Essential: a masterpiece of progressive rock music
When the network did not exist and at the time of purchase music, I often faced sealed LPs, without oportunity able to listen them. How to choose and buy without a mistake?
Well, in my case I always depended on my instincts. Sometimes a simple but attractive cover was the final choice (evidently based on artists I knew). An excellent example is this double LP of “The John Renbourn Group”, knew about John Renbourn next to Jacqui McShee (Both from Pentangle).
A live recording of concerts from London, Dortmund, Frankfurt, Mannheim, Munich, Berlin, Graz, Prague, Zurich, Athens, Ankara, Jerusalem & Caesarea May, 1992. After the '70s, Jethro Tull struggled with each album to update their sound, but kept falling short with out-of-place synthesizers and drum machines. Three attempts at harder-rocking albums were followed by the Little Light Music tour in 1992, one which took a step back into a relaxing semi-acoustic setting. This album, a document of that May's European shows, should be treasured by fans looking for something more than the 10,000th performance of "Aqualung"…
Original release from this historical concert, includes the participation of several ex-members of Fairport Convention, and other importang guests, like Robert Plant and Ralph McTell. Chris Leslie (not a member from Fairport in those times) replaced Ric Sanders (who had injuried herself with a glass, however he managed to play some keyboards)
Excellent addition to any prog-folk music collection.
A Maid in Bedlam is credited to the John Renbourn Group, not to John Renbourn alone, and that is an important distinction, since this is not another album of Renbourn's acoustic guitar stylings. It really is the work of a group, consisting of Renbourn on guitar and vocals, his Pentangle partner Jacqui McShee on vocals, Tony Roberts on vocals and wind instruments, Sue Draheim on vocals and fiddle, and Keshav Sathe on tabla and finger cymbals.
Byker Hill was the first album on which Carthy and Swarbrick had more than two or three hours' studio time, and, as a result, which was actually rehearsed and programmed weeks in advance. The results are less spontaneous than their earlier work, but also show a level of professionalism that few folk albums of the era ever demonstrated. The differences lie in the careful nuances, and the sophistication of the paired voice and instruments, which are much more studied than anything previously heard.