Shirley Collins
The Holly Bears the Crown
Bridget St. John
(See for Miles)
Behind Closed Doors
By Byron Coley
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The material on this album is as dark as anyone could want. Stories of infanticide, kisses from poisoned lips, lovers dangling from gallows, and forced servitude are all woven into the music’s starkly gorgeous fabric. Shirley’s voice is a magnificent instrument, moving the lyrics surely along while conveying the sense of desperate hope that called them into being. They paint a picture of life as something that must be endured in order to gain entry to blissful eternity. Given that these songs originated among the peasants and workers of preindustrial England, it’s not surprising that their emotions are so often bleak. Shirley’s voice elevates them into the realm of pure art and, especially when accompanied by Dolly’s portative pipe organ (a miniature instrument with a range and tone like nothing you’ve ever heard before), the results are very moving. It’s easy to hear the roots of better-known English singers, like Sandy Denny, in Shirley’s phrasing and nuance. Sweet Primeroses documents the beginnings of the British folk revival. It’s a delicate, seminal statement of purpose with the ability to invade unsuspecting layers of your brain.
