"Unpentangled: The Sixties Albums" by JOHN RENBOURN of Pentangle featuring Duet Albums with DORRIS HENDERSON and BERT JANSCH – Including "There You Go!" with Dorris Henderson (February 1966), "John Renbourn" (November 1965), "Bert And John" with Bert Jansch (September 1966), "Another Monday" (November 1966), "Watch The Stars" with Dorris Henderson (February 1967) and "Sir John Alot Of Merrie Englandes Musyk Thyng & Ye Grene Knyghte" (June 1968). Includes Bonus Album Outtakes and Non-Album Single Sides. Guest Musicians include Jacqui McShee, Danny Thompson and Terry Cox of Pentangle (May 2019 UK Cherry Tree Records 6CD Mini Clamshell Box Set with Six Albums and Eleven Bonus Tracks Featuring Various Remasters from 1999, 2001, 2002 and 2005 Further Mastered In 2019) - A Review by Mark Barry...

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"...The Time Has Come... "

In July 2020, it's easy to be blasé about these British John Renbourn 60ts albums (originally on Transatlantic and Fontana Records) and their digital availability (most of his Solo LPs outside of Pentangle have been in the CD marketplace as Remasters since 2001 and 2002).

But I worked as a Rarities Buyer and Mail Order Manager at Reckless Records in Soho for near 20 years servitude and while you would occasionally see "Bert And John" or "Another Monday" or maybe even "Sir John Alot..." – the two Dorris Henderson album collaborations never ever showed up. Both are listed in the Record Collector Rare Record Price Guide at high three-figure sums – if you can find copies. His first album debut too from March 1966 has always been legendarily hard to find.

So this dinky little mother load from Cherry Tree of the UK (part of the Cherry Red Group of labels - Cherry Tree deals mostly with Folk) that rounds up six-albums plus eleven bonuses is astonishingly good value for money for any newcomer to this giant of British Acoustic Folk. And it sounds the biz-snitz too. So once more ye Grene-horns unto the Merrie Knyghte and his Musyk Thyng...

UK released 31 May 2019 - "Unpentangled: The Sixties Albums" by JOHN RENBOURN (with Bert Jansch of Pentangle and Dorris Henderson) on Cherry Tree CRTREEBOX023 (Barcode 5013929692305) is a 6CD Mini Clamshell Box Set with Six Albums, Eleven Bonus Tracks, Mini LP Card Sleeves and A 24-Page Booklet. Featuring First Generation Master Tape Remasters from 1999, 2001 and 2005 Mastered in 2019 by OLI HEMINGWAY - it plays out as follows:

CD1 (49:42 minutes): Doris Henderson and John Renbourn – "There You Go!"

February 1966 UK LP on Columbia SX 6001 in Mono (Tracks 1 to 17)

1. Sally Free And Easy [Side 1]

2. Single Girl

3. Ribbon Bow

4. Cotton Eyed Joe

5. Mr. Tambourine Man

6. Mist On The Mountain

7. The Lag's Song

8. American Jail Song

9. The Water Is Wide

10. Something Lonesome [Side 2]

11. Song (Falling Star)

12. Winter Is Gone

13. Strange Lullaby

14. You're Gonna Need Somebody On Your Bond

15. One Morning In May

16. A Banjo Tune

17. Going To Memphis

BONUS TRACKS:

18. The Leaves Are Green

19. The Hangman

Tracks 18 and 19 are the non-album A&B-sides of a May 1965 UK 45 Single on Columbia DB 7567. It was first issued digitally January 1999 in the UK for the CD reissue of "There You Go!" on Ace/Big Beat CDWIKD 186 (Barcode 029667418621). The 1999 Remaster for this whole album is licensed from Ace Records.

