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Most Helpful Customer Reviews
5 of 5 people found the following review helpful:
5.0 out of 5 stars
Renbourn at his finest!,
By A Customer
This review is from: The Nine Maidens (Audio CD)
With a wholesome rich sound that transcends from piece to piece, its one of John's finest albums. The masterful blend of sound John achieves makes the musical mind ponder at his abilities. Each track leaves you anticipating the next, much like John's older LPs such as Sir John Alot. 5 Stars does this an injustice. The opening piece, New Nothyng is one of my all time Renbourn favorites. A build up from "Lady Nothynge's Toy Puffe," this piece expounds on the original with 2 guitar pieces together. Absolutely beautiful!
4 of 4 people found the following review helpful:
5.0 out of 5 stars
Splendid celtic medieval Renbourn at his best,
By Andre Hote (NY State) - See all my reviews
This review is from: The Nine Maidens (Audio CD)
Renbourn is unique and this profound harmonious blend of medieval/celtic music is the measure by which the best of European music should be measured.
2 of 2 people found the following review helpful:
5.0 out of 5 stars
run-of-the-mill beautiful,
By
This review is from: The Nine Maidens (Audio CD)
This is just one more of the very fine works from John Renbourn's catalog, much of which explores the moods and music of Renaissance, Celtic, and English traditional sources. Renbourn is one of the most easily identifyable guitarists playing; his style is light, bright, and technically astounding as necessary. Here we have all of these elements, and again they all work marvelously. One note: Here Renbourn resurrects his 'Lady Nothynge's Toy Puffe' (or some such; I don't have the original handy!) as 'New Nothynge.' The original version was in one of his first albums from the 60s; his friend Bert Jansch later recorded the piece for his album "L. A. Turnaround" (currently unavailable, unfortunately) in a much slower, more stately, manner. The version on this album has pretty obviously drawn on Jansch's arrangement, and gives some real perspective on how Renbourn's music has changed through the years: not so much in terms of its virtuosity and fingering, but more in its increasing attention to pacing and timing.
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