| Now We Are Six | ||||
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| Studio album by Steeleye Span | ||||
| Released | March 1974 | |||
| Recorded | December 1973-January 1974 Morgan Studios, London |
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| Genre | Electric folk, Progressive folk | |||
| Label | Chrysalis | |||
| Producer | Ian Anderson | |||
| Professional reviews | ||||
| Steeleye Span chronology | ||||
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Now We Are Six is an album by the electric folk band Steeleye Span. Its title (borrowed from Winnie-the-Pooh author A.A. Milne's collection of poems for children) refers to both its sequence among their albums, and the band's size, in light of the addition of drummer Nigel Pegrum. It reached number 13 in the UK albums chart.
Although two session drummers were used on the debut album, there was a conscious decision to add a full-time drummer to further bolster the band's rock-oriented sound. It has been suggested that the sound of the band on this album is that of a rock band turning towards folk, and not the other way around. Pegrum also contributed flute and oboe parts.
Contents |
The album received mixed reviews from critics. It was hailed as a finely crafted set of traditional songs given clever arrangements, and the track "Thomas the Rhymer", which was released as a single, was seen by many as the quintessential Steeleye track. It was produced by Jethro Tull's Ian Anderson. Another highlight is "The Mooncoin Jig", which is a showcase for Peter Knight's abilities on mandolin and banjo; the track is a mix of folk and rock, with neither overshadowing the other. Both tracks also show how well drums fit into the increasingly elaborate sound.
The main criticisms of the album seemed to boil down to the inclusion of three tracks; the title track is a set of riddles sung by the band with only a piano accompaniment, and "Twinkle Twinkle Little Star" is the familiar children's song, given the same treatment. Credited as the "St. Eleye Primary School Junior Choir," the band sang these songs imitating children. The inclusion of the songs is valid in many respects as the material is traditional, but they do stand out as rather unusual and jarring. Many people also did not "get" the joke about the "St. Eleye" school choir, believing it was an actual school choir singing the songs (the joke being that a) St. Eleye is not a real saint, and b) "St. Eleye " is almost "Steeleye"). Bassist Rick Kemp believes the songs were misplaced on the album, and should instead have come at the end.
The track that did end the album is the other one which created some consternation among critics - a cover version of Phil Spector's "To Know Him Is To Love Him" which features, as a guest, David Bowie on alto saxophone. The inclusion of a rock 'n' roll standard baffled many listeners who had come to expect Steeleye Span's interpretations of traditional fare; what is generally not known, however, is that the track does represent an aspect of Steeleye Span's live show at that time (1974). They were known for doing a rock and roll encore during this period, influenced by the band Sha Na Na with whom they toured. After ending their regular set, they would leave the stage and emerge a few minutes later, almost entirely unrecognizable, in '50s-styled rock and roll costumes, and play such numbers as "Long Tall Sally", "Da Doo Ron Ron", and the aforementioned "To Know Him Is To Love Him".
Two versions of "Thomas the Rhymer" were recorded. The song, also known as "True Thomas", was released as a single running 3:14, and as a longer LP version running 6:44. This version, which alternates loud and soft sections, was released on the original version of the Chrysalis UK LP Now We Are Six. When the album was issued in the United States, however, it included the short version, apparently on the assumption that the shorter version would be more radio-friendly and more appealing to American audiences. Most reissues of this album contain the short version of "Thomas the Rhymer" with the exception of the BGO CD reissue. Present--The Very Best of Steeleye Span, which was composed of new versions of the band's older material, includes a longer version of the song, running 6:38.
For Steeleye's Spring 2011 tour, the first half set consisted of them playing the album in its entirety, some 37 years after it was first released.
Guest:
(Order varies a lot between different album editions)
A side:
B side:
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