Judy Collins - Maid of Constant Sorrow/Golden Apples of Sun
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CD Details
Artist: Judy CollinsEdition: Music CD
Audio: English (Unknown); English (Original Language)
Format: Import, Original recording remastered
CD Release Date: 2001-11-05
Music Label: Rhino/Wea UK
Soundtracks:
- Maid Of Constant Sorrow
- The Prickilie Bush
- Wild Mountain Thyme
- Tim Evans
- Sailors Life
- Bold Fenian Men
- Wars Of Germany
- O Daddy Be Gay
- I Know Where Im Going
- John Riley
- Pretty Saro
- The Rising Of The Mon
- Golden Apples Of The Sun
- Bonnie Ship The Diamond
- Little Brown Dog
- Twelve Gates To The City
- Christ Child Lullaby
- Great Selchie Of Shule Skerry
- Tell Me Who Ill Marry
- Fannerio
- Crow On The Cradle
- Lark In The Morning
- Sing Hallelujah
- Shule Aroon
Music reviews of Maid of Constant Sorrow/Golden Apples of Sun
Music Review: A Follower At This Point
Rating: 3 Stars
By all rights, I should we reviewing the other twofer of early Judy Collins,3 & 4: JUDY COLLINS #3 / THE JUDY COLLINS CONCERT, because it wasn't until the 3rd album, I feel, that Judy finally found her true voice. What is very interesting to do, if you are a Judy Collins fan AND a Joan Baez fan (not so much if you already favor one over the other), is to directly compare the songs Judy did on these first two records with the common songs from the early Baez catalog. There is a tentative quality to Judy's approach completely absent from the Baez renditions of "Man [Maid] Of Constant Sorrow," "Wild Mountain Thyme," and "The Great Selchie of Shule Skerry" (titled "The Silkie" on JOAN BAEZ Vol. 2). However, it's on a couple of the exceptions, "John Riley" and "Fannerio," which rival the Baez versions, that we hear the seeds of Collins' artistic vision. On the first, a nice difference in the guitar figures augments a reading as deep and expressive as the Baez version is pretty. Where Judy's voice rises and swells with emotion, Joan is cold and distant, despite sounding gorgeous. On "Fannerio" (entitled "Fennario" on JOAN BAEZ IN CONCERT), Judy is strong and forceful, were Joan is light and lilting. These differences are what begin to separate the two women who helped to define the folk music revival of the late 50s and early 60s, and who both began to redefine the boundaries of what was "authentic" folk music. Judy sounded more like the troubador, whereas Baez was this lovely, remote and highly polished singer (although untrained -- Judy did have formal training, but it was in classical music and musical theatre).
When Collins came back with her third album, an immediate contrast bloomed with her rendition of "Anathea." On these first two records, Collins is not using her full range (maybe was still too afraid to). One also begins to notice an eclecticism beginning to emerge, with more contemporary fare by Bob Dylan, Ewan MacColl, Shel Silverstein, and Pete Seeger. Minkoff/Hellerman's "Come Away Melinda" (covered to haunting effect later by Bobbie Gentry) is surely at home with the traditional material, but what it really points out is that Collins was already restless to push beyond traditional folk. Of course, all of the successful ones did begin to embrace modern music, from country and rock'n'roll to blues and jazz. It was either that or perish, thanks in large part to Bob Dylan. Judy chose to pursue pop, Broadway shows, standards, and sophisticated singer/songwriter stuff, along the way becoming a fine songwriter herself. Baez stuck with a narrower spectrum of musical styles than did Collins (but was no less compelling for it, IMO).
It's on this first couple of outings that Collins comes off almost as a Joan Baez wannabe. Still, as on her "John Riley," "Fannerio," and "Bonnie Ship the Diamond," a clear difference is already apparent. There is an energy to these pieces. With Baez, you might think she's barely breaking a sweat, concentrating completely on the melody she's singing and the sound of her own voice. Collins cares less about always being perfectly on pitch and gives herself over to the stories the songs are telling, and when she belts out the fast ones, an artist of great expression begins to emerge. If you want to see where all this lead, check out her 1966 masterpiece, IN MY LIFE, an album of fantastic variety and stunning vocal prowess. The electricity she brought to "Bonnie Ship the Diamond" and on JUDY COLLINS #3, "Coal Tattoo," would be channelled into wondrous interpretations of songs from musicals, Dylan and Leonard Cohen covers, and a sublime reading of the title tune, by Lennon/McCartney.
Being something of a completist, I eventually purchased the first four Judy Collins albums on two CD's, and I'm not sorry I did. What this first couple of albums illustrates is in retrospect: Baez started strong, but had lost her commercial stature (album sales and public support, not artistic) by the late sixties. Judy Collins hit her stride in 1966, and grew into a unique and celebrated artist from these humble beginnings, MAID OF CONSTANT SORROW & GOLDEN APPLES OF THE SUN. Like Baez, she soon suffered the critics' barbs from time to time, yet continued to forge ahead, right up to the present. Recent albums by Collins and Baez, PORTRAIT OF AN AMERICAN GIRL and DARK CHORDS ON A BIG GUITAR, respectively, are among the best work of their careers. In a way, these two women have become more similar as their voices have aged, and their music shows an awareness of changing times, and what must be done to remain relevant. Their latest works could not be more different than their first recordings of the sixties, and in some ways, are better.
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Description of Maid of Constant Sorrow/Golden Apples of Sun
UK mid-price two-on-one reissue combines her first & second albums on one CD, 'Maid of Constant Sorrow' (1961) & 'Golden Apples of the Sun' (1962) both of which are out-of-print domestically. Includes new liner notes & rarely seen photos. 2001.Folk CDs
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