When I last sat down with Maddy Prior to talk Steeleye she raised the subject of gently moving Span’s focus towards more self written and relevant material, it was she confessed something she felt the band had to do but at the same time remain true to initial inspirations and aims. That’s achieved here by using conflict as a wrap around concept and a wide interpretation which takes in the physical – battle, weapons- and man’s constant war with the natural world. When will we ever learn? In reality it’s a question of balance, folk rock or rock folk? ‘Conflict’ comes down firmly within the territory of the latter.
It’s a strong possibility the idea may have come from the chance find of Bob Johnson’s 80s creation ‘The Green Man,’ which dealt with similar ideals and content, but that’s just my conjecture. However the band believed in it enough to use the song as a front on their 2023 stop gap release which contained both the original recording and a contemporary reworking. Concurrently the revolving door of fiddlers has delivered Athena Octavia who unlike her predecessors seems like she’ll be around a while. Thus with a stable line up and musical direction set it was full steam to the studio earlier this year.
The first thing you’ll notice is that Maddy’s wish to deliver something of difference is obvious from the off. ‘Over The Hills & Far Away’ is hefty, heavy and guitar driven, Spud Sinclair’s lead runs scything out the military tune as the band drive on in fifth gear. Quite a way to open up the account. ‘Sound Of The Drum,’ follows directly, a strict martial rhythm foreshadows a slightly slower pace but equal impact from the guitars and violin, a trad lyric based on the old method of recruiting soldiers by marching regiments across the shires and offering the King’s shilling with a promise of excitement and adventure. The track however ends with a lingering air of doubt and realisation that not all those who leave might come back.
Rick Kemp’s ‘Low Flying’ pits military aviation against the peace and quiet of the Scottish borders, rescued from Rick & Maddy’s ‘Happy Familes’ – released in 1990 – Steeleye’s version churns guitars and fiddle in a robust, sturdy, near four minute arrangement those strong harmonies riding the crest of the melody and powerful groove. Acapella vocals are back with the opening of Maddy’s fascinating ‘Trees Are Whispering,’ completed with Julian Littman and Spud Sinclair, the first nod to the Green Agenda, the core of this one being that when trees are not felled en masse, they develop communication and inform each other. We could learn much to benefit us if we just left well alone, allowing forest to flourish. Neil Young may be ‘Talkin’ To The Trees,’ on his new album, but Steeleye have got a whole debate going on. This track’s lighter, a near jig leading it through carefully crafted lyrics. A reworking of ‘Dogs & Ferrets,’ done totally unaccompanied continues the exploitation of nature thread only this time it’s a folk song which celebrates the killing of a hare by poaching. The sounds of a pub and clinking glasses tells you the outcome is celebrated by the perpetrators. Span let you draw your own conclusions.
Julian Littman provides the heavy prog reel ‘Skip To Shore,’ which all hands helped craft though the fiddle of Athena Octavia here is the stand out, dancing and weaving around guitars, keyboards as well as the booming rhythm section. The sea shanty ‘ Blow Boys Blow,’ is transformed into something ghostly and spectral, Maddy’s vocals are lower as if she’s imparting closely held secrets or rumour. Rolling drums and snaking lead guitars underpin what emerges as warning against risking disease, malnutrition and illicit cargo after the official end of slavery. “We’ll blow this hell ship all in sorrow ” runs the lyric as the song closes on a demented violin trill. Powerful stuff indeed. Closing ‘ When All The World Was Young,’ a poem by Charles Kingsley is the eagerness of youth remembered and reflected on, delivered in a quiet, wistful setting which fits well with reminisence, echoing vocals over a floating keyboard and guitar sustain. A quality way to finish the album.
Note long time Span admirers, the production here is guitar heavy, Littman and Sinclair are right up there in the mix, the bolier room has added heft and push, this is the heaviest Steeleye have been since ‘Bedlam Born’ and that was somewhat ear scorching in places. There is edge to most of the album, it’s sharp, clear and ringing, the recording grabs your attention and never really lets go until the final track where they lower the volume and pace in contemplation.
Evidence if it were needed that there’s more life and vigour in Steeleye Span than we’ve any right to expect. Fifty six and still full of adventure and determination. You can only admire and applaud. Time moves on yet this band show no signs of slowing. Their only thought is forward. Quite something.
Simon Jones.
www.parkrecords.com
