Steeleye Span Immortalize Terry Pratchett

You have to leave your house, and you can only take three items with you. What are they? This was a thought exercise my friend had put to me in April 2002. My reply? My dog Dillon, my computer, and my skateboard (because my computer was heavy; all computers were heavy in 2002, and you can transport things on a skateboard). But when it came to it, that wasn’t what happened.

Terry Pratchett was like a second father to me. Or a first father, actually. I come from a long line of incompetent parents. When my mum and step-dad divorced, when I was 15, I could only take three things with me from the house. Contrary to what I’d wanted to take (for which, I was told by my mother, there was no room in the car – I guess it was too busy being full of hers and my sister’s belongings), I took my Lord of the Rings soundtrack (there was only one at the time) and a couple of Terry Pratchett books, picked at random. Specifically? We ended up with Hogfather and Jingo. Hogfather was a book I’d never glanced twice at before (I’d read them all by this point but Hogfather was my least favourite, because I don’t like Christmas). I had re-read most of the others, so now, with no school to go to, no friends to talk to, and stuck in a room with my mum and my sister 24/7, I re-read Hogfather. And re-read it. And then? I re-read it. By the time I was done, I was sure that these characters were real, and that Discworld existed somewhere1.  This theory was later expanded on when, under extreme duress, I left home.  In the year prior to leaving home, I re-read Soul Music more than thirty times.  I was so stressed I was unable to take in new information, and I was trying to make sense of the story but it kept changing shape.  It would be 10 years before I finally understood it.

Years and years later, after the fanged basilisk of tragedy had struck at the people around me over and over again and again throughout 2002, after I had left home in 2005, after I had pieced my life back together again and started at university, I discovered Steeleye Span, in 2007.

It started when I was a regular on a New Age forum, where, due to my unique sleeping patterns, I’d DJ “late night radio” on a writing-only-forum by which I’d post a humorous intro with a song suggestion and people could either go and listen to it on their own computer or remember it or something, and we’d all talk about the songs that got thrown up.

Someone requested “All Around My Hat” and I didn’t know it at the time, so I Googled it, found out the name of the band (who sounded fairly obscure) and downloaded some of their other stuff. Soon, “Blackjack Davy” “Seven Hundred Elves (Now We Are Only Three)” and “The Hard Times of Old England” were staples on my MP3 (other people had Ipods in 2007; I had a phone that could store a whopping 10 songs on it and had a headphone jack, which I upgraded in mid-2007 to a 2gb Goodmans MP3 player which blew me away).

I put them in the same playlist as Jethro Tull, Kate Rusby, and Clannad, all of whom I’d been quite a fan for about a year. Those of you who appreciate that I saw Motley Crue on Tuesday are possibly a bit confused by all these folk legends. I like good music. Genre is irrelevant to me. Storytelling and a damn good tune are what I look out for. Steeleye Span have both in boatloads.

At this point, the link between Steeleye Span and Terry Pratchett only existed in my imagination. They were both well known for fantastic storytelling, for getting to the meat and bones of a tale; they didn’t shy away from the baser aspects of humanity, and most importantly, I rather liked them.  I could feel them dancing around the periphery of something but I wasn’t sure what was in the middle.

On the night of the concert, the ticket said Steeleye Span started at 7:30. Luckily I wasn’t so “experienced” with concerts when I went to see them, because usually the time on the ticket is about 1.5 to 2 hours earlier than the actual start.  Usually.

At 7:26pm, having driven to Nottingham, I abandoned my vehicle in an NCP car park because it was close to the venue, then I walked very quickly to the venue, wishing I had rocket boots.

I showed my ticket, then hurried to get to my seat. The first thing that struck me was how upper-middle class all the attendees were. Everyone I had to squish past to reach my seat – they were all dressed in matched suits and tweed, wearing pearls and diamonds. I suppose this was like a night at the opera for them (which I’ve attended twice, I should write about that at some point).

