Albion]

One thing is certain in this uncertain world – you can trust Ashley Hutchings to do interesting things with various areas of British folk and rock music. In the case of the Albion Dance Band, under its various names, the focus was on mutating traditional English dance and folk music, which led to escapades involving traditional tunes, Morris dancers, double drummers, dance callers, Philip Pickett's entire collection of medieval instruments, and serious rock guitar front lines that tend to leap onto the hay cart and start blazing away. The Prospect Before Us is particularly unusual, even for Hutchings and the Albions – a number of the tracks were recorded live in the studio, complete with dancing by the Albion Morris Men, an effort that resulted in some especially raucous moments: the bonus version of "Merry Sherwood Rangers" is far more staid than the live rendition that made it to the original version of this album. An essential purchase, we think.

Albion recorded their first song, "Scarecrow," in 1993 and it was a big hit on Radio Krakow. In 1995, the CD Survival Games was released by Mellow Records (Italy) and consists of neo-progressive rock songs with English lyrics, female vocals, and guitar parts very comparable to Steve Rothery's Marillion work. Later, the band re-recorded the CD plus three new tracks with Polish vocals. The female vocals gave the band their own style but their music sometimes also sounds like Marillion and Jadis.

Shirley Collins' collaboration with the Albion Country Band for No Roses is considered a major event in the history of British folk and British folk-rock. For it was the first time that Collins, roundly acknowledged as one of the best British traditional folk singers, sang with electric accompaniment, and indeed one of the first times that a British traditional folk musician had "gone electric" in the wake of Dave Swarbrick joining Fairport Convention and Martin Carthy joining Steeleye Span. The album itself doesn't sound too radical, however. At times it sounds something like Fairport Convention with Shirley Collins on lead vocals, which is unsurprising given the presence of Ashley Hutchings on all cuts but one, and Richard Thompson and Simon Nicol on most of the selections (Dave Mattacks plays drums on a few tracks for good measure).

Battle of the Field was recorded by the Albion Country Band in 1973, but it wasn't released until 1976. The delay didn't really matter, since the group's music – traditional English folk played on electric instruments – is essentially timeless. The group wasn't quite as skilled as Fairport Convention, but they were nevertheless extraordinarily talented, and this arguably remains their finest moment.

Daughters of Albion is happy Californian pop/rock music, imbued with streaks of the kind of weirdness that only cropped up in otherwise normal pop/rock records in the late 1960s. Some of the harmonies are good, if a little on the super-sweet and high side. The odd interjections of orchestration and weird little effects - most likely producer Leon Russell was a strong contributor in this regard - make this more interesting than you might expect from the basis of the songs alone. If you're looking for rough ballpark cult figures that might indicate whether you should seek this out, it's kind of between the albums of the era by Millennium and the Judy Henske-Jerry Yester duo. With its frequent good-time bounce, it's closer to Millennium than the darker and more resonant Henske-Yester collaboration, though it doesn't sound extremely close to either act, and isn't as good as either…

Following their successful Dvorák cycle with Signum Records, Albion String Quartet are back with a selection of string quartets by Walton and Shostakovich, recorded in 2021. The concept: to juxtapose two masterpieces written in the same year in the immediate aftermath of war (1946) by composers inhabiting two entirely different social and political worlds in the Soviet Union and Britain respectively. Formed in 2016, the Albion Quartet brings together four of the UK's exceptional young string players who are establishing themselves rapidly on the international stage. Recent engagements from the 2017-18 season included performances at the Louvre in Paris, Concertgebouw in Amsterdam, Robert Schumann Gesselschaft in Frankfurt, Båstad Festival in Sweden, Festival of Music in Franconia and Rhine Valley Music Festival in Germany, as well as the Hay Festival in the UK. The members of the quartet play on a fine collection of instruments, including a Stradivarius and Guarnerius.

The Albion Christmas Band evolved from special seasonal shows by the last incarnation of The Albion Band. On a suggestion from Simon Care, a previous Albion band member himself, the band's original founder Ashley 'The Guv'nor' Hutchings brought together two other previous Albion Band members to create an autonomous band to present a guided tour through the Christmas customs of Britain. These popular concerts feature a mixture of seasonal carols, spoken word, humorous readings and dance. But they add a modern twist with some newly written songs. The combined talents of Simon Nicol (Fairport Convention), Kellie While (Albion Band), Simon Care (Edward 11), and 'The Guv'nor' himself, Ashley Hutchings, founder of Fairport Convention, Steeleye Span and The Albion Band.

Albion is Ginger Wildhearts latest venture with the fan funded Pledge Music system, building upon the huge success of the 555%, Mutation and Hey! Hello! projects, and what a monster of an album it is. Albion has been recorded primarily by the lineup that Ginger put together for the live shows to support the 555% albums, hence the Ginger Wildheart Band monica and what a line up it is featuring the talents of Ginger Wildheart (The Wildhearts / Mutation / Solo / Hey! (Ginger Wildheart Band / The Loyalties / Bassknives / Michael Monroe Band), Victoria Liedtke (Ginger Wildheart Band / Hey! Hello!).