Shirley and dolly collins for as many as will - Shirley Collins | Biography, Albums, Streaming Links.

Shirley Collins, vocals;
John Rodd, Anglo concertina [1, 3, 4, 6] ;
John Watchham, Anglo concertina [6] ;
John Kirkpatrick, melodeon [3] , button accordion [6] ;
Terry Potter, mouth organ [3, 6] ;
Christopher Hogwood, virgials [1] ;
Simon Nicol, acoustic guitar [1] , electric guitar [4, 6] ;
Pat Donaldson, electric bass guitar [1, 4] ;
Ashley Hutchings, acoustic bass guitar [3] , electric bass guitar [6] ;
Dave Mattacks, drums [1, 3, 4, 6] , regals [4] ;
Roger Brenner, alto sackbut [1] ;
Colin Sheen, Paul Beer, tenor sackbut [1] ;
Martin Nicholls, bass sackbut [1, 4] ;
John Sothcott, vielle [2, 5] , recorder [5] ;
Dave Busby, Mike Clifton, Dots Daultrey, Stuart Hollyer, Roger Ridgen, Ada Turnham, dancing and vocals: the Albion Morris Men perform the Bledington Stick Dance Black Joker to Shirley's song

In 1968 she teamed up with elder sister Dolly to record The Power Of The True Love Knot, a zeitgeist-friendly folksong concoction produced by Joe Boyd and featuring The Incredible String Band . Dolly studied composition under modernist Alan Bush; by the late 60s she was living in a double decker bus in a field near Hastings, mastering the art of the flute organ, a portable keyboard dating from the 17th century. Mindful of a folk scene that had swelled from 30 nationwide clubs to over 400 in a mere five years, Harvest commissioned the sisters to record Anthems In Eden, a suite of folk tunes already premiered on John Peel’s Radio 1 show.

S hirley Collins was a 1960s folk revolutionary. After pioneering a folk-jazz-global fusion style with Davy Graham, she experimented in matching folk songs with early music instruments, with help from her sister Dolly, who played the portable flute organ and was an inventive arranger. Championed by John Peel, they were signed to EMI's then-fashionable "underground" label Harvest to record some of the finest albums of the 60s and 70s folk revival. They are all here on this double set, which starts with the remarkable Anthems in Eden suite from 1969, in which Shirley's cool, no-nonsense vocal style was matched against cornett, sackbut, harpsichord, recorder and a male chorus to revive songs such as The Blacksmith or Searching for Lambs, now folk standards. Then there's the bleaker Love, Death and the Lady from 1970, more songs from Amaranth in 1976, and a rousing reminder of her work with the Albion Dance Band on Hopping Down in Kent. Shirley and Dolly helped transform the English folk scene, and their songs remain powerful and fresh.