CD2 (54:20 minutes): John Renbourn – "John Renbourn"

March 1966 UK LP on Transatlantic TRA 135 in Mono (Tracks 1-15)

1. Judy [Side 1]

2. Beth's Blues

3. Song

4. Down On The Barge

5. John Henry

6. Plainsong

7. Louisiana Blues

8. Blue Bones

9. Train Tune [Side 2]

10. Candy Man

11. The Wildest Pig In Captivity

12. National Seven

13. Motherless Children

14. Winter Is Gone

15. Nosh And Rabbit

BONUS TRACKS:

16. The Wildest Pig In Captivity (Alternate Version)

17. Can't Keep From Crying

18. Blues Run The Game

19. Lucky Thirteen

Tracks 16 to 19 first issued November 2001 in the UK as Bonus Tracks for the CD reissue of "John Renbourn" on Castle Music CMRCD 359 (Barcode 5050159135929). Track 19 "Lucky Thirteen" also from the Bert Jansch UK album, "It Don't Bother Me" – December 1965 on Transatlantic TRA 132 in Mono (it's written by Renbourn and he plays second guitar on it too). The Remaster from 2001 is used for this CD.

CD3 (30:15 minutes): Bert Jansch and John Renbourn - "Bert And John"

September 1966 UK LP on Transatlantic TRA 144 in Stereo (Tracks 1-12)

1. East Wind [Side 1]

2. Piano Tune

3. Goodbye Pork Pie Hat

4. Soho

5. Tic-Tocative

6. Orlando

7. Red's Favourite [Side 2]

8. No Exit

9. Along The Way

10. The Time Has Come

11. Stepping Stones

12. After The Dance

BONUS TRACK:

13. The Waggoner's Lad - from the September 1966 Bert Jansch UK LP "Jack Orion" on Transatlantic TRA 143 – John Renbourn plays Second Guitar on this album opener. 

CD4 (27:59 minutes): John Renbourn – "Another Monday"

November 1966 UK LP on Transatlantic TRA 149 (Tracks 1 to 12)

1. Another Monday

2. Ladye Nothinge's Toye Puffe

3. I Know My Babe

4. Waltz

5. Lost Lover Blues

6. One For William

7. Buffalo [Side 2]

8. Sugar Babe

9. Debbie Anne

10. Can't Help From Crying

11. Day At The Seaside

12. Nobody's Fault But Mine

All tracks written by Renbourn except 3, 5, 8, 10 and 12 which are Traditional Songs and Blues covers.

Tracks 1, 2, 4, 6, 7, 9 and 11 are instrumentals

Renbourn sings Lead Vocals on Tracks 3 and 8 and duet vocals with Jacqui McShee [later with Pentangle] on Tracks 5, 10 and 12

CD5 (41:16 minutes): Dorris Henderson with John Renbourn – "Watch The Stars"

February 1967 UK LP on Fontana STL 5385 in Stereo (Tracks 1-15)

1. When You Hear Them Cuckoos Hollerin' [Side 1]

2. It's Been A Long Time

3. 30 Days In Jail

4. No More My Lord

5. Watch The Stars

6. There's Anger In This Land

7. Mosaic Patterns

8. Tomorrow Is A Long Time

9. For Lovin' Me [Side 2]

10. Come Up Horsey

11. God Bless The Child

12. The Time Has Come

13. Poems Of Solitude: Poems Of My Heart/Eighteen Tedious Ways/Magic String

14. Lonely Mood

15. Gonna Tell My Lord

BONUS TRACK:

16. Message To Pretty - March 1967 Non-Album A-side of a UK 45 on Fontana TF 811 ("Watch The Stars" album track was the B-side). "Message To Pretty" first issued as a Bonus Track in September 2005 for the CD reissue of "Watch The Stars" on Fledg'ling Records FLED 3055 (Barcode 5020393305525). The 2005 Remaster is used for all of this CD.

CD6 (37:47 minutes): John Renbourn - "Sir John Alot Of Merrie Englandes Musyk Thyng & Ye Grene Knyghte"

June 1968 UK LP on Transatlantic TRA 167 in Stereo (Tracks 1-10)

1. The Earle Of Salisbury [Side 1]

2. The Trees They Do Grow High

3. Lady Goes To Church

4. Morgana

5. Transfusion [Side 2]

6. Forty-Eight

7. My Dear Boy

8. White Fishes

9. Sweet Potato

10. Seven Up

BONUS TRACKS:

11. The Earle Of Salisbury (Alternative Version)

12. Transfusion (Alternative Version)

13. Forty-Eight (Alternative Version)

Tracks 11 to 13 are Album Outtakes first UK released digitally in November 2002 for the CD reissue of "Sir John Alot..." on Castle Music CMRCD 597 (Barcode 5050159159727). Terry Cox of Pentangle plays percussion instruments on the album and outtakes. The 2002 Remaster is used for this CD.

