The Blacksmith is a traditional English folk song, around for a while but first written down by my homeboy Ralph Vaughan Williams*. I like folk and folk rock a lot, and realized today that I have 3 versions of this song, so I thought I'd do a little compare and contrast action.
First off, the song itself rules; check out the uneven lyrical lines of six and five alternating syllables, the weird shifting time signature, and that haunting melody. As far as the lyrics go it's a pretty straightforward tale of unrequited love. The one line that's always intrigued me is
And if I was with my love
I would do my duty
I wonder what duty she's referring to here. Maybe I'm just a moron. Anyway, on to the songs.
The Blacksmith - Steeleye Span
From Hark! The Village Wait (1970)
- Steeleye Span is one of my favorite folk rock groups - mainly due to lead singer Maddy Prior, who has an ability to blend a gutsy delivery with a really beautiful tone.
- For me, though, the hero of this version is bassist Ashley Hutchings (formerly of Fairport Convention) - his playing is like a gliding counter-melody throughout the song, and he gives this version a real smoothness.
- Also, pay attention to the tricky drumming. Count along, I dare you.
- This version has a real cool groove to it, which I like. But all told, I think it's my least favorite of the three.
From Please to See the King (1971)
- Yup, they recorded a second version a year later, and it couldn't be more different. Slower and waaaay creepier. Between these albums Span lost some people and gained some others - most notably . . .
- Martin Carthy on guitar. Check out that gorgious, chilling chiming sound he makes in the beginning. Awesome.
- Oh hoh, there are also no drums on this version, leaving it to Maddy to guide the song with her vocals. I get the impression that she's really playing her character in the song instead of just telling us the story.
- Other things to note - screechy violin solo, way way cool a cappella breaks, eerie organ drone after the first verse.
From Planxty (1973)
- Here's a straight up Irish folk angle on the song, and while that first version swings and the second one echoes, this one jangles.
- Man, the picking here is just tremendous. The mandolin is all in the left channel, and the bouzouki (yup, the bouzouki) is all in the right, which really lets you hear the manic interplay between the two.
- Is that a bagpipe you hear come in at 3:20? If Planxty were Scottish, yes. Since they're Irish, you get uilleann pipes.
- And you've just got to love that instrumental break at the end. The players start in on this cool melody completely separate from the rest of the song, and then the drums kick in . . . it's very nice.
- See them play it live here.
*Just for those who may not know, pronounced "Ray-f." Crazy English people.
1 comment:
If you're interested in two versions of this song that take it to a much less traditional place, check out:
1. Sheila Chandra, Moonsung: A Real World Retrospective
An a capela version with some hints of Indian and a bit or two of electronic processing.
2. Jah Wobble and The Invaders of the Heart, English Roots Music
A spaced out mixture of traditional folk, heavy bass, electronic loops, and whatever else they decided to throw into the mix. The bassline is intentionally offkilter - at first I disliked it but once I'd had a chance to hear how it worked in the greater context it fits. The album follows it with a vocalless dub version that then leads (via two short instrumentals) into a unique twist on All Things are Quiet.
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