No sooner had I taken my place, removed my coat and blown my nose, than the applause started, and the band walked on stage, far below me. I guess supporting bands are for bands who need some sort of support? I’m not a big fan of supporting bands, I don’t see the point. They don’t really warm up the crowd because the roadies need another half hour to an hour to set up for the actual band after the supporting act have been and gone.

At the Nottingham Playhouse, I had a cheap ticket that I thought would be miles away from the stage, but I actually had a pretty good view, compared to some of the concerts I’ve been to; I could recognize everyone clearly when they came on-stage and the two photos I took turned out ok too (I was mindful of photo etiquette here – nobody else was taking photos so I didn’t want to be a nuisance but I did want something to accompany this article).

This concert was on the 15th March: It was only three days since the tragic news that Terry Pratchett had died on March 12th, and I was still in shock. This was just over a month after I’d gone to clear my recently-deceased mother’s house, and found three separate and completely poignant sets of the Discworld novels. It would be another month before they’d find my father dead, and two weeks earlier one of my rabbits had died. Death, it seemed, was taking everyone I had known2  and I didn’t know if or when Death (and that damned basilisk) was going to stop following me.

They began to play.

There is something transcendent about hearing traditional folk songs being revitalized, kept alive, and perpetuated through the astonishing medium of electric folk, and the band treat their delicate charges with sensitivity and care. Like any good nurses and doctors in intensive care, Steeleye Span know that their work is to keep these tender worlds alive.

In February 2015, two months after my mum had died (and a month before this concert), I watched Terry Pratchett’s Soul Music (the cartoon series he despised), and I finally understood what the underlying theme was:  Two people (Susan’s parents) had died, and the two people left behind (Susan and Death) were trying to make sense of the tragedy.  The seemingly unrelated plot of the Band With Rocks In was an expression of the profound emotions that play out when dealing with the death of a child or parent.

Imp’s defiance of his parents contrasts with Susan’s compliance.  The music is the harsh, jangling culture of the outside world, moving on, unaware of the loss, living without you.  At the end, when the plot resolves itself, the grieving child and grandfather are able to move on with their lives but they aren’t the same as they were before this all happened.

I felt that seeing Steeleye Span so soon after hearing of the loss of Terry Pratchett was cathartic, soothing.  I wasn’t the only one who felt his loss.  He was always on my “most like to meet” list, but I never wrote to him or went out of my way to see him – I really didn’t know what I would say.  How, in a brief sentence, do you convey to a total stranger the profound and formative effect they have had on your entire existence?

steeleye span 2015

The band said a few words about Terry Pratchett, and I got a little bit teary. It was well-known that Terry had recently collaborated with Steeleye Span for their most recent album, Wintersmith (named, of course, after the Discworld Novel); perhaps the connection between them was lesser known before this collab, but it was certainly there. Pratchett had been a Spanner in his youth, since his friend introduced him to their music, and they even played his sixtieth birthday.

I guess you can get a band that big to play your birthday if you’re Terry Pratchett. I’m putting words into the mouth of a dead man, but I would imagine it was particularly awesome for him to find out that Maddy Prior enjoyed his work, as he enjoyed theirs.  Between them they came up with the concept album Wintersmith – I’m saying it’s a concept album because it all centres around the concept of the plot of Wintersmith. Perhaps it’s more of a concepts album, or a plot album, but it’s certainly not a mere soundtrack.

For me, it was like they had immortalized Terry Pratchett through his works. Often, particularly with traditional music, it is the unfortunate fate of the originator’s name or identity to become lost in the mists of time. In the modern age, where you can tell the importance of the author by how large their name is on the front cover, compared to the size of the title, it’s unusual for us to be unable to attribute a work to an author.