As you can see from the detailed list provide above – all six have been out on CD before with Remasters licensed from Ace, BMG (who handled Sanctuary) and Fledg'ling Records. Dating from 1999, 2001, 2002 and 2005 – all are newly mastered in 2019 by OLI HEMINGWAY for Cherry Tree. The Sanctuary, Ace and Fledg'ling reissues were all remastered from original Mono and Stereo tapes and as fans will have known for years – the audio is gorgeous – Bill Leader and his original production values shining through. Each of these albums is filled with a mixture of Sixties UK Folk, Acoustic Folk, Acoustic Blues, World Music, Acoustic Old Timey Country, Ancient Instrumentals and Traditionals of all sorts. This is lovely music to listen to on CD and at about four-quid an album – amazing value for money too. 

You know you're in the presence of class when the 24-page booklet features the Royal Festival Hall poster for 27 May 1967 where Marquee Productions invite you to an evening of the Blues with the first appearance from 'The Pentangle' – Bert Jansch and John Renbourn on Guitars, Jacqui McShee on Vocals, Danny Thompson on Bass and Terry Cox on Drums. Many of these band-mate troubadours would of course join Renbourn on these solo albums. With an essay by DAVID WELLS that acknowledges COLIN HARPER (a world authority on Pentangle and Solo releases) – the booklet compliments the text with double-page spreads of period stuff - trade adverts for gigs, the Sir John A lot LP release, pictures of the beautiful Dorris Henderson and a smiling Jacqui McShee, LP labels on Transatlantic and Fontana, demo copies of the rare 45s and so on. The CD label designs reflect the original Transatlantic and Fontana British LP colourings where relevant and the Singular Mini LP sleeves give full track lists (including bonuses) and discography info on the rear. It's all very tasty and thoughtfully done...

It opens on the very Joan Baez meets Judy Henske meets Doris Troy vocals of Dorris Henderson as she goes booms her way through "Sally Free And Easy" - a Cyril Tawney cover accompanied by the quiet Simon & Garfunkel acoustic guitar of Renbourn. They then go after three Traditionals - "Single Girl" (with leaking shoes), "Ribbon Bow" (own true love) and "Cotton Eyed Joe" (came for to show you my diamond ring) - before hitting the American Folk Man of the moment - Dylan and his hey "Mr. Tambourine Man". Other goodies include the beautiful Traditional "The Water Is Wide", a welcome acoustic Blues of Robert Johnson's "You're Need Somebody On Your Bond" while a convict sitting in the buck house playing guitar dreams of "Going To Memphis" - Renbourn's playing fabulous.

Future Pentangle cohort Bert Jansch plays on two tracks of John Renbourn's self-titled solo LP issued in March 1966 - "Blue Bones" and "Noah And Rabbit". Produced by Transatlantic's main man Nathan Joseph – the styles are mixed and genre cool. We go from Blind Boy Fuller's sugar woman in "Beth's Blues" through a John Donne poem put to music in "Song" – the American lonesome cry "John Henry" ballad done in bottleneck style - while Iain Matthews of Matthews Southern Comfort (after he left Fairport Convention) would name his 1972/1973 band after the gorgeous instrumental "Plainsong". The two Jansch collaborations feel so much better for the duelling guitars especially "Noah And Rabbit" and amongst the Bonus cuts is the truly gorgeous early Paul Simon song "Blues Run The Game"  - a tune Jackson C. Frank would cover of his Paul Simon-produced debut album in 1965 on Columbia Records. It never featured on an officially released S&G LP but an outtake of this fab little acoustic roller turned up on the Simon and Garfunkel "Old Friends" and subsequent "The Collection" Box Sets (Frank and S&G are both reviewed in this e-book). Hell even the collaboration instrumental "Lucky Thirteen" from the Bert Jansch December 1965 album "It Doesn't Bother Me" tagged on to Disc 2 as a Bonus is exactly that - an actual worthy extra.

