You’d think it would be enough for anyone to be the lead singer of one of the most important English folk-rock bands for the majority of its existence, but Maddy Prior has always had a musical life outside Steeleye Span, and these two recent releases show that her recent solo and collaborative efforts are easily the equal of anything she has done before.
Collections (not to be confused with the Steeleye compilation LP ‘Recollections’) gathers together tracks from Prior’s solo CDs of the decade 1995-2005, while on Under The Covers she teams with singer/songwriters Abbie Lathe and Claudia Gibson in an intriguing set of songs from contemporary writers. The common thread, of course, is the wonderful voice of Maddy Prior; it may have changed in tone over the years but it remains melodic and distinctive regardless of whatever style she chooses to sing.
It’s a sign of how prolific her solo work has been, when one considers that Collections is the second such compilation and it needed to be a double to accommodate the available material. The first CD here contains selections from her albums ‘Flesh And Blood’, ‘Ravenchild’ and ‘Arthur The King’, while disc two brings us highlights from ‘Lionhearts’, ‘Bib & Tuck’ (with an earlier line-up of the Girls) and some previously unreleased live tracks to tempt the completist.
The track choices are hard to argue with, containing such favourites as ‘Sheath & Knife’, ‘Hind Horn’, the updated version of ‘Rigs Of The Time’, et al. The themes of the songs are still very traditional but have their own unique sound, separate to Steeleye. Nick Holland (keyboards) and Troy Donockley (guitar, pipes, whistle, cittern, etc.) are the musical constants throughout the recordings, and continue to prove Prior’s ability to find sympathetic musicians – the sound is perhaps too sparse to be called folk-rock (‘John Barleycorn’ being one exception) but there is just as much energy, and beauty to be savoured, nonetheless.
Highlights include ‘Reynardine’, based on the Fairport version, with some wonderful uillean pipe work by Donockley, and ‘Great Silkie Of Sules Skerry’ with its sad, mysterious atmospherics. Many of the solo CDs covered had long song cycles based on particular topics (ravens, King Arthur) but the excerpts here do not sound out of place in a different context. However, one of the bonus live tracks is a full version of ‘The Fabled Hare’ recorded in 2003, and sounding just as powerful in concert as on record.
Collections is easy to enjoy entirely on its own merits, and even for those of us with some of the CDs it covers, there is still a sense of rediscovery and the chance to be beguiled all over again. For those new to Prior’s work, a journey of musical delight awaits. The timelessness of the material combined with thoughtful arrangements and that unmistakable voice all add up to something pretty special. The detailed notes for each song are also helpful in putting each song in the right historical framework.
As previously mentioned, some tracks from Maddy & Girls are featured on CD2. The difference between these and the songs on Under The Covers lie in the choice of material (traditional on the former, contemporary on the latter) and the line-up, with Prior’s daughter Rose Kemp providing harmonies on the ‘Bib & Tuck’ tracks; she is replaced by Claudia Gibson on the covers CD.
You can tell it will be an unusual experience to listen to Under The Covers just by noting the songwriters that are utilised. Maddy & Girls performing a Shania Twain song, in this case ‘Ka Ching’? A PJ Harvey track, no less? It could either work well or be a little embarrassing, listening to someone so associated with one style of music attempting something quite different like this. Unsurprisingly, the end result shows the thought put into the right sort of song for the performers and the uncanny ability of each singer to stand out on her own and blend convincingly with the others, without exception.
Again, the arrangements enhance each song. The opening ‘Ka Ching’ for example begins with an atmospheric soundscape of a busking sax player, leading into a mainly a capella treatment of the song before it transforms into a klezmer tune! It might sound unlikely, but it works well. The PJ Harvey song ‘Sheela Na Gig’ cleverly intertwines the traditional song Cuckoo’s Nest with the main tune, showing just a hint of Prior’s roots.
Most of the tracks feature a sparse arrangement, if not completely a capella such as The Levellers’ ‘One Way’ and Chrissie Hynde’s ‘Complex Person’. These tend to feature some very clever harmonies and timing techniques – not forgetting the beatboxing from all members on ‘Under Yr Thumb’ (Godley and Creme). Also helping throughout is the engineer Steve “Geezer” Watkins, who adds electric guitar to the mix on various tracks, bringing a rougher texture when required.
Not all the tracks are covers, despite the title. Each Girl brings a song of their own – Abbie Lathe with ‘Get Out’, Claudia Gibson’s ‘Melody Moon’ features on the bonus disc, and Prior’s ‘Slow Dance’ finishes the album in fine style. In these cases, the songwriter sings her own song, so not every track has a Maddy Prior lead vocal.
Other songs that must be mentioned include Keane’s ‘Bend & Break’, Lucinda Williams’ ‘Lost It’ and Sinead O’Connor’s ‘Perfect Indian’, simply because each is a lovely track, performed with obvious affection. The use of instruments such as cello, shawm and recorders only adds to the already positive listening experience.
The bonus disc just mentioned is entitled Pensive. Although all the tracks from it and the main disc could easily have fitted on one CD, it was decided to put the more contemplative material together in the one place. The result is certainly mellow but with just as much beauty, particularly ‘Meeting Point’ from UK songwriter Tim Dalling. He is normally categorised as comedy folk, but this song is charming in its structure and performance, with a near-traditional sound.
Similarly, ‘Finnish Song’ by John Blanchford sounds almost medieval, while Kristina Olsen’s ‘Truth Of A Woman’ is the sort of song that seems made for Maddy & Girls, with a gorgeous melody and plenty of space for the unique harmonies.
Prior produced the album herself and provides the brief cover notes. Over the decades, she has had a long, varied and fulfilling career (certainly fulfilling for the listeners!) and both these CDs prove that she is still willing to take risks and follow her own path. You can always tell it’s Maddy Prior’s voice, but you can’t always guess what she will do with it next. Long may she continue.
(Park, 2005)
