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John Renbourn|Sir John Alot of Merrie Englandes Musyk Thyng & Ye Grene Knyghte  (Bonus Track Edition)

Sir John Alot of Merrie Englandes Musyk Thyng & Ye Grene Knyghte (Bonus Track Edition)

John Renbourn

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An instrumental album (originally called Sir John Alot of Merrie England) featuring John Renbourn with his Pentangle bandmate Terry Cox on percussion and Ray Warleigh on flute. Originally released in England in 1968, the same year that Pentangle started to record, Sir John Alot was steeped largely in English folk music. Highlights include "The Trees They Do Grow High" (aka "Long A-Growing"), solo guitar miniatures such as "Lady Goes to Church," the epic "Morgana," with its sharply nuanced tempo and timbre changes, and the sprightly "My Dear Boy." Some parts of this album are surprisingly contemporary sounding, such as the bluesy "Transformation," which sounds like "What'd I Say" transposed for acoustic guitar and African drums; "White Fishes," which veers dangerously close to quoting George Gershwin's "It Ain't Necessarily So" and Rodgers & Hammerstein's "My Favorite Things"; and "Sweet Potato," which sounds like a folk-rock song without words, even as Renbourn quotes "Satisfaction" at one point.

© Bruce Eder /TiVo

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Sir John Alot of Merrie Englandes Musyk Thyng & Ye Grene Knyghte (Bonus Track Edition)

John Renbourn

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1
The Earle of Salisbury
00:01:21

John Renbourn, Performance, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

2
The Trees They Do Grow High
00:03:33

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

3
Lady Goes to Church
00:02:52

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

4
Morgana
00:07:26

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

5
Transfusion
00:01:59

John Renbourn, Performance, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

6
Forty-Eight
00:02:53

John Renbourn, Performance, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

7
My Dear Boy
00:01:17

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

8
White Fishes
00:02:39

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

9
Sweet Potato
00:03:19

John Renbourn, Performance, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

10
Seven Up
00:03:46

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 1968 Sanctuary Records Group Ltd., a BMG Company

11
The Earle of Salisbury (Alternate Take 4)
00:01:19

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 2002 Sanctuary Records Group Ltd., a BMG Company

12
Transfusion (Alternate Take 2)
00:01:56

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 2002 Sanctuary Records Group Ltd., a BMG Company

13
Forty-Eight (Alternate Take 1)
00:02:42

John Renbourn, MainArtist

© 2002 Sanctuary Records Group Ltd., a BMG Company ℗ 2002 Sanctuary Records Group Ltd., a BMG Company

Album review

An instrumental album (originally called Sir John Alot of Merrie England) featuring John Renbourn with his Pentangle bandmate Terry Cox on percussion and Ray Warleigh on flute. Originally released in England in 1968, the same year that Pentangle started to record, Sir John Alot was steeped largely in English folk music. Highlights include "The Trees They Do Grow High" (aka "Long A-Growing"), solo guitar miniatures such as "Lady Goes to Church," the epic "Morgana," with its sharply nuanced tempo and timbre changes, and the sprightly "My Dear Boy." Some parts of this album are surprisingly contemporary sounding, such as the bluesy "Transformation," which sounds like "What'd I Say" transposed for acoustic guitar and African drums; "White Fishes," which veers dangerously close to quoting George Gershwin's "It Ain't Necessarily So" and Rodgers & Hammerstein's "My Favorite Things"; and "Sweet Potato," which sounds like a folk-rock song without words, even as Renbourn quotes "Satisfaction" at one point.

© Bruce Eder /TiVo

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