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The enduring success of Steeleye Span is one of the great stories in folk-rock history. 40 years, 21 albums and 1 legend, and one massive Christmas hit All Around My Hat (which horrified purists at the time), is how they currently stand.
Still lead by songbird Maddy Prior MBE, along with Peter Knight, Rick Kemp, Liam Genockey and Ken Nicol, they continue to enthral audiences around the globe.
Cogs, Wheels and Lovers bucks their own trend, going back to their roots with the interpretation of traditional song recorded at Devon’s Propagation House Studios, produced by the band, Mark Ellis and Tony Poole.
Despite being in the shadow of legendary folksters Fairport Convention in their early years, they have built up a strong reputation based on credibility.
Continuing to grow from strength-to-strength with Prior’s singing remaining one of the band’s attractions still, at the age of 62, Cogs..is a full-on folk-rock delight from an outfit well versed in delivering the goods.
From my brief research, songs appear to abridge, adapted or modified from standard folk-fare.
It opens with a dense rocker Gallant Frigate Amphitrite, also known as Rounding The Horne because of suggested trade in South America. The steady start builds and builds with Prior’s dulcet tones drifting meticulously across the sea shanty. This song, about a crew reporting the ship’s mate for flogging, was well known amongst 19th century seamen.
Locks And Bolts, a soft ballad, about a separated couple by a spiteful father, has a more traditional flavour with swirling violin by Peter Knight.
Creeping Jane, a racing song with slightly different lyrics to the one I’ve discovered, is a fabulously joyous romp using the same pulsating formula of All Around My Hat, again with Knight having a field day on violin and Ken Nicol dropping in some tasty guitar licks.
Then comes the jewel in the crown, Just As The Tide (Was Flowing), a simple tale about a sailor and his lover, and despite it being rocked up it still manages to retain a faithful flavour with Knight’s violin dazzling throughout.
When SS keep things nice and simple they are at their most effective, and that’s how it is on Ranzo (aka Wild Goose (Ranzo) ). Simple hand claps, and violin pizzicato, boosted by sumptuous close harmonies, keep it in the trad frame.
Using a quirky arrangement that includes mechanical sounds used as a percussive tool, The Machiner’s Song is the most unique song Steeleye have ever done. This jolly tune, although rocked-up, still holds many authentic elements.
Thought to be Irish in origin, Two Constant Lovers is the sweetest song on the collection, allowing Knight to front this most delicate of melancholic tunes, where he also adds some stunning violin solos, while Madam Will You Walk? veers towards All Around My Hat territory.
The Unquiet Grave is believed to originate from the 1400s. This mournful song conveys the tale of a grief stricken lover, beautifully sung by Prior, and possibly her best performance here.
The final track, Thornaby Woods is a whopping 11 minutes, but does full justice to 18th century tale of tension between gamekeepers and poachers in Nottinghamshire’s Thornleigh Moor-fields.
If there’s a song that truly defines Steeleye Span credentials, then this amazing interpretation does exactly that.
1. Gallant Frigate Amphitrite
2. Locks And Bolts
3. Creeping Jane
4. Just As The Tide
5. Ranzo
6. The Machiner’s Song
7. Our Captain Cried
8. Two Constant Lovers
9. Madam Will You Walk?
10. The Unquiet Grave
11. Thornaby Woods
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Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
Review & concert pics copyright © Elly Roberts, 2004-2010.