Maids and Golden Apples [Best of]

The songs on this CD, which remasters and transfers her first two albums (with a short bonus song, recorded later), are, with one or two exceptions, traditional folk material, sung in a strong, occasionally chesty alto voice that might surprise listeners used to the higher, lighter soprano heard on her later, folk-rock and pop albums. From the beginning, though, Collins had an ear for quality material--these folk songs hold up well after four decades, and at least one of the composed numbers, Ewan McColl's bitter anti-death penalty ballad "Tim Evans," has lost none of its bite or relevance, especially here in Texas.

Other highlights for me include rousing versions of venerable tunes such as "Fannerio" and the gospel-tinged "Twelve Gates to the City." The guitar playing throughout is superb, both from Collins herself and the (unfortunately unidentified) collaborating musicians. As the notes to the album itself concede, the remastering of the analog original reveals some deficiencies in the original recording--also, the increased clarity exposes some sloppy tuning that was not so apparent on LP. Still, this is a CD that will provide much pleasure to those who remember Judy Collins' beginnings with fondness. Now, will someone re-release her "#3" album, please?

"A Maid of Constant Sorrow" was released in 1961 and listening to it will surprise her fans because this is not the Judy Collins they are used to hearing. In retrospect it is clear that Collins is still learning how to use her voice to her advantage; she tends to stay more in her lower register at this point and the glorious high notes we associate with her singing is seen only in spots (e.g., "Wild Mountain Thyme"). But even in these early days there are some nice little gems, such as "The Pickilie Bush," "Tim Evans," and especially "John Riley." I especially liked her sea shanty "Sailor's Life," where her youthful enthusiasm helps carry the song along.

Her 1962 release "Golden Apples of the Sun" shows significantly more confidence as a singer. What is interesting to me is the obscurity of these traditional folk songs, although she does branch out into some other genres, such as gospel with "Twelve Gates to the City." The best tracks on this second album would be the title song, the ballad "Fannerio," and "Crow on the Cradle." Note: Spike Lee's father, Bill Lee, plays bass on this album.

These two albums are more of historical interest at this point, because you are not going to find them to be quintessential Judy Collins. However, if you remember the times you can appreciate that this was a period when folk music did not mean commercially viable songs but more "authentic" music. The bottom line is that fans of that voice are going to appreciate hearing it at the beginning of one of the celebrate careers in folk music.