Search - Steeleye Span :: Ten Man Mop or Mr. Reservoir Butler Rides Again

One of their best

Paul Joseph | 06/16/2001

(5 out of 5 stars)

"Steeleye Span was one of the very first groups to prove that the addition of an electric guitar lick wouldn't destroy the beauty of English traditional/folk music. Hard to believe it's 30 years since this album was first released as the sound continues to be fresh and current. Maddy Prior's vocals are always a treat and songs such as Skewball are classics made new again by the presentation. By the way, if you are interested in an analogous Irish group from the same era, check out Horslips."

Steeleye at their Best

Horkstow Grange | San Fransisco, California USA | 05/30/2006

(5 out of 5 stars)

""Ten Man Mop, or Mr. Reservoir Butler Rides Again" doesn't really represent the music on this LP. The music is old-timey and folky, but the name of the album suggests that this is of psychodelic content, which is none the less good, but probably what no one wants out of Steeleye Span.



If you are browsing around and want to give this album a try, I say buy the album. It is very good. The music is intense and meaningful, likewise with the words. This is parallel with the amazing Please to See the King and their debut Hark! The Village Wait. Carthy, the last album before he returns for Storm Force Ten, Hart and Prior sing amazing trio harmonies as they move on from folk and reach into a vast rarely explored genre all their own.



"Skewball" is an instant Steeleye classic, so intense it makes my mom nervous. With the amazing two part harmonies between Maddy and Martin, Tim Hart all but interrupts when he comes slashing through with a hissing guitar. The song, about a horserace, has a true message, like most songs of that era, not like the "gangsta'" thing that is going on in our world today. They made a good point of that



If you want a good progressive rock album, buy this album. My review should be about the album, and I believe I have spoken farely well on that matter. The album is very nicely done, in all ways possible: the reels, jigs and folk songs are enchanting, and the band fits very well in this way.



I wish that they had not left and kept adding on people I wish it were this way:

1. Gay Woods, concertina, vocals

2. Maddy Prior, vocals

3. Pete Knight, violin, banjo, mandolin, viola, vocals

4. Bob Johnson, guitars, vocals

5. Martin Carthy, guitars, vocals

6. Tim Gart, guitars, vocals

7. Rick Kemp, bass, vocals

8. Nigel Pegrum, drums, what else does he do? :D



This album would look good with any other album, especially with Please to see the King. And if you want to see how highly I think of that album, go look at my review for it! :)



Really, this is a very good album, and if you buy it, I hope you enjoy it.



Really."

Stark, Spectral Beauty.

Jan Zijlstra | Murfreesboro, TN United States | 01/04/2009

(5 out of 5 stars)

"Many people have wondered why Ashley Hutchings left Fairport Convention when they were at the height of their creative powers with the Liege and Lief album. The first Steeleye Span (Mk I) album Hark the Village Wait certainly did not warrant his departure. His vision would only become clear on the first album of Steeleye Mk II, the brilliant Please to See the King. The follow-up 'Ten Men Mop, or Mr Reservoir Butler Rides Again', would only deepen the concept and stands as the overall best album Steeleye Span ever made - any 'Mk'. In many respects, this album feels more like the predecessor of 'Please to See the King' - it is more acoustic, particularly Peter Knight's violin playing (that's no fiddle you're hearing there ...) which is unmatched by anything he's done after this. The great Martin Carthy strung a Telecaster with acoustic gauge strings and created a sparse style of folk rock that will forever define how things should be done in this genre - Fiona Richey be damned. So what gives this album the nod over all others? Maddy Prior's singing is one big reason. Much like Mr Knight's violin, it would never be equalled after this recording. Tyger's bass playing, particularly during the instrumentals is yet another carreer high point. All this is enough to make it - their best.

But there is something much more important about this album. It has a unique spectral quality - an eerieness that sends shivers up and down the spine ... compare it to a collection of Robert Aickman stories. It's a good thing this album was originally released on vinyl, since two sides of it is way too much in one sitting. 'Gower Wassail' being the perfect opener with strong four part A Capella vocals and that Telecaster stating the album's intent' what follows is the best set of jigs ever to come out of the British Isles. They'll knock you out of your seat, onto the (dance-) floor, where you'll stand wondering how he did that... The closing lament, 'When I was on Horseback', is shattering with the purest of vocal soarings set against a minimalist background that allows for an exquisite violin solo, with beatific pizzicato. Stop. Right there. Nothing can follow that. Save side two for another occasion.

OK - side two then. Marrowbones: "the pact between the Doctor and the Butcher - Ole! (liner note quote) is just that - fun and needed. The spookiness returns with Captain Coulston - an unforgettable haunting borne by a splendid motif of Carthy's Tele and solemn fiddling that verges on the hurdy-gurdy. The reels that follow provide the timely relief only a perfectly planned album will offer. Then comes a Vraiment Tour de Force: Ms Prior's singing on The Wee Weaver is only equalled in the best of Trans Atlantic gospel - a very alienating experience that should have you check out this album all by itself. The closer Skewball should have been the Single in a better world. It wasnt and it isnt. So the album did not sell, and never will. That's OK - they knew this at the time of release .... No commercial concessions were made, and justly so. This album will stand for all time, 'Loved by a Tiny Handful of People all over the World'.



Jan Zijlstra, Murfreesboro, Tennessee



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