Pentangle – Reflection (1971)

FrontCover1Reflection was an album recorded in 1971 by folk-rock band Pentangle.

The album was recorded over a three-week period in March 1971, at a time when the tensions between the band members were high. Different band members were continually threatening to leave and attendance by Jansch and Renbourn at the recording sessions was dependent on their state of sobriety. (by wikipedia)

Pentangle were always great at creating musical fusions, and on this album, they once again came through. The opening song, “Wedding Dress,” is a fabulous meeting of Celtic, country, and, believe it or not, funk. It’s one of the few songs of theirs that actually rocks. The rest of the record is classic Pentangle, with Bert Jansch’s and John Renbourn’s acoustic guitars intermingling so well that it would make even Neil Young and Stephen Stills a little envious. Jacqui McShee, as usual, has some exquisite vocal moments, namely the previously mentioned “Wedding Dress” and an excellent reading of “Will the Circle Be Unbroken.”

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This track shows how the group was further exploring new musical ground, this time with traditional American folk/gospel. The group’s rhythm section of Danny Thompson (upright bass/cello) and Terry Cox (percussion) — easily one of the most inventive on the planet — shines on every cut, creating solid ground for Renbourn, McShee, and Jansch to do their high-wire act on vocals and guitar. One of their finest all-around albums. (by Matthew Greenwald)

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Personnel:
Terry Cox (drums, percussion, vocals)
Bert Jansch (guitar, banjo, vocals)
Jacqui McShee (vocals)
John Renbourn (guitar, vocals)
Danny Thompson (bass)

Booklet

Tracklist:
01. Wedding Dress (Traditional) 2.52
02. Omie Wise (Traditional) 4.23
03. Will The Circle Be Unbroken? (Traditional) 4.07
04. When I Get Home (Cox/Jansch/McShee/Renbourn/Thompson) 5.01
05. Rain And Snow (Traditional) 3.51
06. Helping Hand (Cox/Jansch/McShee/Renbourn/Thompson) 3.30
07. So Clear (Cox/Jansch/McShee/Renbourn/Thompson) 4.55
08. Reflection (Cox/Jansch/McShee/Renbourn/Thompson) 11.10

Labels

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Martin Barre – MLB Celebrates 50 Years Of Jethro Tull (2019)

EPSON MFP imageAs the lead guitarist for Jethro Tull, Martin Barre has been joined at the hip to Ian Anderson since 1969, when he replaced Mick Abrahams in the group’s lineup. His playing has provided much of the energy that allows the band to soar on record and in concert amid the beauty of Anderson’s melodies and the complexity of his lyrics, and played no small part in helping the veteran band (some would say “dinosaur”) win the 1988 Grammy for Best Hard Rock Album for Crest of a Knave. Anderson himself has been quoted as saying, “Without Martin Barre, Jethro Tull could not exist.”

Barre’s solo work was confined to his home studio until he assembled a band to play some charity gigs in the early 1990s. Since then, he has recorded a pair of albums that allow him to stretch out in directions that Tull normally doesn’t permit, and to put his instrument into new sounds, genres, and musical contexts. (by Bruce Eder)

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Wot No flute? Well very little anyway.

What can I say about this, do we really need it, probably not, but news that he was releasing this certainly caught my interest and uncustomarily quite excited, momentarily anyway and touring this Celebration with additional members Clive Bunker and Dee Palmer in the band has certainly provided some long overdue publicity. Well the next question is is it any good?

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Disc 1 Live at the Factory Underground (Studio?) is a band effort by that I mean Martin Barre, guitars, mandolin, mandola, flute and Hammond, Dan Crisp, vocals, guitar, Alan Thomson, previously with John Martyn on bass, Derby Todd, drums. Disc 2 are Studio tracks, tracks 1- 6 an Acoustic Set where his female backing singers Alex Hart and Becca Langford take centre stage on all tracks up to and including One White Duck and also Locomotive Breath, John Carter, Martins childhood friend with whom he made the Grand Union album takes on Waking Edge, Dan Crisp, Still Loving You Tonight and Slow Marching Band. Other participants are Paddy Blight, Double Bass, Josiah J, keyboards and Frank Mead, the albums flute solo on this disc on Home.

