As far as the material itself is concerned, we’ve got the returning sailor the faithful girlfriend fails to recognise (much the same territory as John Riley) on Claudy Banks (from Sussex’s Copper family), Romany fortune tellers who end up with the well-born squire (Little Gipsy Girl, from Louise Holms of Hereford), rejected suitors deemed unsuitable by wealthy parents (Banks of The Bann, from Bert Lloyd), notorious killings such as the Murder of Maria Marten (from Joseph Taylor of Lincolnshire), cautionary tales for would-be poachers in Van Dieman's Land (collated by Ashley Hutchings), returning lovers (Just As The Tide Was A'Flowing, from Aunt Grace Winborn, Hastings), cross-country hunting (The White Hare from Joseph Taylor of Lincolnshire), historical and mythical themes in Cornish mystery plays and spring rituals i.e. Hal-An-Tow (part of the May ritual in Helston, Cornwall) and the discovery and burial of unknown women (Poor Murdered Woman from Mr. Foster of Surrey)
All in all, the product of musicians with a deep love and understanding of the English music heritage and a desire to set the tradition in a more contemporary setting that works well provided you’re not put off by the breathy, slightly unearthly Collins vocal character, which may be a tad on the trad folkie finger in the ear style for some listeners.
Still, placing No Roses alongside the likes of Fairport Convention’s Liege & Lief and Full House or the early Steeleye Span it’s an interesting variation on emerging themes. More obviously traditional than Fairport, not quite as rocky as Steeleye....
Having delved back this far, I’m looking towards the albums that followed, or those that are available through iTunes (The Albion Dance Band’s The Prospect Before Us, Shirley and Dolly Collins For As Many As Will being prime candidates).