Like Shakespeare, it is highly unlikely, given the scope of his impact on the world, that Terry Pratchett’s name would ever be lost to history. I know his iambic pentameter wasn’t amazing and his spelling in the earlier works was still improving4, but his stories, his characters and their relationship with other characters and the events that transpire as a direct result of that, are what make his work so memorable.

The band went with quite a few old ones (and what a choice of back catalogue they have – all the songs ever credited to “traditional”) then did a couple of songs from their Wintersmith album, followed by All Around My Hat then, after a standing ovation, a 20 minute interval. It was (and is) the most civilized concert I’d attended – no fisticuffs over who gets to the bar fastest, which is more than I can say for the opera. It was like how sensible and mature adults might behave, should such a breed of people exist3.

I went for the merchandise table and bought a T-shirt – I didn’t see any patches, sadly, so my jacket didn’t get one.  Which is good because it didn’t bring any money.  After the interval, there was more from Wintersmith and I don’t remember what else.  By that point I was even more lost in the stories and soundscape, and not really trying to catalogue everything.

Steeleye Span’s significance is in their storytelling, both verbal and musical.  As long as Steeleye Span continue to tell the stories, the people, places, events and tragedies will perpetuate through living memory. This is how the Aboriginals and other tribes around the world ensure that their past is preserved the way it was interpreted at the time, that no “Chinese whispers” effect takes place. At their heart, Steeleye Span embody what it really means to make music.

When the concert ended I wasn’t sad, because I knew that the confluence of our paths was such that they were moving on in one direction, and I was moving in another. I felt very privileged to have had the pleasure of being able to experience the live performance of Steeleye Span, and, along with most of the other bands from the past 15 months since I started my Bands Bucket List5, it’s a memory I will treasure. If you’d told me a year before, in March 2014, that I would one day get to see them play, I wouldn’t have believed you. Here’s what I was watching one evening in March 2014, while I was making alterations to my wedding dress for the nuptials we held on 21st June6:

One of the best things about seeing them this year rather than 10 years ago was the addition of accomplished violinist Jessie May Smart, whose style and panache lent an excellent breath of fresh air to the music. I’ve commented before about how replacement band members often have to be better than the originals, because otherwise fans won’t accept them, and Jessie May Smart is no exception; she really knows her stuff. I’m not entirely sure who she replaced because Steeleye Span have had a lot of people tasked with playing ‘the strings,’ and she’s the first credited violinist, so perhaps it’s a bit glib to suppose that she replaced anyone specific; rather, perhaps she just joined as a well-received and accomplished additional member.

Sadly, most people my age haven’t actually heard of Steeleye Span, and those who have heard the name are generally hard-pressed to name a song of theirs.  I just don’t get why more people around my age don’t know about Steeleye Span. They are, for me, a significant part of the story of how music got to where it is today – you can draw an interconnected spider’s web between Steeleye Span, Jethro Tull, Pink Floyd and Led Zeppelin, Queen, and everything Queen spawned.

There are, of course, a million other bands you could add to that music web, but Steeleye Span would still remain at the core of music, it’s heart, essential, like the egg7 in the centre of a Shamble (see Wintersmith for details); the thing that makes the rest of it work at all and which gives British culture its meaning.  When my children are born (and we may have one in the works as I type, although the “6 days early detection” pregnancy tester appears to be an unreliable witness), I will make sure they know where modern music came from, so that they don’t get left thinking that ABBA were the last word in music in the ’70s.  After all, who’s still producing top notch music today?  Steeleye Span, not ABBA!

steeleye span 2015

One day, we will all die. Perhaps Death will take us to some interesting and enlightened plane full of nectar and other stuff. Maybe we just cease to exist. It’s a question I’ve wrestled with for nearly eleven months now, and while I don’t have any answers, the question no longer bothers me. When it comes time for the remaining members of Steeleye Span to kick the (stick and) bucket, I know they’ll qualify for direct entry to the Choir Immortal; no need for an audition. In the meantime, I urge you to go and see them live.

