Steeleye Span – Now We Are Six – Used LP
Chrysalis Records

Steeleye Span – Now We Are Six – Used LP

Regular price $ 4.00 $ 0.00

Sleeve: VG
Vinyl: G+ (plays good, some crackle but nothing extreme, tested both sides)

Released February 1974

Covering old traditional songs (and "To Know Him is to Love Him" on this set), Steeleye clearly didn't try to get too far from the original intent, but offered some rock elements..at their best when they went instrumental or trusted the wonderful Maddy Prior to handle the lead vocals.  This set features plenty of essential material for fans. - winch (green noise records)

 

"With Nigel Pegrum added permanently as drummer, the group rocks out.  From the thumping tom-toms and snare on the opening track, "Thomas the Rhymer," and Bob Johnson's power chords, it's clear that this is a record with gonads.  This still focuses on the folk music of centuries past, and it's still a folk/rock album, albeit with a beat  This was the first Steeleye Span album that many Americans heard and it's a pretty good place to start -- in fact, it might've been the group's very best album, if not for the presence of drivel such as "Twinkle, Twinkle Little Star" and "To Know Him Is to Love Him" (the latter featuring David Bowie on sax), which still leaves 33 very solid minutes of great music to savor."

 

from Artist Biography by 

Aside from Fairport Convention, Steeleye Span was the most successful and enduring British folk-rock band. The parallels between the bands are numerous: both updated traditional British folk material with rock arrangements, both featured an excellent female lead singer (Sandy Denny for Fairport, Maddy Prior for Steeleye Span), both frequently employed multi-part harmonies, and both mixed original and traditional songs. Although Fairport was more innovative in its early days, Steeleye Span was arguably the more interesting band after 1970, when personnel changes had gutted the original Fairport lineup. Steeleye Span, too, would undergo numerous personnel changes even at their peak. Prior was the constant factor that gave the group something of a recognizable identity at all phases of their journey.

 

One thing that differentiated Steeleye Span from their counterparts was that Fairport came to traditional folk from a rock background, whereas Steeleye traveled in the opposite direction.  The impetus for Steeleye Span's formation, ironically, came from ex-Fairport Convention bassist Ashley Hutchings. Hutchings wanted to keep pursuing the traditional folk direction ploughed by Fairport on the 1969 album Liege and Lief, and left Fairport to joined forces with Prior, Hart, Terry Woods, and Gay Woods (Terry's wife) to anchor the first incarnation of Steeleye Span.

 

This lineup only lasted for one album, with the Woods leaving for Doctor Strangely Strange; Terry Woods would eventually resurface with the Pogues in the 1980s. He was replaced by Martin Carthy, one of the most respected guitarists on the English folk circuit. Carthy's abdication of acoustic folk for electric (if drum-less) folk-rock apparently caused much consternation within the purist English folk community, a kerfuffle that is hard to understand (at least from an American perspective), given that Dylan had already successfully fought that battle in the mid-'60s. While Steeleye Span played folk music, they had no aversion to playing it loud, and this version of the band proved that it was possible to create an energetic ruckus without a drummer.

Both Hutchings and Carthy, by far the most famous members of the group, left around the end of 1971. This sort of defection would have crippled most acts. Yet Steeleye Span not only persevered, but entered their most commercially successful phase. Tim Hart was once quoted as saying that the group wanted to "put traditional music back into current musical language -- to make folk music less esoteric." They were aided in doing so by new bassist Rick Kemp, who became Maddy Prior's husband. In 1973, they finally added drums to the band, becoming a true folk-rock act after years of ramping up.

One asset to Steeleye Span's unusual durability (in the face of the revolving door of players) was their open-minded approach to contemporary influences. They covered oldies (and well) by Buddy Holly, the Four Seasons, and Phil Spector. David Bowie and Peter Sellers made cameo appearances on their albums in the mid-'70s. 


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