Though born in Seattle, Washington (where she spent the first ten years of her life), she moved to Denver, Colorado, in 1949. As a child Collins studied classical piano with Antonia Brico, making her public debut at age 13 performing Mozart's Concerto for Two Pianos. It was the music of Woody Guthrie and Pete Seeger, and the traditional songs of the folk revival of the early 1960s, that piqued Collins' interest and awoke in her a love of lyrics. Three years after her debut as a piano prodigy, she was playing guitar. She eventually made her way to Greenwich Village, New York City, where she busked and played in clubs until she signed with Elektra Records, a record label with which she was associated for 35 years. In 1961, Collins released her first album, A Maid of Constant Sorrow, at the age of 22.
At first she sang traditional folk songs, or songs written by others, in particular the social poets of the time, such as Tom Paxton, Phil Ochs, and Bob Dylan. She recorded her own versions of seminal songs of the period, such as Dylan's "Mr. Tambourine Man" and Pete Seeger's "Turn, Turn, Turn". Collins was also instrumental in bringing then little known composers to a wider public; for example, she recorded songs by Canadian poet Leonard Cohen, and Canadian singer-songwriter Joni Mitchell.
With her 1967 album Wildflowers, she began to record her own compositions, the first of which was entitled "Since You've Asked". This album also provided Collins with a major hit, and a Grammy award, with her version of Joni Mitchell's "Both Sides Now", which reached #8 on the Billboard Hot 100.
1968's Who Knows Where the Time Goes was produced by Stephen Stills (of Crosby, Stills & Nash), with whom Collins was romantically involved at the time (she is the "Judy" of the Stills-written CSN classic "Suite: Judy Blue Eyes"). It had a mellow country sound, and included Ian Tyson's "Someday Soon" and the title track, a Sandy Denny song which has been covered by several artists.
By the 1970s, Collins had a solid reputation as an art song singer and folksinger. She had also begun to stand out with her own compositions. She was also known for her broad range of material: her songs from this period include the traditional gospel song "Amazing Grace", the Stephen Sondheim Broadway ballad "Send in the Clowns" (both of which were top 20 hits as singles), and her own compositions such as "My Father" and "Born to the Breed".
In 1979 she posed nude on the album "Hard Times For Lovers".
In more recent years, Collins has taken to writing, producing a memoir, "Trust Your Heart" in 1987, and two novels. Though her record sales are not what they once were, she still records and tours. One of her more recent albums is a collection of songs based on her novel Shameless. She performed at US President Bill Clinton's first inauguration in 1993, singing "Amazing Grace" and "Chelsea Morning". (The Clintons have stated that their daughter Chelsea was named after Collins' recording of the Joni Mitchell song.)
Activism
Like other folk singers of her generation, Collins was drawn to social activism. She is a representative for UNICEF and campaigns on behalf of the abolition of landmines. Following the 1992 death of her son Clark Taylor at age 33 after a long bout with depression and substance abuse, she has also become a strong advocate of suicide prevention. Her 2003 book, Sanity & Grace, chronicles her recovery from her son's suicide and attempts to provide some comfort and guidance to other families dealing with the loss of a loved one to suicide. She describes the "Seven T's" as a means for going through this process of recovery: Truth, Therapy, Trust, Try, Treat, Treasure, and Thrive. The Truth is that there should be no guilt in suicide; Therapy helps people express their emotions and seek grief counseling; Trust is the effort to believe that one can make it through the loss and keep a belief in life and in the future; Try means to stay away from drugs and alcohol or any excess--including overeating--as a means to deal with the loss and pain; Treat means to take care of the mind, body, and spirit with exercise and meditation; Treasure means to keep the memory of the moments to be treasured, and for this Collins recommends writing and keeping a journal; and Thrive means to be positive, hopeful, open to love and others, and continuing to know that you can rebuild your life on a basis of hope.
Awards and recognition
Grammy Award, Best Folk Performance or Folk Recording, "Both Sides Now", 1968
Grammy Award, Song of the Year, "Send in the Clowns", 1975
Nominated with Jill Godmillow for an Academy Award for the documentary "Antonia: A Portrait of the Woman" (1975), about her classical piano instructor, conductor Antonia Brico.
Discography
Maid of Constant Sorrow (1961)
The Golden Apples of the Sun (1962)
Judy Collins #3 (1964)
The Judy Collins Concert (1964)
Judy Collins' Fifth Album (1965)
In My Life (1966)
Wildflowers (1967)
Who Knows Where The Time Goes? (1968)
Whales and Nightingales (1970)
Both Sides Now (1971)
Living (1971) (Live)
Colors of the Day (1972) (Greatest Hits)
True Stories, and Other Dreams (1973)
Judith (1975)
Bread and Roses (1976)
So Early in the Spring (1977) (15th anniversary collection)
Hard Times for Lovers (1979)
Running for My Life (1980)
Times of Our Lives (1982)
Home Again (1984)
Trust Your Heart (1987)
The Stars Of Christmas (Selected Especially For Avon) (1988)
Sanity and Grace (1989)
Fires of Eden (1990)
Baby's Bedtime (1990)
Baby's Morningtime (1990)
Judy Sings Dylan... Just Like a Woman (1993)
Come Rejoice! A Judy Collins Christmas (1994)
Shameless (1994)
Voices (1995)
Christmas at the Biltmore Estate (1997)
Forever: An Anthology (1997)
Both Sides Now (1998)
Classic Broadway (1999)
All on a Wintry Night (2000)
Judy Collins Live at Wolf Trap (2000)
Judy Collins Sings Leonard Cohen: Democracy (2004)
The Essential Judy Collins (2004)
Portrait of an American Girl (2006)
Videography
Baby's Bedtime (1992)
Baby's Morningtime (1992)
Junior playing the operator of a home for unwed mothers opposite Arnold Schwarzenegger
Christmas at the Biltmore Estate (1998)
The Best of Judy Collins (1999)
Intimate Portrait: Judy Collins (2000)
Judy Collins Live at Wolf Trap (2003)
Wildflower Festival (2003) (DVD with guest artists Eric Andersen, Arlo Guthrie, and Tom Rush)
Bibliography
Trust Your Heart (1987)
Amazing Grace (1991)
Sanity and Grace: A Journey of Suicide, Survival and Strength (2003)
Pretty Polly
Judy Collins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Polly, Pretty Polly, come go long with me
Before we get married, some pleasure to see
She jumped up behind him and away they did ride
She jumped up behind him, away they did go
Over the mountains, and valleys so low.