See what’s on the rest of my Bands Bucket list
Other concerts I’ve reviewed.

1 Because of quantum physics.

2 Death has since apologized but would like me to point out that he doesn’t control who lives or dies, he just moves them along to their final resting place.

3 According to a renowned anthropologist, this breed of human has been only been spotted on the coast of the Sargasso Sea.

4 Such as referring to The Librarian as an Orang Outan in Sourcery. This was before Spellchecker existed, after all.

5 The list of bands I need to see before *they* kick the bucket.

6 Nanny Ogg was right: It *was* the shortest night of the year.  We made up for it later.

7 Or other living thing.

Why I Risked My Job To See Lynyrd Skynyrd in Concert

I went to see Lynyrd Skynyrd on Wednesday in Manchester.

The day after I received news that my mother had died, in December, I saved Lynyrd Skynyrd’s “Free Bird” to my bookmarks bar – so I could reach it from anywhere on the internet. My anchor. Hotel California was next to it – that had been there a little while longer. I may have contributed two to three hundred views to both videos over the last four months.

Lynyrd Skynyrd in concert Manchester April 22nd 2015

I knew that The Eagles’ Hotel California had always (to me) represented the death of the ideals of the sixties, the death of “the revolution” and all the rest of it. To my mind, it’s a song about how some people came to the party bringing innocence and were changed by the process they got intertwined with, then one day they wake up and realise the party’s over, and what’s left? What are they without the thing they thought they wanted? I’ve always felt this song very poignantly describes the loss of idealism and the crashing down of reality that eventually (in the UK) birthed both the punk movement and the reactionary new wave music. And before that, the angry young men genre of popular culture (you know, A Clockwork Orange, etc etc).

I digress. My point is that I understood why Hotel California was a present and perpetual influence over my emotional landscape. My mum had introduced it to me. Although she’d explained it as “a bunch of people who wake up one day and realise they’re addicted to drugs then they die.” I guess that interpretation was influenced by the way she lived her life.

But what about Free Bird? I only heard it for the first time last year, around January/February time. I was re-watching Dharma and Greg and realised that I couldn’t call to mind how the song [Free Bird] went. So I Youtubed it. And in the biggest oversight of my life, I realised I’d never actually heard it before.

When my mum died, then, I wasn’t too familiar with the song. I didn’t even know all the words. So why did those mournful chords reach into my heart and resonate so deeply?

Lynyrd Skynyrd in concert Manchester April 22nd 2015

I couldn’t work it out. I just kept listening over and over again, through the pain and sadness, through the regret and wishful thinking, the “if only’s” and the “why didn’t I’s” and it seemed to calm me, to bring me into the present, to centre me. I can’t explain it. It made me feel profoundly sad and utterly calm at the same time, like it was a dance I knew well. It remained a mystery, even as Lynyrd Skynyrd made it onto my Bands Bucket List, and even as I debated whether £90 for two tickets was affordable. I just knew I had to go and see them. Something was drawing me towards them.

This is how, on a school night, I dragged my husband out on the motorway to Manchester and back again, forsaking tea, the night before I had a work trial for a new job, because nothing else was as important as this. I didn’t know why.

Lynyrd Skynyrd in concert Manchester April 22nd 2015

I was enraptured by the whole set. Rickey Medlocke played the guitar with his teeth. Mark Martejka seemed to be playing his guitar with his charm. I stopped counting after Johnny Colt changed into his third hat of the set; a goggled top hat of the Steampunk variety, superceding some sort of furry animal. Gary Rossington’s black hat was far more rock-n-roll.  They did all their big ones – Simple Man, Tuesday’s Gone, That Smell… Someone a little closer to the front than me passed forward an adorable bear who was holding a card. Rather than discard it like any other band would have, Johnny Van Zant personally took it from her, thanked her, and showed everyone what it was before carefully putting it somewhere safe.  The level of interaction between the band and the crowd made you feel like this was all just a musical conversation, like you were catching up with old friends who you’d known for your whole life.  People you’d want to grab a beer with.

