FARO ANNIE

After polished interpretations of compositions from the early part of the second millenium on "The Lady and the Unicorn", JOHN RENBOURN reversed course without first screeching to a halt just one year later with the stunning "Faro Annie".

Renbourn is back to singing and acquits himself respectfully on mostly traditional blues/country songs from America, as he has done earlier and giftedly, with the inobtrusive backing of DORRIS HENDERSION on a few songs. The best material here is of the slow burn type demonstrated in the opening two tracks, one about the assassination of President McKInley in 1901 and the other about buffalo hunting in the pre-statehood southwest; and the wonderful and idiosyncratically homoerotic "Willy O'Winsbury", in which the king claims he would have slept with Willy if the king were a woman. My first reaction is that I would hope Willy would have a say in this matter, but coming from the king and all, I suppose Willy might have been wise to capitulate. It's also notable for being essentially the only overtly Englische tune here.

A few other tracks are elevated by Renbourn's skill on both electric ("Kokomo Blues") and acoustic guitar ("The Cuckoo"), converting the otherwise nearly forgettable to the virtually excellent. As a fan of the long lived "The Men they Couldn't Hang", pitch perfect Brits who wore a genuine fascination with Americana, I note the similarities between the meter and melody of "Little Sadie" and TMTCH's "Silver Gun".

Another 3.5 star album rounded up, "Faro Annie" sees Renbourn and his select accompanists delivering again, and even better, in a style that would seem on the surface to be a poor fit, but proudly and humbly brims with authenticity.

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