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Disc 1 the Live set has Mr. Barre in full hard rockin’ electric mode, of course initially it’s hard not to make comparisons with the originals in fact it’s impossible, Dan Crisp’s vocals have come in for some criticism, and on first play on disc this seem justified but Martin has stuck by him and having seen him live a few times and with a little mental readjustment, the initial concerns have diminished. It’s not that he is a bad vocalist I just think singing Tull songs is not his natural style and in any event is nigh on impossible to emulate Mr Anderson in his prime but ultimately this album is all about Martin Barre and his interpretation of these songs, putting his stamp on them and keeping them fresh of which I must say in this department is an unqualified success. Having seen him play these tracks live his enthusiasm is totally infectious, he seems to be having the time of his life, in fact he and the band are an absolute joy to watch. How he has narrowed it down to these 13 tracks who knows because if one looks at his set lists Setlist.fm this is a very small portion of what he has being playing live.

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After a rather tentative start with a jazz flavoured My Sunday Feeling, things pick up with For a Thousand Mothers and it all becomes clear what a crucial element he was in Tull’s classic sound. Hymn 43 has that wonderful chugging riff and then we come to Love Story where Dan Crisp earns some plaudits, this rendition is a little slower and grittier than the original and candidate for best on this disc and so it continues with perhaps an unusual choice in Sealion, Song for Jeffrey is rather lumbering but inherits a couple of hard rock riffs and guitar solo. Back to the Family gets heavy. I could go on, but what’s the point suffice to say although the songs are familiar to all, these versions have balls, played at full volume, the guitar work exceptional.

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Disc 2, I was a little shocked when I heard the female vocals, but then again not, having seen them do the acoustic set, and they carry the songs effortlessly, with some wonderful accompaniment. Life’s a Long Song, Cheap Day Return, Under Wraps and One White Duck are standouts. I won’t say the quality dips hereafter but it’s a hard to follow on from those girls, suffice to say that they take it down a bit with the remainder including the mandolin driven Locomotive Breath where the girls come on board again

If this album does anything it shows what a creative writer Ian Anderson is or was depending on opinion and what a classic guitarist Martin Barre is.

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Of course if one is looking for reasons to knock this, one doesn’t have to look far, it would be easy to shred it for any number of reasons, it can’t match the originals, the vocals may not be to everyone’s taste (I suspect the most likely criticism), it’s a good but not great album, the anticipation was greater than the reality but taken for what it is, this Celebration of Tull as a rock band reignites music much of which the punters would never expect to hear live again, is reason enough to make this is a worthwhile exercise. If nothing else it’s an advert for people to go check out Mr Martin Lancelot Barre live. My only disappointment here is that there is no third disc. (by oldrock)

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Personnel:
Martin Barre (guitar, mandolin, mandola, flute, organ)
Paddy Blight (bass)
John Carter (vocals)
Dan Crisp (vocals, guitar)
Alex Hart (vocals)
Josiah J. (keyboards)
Becca Langsford (vocals)
Darby Todd (drums)
Alan Thomson (bass, vocals)
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Frank Mead (flute on CD 2/09.)

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Tracklist:

CD 1 – Live at Factory Underground:
01. My Sunday Feeling 3.32
02. For A Thousand Mothers 4.34
03. Hymn 43 3.31
04. Love Story 4.11
05. Sealion 4.07
06. Song For Jeffrey 3.42
07. Back To The Family 4.05
08. Nothing To Say 5.44
09. Hunting Girl 5.35
10. Teacher 5.53
11. Steel Monkey 3.46
12. Nothing Is Easy 4.58
13. New Day Yesterday 4.50

CD 2 – Studio Tracks:
01. Wond’ring Aloud 1.53
02. Someday The Sun Won’t Shine 2.02
03. Life Is A Long Song 3.29
04. Cheap Day Return 1.30
05. Under Wraps 3.06
06. One White Duck 2.20
07. Still Loving You Tonight 4.54
08. The Waking Edge 3.17
09. Home 3.16
10. Locomotive Breath 4.09
11. Slow Marching Band 3.28

All songs written by Ian Anderson

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Martin Barre talks about this album:

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Jethro Tull – Songs Fom The Wooden Grammophone (1977)

FrontCover1In the late 1970s, Jethro Tull released a trio of folk rock albums, Songs from the Wood (1977), Heavy Horses (1978), and Stormwatch (1979). Songs from the Wood (1977) was the first Tull album to receive generally positive reviews since the release of Living in the Past (1972).