Lynyrd Skynyrd in concert Manchester April 22nd 2015 Johnny Van Zant

I noticed the confederate flag finally made an appearance at some point but I couldn’t tell you when, it wasn’t out for long, and it sat along side the stars and stripes which was out for the whole show. They’re really into their flags – they had the Union Jack out at one point as well, for Simple Man, which was dedicated to the American and British troops. I’ve heard (in the past) a lot of mumblings about associating the Confederate Flag with racism. Well, I’ve only ever associated it with the South and with the Dukes of Hazzard and with Lynyrd Skynyrd. Without getting into historiography, by taking the symbol and using it in this way, they are making it symbolize wholesomeness – the comparative freedom of the South, it’s values and distinctly different culture than that of the North. Perhaps I feel parallels between the American South and the English North. Anyways, we got to Sweet Home Alabama and the band all left. I started to wonder if they were going to play it. The suspense was tense. But the energy of the crowd buoyed me along – they seemed to be in on the joke.

Lynyrd Skynyrd in concert Manchester April 22nd 2015 confederate flag

Lynyrd Skynyrd in concert Manchester April 22nd 2015 Sweet Home Alabama Confederate Flag

I didn’t know at the time that they always play Free Bird for the encore.

Anyway, they came back out, and Peter Keys started a little something on the keyboard, and I didn’t really recognize it. Perhaps they were going to play something else instead.

Then the tune he was playing somehow morphed into the opening bars, and before I knew it, Free Bird was starting. If I could have saved one moment of my life to relive again and again, I’d choose the next twelve or so minutes. Johnny Van Zant nailed the lyrics (of course), it was just as perfect, no, it was more perfect than I had imagined. During the first chorus I started to cry a little, and I must have imagined it, but it seemed like Johnny had caught my eye, then got misty-eyed himself. I had to pull myself together. The rest of the verses went by too fast, I was hanging onto his every word, to every note, every drum beat. Then the extended instrumental solo started to rise up like a wave. Now, I’m not a surfer, but I think I got a good feel for what it’s like to surf just then. I started to feel buoyed up by the music, I marvelled that there were actual living people in front of me playing a song I’d only heard through my speakers. Michael Cartellone’s drums underscored the guitars that were weaving waves; I got higher and higher… then right at the crest of the wave, there was a light show. I got a little bit mesmerised with the lights on the ceiling (like a cat with a laser pointer) and I was just waving my hands above me and staring at the ceiling feeling like I was on some kind of acid (but I wasn’t).

Then it ended. I don’t know how it ended, it just washed away again and I was treading water in a sea of people. Then I managed to get a t-shirt. Having people selling merchandise out in the car park was pure genius to stop a bottleneck.

lynyrd skynyrd empty stage

I went home. I let the feelings settle. I was awestruck that those guys do that EVERY. SINGLE. DAY. Just… wow. When they were playing, you genuinely believe that you are the only person in the audience and that they are playing just for you, that you are special and somehow, the world has been a brighter place since then. As I said before, it’s like going for a beer with some longtime friends.

If I never get to see another band off my bands bucket list (the bands I need to see before they kick the bucket), I don’t think I’ll feel like I’ve missed out. I don’t think any band I ever see after this could blow me away more than Lynyrd Skynyrd did on Wednesday.  I know that lots of bands were being referred to in Terry Pratchett’s Soul Music, but for me, Lynyrd Skynyrd are officially The Band With Rocks In.

I was listening to Free Bird again on Friday via my mobile phone, stuffed into the car ashtray for volume, as my car has no sound system, and on the second replay, I suddenly understood why I’d stuck to it. It wasn’t that it felt like a message from my mum to me. It was from me to her. I was the Free Bird.

