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The collaborations with her sister were built around Dolly’s pipe or flute organ with additional light and shade from the medieval crumhorns, recorders, sackbuts and viols of London’s Early Music Consort with 1969‘s Anthems in Eden featuring a twenty-eight minute song cycle about changes in rural England and destruction of ancient traditions that came about after the First World War.

After marrying Hutchings in 1971, the couple set about recording No Roses at Sound Techniques, and Air Studios in London, with Collins’ vocals backed by a selection from a core group that included Hutchings on bass, Richard Thompson and Simon Nicol on guitars, Roger Powell (drums), and Dave Bland (concertina and hammered dulcimer), with additional toning added by what must have seemed a bewildering array of twenty-plus other musicians in various permutations and combinations.

That wasn’t the way things were supposed to go, but as different faces appeared at the studio door, it probably seemed a pity to let what they had to offer go to waste. Apart from that core group, the album included vocal contributions from Maddy Prior, Royston Wood, Lal and Mike Waterson, and Nic Jones, who also played fiddle (as did Barry Dransfield). 

Additional instrumental tones were added by Dolly Collins and Ian Whiteman (piano), Dave Mattacks (sticks and drums), John Kirkpatrick (accordion), Tim Renwick (acoustic and electric guitar), Lol Coxhill (alto sax), Alan Cave (bassoon) and Steve Migden (French horn) with more esoteric notes added by Northumbrian small pipes (Colin Ross), melodeon (Tony Hall), hurdy-gurdy  (Francis Baines), ophicleide (a brass keyed-bugle that seems to have been an antecedent of the saxophone, played by Alan Lumsden) and the more prosaic jaw harp (Trevor Crozier).

But it’s all about the music, and having worked through Anthems in Eden and Love, Death and the Lady what’s on offer here has a more contemporary feel, sounding like (as someone put it) like Shirley Collins backed by Fairport Convention, which is close to the money, but not quite on it. 

Collins’ vocals are as Albion as they were on the preceding recordings, the instrumental work has a recognizably Fairport orientation, but the more exotic sonic contributions take it a step away from the early seventies folk rock scene but not as far as the pseudo-medieval early music present on Anthems in Eden.

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© Ian Hughes 2015