The band had long ties to folk rockers Steeleye Span (Tull were the backing band on Steeleye Span front woman Maddy Prior’s 1978 solo album Woman in the Wings as a way of repaying her for contributing vocals on the Too Old to Rock ‘n’ Roll: Too Young to Die! album) and with Fairport Convention (Fairport members Dave Pegg, Martin Allcock, Dave Mattacks and Ric Sanders have all played with Tull at one point or another, as well as folk drummer Gerry Conway who became a Fairport member after playing with Tull). Although not formally considered a part of the folk rock movement (which had actually begun nearly a decade earlier with the advent of Fairport Convention), there was clearly an exchange of musical ideas among Tull and the folk rockers.[81] By this time, Anderson had moved to a farm in the countryside, and his new bucolic lifestyle was clearly reflected in his songwriting, as in the title track of Heavy Horses (1978), a paean to draught horses. (by wikipedia)

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And here´s very beautiful bootleg (excellent soundboart recording !) from this period …and it was one of the most satisfying periods of Jethro Tull:

Track 1-9 recorded live in Southampton 19.Feb.1977
Track 10-11 recorded live in April 1979 during US-Tour
Track 12 is an A capella Version
Track 13 recorded during the session for a Burger King jingle in1979

Enjoy the magic of Jethro Tull´s trip into the UK Folk-Rock scene.

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Personnel:
Ian Andson (vocals, flute, guitar)
Barriemore Barlow (drums)
Martin Barre (guitar)
John Evans (keyobards)
John Glascock (bass)
David Palmer (keyboards)

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Tacklist:
01. Skating Away On The Thin Ice Of A New Day 5.98
02. Jack In The Green 3.25
03. Thick As A Brick 14.19
04. Songs From The Wood 5.56
05. Velvet Green 7.12
06. Hunting Girl 5.11
07. Aqualung 8.47
08. Wind Up 3.21
09. Locomotive Breath-Pomp & Circumsances / Finale 5.33
10. Sweet Dream 2.49
11. Dark Ages 9.51
12. Dark Ages (Studio Outtake) 1.46
13. Wardrobe Whopper 0.32

All songs written by Ian Anderson

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John Glascock

John Glascock (2 May 1951 – 17 November 1979)

More from Jethro Tull:

More

Trevor Lucas – Overlander (1966)

LPFrontCover1Trevor George Lucas (25 December 1943 – 4 February 1989) was an Australian folk singer, a member of Fairport Convention and one of the founders of Fotheringay. He mainly worked as a singer-songwriter and guitarist but also produced many albums and composed for the film industry toward the end of his career. He married three times, his first wife was Cheryl (1964 – ca. 1969), his second wife was fellow folk musician Sandy Denny (1973–1978), and his third wife was Elizabeth Hurtt-Lucas (ca. 1979–1989). Lucas died on 4 February 1989 of a heart attack in his sleep, in Sydney, aged 45. He was survived by Hurtt-Lucas, his daughter, Georgia Rose Lucas (by Denny), and his son, Clancy Hurtt-Lucas.  (b wikipedia)

Trevor Lucas was one of the most acclaimed singer/songwriters Australia ever produced and although he was held in high regard in UK folk-rock circles, he remained virtually unknown in his homeland.
(Ian McFarlane)

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Lucas’ solo album will most likely come as a surprise to those who know his work from Fotheringay and Fairport Convention. It’s pure traditional British folk, featuring his guitar and deep vocals complemented by violin and accordion, without a trace of rock or folk-rock. It’s competent but standard fare, comprised almost wholly of traditional tunes (“Waltzing Matilda” being the most familiar) and not one Lucas original. “South Australia” puts a bit of a spin on the genre, as there are relatively few British folk-styled performances with lyrics about Australia, rather than the British Isles. This rarity is primarily recommended to Fairport fanatics curious about the roots of one of Fairport Convention’s second-line members; dozens if not hundreds of similar albums in the style have been made by other performers. (bomber-blog.blogspot.com)

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Personnel:
Alf Edwards (concertina)
George Gibbs (bass)
Cyril Harling (fiddle)
Trevor Lucas (vocals, guitar)

Glossary

Tracklist:
01. The Overlander (Traditional) 2.33
02.  Waltzing Matilda (Traditional) 3.01
03. A Wee One (Traditional) 3.27
04. Lazy Harry’s (Traditional) 2.56
05. It’s On (Henderson) 2.42
06. South Australia (Traditional) 2.00
07. Shanties By The Way (Traditional) 2.04
08. The Shearer’s Dream (Lawson/Lloyd) 3.48
09. The Flash Stockman (Traditional) 1.51
10. Bluey Brink (Traditional) 2.57
11. On The Banks Of The Condamine (Traditional) 4.09
12. Bold Jack Donohoe (Traditional) 4.00

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Trevor George Lucas (25 December 1943 – 4 February 1989)

Bronco – Smoking Mixture (1973)

FrontCover1ABronco were an English five piece rock and country band, who were signed to Island and Polydor Records between 1969 and 1973. They released three albums during their existence, Country Home (1970), Ace of Sunlight (1971) and Smoking Mixture (1973).