Back in 2005, I told her I wanted to go to university, she took it very badly and tried to kill me (she was in complete denial of some very big mental health problems and, despite the fact she’s always had a personality disorder, she literally wasn’t the same person or people who I’d grown up with – or taken care of since she ended up in a wheelchair when I was 9 years old), and when she failed to kill me, she called the police on me. They arrested me for breach of the peace even though she was the one who was shouting and screaming. When they let me out (no charges pressed, not even a caution, because the desk sergeant knew what she was like), they advised me not to go back. So I had left, I went away, I had to move on because otherwise I was going to die inside like a caged bird. So I spread my wings, I went on my own way, made a life for myself, it was hard having nobody in the world, and I felt awful for leaving, and worried about who was looking after my mother, especially after my sister ended up in a children’s home, and then ten years later, after struggling with anxiety for a year and paying for counselling, the very DAY after my last counselling session when I’d made my peace with what had happened, out of the blue I got a call from my sister who said she’d died of cancer. I went manic for a couple of weeks. Then when I came back down I just felt so bad that I had ever left.

I think the line that really made me realise why I’d fixated on this song is “If I stay here with you, girl, things just wouldn’t be the same.  ‘Cause I’m as free as a bird now, and this bird you cannot change.” I was always conflicted over leaving but there was no possible way I could stay any longer than I did because I couldn’t keep looking after her. I’d tried to stay, and things hadn’t been like they were before. I hated myself but I couldn’t stay. I had to go out and see everything and do everything and climb mountains and fall off high things and fall in love and protest against fascism and finish school and get a degree and work for minimum wage at 4am and get married and be down and out in a capital city and work as a professional ice skater and learn the ukulele and drive across Europe and go on a train across Europe and eat weird stuff and publish books and lose religion and find it again and lose it again and find it again and go to festivals and be in a film and…………..

so many things.

And I’m crying as I write this. Because I know that my mum – the persona who was motherly and caring and who occasionally tucked me in bed at night and would tell me a story or pre-set my keyboard with a lullaby, that mum would want me to go and do all those things. And all the other things I’ve done and am doing and am going to do. She would never have wanted to know she was causing me so much pain and anguish by making me stay and physically and mentally abusing me. That wasn’t the same person. And if I’d stayed, I wouldn’t have been able to look after my mum who read to me, I would have been hiding in a box from the mum who I ended up on three categories of the child protection register because of.

All through my childhood she was two different people, and one of them I cared so much about and didn’t want to leave behind, not ever. But the other one was nasty, and was just filled to the brim with vitriol and hatred and cruelty. And one day the nice one went away and never came back, and the nasty one got worse than she’d ever been before.

And that song is how I would explain it to her if I could. I know she can’t hear me. I always hoped she’d live to 80 and that the nice part would come back one day and that she could be part of my life again and I could make her proud.

And instead of feeling so full like it’s going to overflow with the lava of loss and pain and confusion, my heart feels quieter when I hear Free Bird. It’s like someone’s found out how my soul resonates and they’re playing it out loud.

I know they’ll never read this, and I know that there are probably millions of people who feel the same way about this song, but it just means so much to me, like no other song I know. Thank you, Lynyrd Skynyrd, for keeping your music alive, and for keeping the band going again after that first tribute in the 1980s. You guys are just so much bigger than the rest of us. I’m so glad I got a chance to see you perform and that I was only four from the front.  If anyone else is debating whether to see them or not, just go for it, they’re well worth the time and effort.

Oh and the next morning? I got to work on time and at the end of the day the manager didn’t even ask if I wanted the job, they just asked me for my bank details and gave me shifts for next week.  And I reckon that if I can get through a housekeeping shift after getting to bed at 2am and getting up at 6am and walking there, then I can probably keep doing this job for at least a little while.  Which is all I can ever commit to anything, except my dear husband who I have promised to always come home to, wherever I go to in the meantime.

See what’s on the rest of my Bands Bucket list
Other concerts I’ve reviewed.