Horkstow Grange.
I first heard this album within a year or so of
it's release, having borrowed a cassette copy from my local library. At the
time I wasn't aware of what the band were up to, and so it was with some
interest that I discovered this album put together by a lineup I wasn't
familiar with. And on playing it I found that the music was very good
(mostly) even though it clearly wasn't what you might call "Classic
Steeleye". Anyway, that was back in 1999 and having returned the tape
to the library, it was at least another four years until I bought my
own copy . So this review is based on listening to the album over quite a
long period.
First impressions ? Well, first of all, it's the
first album to be recorded by the band without Maddy Prior, and as there was
no permanent drummer at this stage, the album was going to sound quite
different. In some ways the album is more "folky" and
"unplugged" and certainly a quieter album than "Time",
the album's immediate predecessor. It also has a slightly experimental feel,
as it shows the band going in a different direction, or rather maybe a
reverting to earlier days with a less commercial sound .
There seems to be a predominance of lamenting in
the songs chosen; lamenting for a distant homeland, lamenting for a love
that can never be , lamenting over a disastrous marriage,
lamenting as a transported convict, and lamenting as the victim of attempted
murder! But then that's folk music !
Apart from the gloom , this album is
actually very enjoyable and the playing and singing are good as ever,
Gay Woods takes the lead vocal on many songs, with her own distinctive
style. Bob Johnson resorts to acoustic guitar more than usual, Peter Knight
plays violin, viola and piano, and sings lead . Tim Harries comes more
to the fore in his playing, and sings lead on one song. Dave Mattacks
appears as guest drummer on several tracks , and as we would expect from a
man of his high reputation, the drumming is fine, albeit fairly low-key.
The First song is The Old
Turf Fire, an original song credited to Johnny Patterson,
which has a gently jogging rhythm, in a gaelic style, and is a warm song
about the delights of a humble irish home.
The Tricks of
London is something of a riddle song, written and sung
by Bob ,who combines original words with extracts from Nursery Rhymes. I
like this for it's curiosity value , plus the catchy playing by Peter of the
"London Bridge is falling down" theme, which helps this to be a
memorable piece of music.Incidentally, I suspect this song may have been
influenced by Bob's involvement in putting together a number of modern
versions of nursery rhymes back in the late eighties. For absolute Steeleye
completists these albums were actually quite good...well Ok , only if you
have very very young children (which I did at the time). Credits on
those albums included Bob Johnson, Nigel Pegrum and , I believe Peter
Knight.
Horkstow Grange
is of course the song that gave the band their name, as it recalls the fate
of one "Steeleye Span". This is a virtually acapella, 4-part
harmony version, written by Peter. I wonder why this song was never recorded
by the band before. Too obvious perhaps, or maybe because the phrase
"pity poor old Steeleye Span " was too much like tempting fate .
Lord Randall
is probably my favourite track , even though this is the first song of
suffering and depression. Poor Lord Randall appears to have been poisoned,
and in his singing of this tale ,Bob, perhaps unintentionally makes
the situation sound quite funny. Poor old Lord Randall , doesn't quite know
what's hit him , despite all his mother's questioning, she has no cure
for him, and he just wants to lie down and die,....oh dear. The song
is actually quite catchy , especially the chorus.
Erin
is
the song of a female Irish immigrant ,settled in New York and longing
for her homeland. This is sung with great pathos by Gay, and the track ends
with a fine bit of very Irish fiddle playing by Peter, accompanied by Gay on
Bodhran. This has an authentic and pleasing sound.
Queen Mary
is, we are told, an 18th century children's play-song, interspersed cleverly
by extracts from the musical box tune, Hunsden.
Next comes Bonny
Birdy , an epic Scots tale of infidelity, written largely in
Gallic dialect and sung skillfully by Peter, who also plays piano here, as
the dominant instrument of this song. There is no violin in this track. I
admire this as a skilful piece of musicianship , but personally find it less
enjoyable than , for example Lord Randall. Perhaps the less
-than-everyday language of the lyrics makes it less easy on the ear.
With Bonny Irish
Boy, we are once again feeling sorry for
ourselves, as we empathise with the girl whose parents won't allow the
relationship with her chosen young man. This is nevertheless a
beautiful rendition with heartfelt singing and viola playing, the latter
being perfectly in tune with the mournful tone.
Now comes the punchiest , rockiest, track of the
whole album. I Wish That I Never Was Wed
has a typical Steeleye beat, with a Bob Johnson guitar riff, lively
violin and crashing drums, all combining in this romp about a layabout ,
drunken scoundrel of a husband. Gay sings with gusto as she warns other
women to beware her fate. I love this song. It's funny folk -rock and has
you reaching for the air guitar during Bob's scorching axe solo.
Things quieten down again for Australia,
which gently and plaintively tells the tale of a young man
transported to the colony after being caught robbing on the highway. This is
a nice tune, with some good vocal harmonies from Bob, Peter and Tim. Overall
the track is very "unplugged", and no less effective for that.
One True Love
is Tim's only track on this album as lead singer. The song is a lament ( for
a change ) over a dearly departed sweetheart. I shouldn't mock, because
again the harmonies are fine, and the song is very atmospheric, as it moves
to a crescendo of vocal harmony, electric guitar and violin.I even think I
hear a bit of Ralph Vaughan Williams in the closing bars.
Finally, Gay sings The
Parting Glass , accompanied only by Tim on atmospheric keyboards.
This song sends us into the night, with a "goodnight and joy be with
you all". The tone is again rather mournful, but nevertheless effective in
it's moving sentiment.
So, in summary, I would definitely recommend
this album, as long as you are prepared for something different from the
usual Steeleye sound. I don't think it matters that there is no Maddy. Her
presence would have produced a very different outcome, and no doubt
different material. Listen with an open mind, be prepared to listen again
several times, and I think you'll enjoy the humour, the melody or the
tradition. And if it all gets too gloomy, just listen to
I Wish That I Never Was Wed,
very loud, and I reckon you'll soon realise the value in this unique
Steeleye lineup.
Geoff Baker
May 2007
