Customer Reviews

A Maid in Bedlam

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. . . And, by the title of this review, I want to note that I am saying something really special. John Renbourn, acoustic fingerstyle guitarist extraordinnaire, rarely makes a misstep, particularly when it comes to the medieval English Folk Music he has created over the years. Renbourn recorded five masterpieces of this genre with his John Renbourn Group, including three pure studio releases, a live CD, and a best-of collection. "A Maid In Bedlam" is probably the strongest of these releases.

This disc features the bell-clear vocals of Jacqui McShee, Renbourn's former colleague in the Folk-Jazz outfit, Pentangle, along with musicians who play flute, fiddle, mandolin, and tabla (Yes! Indian tabla!), all of whom are extraordinary in their own right. The band's playing is crisp and clear throughout.

Highlights include the following: "Black Waterside" (which Led Zeppelin once recorded instrumentally under the title "Black Mountainside"). This song is intriguing in that it explores the jilted lover concept from the woman's point of view, which was very unusual in medieval times; "A Maid in Bedlam", which features a simultaneously melodic and rhythmic melody accompanying lyrics about a woman in an insane asylum. This song is the most likely to catch your ear. It may even be considered the first medieval English rap song; "Talk About Suffering", a four-part acappella church song with heartfelt lyrics, encouraging Christians to put their beliefs into action.

There are other, equally excellent songs, on this CD, which may actually interest not only English Folk Music purists, but also (believe it or not) people who enjoy Heavy Metal and Classic Rock. The reason is that the scales used in this music are very similar to those employed in some Heavy Metal music (witness Yngwie Malmsteen and Ritchie Blackmore), and Classic Rock groups like Jethro Tull have tread this ground over and over for years. Other people will just appreciate this disc's gorgeous melodies and classy musicianship. "A Maid in Bedlam" is simply terrific.

Originally released (on LP) in 1977, this is the first and finest album album by the John Renbourn group. In addition to Renbourn as one of the best fingerstyle guitarists around, the band is rounded out with former Pentangle vocalist Jacqui McShee, Sue Draheim (fiddle), Tony Roberts (flute, recorders, oboe, piccolo) and Keshave Sathe (tabla and finger cymbals).

While the tabla adds an Eastern sound to the music, this is traditional British folk music at its finest. The opening cut is the traditional "Black Waterside" arranged by Renbourn with a heavenly vocal provided by McShee. [Along with Sandy Denny, McShee is my favorite British female vocalist.] Other standouts include the title track (another McShee vocal), "John Barleycorn," "Reynardine" and a stunning a cappella rendition of "Talk About Suffering." [If you are not deeply moved by that song, you might want to check your pulse...there's a good chance you're dead!]

The John Renbourn Group went on to record two more albums (with John Molineux replacing Sue Draheim), but if you can only afford one, this is it. There is not a weak track on the album. ESSENTIAL

This is one of my favourite Sunday morning records. Despite the table gently clicking away in the background, this is one of the most English records you'll ever hear. Renbourn is a total master of his instrument, the material is choice (if it's slightly lacking in really strong, individual compositions -- this is the man who wrote 'So Clear', after all), and the presence of old Pentangle cohort Jacquie McShee on vocals is icing on the cake. From start to finish, A Maid In Bedlam conjures up an atmosphere all its own. English folk at its best, and one of a handful of Renbourn classics.

John Renbourn fused folk and world music beats decades before Afro-Celt Sound System made it trendy. The tablas, wailing flutes and violin, his virtuoso guitar, and Jaqui McShee's traditionalist voice combine into a graceful, unique whole.

I am happy to see this vinyl classic available on CD.

The musical style is consistent throughout the album and I like it very much--acoustic, earthy sound, moving rythyms, great singing. The female voices are high and sweet, the male voices are earthy and enjoyable. Listen to some of the samples--if you like one, you'll like the others.

When this first came out on vinyl, I listened to the LP over and over again and spent many hours working on the rythyms in the guitar parts. They're unusual and very rich.

Of course, I'll buy the CD now.

"A Maid In Bedlam" is simply a stunning blend of medieval/renaissance British Isles music with contemporary arrangements that in no way distract from the beauty of the melodies and vocals. A simple must for ANYONE remotely interested in the folk traditions of the British Isles.

Back in my college days, I worked one summer in a curio store in Mystic, CT. I am forever grateful that the owner of that store used to keep a rotation of celtic and english folk LPs playing all day (a stack would play and when they were done, we'd flip the stack and start those). This was my introduction to the music of the isles, and one of those LPs was "A Maid in Bedlam".

John Renbourn was able to scratch alot of his musical itches with this group, and the mixture of medieval, gospel, folk and Indian music is spellbinding. This was also the first time I heard Jacqui McShee sing and her vocals are absolutely gorgeous. So many of the tracks are favorites, it's hard to single them out. But I'll mention that besides aural pleasure, the track "Talk About Suffering" has always conjured up visions for me of a church group in the 1700s singing at a midnight mass by lantern light.

This CD will not disappoint you- it hasn't me for many years. I also think that the follow up release by the Group, "The Enchanted Garden" is well worth your time.

If memory serves me right this was the first of the John Renbourn Group recordings, from back in the mid 1970s. The band (which included Pentangle vocalist Jacqui McShee) sounded a bit like Renbourn's previous group Pentangle, but was less improvisational, more tightly wound, and less catholic in its choice of material (mostly folksongs, or songs that could be given a folksy spin). Actually, to my ears the group sound they produced sometimes verged on the over-wound, energetic but lacking spontaneity. Still, it's hard to complain about the level of musicianship and professionalism displayed.