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The Merry Golden Tree Rolling In The Dew The Christmas Song Locked In Ice Wondrous Love Barbara Allen Canadee-i-o Sweet Greens And Blues Tell Me True Whitsun Dance Orange In Bloom Crowlink On the 24th July 2020, Shirley Collins will release Hearts Ease, her second album for Domino. Heart’s Ease follows 2016’s Lodestar; which on its arrival, seemed like a musical miracle - an enthralling new LP from a woman who is widely acknowledged as England’s greatest female folk singer, but who had not recorded an album for 38 years. With Heart’s Ease, Shirley delivers a record even stronger than Lodestar having completely regained her confidence, and singing so well that you can’t believe she was away for so long. As Shirley put it, “Lodestar wasn’t too bad, was it? But when I listen to it, it does sometimes sound rather tentative. I had to record it at home because I was just too nervous to sing in front of somebody I didn’t know. This time I was far more relaxed – even though I went into a studio.” Recorded at Metway in Brighton, Heart’s Ease is as compelling and original as Shirley’s great albums from the Sixties and Seventies. There are traditional songs, of course, from England and the USA, but there are also more new songs than in the past (four non-traditional tracks) and there’s even a burst of experimentation that hints at possible new directions to come. The first song to be shared from Heart’s Ease is “Wondrous Love”; its tune comes from an 18th Century English ballad about the infamous sea captain William Kidd, who was hanged for piracy in 1701. Collins first heard the hymn at a Sacred Harp Convention in Alabama (Collins and Alan Lomax recorded it on their field recording trip in 1959). Shirley has decided to sing it now, she said, “because songs are stored in my memory for a great many years, and suddenly it seems the right time to bring them out again.” Watch the video for “Wondrous Love” here. Stream “Wondrous Love” here. The video, directed by Grant Gee, was filmed during lockdown, Gee says of the process: “I met Shirley in her house to talk through ideas, I had half a notion to base the video around a Vanessa Bell mural in Berwick Church, Shirley had a postcard of a John Piper stained glass window in Firle Church, just a few miles away. Also very good. Then lockdown happened and I couldn’t travel back to the location or to film Shirley, which was bad. But we improvised and worked out a way to make it happen while respecting all plague-time strictures, which was great. When Shirley sings “And through eternity\/I’ll sing on”, you don’t doubt it.” --- In the years between For As Many As Will (1978) and the release of Lodestar, Shirley suffered from a form of dysphonia, had lost her singing voice, and was never expected to sing again – certainly not in public. Lodestar was a delightful surprise to all her fans and the folk community, and once Shirley had started to sing again, she was not going to stop. “I’m absolutely consumed by this music,” she said. “I have always loved it so much. I’m still learning songs and just want to keep learning them. I thought ‘somebody has got to sing these songs, so it might as well be me!” Collins followed Lodestar with a remarkable blitz of activity for a lady in her eighties. There was a film, and soundtrack album, The Ballad of Shirley Collins. There was a new autobiography, All in the Downs, which won the Penderyn Music Book Prize (beating the Beastie Boys). And there were high-profile come-back concerts, including a memorable appearance at London’s Barbican, at which she was backed by an exceptional group of friends and musicians, the Lodestar Band. She may have felt nervous being back on stage, “but I feel so supported by that band. 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Grohl immediately clicked with producer Justin Raisen (Kim Gordon, Yves Tumor, Angel Olsen). “My first impression was that she’s beyond her years. She has a golden voice, and she’s unapologetically herself,” says Raisen.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eBe Sweet To Me\u003c\/em\u003e was recorded from late 2024 into early 2025 at Raisen’s Los Angeles home studio alongside musicians assembled in the spirit of the Wrecking Crew session players in the ’60s and ’70s. 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Grohl has been singing and playing music as long as she can remember, teaching herself how to play ukulele, and later guitar, hauling the instruments around on both school and tour bus. “Around the time I was 12, it clicked for me that I love watching other people make music, and maybe I could too,” she says. \"I had been writing poetry as well, and it kick-started the drive to want to turn painful experiences into art.”\u003c\/p\u003e\n\u003cp\u003ePreviously, Grohl’s songwriting practice had been shy and solitary, often taking place in the privacy of her bedroom. “Working in a collaborative space helped me open up to sharing stuff lyrically,” she says. “But it also opened up the possibility to experiment with different genres and instrumentations that maybe I wouldn't typically choose.”\u003c\/p\u003e\n\u003cp\u003eMid-way through recording the energy of the \u003cem\u003eBe Sweet To Me \u003c\/em\u003esessions shifted. “The vibe I had originally intended no longer felt authentic to how I was feeling,” she says. “I needed sludge, droning guitars, and crazy reverb. 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Within his spacious compositions, uniquely arranged instruments flourish alongside each other to create a languid soundtrack for halcyon days.\u003c\/p\u003e\n\u003cp\u003eAs ever, the diversity on display is beguiling. From bossa nova, samba and cumbia rhythms to understated folk, funk and soul grooves, this is another exotic set of mellow gold; perfectly represented by ESPO’s memorable artwork. Furthermore, the title’s hybridity reflects the intoxicating sweep of stylistic flavours served up, reminding us that, however tricky it is to categorise Guerrero’s special blend, it’s always a pleasure to indulge in something so creative and adventurous.\u003c\/p\u003e\n\u003cp\u003eDubby, bass-heavy instrumentals give way to moody folk-soul – witness “It Gets Heavy”, featuring melancholic vocals from Gresham Taylor – whilst “Thank You MK” is a gentle ode to the tropics, featuring ethereal instrumentation, bright bass and warm, jazzy guitars. 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