Folk-pop duo Shelleyan Orphan achieved minor cult status in the late-80s and early 90's. Taking their name from a Shelley poem, Caroline Crawley and Jemaur Tayle produced these three albums. All of them sound fresh and quite original sounding unlike most groups of the time. 1989's 'Century Flower' is the most impressive of the bunch and also the most commercial. Crawley's crystal clear vocals were unmistakably English whilst the melodies were easier on the ear than the over-complicated lyrical matter on the debut album; highlights being the opening, excitable 'Shatter', whilst 'Self' and 'Between Two Waves' sounded like the best songs The Sundays never wrote. The final album, 1993's 'Humroot' also concentrates on melody particularly on the simple but effective 'Sick' and the similarly addictive 'Muddied-Up', 'Dead Cat' and 'Burst' but quality control tails off towards the end of the album. Crawley also contributed her vocals to the last This Mortal Coil album, 'Blood', to very good effect.