Bronco were formed in August 1969 by Jess Roden following his split from The Alan Bown Set. They were signed to Island Records by Guy Stevens and, after initially recording tracks at Olympic Studios with him, recorded their first album, Country Home, at Island’s own Basing Street Studios during 1970, with the final mix being overseen by Paul Samwell-Smith. One of the album’s tracks, “Love” was included on Bumpers, an Island sampler album. The group similarly recorded their second album Ace of Sunlight at Basing Street (1971) which was produced by the band and Richard Digby Smith. Singer-songwriter Clifford T. Ward guested on their debut album Country Home. Trevor Lucas sang back-up vocals on Ace of Sunlight, and both Ian Hunter and Mick Ralphs from Mott The Hoople also guested on that album. In January 1971, Bronco appeared on BBC Two’s Disco 2.

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Following a serious motorway accident between Cheltenham and Bristol (in which the group’s crew – Dick Hayes and Alan Stone – and drummer Pete Robinson and bassist John Pasternak were badly injured) and a later, ill-fated West Coast of America tour, Roden left the band after a final British tour with label-mates Mott The Hoople and John Martyn in the early 1972, to start a solo career. Guitarist Robbie Blunt soon followed and the remaining members drafted in Paul Lockey on vocals (who Kevyn Gammond knew from Band of Joy) and Dan Fone on guitar. This incarnation of Bronco signed to Polydor and released one album, Smoking Mixture.

John Pasternak

Bronco’s bass player John Pasternak died of a heart attack in September 1986. Led Zeppelin’s Robert Plant fronted a tribute event for Pasternak in December of that year, that featured Plant and The Big Town Playboys, and concluded with an ensemble band featuring Plant, Jimmy Page on guitar and Jason Bonham on drums.

Two Bronco tracks are featured on Island records compilation albums: “Love” appeared on Bumpers released in 1970 and “Sudden Street” was on El Pea (1971). “Time Slips Away” was included on the Island Records compilation Meet on the Ledge, released as part of Island’s 50th anniversary in 2009. (by wikipedia)

Bronco are renowned as one of the UK’s most unfairly neglected early ’70s bands. Smoking Mixture was their third and final LP, and originally appeared in 1973. A superb collection of laid-back rock. (forcedexposure.com)

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Personnel:
Dan Fone (piano, guitar, banjo,harmonica, vocals)
Kevyn Gammond (guitar, vocals)
Paul Lockey (vocals, guitar)
John Pasternak (bass, vocals)
Pete Robinson (drums, percussion, vocals)
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Paul ‘Cosmic Charlie’ Gammond (tambourine)
Simon Lanzon (keyboards)
Royston ‘Aloysius Soul-Brother’ Williams (percussion)

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unknown horn + string section conducted by Richard Hewson

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Tracklist:
01. Attraction (Gammond/Ward) 5.11
02. Blueberry Pie (Gammond) 4.23
03. Southbound State Express (Gammond/Ward) 3.52
04. Steal That Gold (Gammond/Pasternak) 7.55
05. Strange Awakening (Gammond/Ward) 7.28
06. Tell Me Why (Gammond/Ward) 6.30
07. Tennessee Saturday Night (Gammond/Pasternak/Robinson) 2.56
08. Turkey In The Straw (Traditional/Gammond) 3.50
09. Zonker (Pasternak) 3.16

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Fairport Convention – Across The Decades (2003)

FrontCover1Fairport Convention are a British folk rock band, formed in 1967 by Richard Thompson (guitar, vocals), Simon Nicol (guitar, vocals), Ashley Hutchings (bass guitar), and Shaun Frater (drums, percussion), with Frater replaced by Martin Lamble after their first gig. They started out heavily influenced by American folk rock and singer-songwriter material, with a setlist dominated by Bob Dylan and Joni Mitchell songs and a sound that earned them the nickname ‘the British Jefferson Airplane’. Vocalists Judy Dyble and Iain Matthews joined them before the recording of their self-titled debut in 1968; afterwards, Dyble was replaced by Sandy Denny, with Matthews leaving during the recording of their third album.

