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No Roses is an album by Shirley Collins and the Albion Country Band. It was recorded at Sound Techniques, and Air Studios in London, in the summer of 1971. It was produced by Sandy Roberton and Ashley Hutchings (Shirley Collins' husband at the time). It was released in October 1971 on the Pegasus label.

It is very unusual to have 27 musicians and singers on an album of traditional folk songs. It happened because people simply dropped in during recording sessions and were asked to join in. 'The Murder of Maria Marten', a lengthy song about the Red Barn Murder, is broken into segments, with parts of British folk rock alternating with more traditional parts featuring Shirley Collins' voice and a hurdy-gurdy drone. Shirley Collins had used a similar technique on 'One Night As I Lay on My Bed' on 'Adieu to Old England'.

Some songs, for instance Poor Murdered Woman and Murder of Maria Marten, feature large parts of the Fairport Convention line-up of late 1969 (Liege and Lief). In fact, Fairport Convention member Ashley Hutchings appears on all, Simon Nicol and Richard Thompson on eight, and Dave Mattacks on three of the nine songs on this album.

Claudy Banks includes a composed duo performance by Alan Cave on bassoon and British free jazz saxophonist Lol Coxhill – his only performance ever in the context of British folk music. Hal-An-Tow features members of the two acclaimed folk vocal groups The Watersons (Lal and Mike Waterson) and The Young Tradition (Royston Wood). Both drummer Roger Powell and pianist Ian Whiteman previously played together in the band Mighty Baby.

The album title No Roses are the last words of the first verse of the folk song The False Bride (I went down to the forest to gather fine flowers, but the forest won't yield me no roses.), which Shirley Collins sang on her EP Heroes in Love in 1963.

Track listing[edit]

All the tracks are arrangements of traditional folk songs. Claudy Banks stems from Ron and Bob Copper. The line-up is according to the folk database Mainly Norfolk.^[2]

1. Claudy Banks (4:37)
   • Shirley Collins – lead vocals; Ashley Hutchings – bass guitar; Roger Powell – drums; Simon Nicol – electric guitar; Richard Thompson – electric guitar; Ian Whiteman – piano; Dave Bland – concertina; Alan Cave – bassoon; Lol Coxhill – alto saxophone
2. Little Gipsy Girl (2:16)
   • Shirley Collins – lead vocals; Ashley Hutchings – bass guitar; Roger Powell – drums; Dave Mattacks – sticks; Simon Nicol – electric guitar; Dave Bland – hammered dulcimer; Tony Hall – melodeon
3. Banks of the Bann (3:38)
   • Shirley Collins – lead vocals; Ashley Hutchings – bass guitar; Dolly Collins – piano; Simon Nicol – acoustic guitar; Richard Thompson – acoustic 12-string guitar; John Kirkpatrick – accordion
4. Murder of Maria Marten (7:28)
   • Shirley Collins – lead vocals; Nic Jones – backing vocals and fiddle; Ashley Hutchings – bass guitar; Richard Thompson – electric guitar; Simon Nicol – electric guitar; Tim Renwick – electric guitar; Dave Mattacks – drums; Barry Dransfield – fiddle; Francis Baines – hurdy gurdy
5. Van Dieman's Land (4:59)
   • Shirley Collins – lead vocals; Ashley Hutchings – bass guitar; Ian Whiteman – piano; Simon Nicol – acoustic guitar; Richard Thompson – electric guitar; Roger Powell – drums; Dave Bland – concertina; Colin Ross – Northumbrian smallpipes; Alan Lumsden – ophicleide
6. Just as the Tide Was A-Flowing (2:13)
   • Shirley Collins – lead vocals; Maddy Prior – backing vocals; Ashley Hutchings – bass guitar; Richard Thompson - electric guitar; Roger Powell – drums; Simon Nicol – acoustic guitar; Dave Bland – concertina
7. The White Hare (2:43)
   • Shirley Collins – lead vocals; Ashley Hutchings – bass guitar, percussion; Roger Powell – drums; Tim Renwick – acoustic 12-string guitar; Richard Thompson – electric guitar; Royston Wood – backing vocals; Lal and Mike Waterson – backing vocals; Steve Midgen – French horn
8. Hal-An-Tow (2:54)
   • Shirley Collins – lead vocals; Ashley Hutchings – bass guitar, percussion; Roger Powell – drums; Tim Renwick – acoustic 12-string guitar; Richard Thompson – slide guitar; Dave Bland – hammered dulcimer; Tony Hall – melodeon; Royston Wood – backing vocals; Simon Nicol – backing vocals; Gregg Butler – serpent; Trevor Crozier – jew's harp
9. Poor Murdered Woman (4:17)
   • Shirley Collins – lead vocals; Ashley Hutchings – bass guitar; Dave Mattacks – drums; Dolly Collins – piano; Richard Thompson – electric guitar; Simon Nicol – electric guitar; Dave Bland – concertina