"East Wind" opens with rattling strings as acoustic guitars do battle – the instrumental actually feeling like the ebb and flow of its title. But there is lay a problem. Reviewers had heard this type of short strummers album before and had deemed that neither Jansch nor Renbourn possessed a voice decent enough to carry a tune (I'd disagree). But, despite its mainly instrumental pieces being described at the time as "...a pleasant unmemorable record... " by some such reporter – softly-softly melodies contained within tunes like "Song" and "Along The Way" and their September 1966 simplicity - feels like a breath of acoustic Folk air in the clutter of July 2020. In much the same way, "Stepping Stones" string-pings out of your speakers with a subtle muscularity – great playing that is still musical. I love it. And how cool is it to hear the lovely Anne Briggs ballad "The Time Has Come" be given such a sympathetic rendering. The singular bonus is a genuine gem – "The Waggoner's Lad". The opening cut to the Bert Jansch solo album "Jack Orion" is a banjo-driven strummer like say 1970's "Gallows Pole" that I'm sure Jimmy Page 'borrowed' (instrument and all) for some Zeppelin song somewhere down the line. Simple, sweet and subtle - "Bert And John" is an album worth rediscovering in my book.

At a piddly twenty-eight minutes, Renbourn's official second solo album "Another Monday" is hardly guilty of Prog excess when it comes to playing time, but it does '...throw its arms around you like a circle around the sun...' as the great man sings in "I Know My Babe". Platter no. 2 "Another Monday" is a beautifully even-handed album - a cool breeze listen all the way through and I for one love his voice even though there were those at the time that slagged it off and would have paid him good money to never open his gob again (one went ballistic generous, taking all of his might to describe JR as a 'pleasant enough singer'). That cruel assessment was balls IMO because when you listen to his three duets with future Pentangle leading light Jacqui McShee on "Lost Lover Blues", "Can't Keep From Crying" and "Nobody's Fault But Mine" - the combo of their voices produced magic to my ears. Throw in the instrumental "One For William" where he accompanies himself on Oboe of all things using the ponderous pseudonym 'Jennifer d0e Montforte-Jones' and you get some trippy Acid Folk moments that also touch on a slight Jazz vibe.

It opens with two short instrumental originals - "Another Monday" and "Ladye Nothinge's Toye Puffe" - loveliness that flows over you sweetly (he revisited "Ladye..." on "The Nine Maidens" album in 1985). Renbourn sings "I Know My Babe" - a Blues Traditional that James Taylor based "Circle 'Round The Sun" on when he covered it too on his 1968 Apple Records debut "James Taylor". Renbourn's picking, his warm-toned vocal delivery and the "...sun's gonna shine..." lyrics all combine to make a fast-paced Acoustic mini masterpiece out of "I Know My Babe". But of all the instrumentals on the LP - his own "Waltz" is by far the most hair-raisingly brilliant - feeling like some lost Blues Speeder on some forgotten Folkways LP of the early Fifties (and you can so hear where Page nicked a few licks for Zeppelin). A cover of Blind Boy Fuller's "Lost Lover Blues" becomes the first of three featuring Jacqui McShee on duet vocals with Renbourn - sure ain't got no lovin' baby now. Combined with Renbourn moonlighting as the po-faced pseudonym Jennifer de Montforte-Jones the 'Oboe' player - the Acid Folk instrumental of "One For William" ends Side 1 on a high.