Oh Willie, oh Willie, I'm a feared for my life
I'm afraid you mean to murder me, and leave me behind
Pretty Polly, Pretty Polly, you guessed about right
Polly, Pretty Polly, you guessed about right
I've been diggin' your grave, for the best part of last night
She knelt down before him, pleading for her life
She knelt down before him, pleading for her life,
Let me be a single girl, if I can't be your wife
He stabbed her to the heart, and her heart blood did flow
He stabbed her to the heart, and her heart blood did flow
And into the grave, Pretty Polly did go.
He through a little dirt on her and started for home
He through a little dirt over her and started for home
Leaving nobody there, but the wild birds to moan
A debt to the devil, Willie must pay
A debt to the devil, Willie must pay
For killing Pretty Polly, and running, and running, and running, and running away.
The song Pretty Polly is a traditional folk song that has been covered by a number of artists over the years. In the song, the singer is known as Willie and he is asking a young woman named Polly to go away with him. He tells her that they should enjoy some pleasures before they get married. Polly agrees and the two of them ride through mountains and valleys, however, Polly becomes scared for her life when they are out of sight of other people and suspects that Willie means to murder her. She accuses him of this and he admits the truth, telling her that he had dug her grave the night before. She pleads for her life, but it is clear that Willie has made up his mind. He stabs her and then leaves, throwing a little dirt over her and leaving her for the birds to moan over.
The song has been analyzed in terms of gender roles and violence against women. Some scholars have suggested that the song represents the idea of the "woeful bride," a common theme in folk songs in which a young woman is betrayed by her lover. The song can also be seen as a warning to women about the dangers of men who may not have the best of intentions. In addition to this, the song is notable for its haunting melody and the vividness of the storytelling.
Line by Line Meaning
Polly, Pretty Polly, come go long with me
Male character tries to convince Pretty Polly to go away with him
Before we get married, some pleasure to see
Male character tries to convince Pretty Polly to run away with him before getting married
She jumped up behind him and away they did ride
Pretty Polly agrees and they travel over mountains and valleys
Oh Willie, oh Willie, I'm a feared for my life
Pretty Polly voices her concern for her own safety to Willie
I'm afraid you mean to murder me, and leave me behind
Pretty Polly suspects that Willie intends to kill her and leave her behind
Pretty Polly, Pretty Polly, you guessed about right
Willie admits to Pretty Polly that she is right about his intentions
I've been diggin' your grave, for the best part of last night
Willie confesses that he has been digging Pretty Polly's grave all night
She knelt down before him, pleading for her life
Pretty Polly begs Willie to spare her life
Let me be a single girl, if I can't be your wife
Pretty Polly asks if she can remain alive if she cannot be Willie's wife
He stabbed her to the heart, and her heart blood did flow
Willie stabs Pretty Polly and she starts bleeding profusely
And into the grave, Pretty Polly did go.
Willie puts Pretty Polly into the grave he dug for her
He through a little dirt over her and started for home
Willie throws some dirt on the grave and leaves to go back home
Leaving nobody there, but the wild birds to moan
Only the birds are left behind to mourn and moan for Pretty Polly
A debt to the devil, Willie must pay
Willie owes a debt to the devil for killing Pretty Polly
For killing Pretty Polly, and running, and running, and running, and running away.
Willie killed Pretty Polly and fled, but he must now face the consequences.
Lyrics © O/B/O APRA AMCOS
Written by: Gram Parsons
Lyrics Licensed & Provided by LyricFind
Doug Helms
This whole album is absolutely incredible.
Kim Freeman
I was born in 1970 and I remember my mom singing this song as a child. It's roots go eat back. Earliest recording I have found in u-tube is 1927. Bluegrass. My mother singing it was so haunting compared to all these versions. Love you mom! Love your son, John Freeman.
Rev. J. Roger Allen
This is the best version by far. I remember it in 1963 when I was 12 years old.
TheRarebird12
This record came out in 1968. Still has the same power!
Ray Harris
Such a beautiful voice.
Greg Carrier
My favorite Judy Collins track -- and there are lots of great ones.
Cheryl Furlong
One of my favorites by Judy after the Blizzard and Melody. The song is like attending a play.
mark thompson
astounding powerful song great vocal of Judy Collins
Artdec0
Great to come across different songs by Judy after 50 years of listening.
stickyfinngaz
Thanks so much for uploading this, not heard this version since I was very little & been looking for it!