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.

Now We Are Six is the sixth studio album from seminal British folk band Steeleye Span. Following on from a run of albums which solidified them as the premier UK folk outfit, Six bolstered the band's increasing rock sound further. Nigel Pegrum was added as full-time drummer, and Jethro Tull's Ian Anderson brought in to assist with production, on a record which also features a guest spot from one David Bowie, playing saxophone on the last number. To celebrate the 50th anniversary of Now We Are Six, the album has been newly remastered and available on vinyl for the first time in 40 years. Featuring the original printed inner lyric sleeve and an additional insert with new words from Maddy Prior, Peter Knight, Rick Kemp, Nigel Pegrum and Jethro Tull's Ian Anderson. Remastered and cut from the original master tape transfers by Phil Kinrade at AIR Mastering.

Listening to this, it's easy to believe that June Tabor was made to sing these old border ballads, tales of the uneasy coexistence of families in the marches between England and Scotland. Her dark voice is well-suited to the texts, which are often bloody and vengeful, and quite certainly epic – in some respects, the very essence of British balladry, whether it's "The Battle of Otterburn," with its gloriously textured Kathryn Tickell arrangement, or the demanding "The Duke of Athole's Nurse," where Martin Simpson is reunited with Tabor, his guitar offering shining counterpoint to her voice. The songs, tried and tested over the centuries, are wonderful in themselves, but Tabor's presentation of them brings them fully to life, like "The Cruel Mother." Harrowing at the best of times, it becomes pure torment in her hands. And her "Sir Patrick Spens" makes the old Fairport Convention version sound like a playground romp. Intensity has always been one of Tabor's fortes, and here she takes full advantage of the opportunity to indulge it.

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.

Six CD box set containing legendary folk rock band Pentangle's reunion albums released between 1984 and 1995. Featuring Open The Door (1984), In The Round (1986), So Early In The Spring (1989), Think Of Tomorrow (1991), One More Road (1993) and Live 1994 (1995). Also including are 27 previously unreleased recordings - 13 sourced from BBC sessions for the Radio 2 programs Folk On Two and Nightride. Plus three tracks from a BBC broadcast from the Queen Elizabeth Hall, London and a further eleven live in concert recordings from gigs in Portland, Oregon, New York, London and Dublin. Bert Jansch and Jacqui McShee led Pentangle throughout their reunion years and are present on all recordings in the box. Pentangle vocalist Jacqui McShee has contributed extensive notes to this package alongside Pentangle authority Colin Harper.