"Watch The Stars" is even harder to locate than their first Henderson & Renbourn LP outing but is a much better album, so consequently listed for more (£200 and higher). Henderson still had the Judy Henske stomping-woman power in her vocal range but had wisely paired it back and the unplugged feel to the songs comes courtesy of Danny Thompson of Pentangle being the only other musician on the LP (playing his Double-Bass). Rod Stewart would cover the gorgeous Bob Dylan song "Tomorrow Is A Long Time" on his 1971 masterpiece "Every Picture Tells A Story" – maybe he heard the delicate Henderson and Renbourn rendition on this February 1967 LP. The pretty continues with Henderson's own "Lonely Mood" – a hugely accomplished ballad (why hasn't someone covered this?). Amongst the covers she tackles Billie Holiday's "God Bless The Child" – her tremulous voice sweetly controlled. She lets it rip a tad with the Gordon Lightfoot cut "For Lovin’ Me" while she slurs drunk and dirty on the incarceration tune "30 Days In Jail". Her beliefs get her most passionate vocal for the Side 2 finisher "Gonna Tell My Lord" – wake the dead – while the stand-alone single "Message To Pretty" sounds like a Mamas & Papas pop-song outtake with harmonica fills from a different time. Don't need you to help me find my way...sounds great too.

Apart from a slew of originals, Renbourn tackles Booker T. & The MG's and their "Sweet Potato" on his wittily titled "Sir John Alot..." - the name of the album actually all run into one word on original Transatlantic LP labels. He co-writes the excellent "Forty-Eight" and "Seven Up" with Drummer Terry Cox of Pentangle while "The Trees They Do Grow High" is a ye-olde Traditional. Amidst the Bonus cuts my fave 'Alternative Version' is that of the Side 1 opener "The Earle Of Salisbury" – clever playing.

Dorris Henderson would join Eclection while both Jansch and Renbourn would enjoy long and prosperous solo careers outside of Pentangle into the Naughties. 

True Renbourn loons will already have all six of the previously issued CDs, but those wanting to know why British Folk created so much excitement back in the day (and dare we say it, was even cool) should look no further than this ample bosom of Merrie Acoustic John-tasticness - one of only a handful of artists to release four albums in one year (1966). Brilliant and then some... 

"Faro Annie" by JOHN RENBOURN (March 2018 Music On CD Reissue with 2002 Remaster) - A Review by Mark Barry...

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"...Year Of The Riverboat..."

Although it doesn't say it anywhere on this latest March 2018 UK/Euro released edition of John Renbourn's much loved 1972 LP "Faro Annie" - what you have here is a reissue of a Castle Music CD Remaster done in 2002 - released July 2002 on Castle Music CMRCD534 - Barcode 5050159153428 to be exact (and to confuse matters further - itself reissued in 2016). 

Music On CD Reissues tend to be basic affairs and this unfortunately is no different - a bare bones gatefold slip of paper as an inlay which just about tells you who did what. They tend to piggyback on other people's reissue work and although the Remaster Engineer is not named - I had the original Castle Music CD reissue for years and its audio was/is gorgeous - same here (licensed from Sanctuary/BMG). Let's get to the White House Blues...

UK/EURO released 2 March 2018 - "Faro Annie" by JOHN RENBOURN on Music On CD MOCCD13553 (Barcode 8718627226605) is a straightforward 11-Track CD Remaster (2002 version) of his 1972 LP that plays out as follows (42:13 minutes):

1. White House Blues [Side 1]

2. Buffalo Skinners

3. Kokomo Blues

4. Little Sadie

5. Shake Shake Mamma

6. Willy O'Winsbury [Side 2]

7. The Cuckoo

8. Come On In My Kitchen

9. Country Blues

10. Faro Annie

11. Back On The Road Again

Tracks 1 to 11 are his 7th solo studio album "Faro Annie" - released February 1972 in the UK on Transatlantic Records TRA 247 and August 1972 in the USA on Reprise MS 2082. Produced by BILL LEADER - all tracks are Folk and Blues Traditionals arranged by Renbourn except  "Faro Annie" which is written by Danny Thompson, John Renbourn, Sue Draheim and Terry Cox with three cover versions by named artists being - "Come On In My Kitchen" by Robert Johnson, "Country Blues" by Dock Boggs and "Back On The Road Again" by Ian Campbell.

