Pentangle and Fairport Convention would have been very different without her, while Will Oldham , Blur 's Graham Coxon and Angel Olsen are among contemporary fans who have recorded her songs. Collins may not have looked like much of a rebel on the cover of that album, but she was.
Five years earlier, she had crossed the Atlantic alone to visit prisons and remote Appalachian communities, meeting there with folklorist Alan Lomax to collect folk songs.
Collins had already skipped home as a teenager to pursue a folk career, too, taking her lipstick to graffiti posters in folk clubs she found wanting, even getting threatened in one with a knife. At the center of this extraordinary record is Collins' startling voice. It is clear and stark, pure but free of prettiness, a vehicle for a song and its sentiments, entirely without ego. I've always thought of myself as a conduit between old singers and new. I believe in letting the song speak for itself.
Collins' voice meets a stunning partner in Davy Graham, whose influential and groundbreaking guitar-playing mixed influences from Indian raga, jazz and North African blues. Collins is also a beautiful melody writer, her tunes effortlessly carrying the weight of their emotion. Take "Pretty Saro," an American mountain song about a soldier missing his lover.
Collins occupies its world gently but brutally, delivering her own flattened sevenths, and the heartbreak, with subtle power. Then there's "The Cherry Tree Carol," its words dating back to the 15th century and its original melody unknown, which tells the ghostly tale of Jesus talking to Mary and Joseph from his mother's womb.
Collins' tune is eerily magical, like a distant star exploding, as this unborn baby directs the cherry trees to bow down for his mother.
Her talents make the mystical and the miraculous urgent, as well as tangible. Many of the songs Collins sings on Folk Roots, New Routes were originally written from a male perspective, directed towards a female romantic subject.
But Collins never changes references to gender on the album, and the effect is often directly erotic. Hear her mourning never kissing Sally on "Hares On The Mountain," or ranging over valleys so wide for the girl she loved on "Lord Gregory" — these are heated moments for Collins would continue to unfurl herself thrillingly over the next decade: combining folk and early music, unfashionably but powerfully, to tell the story of post-World War I Britain on 's Anthems In Eden with her sister Dolly; giving voice to the loneliness she was suffering during her divorce on 's Love, Death and The Lady an album produced by Austin John Marshall, the man she was divorcing ; and making bruising folk-rock with The Albion Country Band on 's No Roses , among other great works.
Aggressive Bittersweet Druggy. Energetic Happy Hypnotic. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. My Profile. Advanced Search. Genre Folk Jazz. Track Listing. Nottamun Town. Proud Maisrie.
The Cherry Tree Carol. Blue Monk. Hares On the Mountain. Pretty Saro.