THE JOHN RENBOURN GROUP: A MAID IN BEDLAM

After the 1973 breakup of the legendary British Folk Rock band PENTANGLE, the other guitarist of them, John Renbourn, was in no hurry to release further solo albums. In 1976 came the guitar-only album The Hermit, and one year later this work poignantly credited to The John Renbourn Group. What's especially delightful about A Maid in Bedlam is the presence of the Pentangle songbird Jacqui McShee. Other members are Tony Roberts on vocals, flute, recorder, piccolo and oboe, Sue Draheim on fiddle and vocals and Keshave Sathe on tabla and finger cymbals.

This is a purebred Folk album, with pieces of traditional origins. Tabla is of course an Eastern percussion instrument, but it hardly distances the music from the Renaissance era oriented Englishness. The opener 'Black Waterside' is a traditional tune recorded by several British folk artists. Jacqui's lead vocals flow as beautifully as ever, and the instrumentation has a sincere Old Music feel to it, with especially recorder catching the ear. 'Nacht Tanz / Shaeffertanz' is a joyful, danceable instrumental. You can almost see a Renaissance faire in your mind. The album's title track has a nice melody very typical for traditional songs focusing on telling a story. Next comes another instrumental medley, credited to some Hans Neuseidler, followed by a well known trad. tune 'John Barleycorn'. This orthodox folk version is quite far from the Traffic version which I admit preferring. 'Reynardine' is also interpreted by many folk rock artists. Male backing vocals accompany Jacqui. It is however her solo vocal numbers such as 'My Johnny Was a Shoemaker' that will most please me and undoubtedly other Pentangle listeners. On 'Death and the Lady' Jacqui is only a bit later joining male voices.

The closing number 'Talk About Suffering' is an a cappella performance for four voices, although some fiddle is added on the background -- for no point if you ask me. Slightly resembling Steeleye Span's 'Gaudete', this is among the highlights on a rather brief and, well, a bit single-minded album lacking of happy surprises in either the sound or the song selection. But if you want to have some real Renaissance era Folk music without a rock flavour for change, and are fond of Jacqui McShee's crsytalline voice, this album with a beautiful cover art is surely worth having.

A Maid In Bedlan was The John Renbourn Group's first of two studio albums and the best. Utilizing the crystalline vocals of former Pentangle bandmate Jacqui McShee, you would automatically think that stellar results would be a given, but the album surpasses even that. Surrounded by crack musicians, these talented band members were also close personal friends of Renbourn, including his girlfriend at the time, the talented Sue Draham on fiddle and backing vocals. And the happy vibes are evident in the music produced. Focusing on traditional folk songs with new arrangements featuring multiple vocals instead of solo signing, for example, these traditional tunes take on vibrant new life while remaining true to Renbourn's love of early English music.

Shorn of bass and drums, the magical table playing of Keshav Sathe wonderfully fills both music spaces allowing the delicate vocals of McShee and Draham shine, while the woodwinds of Tony Roberts and Drahan's fiddle offer wonderful melodies and counterpoints. Renbourn is happy to play his acoustic guitar in an understated supporting role. An amazing feat of humbleness on behalf of the acoustic guitar virtuoso. All of the songs are so good that it's hard to pick favorites, but the unique multiple vocal reading of "John Barleycorn", featuring the staggered counter backing vocals of both McShee and Draham countering Renbourn's and Robert's harmony leads, must be a highlight. My only complaint is that the album is so enjoyable that just goes by too quickly. Thank God for the replay button.