MUSICIANS:

JOHN RENBOURN - Lead Vocals (except where noted below), Lead Guitars, Sitar and Harmonica

DORRIS HENDERSON - Vocals on "White House Blues", "Kokomo Blues" and "Back On The Road Again"

SUE DRAHEIM - Fiddle on "Willy O'Winsbury", "Little Sadie" and "Country Blues"

PETE DYER - Harmonica on "Come On In My Kitchen" and "Kokomo Blues"

DANNY THOMPSON - Bass on "Faro Annie" and "Shake Shake Mamma"

TERRY COX - Drums on "Faro Annie" and "Shake Shake Mamma"

The gatefold inlay does at least reproduce Renbourn's short, slightly nutty (and at times very funny) liner notes that appeared on the rear of the original 1972 LP as well as the photos of his five guest musicians - including most notably the American lady singer Dorris Henderson who featured as a duet partner on Renbourn's ultra rare British debut LP "There You Go!" from 1965 on Columbia Records SX 6001 (she lived in the UK and once was Lead Vocalist for Elektra's group Eclection). His old muckers Danny Thompson and Terry Cox from Pentangle are here as is Pete Dyer who would later join Stray in 1975 over on Dawn Records and Sue Draheim who would join the ranks of The Albion Band on Pegasus and Island Records (UK Folkies Ashley Hutchings of Fairport Convention and Steeleye Span and Shirley Collins of the Collins Sisters). To the music at hand...

"Faro Annie" opens with a gorgeous and simple Folk duet on "White House Blues" – Dorris Henderson and her paired-back vocals softly accompanying Renbourn's Lead without ever grandstanding or stealing from it. The Acoustic Audio is gorgeous on this Side 1 starter as is on the next song - his first use of the Sitar on the Traditional "Buffalo Skinners" - a tune of seven able-bodied men hitting the Westward Road into New Mexico - a place where their pleasures will end and their hardship begin. Harmonica playing Pete Dyer (later with Stray) joins Dorris with John on the jaunty "Kokomo Blues" - a baby-don't-you-hear-me-cry sexy shuffle that sees JR give it some wah-wah electric guitar too.

"Little Sadie" is actually a dark murder ballad with county jails, judges and juries and love in the first degree - Sue Draheim's fiddle adding a fabulous Americana feel to Renbourn's acoustic playing. Cleverly arranged - "Shake Shake Mamma" sees Danny Thompson's trademark Double Bass sound and Terry Cox's Drums come sliding in to end Side 1. Turns out she’s a North Kentucky big fat woman - hips just like a snake and our hero's gotta buy that gal a diamond ring (don’t do it Johnny – resist you pillock). And don't you just love that electric wah-wah guitar addition Renbourn features throughout.

The King-as-prisoner-in-Spain - "Willy O'Winsbury" is an exile and birthing-song rolled into one that's been done in several forms (The Bothy Band and more) - Sue Draheim's fiddle-playing adding an extra layer of sadness to the tale of woe as his daughter Janet marries to help Daddy's politics. The second use of Sitar follows with the slightly sinister "The Cuckoo" - an emotionally cautious tale of gambling and love. I never could resist Acoustic Blues and when it's combined with a warbling Little Walter type harmonica - I'm a goner - so his cover of Robert Johnson's "Come On In My Kitchen" is a fabulous sounding Blues chugger with Dyer playing a blinder. Legendary Appalachian Banjo picker Dock Boggs provides the next cover - a fiddle and acoustic duet on "Country Blues" - a funeral song full of graveyard grounds and such like finality worries. The self-penned "Faro Annie" provides the albums only Pentangle moment - a sort of Jazzy Folk-Rock instrumental jaunt with Renbourn taking Harmonica duty this time while Sue plays second Fiddle to Cox and Thompson on Drums and Bass. The album ends on an upbeat note - Dorris Henderson once again joining Renbourn on an Ian Campbell song about a musician's life in "Back On The Road Again".

For sure Renbourn's voice has never been the strongest in the world and you'd be hard pressed to find the kind of guitar-playing histrionics that his pal Bert Jansch would produce on his solo LPs with ease. But "Faro Annie" is a lovely album - the kind of record you listen to all the way through – quietly soaking up all those Americana via Blighty tunes.

And it sounds great on this Music On CD Reissue too. Job done...