Denny began steering the group towards traditional British music for their next two albums, What We Did on Our Holidays and Unhalfbricking (both 1969); the latter featured fiddler Dave “Swarb” Swarbrick, most notably on the song “A Sailor’s Life”, which laid the groundwork for British folk rock by being the first time a traditional British song was combined with a rock beat.

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However, shortly before the album’s release, a crash on the M1 killed Lamble and Thompson’s then-girlfriend, Jeannie Franklyn; this resulted in the group retiring most of their prior material and turning entirely towards British folk music for their seminal album Liege & Lief, released the same year, with this style being the band’s focus ever since. For this album Swarbrick joined full-time alongside Dave Mattacks on drums. Both Denny and Hutchings left before the year’s end; the latter replaced by Dave Pegg, who has remained the group’s sole consistent member to this day; and Thompson would leave after the recording of 1970’s Full House.

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The 1970s saw numerous lineup changes around the core of Swarbrick and Pegg – Nicol being absent for the middle of the decade – and declining fortunes as folk music fell out of mainstream favour. Denny, whose partner Trevor Lucas had been a guitarist in the group since 1972, returned for the pop-orientated Rising for the Moon album in 1975 in a final bid to crack America; this effort failed, and after three more albums minus Denny or Lucas, the group disbanded in 1979. They played a farewell concert in the village of Cropredy, Oxfordshire, where they had held small concerts since 1976, and this marked the beginning of the Cropredy Festival (since 2005 known as Fairport’s Cropredy Convention) which has become the largest folk festival in Britain, with annual attendances of 20,000.[8] The band was reformed by Nicol, Pegg, and Mattacks in 1985, joined by Maartin Allcock (guitar, vocals) and Ric Sanders (fiddle, keyboards), and they have remained active since. Allcock was replaced by Chris Leslie in 1996, and Gerry Conway replaced Mattacks in 1998, with this lineup remaining unchanged since and marking the longest-lasting of the group’s history. Their 28th studio album, 50:50@50, released to mark their 50th anniversary, was released in 2017, and they continue to headline Cropredy each year.

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Despite little mainstream success – with their only top 40 single being “Si Tu Dois Partir”, a French-language cover of the Dylan song “If You Gotta Go, Go Now” from Unhalfbricking – Fairport Convention remain highly influential in British folk rock and British folk in general. Liege & Lief was named the “Most Influential Folk Album of All Time” at the BBC Radio 2 Folk Awards in 2006, and Pegg’s playing style, which incorporates jigs and reels into his basslines, has been imitated by many in the folk rock and folk punk genres.[9] Additionally, many former members went on to form or join other notable groups in the genre, including Fotheringay, Steeleye Span, and the Albion Band; along with solo careers, most notably Thompson and Denny.[10] Hers ended with her death in 1978, though she is now regarded[by whom?] as Britain’s finest female singer-songwriter, and her song “Who Knows Where the Time Goes?” – recorded by Fairport on Unhalfbricking – has become a signature song for herself and the band. (by wikipedia)

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Across the Decades is an apt title for a band that’s as much an institution as anything. With more than 35 years under their belt, Fairport have a huge catalog to cherry-pick from for what’s essentially a best-of release. Be warned, however, that there’s nothing from the classic Sandy Denny/Richard Thompson lineup that helped invent British folk-rock. Instead, this picks up in 1971, although there are cuts from Denny’s second, mid-’70s stint with the band. However, the bulk comes from later on, although many of the names are familiar, as is a great deal of the material; the pieces are played with plenty of energy and skill — probably more skill than when some of them were first rolled out.

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But they stand the test of time, as do many of the songs, several of which are written in styles influenced by the tradition. Purists might well turn their noses up at some of this, and demand compilations that trawl all the way back in the band’s history, and, to be fair, there was a magic about some early lineups that’s not completely evident here. However, that’s not to decry any of this, especially at a budget price for a double-CD set. It’s not the perfect introduction to Fairport, but for those curious about the slightly later years, this is a good way to sample that. (by Chris Nickson)

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Personnel:
Various Fairport Convention line-ups

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Tracklist:

CD 1:
01. The Hexamshire Lass (Traditional) 2.37
02. Hens March Through the Midden/The Four Poster Bed (Traditional) 2.46
03. Sloth (Swarbrick/Thompson) 13.03
04. It’ll Take A Long Time (Denny) 5.31
05. Firs An Feathers (Swarbrick) 4.50
06. Cell Song (Mattacks/Nicol/Pegg/Swarbrick) 3.58
07. Who Knows Where The Time Goes (Denny) 6.29
08. Ballad Of Ned Kelly (Lucas) 3.46
09. The Deserter (Traditional) 4.31
10. Both Sides Now (Mitchell) 3.08
11. Walk Awhile (Swarbrick/Thompson) 4.09
12. Rosie (Swarbrick) 4.10