References[edit]

1. ^Unterberger, Richie. 'Shirley Collins / Albion Country Band: No Roses'. Allmusic. Retrieved 20 August 2017.
2. ^http://mainlynorfolk.info/shirley.collins/records/noroses.html Mainly Norfolk: track listing, line-up and further information concerning No Roses

>Shirley Collins >Records >No Roses
>Ashley Hutchings & Albion Band >Records >No Roses

A September Production
Produced by Ashley Hutchings and Sandy Roberton

Musicians

Shirley Collins, vocals;
Ashley Hutchings, electric bass [1-7,9], percussion [7];
Richard Thompson, electric guitar [1,5,6,7,9], lead electric guitar [4], slide electric guitar [8], acoustic 12 string guitar [3];
Simon Nicol, electric guitar [1,2,4,9], acoustic guitar [3,5,6], vocal chorus [8];
Dave Mattacks, drums [4,9], sticks [2];
Ian Whiteman, piano [1,5];
Roger Powell, drums [1,2,5-8];
Tim Renwick, electric guitar [4], acoustic 12 string guitar [7];
Lol Coxhill, alto saxophone [1];
Maddy Prior, vocal harmony [6];
Dave Bland, concertina [1,5,6,9], hammered dulcimer [2,8];
Tony Hall, melodeon [2,8];
John Kirkpatrick, accordion [3];
Dolly Collins, piano [3,9];
Nic Jones, vocals and last fiddle solo [4];
Barry Dransfield, fiddle [4], vocal chorus [8];
Francis Baines, hurdy-gurdy [4];
Alan Cave, bassoon [1];
Alan Lumsden, ophicleide [5];
Steve Migden, French horn [7];
Colin Ross, Northumbrian small pipes [5];
Royston Wood, vocal [7], vocal chorus [8];
Lal and Mike Waterson, vocals [7];
Gregg Butler, serpent [8];
Trevor Cozier, jew's harp [8]

Tracks

All tracks trad. arr. Shirley Collins, published by Roberton Brown
except track 1 Bob & Ron Copper, published by Copper Songs

Shirley Collins No Roses

Notes by Tony Rees

“The Albion Country Band” is credited as “Lal Waterson, Mike Waterson,Royston Wood, Francis Baines, Steve Migden, Roger Powell, Richard Thompson,Colin Ross, Alan Lumsden, Maddy Prior, Simon Nicol, Ashley Hutchings,Alan Cave, Lol Coxhill, Dave Bland, Tony Hall, Tim Rewick, Ian Whiteman,Barry Dransfied, Nic Jones, Dave Mattacks, Dolly Collins, Gregg Butler,John Kirkpatrick, and Trevor Crozier'.

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Most of the tracks of course only have a subset of the above playing,typically Shirley Collins with 6-8 backing musicians. The principalcontributors are Ashley Hutchings (on eight of the nine tracks),Richard Thompson and Simon Nicol (seven tracks each),Roger Powell (drums on six tracks),and Dave Bland (concertina or hammered dulcimer on six tracks).Lal & Mike Waterson sing onThe White Hare.

Ashley Hutchings had recently left Steeleye Span and teamed up with(and married) Shirley Collins in around 1970/71. In many waysNo Roses follows the trail blazed by Fairport Convention'sLiege and Liefafter Steeleye Span had started to go off in a more rock-folk (as opposedto folk-rock) direction with the departure of Martin Carthy and Hutchings.Of course, Ashley Hutchings, Simon Nicol and Dave Mattacks (all FairportLiege and Liefalumni) also contribute to No Roses. Having said that,the musical palette is much wider and includes contributions by numerousother instrumentalists such as Nic Jones (guitar) and Barry Dransfield(fiddle), Tony Hall (melodeon), Colin Ross (Northumbrian small pipes),Frances Baines (hurdy-gurdy), Dave Bland (concertina and hammered dulcimer),and even Lol Coxhill on alto saxophone.

After the release of No Roses in 1971, there was littlequestion of the band which made it going on tour, although a very few dateswere played by a subset of the lineup (Shirley Collins, Ashley Hutchings,Richard Thompson, John Kirkpatrick and Royston Wood) as a last-minutesubstitute for a short tour by Shirley & Dolly Collins which had beenpreviously booked.

