Heaven knows, the Scotsman born Donovan Leitch was ripe for ridicule, even when he was hitting the charts with regularity. He was the ultimate flower child, and his airier pronouncements made cynics want to tighten up those love beads around his neck. Listening to Troubadour, however, it's striking how versatile, melodic, and agreeable most of his material sounds decades after "Mellow Yellow" has faded into a jaundiced yellow. Clearly under the sway of Bob Dylan early on in his career, Donovan nevertheless was capable of directing his reverence into something as enchanting as "Catch the Wind." Amping up as the '60s progressed, he assembled a series of psychedelic-pop classics, including "Season of the Witch," the "Hey Jude"-like sing-along "Atlantis," and the uncharacteristically driving "Hurdy Gurdy Man" (the latter features three-quarters of what was to become Led Zeppelin providing stellar support). This two-disc anthology may be more Donovan than some desire, but the booklet, seven previously unreleased tracks, and expansive perspective it provides makes it a more-than-worthy overview for those who take their paisley folk-rock with a beatific smile.

Nyahh Records is proud and excited to announce this compilation of singers, which has been on the back boiler for some time!! Inspired by the song collecting of Alan Lomax, this compilation brings together two generations of singers from all across the island of Ireland. Some of the songs previously appear on albums, but the rest were recorded by the singer themselves on their phones to give the song a real and raw effect that brings an authentic feel and immediacy to the songs. A long standing tradition in Irish culture, singing has taken place in pubs and private homes all over the country since the 13th Century and has been away to share and keep the music alive, passing it down to younger generations. It is considered to be an aural tradition, as a lot of these songs would of not been written down. Nyahh is honoured to be able to present this collection of songs to you from some of Ireland’s best singers.

This album, cut live at London's Queen Elizabeth Hall in July of 1970, was the first Strawbs album to be released in the United States. It didn't do much in the U.S., but it did chart in England, and the original concert also got Rick Wakeman his first front-page coverage in the British music press, owing to his bravura performance on the solo piano spot, "Temperament for a Mind." The group is trying really hard here to make the jump from folk to folk-rock. They still play a lot of acoustic music, and some of it is surprisingly diverse, but this is a fairly successful album bridging the gap between the acoustic Strawbs combo of their first incarnation and the harder, more strident folk-rock stylings that followed on From the Witchwood, with hints of progressive leanings.

A 14-song, 63-minute collection (originally a double LP) comprising many of the highlights (but no "Light Flight") of the original group's history from 1968 through 1972. The notes are minimal, and there are no original release dates or any identification of the albums (The Pentangle, Sweet Child, Basket of Light, Cruel Sister, etc.) whence this material originated. The latter are the only flaws in what is otherwise a fine if not completely comprehensive cross-section of the group's work, showcasing their many and varied sides – Bert Jansch's, Danny Thompson's, and Terry Cox's jazz leanings in "Train Song," John Renbourn's more traditional approach in "Let No Man Steal Your Thyme," their forays into medieval music ("Lyke-Wake Dirge") and progressive folk ("House Carpenter," "Bruton Town"), etc., much of it projected by Jacqui McShee's clear, soaring vocals. The CD also highlights their early records' effective use of stereo as a format for their contrasting technique, especially among the guitars and the rhythm section.

Although Sweet Child is usually cited as the group's high-water mark, Basket of Light finds them at their most progressive and exciting. Highlights of this album – which actually reached the Top Five in the U.K. – include the buzzing jazz dynamics of "Light Flight," their moving rendition of the traditional folk song "Once I Had a Sweetheart," their reinvention of the girl group smash "Sally Go Round the Roses," and "Springtime Promises," one of their finest original tunes.

Pentangle were always great at creating musical fusions, and on this album, they once again came through. The opening song, "Wedding Dress," is a fabulous meeting of Celtic, country, and, believe it or not, funk. It's one of the few songs of theirs that actually rocks. The rest of the record is classic Pentangle, with Bert Jansch's and John Renbourn's acoustic guitars intermingling so well that it would make even Neil Young and Stephen Stills a little envious. Jacqui McShee, as usual, has some exquisite vocal moments, namely the previously mentioned "Wedding Dress" and an excellent reading of "Will the Circle Be Unbroken." This track shows how the group was further exploring new musical ground, this time with traditional American folk/gospel. The group's rhythm section of Danny Thompson (upright bass/cello) and Terry Cox (percussion) – easily one of the most inventive on the planet – shines on every cut, creating solid ground for Renbourn, McShee, and Jansch to do their high-wire act on vocals and guitar. One of their finest all-around albums.