Formed by ex-Deep Purple bassist Nick Simper at the suggestion of The Who bassist John Entwistle, UK progressive/hard rock band Warhorse issued two albums and one single on the Vertigo label. Cherry Red Records, UK, has gathered these releases, supplemented by several live tracks and a demo recording—twenty-six tunes in all—in a two-disc set on their Esoteric Recordings imprint.

Warhorse’s self-titled debut LP was released in 1970, with Simper joined by vocalist Ashley Holt, lead guitarist Ged Peck, Frank Wilson on organ and piano, and drummer Mac Poole. Rick Wakeman had originally been part of the lineup, but scheduling conflicts resulted in him being replaced by Wilson. The album consisted of seven tracks: five band originals, credited to the quintet as a whole, and two covers. The songs tended to be lengthier, five minutes or more, and instrumentally dominated by Peck’s guitar and Wilson’s Hammond organ. The group’s sound was reminiscent of Uriah Heep as well as that of the more obvious Deep Purple.

Opening track “Vulture Blood” is a hard rocker showcasing Peck’s lead line and fiery solo as Holt belts out the vocals, while follow-up “No Chance” has a more progressive vibe thanks to Wilson’s Hammond work, although Peck once again shines and solos the song out. Warhorse returns to hard rock on “Burning” with the rhythm section of Simper and Poole especially tight, and the song’s title a harbinger of a Deep Purple album soon to follow. A cover of The Easybeats’ “St. Louis,” the group’s lone single, could easily have been a hit, its commercially accessible melody accompanied by a wah-wah driven solo courtesy of Peck and a shining organ interlude from Wilson. “Ritual” and “Solitude” follow, with Wilson’s keyboards—organ on the former, organ and piano on the latter—which once again display the band’s progressive side, driving the melodies and Peck supplying memorable lead lines and solos to both. The LP closes with more hard rock a la Deep Purple on “Woman Of The Devil,” Wilson’s Hammond and Peck’s wah-wah aided guitar to the fore. The first disc closes with five bonus tracks: live takes on “Ritual,” “Solitude,” “Woman Of The Devil,” and “Burning,” as well as a demo of “Miss Jane,” a mellower, balladish tune with vocal harmonies, although still guitar and organ-driven, with Peck and Wilson again contributing solos. The live performances display the tight rhythm section of Simper and Poole along with the instrumental expertise of Peck and Wilson, as well as the more-than-capable vocal abilities of Holt, and serve as evidence of how powerful Warhorse were live, their performances matching or exceeding those in the studio.

Before the release of Warhorse’s 1972 sophomore album Red Sea, guitarist Peck had departed, replaced by the equally talented Peter Parks. The LP, like its predecessor, consists of seven extended tracks: six band originals credited to all five members, and a cover of the Leiber and Stoller classic “I (Who Have Nothing).” The album opens with its title track, a progressive rocker, driven by Wilson and Parks, the latter contributing a hot solo, while the former’s organ and piano dominate the melody. Parks’ feedback-laden guitar and Wilson’s organ give “Back In Time” a Deep Purple vibe, the track’s title, like the debut LP’s “Burning,” reinforcing the perceived relationship of the two bands. “Confident But Wrong” opens with a Simper solo; the song, written about a would-be superstar, brings to mind Uriah Heep thanks to Parks’ incendiary solo, an organ interlude from Wilson, and Poole’s driving drums. “Feeling Better” has a more progressive sound, with more than a hint of Yes, thanks to the gentle piano intro by Wilson, whose piano and organ dominate the melody, and Holt repeatedly singing “the very good times we had.” “Sybilla” features heavy bass and guitar, with Wilson adding organ accents. Parks contributes a feedback-aided solo, his lead line taking the tune in many directions. Warhorse stretches out on the eight-minute “Mouthpiece,” which features two drum solos by Poole, an organ interlude from Wilson, and Parks’ insistent guitar riff, the tune quoting “Oh Susannah” for good measure. The album closes on a very different note with the band’s soulful R&B take on “I (Who Have Nothing),” popularized by Shirley Bassey and Tom Jones, among others. Parks’ bluesy guitar line and heart-wrenching solo make this the album’s highlight, showcasing the group’s versatility and hinting at what the future may have held for Warhorse. The disc’s bonus material begins with another live take on “Ritual,” this one featuring Parks’ guitar. Five demos for an abandoned third album follow. “Bad Time” is laid back with Parks and Wilson contributing relaxed solos, contrasting with the heavy bass line of Simper. “She Was My Friend” is a gentle, melodic tune highlighted by Parks’ soulful solo. “Gypsy Dancer” and “House Of Dolls,” by contrast, are rockers dominated by Parks’ guitar, the songs’ heavy melodies and even the former’s title bringing to mind Uriah Heep. “Standing Right Behind You” is a hard blues rocker, its heavy groove again reminiscent of the Heep. The quality of the demos makes one wonder why Warner Bros. passed on releasing a third Warhorse album, but such are the vagaries of the music industry. The disc and set close with a demo acetate of “Burning” by the band under its original moniker Ironhorse, a strong performance leaving no doubt as to why the group was signed.

Warhorse: The Recordings 1970-1974 comes in a three-panel digipak. The set includes a full-color twenty-page booklet with full track annotations, lavishly illustrated with photos of the band, album artwork, and press clippings, and an extensive essay by Steve Pilkington. The individual discs themselves replicate the original artwork. Warhorse sounds better than ever, thanks to the remastering job by Ben Wiseman. The set will appeal to fans of hard rock, 1970s rock, and classic rock in general, and comes highly recommended.

Kevin Rathert

Warhorse – ‘Warhorse: The Recordings 1970-1974’ (Esoteric Recordings, 2024)