-Christian Ireland. Released by Dick James's DJM label
(which also picked up their earlier albums in England, as Atlantic had in America), this album marked their only entry
on the British charts, at number 39, and also found a dedicated audience in progressive and folk-rock circles in
America.



It was an enviable string of releases, but one that the group couldn't sustain. Their next album, Aliens, dealing with
the lot of the Irish immigrants to America, was less inventive and exciting, and elicited far less enthusiasm from fans
and critics. The odds-and-sods collection Tracks from the Vaults, released in Ireland, was a matter of marking time.



The Man Who Built America marked a major change in Horslips, which was now pretty much in the control of Barry Devlin
and Jim Lockhart -- Carr and Fean, with their more folk-oriented approach to music, took a back seat to a more
mainstream rock sound. Two additional guitarists, Gus Guest and Declan Sinnott, turned up on the album, which sounded
more American and less like Irish folk-based material than any of their prior works -- the title track sounds more like
John Cougar Mellencamp, or perhaps even Bruce Springsteen (with Lockhart's flute replacing Clarence's sax, and some
gratuitous swirling keyboards) than the work of the group responsible for "The High Reel."



By this time, they were trying to compete in a wholly different idiom and arena, and there wasn't much left of the
original Horslips. Short Stories -- Tall Tales (1980) was the last of Horslips' original albums, and was followed by one
more concert record culled from their final days, the hard-rocking Belfast Gigs.



Carr and Fean later worked together in an R&B-based band called Zen Alligator before reuniting with Charles O'Connor
in a folk outfit called Host, and Fean has recorded with Nikki Sudden and Simon Carmody. Meanwhile, Horslips was the
object of two retrospective collections released in Ireland and England. Fortunately for the group, they retained
ownership of their music through the OATS label, and this helped facilitate their reissue on compact disc.





Review from Amazon.com.



After playing together for a decade and recording somewhat 10 (very good) albums Horslips split up, due to lack of
succces in combination with intern strubbles about the musical direction (rock or folk). Before doing so they played 3
concerts in Belfast in the spring of 1980, from which this album is a registration. Not fully as I presume because it
only contains a mere 9 songs, one of them being (a rousing, that is) cover of

"Shakin All Over". Being a rockband blended with lots of Irish folk (or vice versa, dependable on the kind of
songs they wrote and recorded) this is far less a folk(rock)album. Admittedly you can actually hear some folkinfluences
here and there but overall this breathes rock with a capital R. Hard driven rock with soring guitars, thanks to the
courtesy of the remarkable John Fean (who is also capable of fine acoustic playing as demonstrated on the several
studiotracks elsewhere) with great playing from his bandmates in fine form, they performed stomping versions of better
known songs (3 of the excellent "Book of Invasions"). They showed their craft as a peoplesband and although
knowing this was the last of a series of concerts they never let down and delivered. As so this is a fitting epitaph of
a band now sorely missed. Still there are the albums to enjoy.

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