CD 2:
01. How Many Times (Thompson) 3.30
02. My Feet Are Set for Dancing (Lesurf) 4.03
03. Angel Delight (Mattacks/Nicol/Pegg/Swarbrick) 4.32
04. Red And Gold (McTell) 6.43
05. Open the Door Richard (Dylan) 4.59
06. It Takes A Lot To Laugh (Dylan) 5.44
07. I’ll Keep It With Mine (Dylan) 6.27
08. Tam Lin (Traditional) 7.58
09. Who Knows Where The Time Goes (Denny)
10. Doctor Of Physik (Swarbrick/Thompson) 3.50
11. The Naked Highwayman (Tilston) 4.44
12. Meet On The Ledge (Thompson) 5.31

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Pentangle – Sister Cruel (1970)

FrontCover1.jpgCruel Sister was an album recorded in 1970 by folk-rock band Pentangle. It was the most folk-based of the albums recorded by the band, with all the tracks being versions of traditional songs. Whereas their previous album had been produced by Shel Talmy, and featured quite a heavily produced, commercial sound, Cruel Sister was produced by Bill Leader, noted for his recordings of folk musicians.

“Lord Franklin” is a version of the traditional ballad, also known as “Lady Franklin’s Lament”, which describes Sir John Franklin’s ill-fated expedition to discover the Northwest Passage. John Renbourn sings the lead vocal and plays both acoustic and electric guitar.

“Cruel sister”, the song which provides the title for the album, is a traditional ballad (known in some versions as The Twa Sisters), telling the story of the violent rivalry between two sisters for the love of a knight.

The whole of side two of the album is taken up with an extended version of the ballad “Jack Orion”, previously recorded by Jansch on his own Jack Orion album. “Jack Orion” is a version of the Child ballad “Glasgerion”. The arrangement on Cruel Sister develops through several sections with different rhythms and instrumentation.

The album cover features engravings by Albrecht Dürer. The front cover displays his “The Men’s Bath” (Das Männerbad) (date unknown). The picture on the back cover is his The Sea Monster (Das Meerwunder), dating from 1498. (by wikipedia)

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Originally released in 1970, this was the fourth release from the British folk-rock group Pentangle and may qualify as their swan song. With only five songs, Jacqui McShee, Bert Jansch, John Renbourn, Terry Cox, and Danny Thompson create a dense, layered sound that is woven within the fabric of each song like a tapestry. Although known for their eclectic approach and love of jazz, here the group concentrates on traditional material like “A Maid That’s Deep in Love” and the 18-minute “Jack Orion.” A Pentangle fan will immediately note that John Renbourn is playing an electric guitar on “A Maid That’s Deep in Love.” This departure from purely acoustic doesn’t create a bigger Fairport Convention or Steeleye Span sound but is imbedded quietly into the song.

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What really sets both this song and “When I Was in My Prime” apart is McShee’s clear, vibrant vocals. On “When I Was in My Prime,” she sings unaccompanied, proving that her talent runs as deep as the better-known Jansch and Renbourn. The seven-minute title cut also features McShee singing an absolutely lovely ballad with darker undertones. Renbourn sings the enjoyable though straightforward “Lord Franklin.” The crowning jewel of this masterpiece is the epic “Jack Orion,” though one has difficulty imagining what possessed Pentangle to record a folk song that took up an entire side of an album. Jansch shares vocals with McShee on this multiple part song, and generous time is left for Renbourn to turn in a bluesy, then jazzy, electric solo. Cruel Sister shows Pentangle at their artistic height, combining all of their skill and inspiration to create a vital and enduring album. (by Ronnie D. Lankford, Jr.)

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Personnel:
Terry Cox (drums, percussion, dulcitone, vocals)
Bert Jansch (guitar, dulcimer, concertina, recorder, vocals)
Jacqui McShee (vocals)
John Renbourn (guitar, sitar, recorder, vocals)
Danny Thompson – double bass (1, 4, 5)

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Tracklist:
01. A Maid That’s Deep In Love 5.27
02. When I Was In My Prime 2.53
03. Lord Franklin 3.28
04. Cruel Sister 7.00
05. Jack Orion 18.36

All songs: Traditionals

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