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4.6 out of 5 stars  See all reviews (10 customer reviews)
Price: 7.52 & FREE Delivery in the UK on orders over 10. Details
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Product details

  • Audio CD (3 Mar 2008)
  • Number of Discs: 1
  • Label: Sanctuary
  • ASIN: B0002QPT0I
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (10 customer reviews)
  • Amazon Bestsellers Rank: 41,452 in Music (See Top 100 in Music)

1. Claudy Banks - Albion Country Band, Shirley Collins
2. The Little Gypsy Girl - Albion Country Band, Shirley Collins
3. Banks Of The Bann - Shirley Collins, Albion Country Band
4. Murder Of The Maria Marten - Shirley Collins, Albion Country Band
5. Van Dieman's Land - Albion Country Band, Shirley Collins
6. Just As The Tide Was A 'Flowing - Albion Country Band, Shirley Collins
7. The White Hare - Albion Country Band, Shirley Collins
8. Hal-An-Tow - Albion Country Band, Shirley Collins
9. Poor Murdered Woman - Shirley Collins, Albion Country Band

Customer Reviews

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4.6 out of 5 stars
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Most Helpful Customer Reviews
72 of 76 people found the following review helpful
5.0 out of 5 stars Englishness 1 Dec 2004
Format:Audio CD
I have to admit I was a little disappointed with this CD at first. I was hoping for something more like Liege and Lief, what with so many alums of that best folk rock record ever present (on one track or another, everybody but Sandy Denny and Dave Swarbrick). But this is very much an Ashley Hutchings project, and Hutchings left Fairport Convention because he thought their sound wasn't folky enough. Another way to look at this is that it's an electric Shirley Collins record. The point is it doesn't rock all that hard-its still electric, still kinda folk rock, but it has a much more gentle, rural vibe. The only song that strongly calls Liege and Lief to mind is The Murder of Maria Marten, which is so great it's almost worth the price of the CD.
But if you take the rest of the CD on it's own terms, it's pretty interesting. Hutchings and Collins were trying to revitalize traditional English music, which they saw as moribund and endangered by the spread of American and Celtic music. The result is so unrepentantly unabashedly English that for a Yank like myself, and I suspect for many English listeners as well, it's almost exotic, like a kind of world music, as foreign-sounding in it's whiter-than-white way as the latest disc out of Mali or Tuva. They're not afraid of concertinas or fol-a-diddle fol-a-day choruses here. But, for my money, they make them work. It doesn't sound corny, it sounds rootsy-English roots, mate. We're not talkin' uptight repressed bowler hat and umbrella British English, we're talkin' earthy peasant English, singing for pints in the pub dancing round the May Pole bringing in the sheep screwing in the hay English.
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13 of 14 people found the following review helpful
5.0 out of 5 stars Better Than Liege And Lief 3 May 2008
Format:Audio CD|Verified Purchase
For me this is a more acomplished album than L&L by the Fairports. I know that said album came first by about two years, but the real spirit of English folk music is summed up by the stuff on this album. I must admit I purchased this with some misgivings. If I'm honest I wasn't sure that Shirley Collins with an amplified backing band would work. In reality I should not have worried - because it most definitely does.

There's nothing slick or refined about the songs here. They have a ragged, woosy, English charm, which is insightful and charming. As you will see from the cover there is a cast of thousands here. The likes of Ashley Hutchings, Nic Jones, John Kirkpatrick, Mady Prior et al, are all here and playing together ensemble for the benefit of the song rather than egos.

Standout tracks, well basically all of them. 'Banks Of The Bann', 'Hal and Tow', 'Dieman's Land', I could go on. I have not stopped playing this record!!!!!.
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12 of 13 people found the following review helpful
4.0 out of 5 stars shirley collins and the albion country band 20 Mar 2007
Format:Audio CD|Verified Purchase
This album was the start of the various forms of the albion country band.

Ashley Hutchings was married to Shirley Collins and brought the band together as a backing group for Shirleys new album "No Roses". Shirleys lovely untrained voice would have been drowned by a totally electric band and a lot of the band were specifically accoustic. The band included, Greg Butler (later of Strawhead) on Serpent, Richard Thompson on guitars, Ashley Hutchings on bass, Tim Renwick also on guitars. Also, among the backing singers was one Maddy Prior.

I still have the album on vinyl and still occasionally listen to it. Songs like, Just as the Tide was a flowing, Maria Marten (The murder in the Red Barn), Claudy Banks, Hal an Tow including accompaniment by Jaws harp and hammered dulcimer, as only Shirley Collins could sing them.

A classic Folk Album.
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3 of 3 people found the following review helpful
5.0 out of 5 stars English folk-rock masterpiece 7 Dec 2009
Format:Audio CD
Ashley Hutchings was the key player in the making of 5 of the greatest English folk-rock albums in this exciting genre. Fairport Convention's Liege & Lief was the ground-breaker which set the template for all that followed, including the first 3 Steeleye Span albums & this, arguably the jewel in the crown. Despite ecstatic reviews in the folk pages, No Roses passed virtually unnoticed at the time of its release but its reputation has grown with each passing year & is today justifiably renowned as perhaps the most complete album of the lot. The material is exclusively traditional for a start & in Shirley Collins it boasts the most distinctive original voice of the British folk revival. To this is added a stellar cast of musicians, the like of which has rarely since been assembled. But the credit goes to Hutchings & producer Sandy Robertson for placing all of these astonishing ingredients at the service of the material. There are wonderful performances throughout the record (none more so than from Shirley herself) but none are permitted to steal the thunder from the songs.

Those expecting a record of foll-de-roll finger-in-the-ear folk tweeness were in for a big shock here. The opening track, 'Claudy Banks', still sounds as if it has been beamed in from an alternate universe & is a solid gold classic. But what makes the English folk-rock roots movement of the early 1970s so special (& important) was its consistent emphasis on the darker, forbidden strains of traditional narrative verse, some of which were positively scary as, for example, this album's centrepiece- the brilliant 'Murder Of Maria Marten'.
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