Shirley Collins No Roses Rare

The name “Albion Country Band” was subsequently adopted by Hutchingsfor his next “electric” venture in 1972, which included Royston Wood onvocals, Steve Ashley on vocals, harmonica and whistle, Sue Draheim on fiddle,Ashley Hutchings on bass, and Dave Mattacks on drums. This lineup wasshort-lived and eventually transmuted into the lineup which rehearsed for sixmonths, played a few festivals, recordedBattle of the Fieldin 1973, then broke up again almost immediately. In the meantime, Collinsrecorded some vocals for another of Hutchings' projects,Morris On, in 1972,and resurfaced with Hutchings (this time playing an acoustic bass guitar)in the Etchingham Steam Band in 1974 - along with mouth organist Terry Potterand accordionist Ian Holder. “Etchingham” was after the village in Sussexwhere Collins and Hutchings were living, and “steam” because they wanteda band which could be independent of electricity (as there were quite a lotof power cuts due to the miners' strike in England around the winter of1973-74!) - and also, according to Shirley Collins, quite descriptive,because of the huffing and puffing and pumping required to power the mouthorgan and accordion! (Later in its brief existence, Terry Potter left theband and was replaced by Vic Gammon, and it is this lineup which appears onthe 1975Folk-Festival auf der Lenzburgcompilation).

Sleeve Notes

When this album was first released in 1971, it was regarded as adventurous,combining a traditional English singer with 25 musicians, some from afolk background, other from the fields of contemporary rock and early music.It was an experiment which grew into a triumph, and sprang from the talentsof Shirley Collins and Ashley Hutchings, both pioneers of their own right,in the first year of their marriage. Shirley, widely regarded as thedoyenne of English traditional folk singers, had recorded her first albumin 1959 for the highly respected American Folkways label, and subsequentalbums were regarded as milestones, notablyFolk Roots, New Routesmade in 1964 with guitarist Davy Graham andAnthems in Eden,made with her sister Dolly in 1969 - the first album to unite traditionalsongs with early instruments, under the musical direction of David Monrow.Ashley Hutchings, a founder member of Fairport Convention, had left thatpioneering band at the end of 1969, after recording Fairport's seminalLiege and Lief,and, still hooked on traditional music, had then launched Steeleye Span.

No Roseswas the album they made together, and Shirley still remembers it with pleasure:“It was my first venture into folk/rock and I suppose initially I didn'tthink my voice was right for it. Whatever accompaniments I've used, I'vealways sung in my own style, my natural singing voice, which is an extensionof my speech. So it was the arrangements that overlaid the songs that gavethe record it folk/rock feel. I've always been willing to experimentproviding I believe I can keep the integrity of the music intact. That'sparamount. I have a great love of English traditional music, and along with it a great respect for those people of the labouring classes who keptthe songs going through the centuries as their only means of expressingthemselves. It is an extraordinary feat, especially as many of them wereilliterate. They've never been given enough credit or respect for their art.Instead, they've been scorned, despised and largely ignored. It's one reasonwhy I've always named my sources. I trust thatNo Roseshad that integrity, as well as strength and beauty in some of thearrangements and a great sense of fun and charm in others.”

Looking atNo Roseswith the benefit of hindsight, one presumes that Ashley and Sandy (Roberton, co-producer with Hutchings) were determined to makean epic album. “No, we didn't set out with that intention, but as thealbum progressed, the possibilities of what we could do became more andmore apparent. At the start we didn't anticipate having 26 musicianson it, but that's how it finally turned out. There was never any conflictbetween the Fairport people and the other musicians. They were open-mindedand interested in what others were doing anyway, and there was certainly agood feeling in the studio (Sound Techniques). The place was full of peoplewho kept dropping in and staying on and asking to play on songs -just happy to be there. Nobody seemed baffled by what anyone else was doing,just a bit bemused perhaps by the variety of esoteric instruments that werecoming in and out of the studio.”

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“The critical reaction was pretty good - on the whole! One or two snipers,of course.” No Rosesmarked the debut of The Albion Country Band. The Albion Band continuesto be the name used by bands led by Ashley Hutchings, although it was a namecoined for use on this album. “We realised that with all those musiciansit would probably be a good idea to give them a collective name and thatwas the one we came up with.”

So why was there never a second album? “I had two children from my firstmarriage, and we'd all moved to Etchingham in the Sussex countryside.I'd been touring all my singing life, away from home too much, and I wantedto be with Polly and Robert more, so I let my own career slip a bit,for the best of reasons. Ashley had formed a touring bend with the firstof many line-ups and used the Albion name, and all our efforts went intotrying to keep that going. When Ashley and I eventually parted, he tookthe Albion Band with him.No Rosesstayed with me.”

Acknowledgements

Thanks to Tony Rees for his notes.