STEELEYE SPAN
LIVE AT THE BOTTOM LINE, 1974
OMNIVORE RECORDINGS
The English folk-rock group Steeleye Span was formed in 1969 and has been in existence, in various incarnations, ever since. The band enjoyed chart success a number of times in their native Britain, and was well known for using ancient music and text as their source material, performing songs using acoustic and electric instruments. This album sees Steeleye Span at the height of their power as a seasoned touring and recording act.
Touching on material from earlier in their career, as well as some as-yet-unreleased work, the band delivers a solid and diverse set. Kicking off with the humorous a capella song “I Beg Your Leave” and transitioning quickly into a medley of Irish jigs, the band’s musicianship, humour and high energy set the tone for the rest of the album.
Long-time fans will enjoy classic offerings such as “Alison Gross”, “Cam Ye O’er Frae France”, “Saucy Sailor”, and “Gaudete”. It is interesting that, despite the challenges of capturing a live recording, many of the performances and vocal/instrument mixes are superior to those found on their studio releases. For example, the studio cut of “Alison Gross”, which to these ears comes across as rather sterile, truly comes alive on this album. Additionally, in early Steeleye Span recordings, the electric guitar often seemed to be overly obvious, and too forward in the mix. This issue has been resolved on Steeleye Span Live at The Bottom Line, 1974. The vocals, and electric and acoustic instruments blend well, complementing each other, with the electric guitar sitting nicely in the mix.
Other highlights on this album include some funky and boisterous fiddle tune sets, as well as the clever vocal interplay on “Summer Is A Comin’ In”, which makes this 13th century gem shine. Additionally, the band rocks out on “The Royal Forester” (originally from 1972’s Below the Salt album), and “The Mason’s Apron” instrumental finale builds in tempo to a frenzy.
Steeleye Span Live at The Bottom Line, 1974 is a testament to the power that Steeleye Span held at that time. While this is a very good album, it is worth noting that sonically, the bottom end sounds were not well captured on some songs. This is particularly true of the bass guitar, which tends to the muddy side. At times the recording is excellent, but it is uneven, and some of the between-song banter is a bit odd and uncomfortable-sounding. Still, this is truly a ‘live’ album. The performances are honest and delivered with passion. Despite some minor gaffes, one cannot fault the humanness of the performance and the emotion evoked by the band.
As a moment in time, Steeleye Span Live at The Bottom Line, 1974 documents a great Steeleye Span show. For those who remember the band’s glory days, or for those who did not get a chance to see them play live, this album is worth checking out.
Artist Links
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