The Nine Maidens

I already own three cd's by this artist so it is a given that i would want this one, too. Very glad to find it on Amazon as it is not easy to find. It is already one of my favorites. The CD arrived in the condition that the seller promised, like knew. Not even a scratch on the case.

I'll admit I got this album because the title track is mentioned by name in Roger Zelazny's Prince of Chaos - but _wow_! Fantastic album!

I always enjoyed my Sir John Alot album & Stonehenge is one of my favorite places.This ranks as one of his best.

I have loved John Renbourn for years and this is definitely one of his best. I just wish it was longer!

What can anyone say about John Renbourn? I was lucky enough to attend one of his master classes in the late 1980s (he was touring with Stefan Grossman). I hope he can continue to play for a very long time.

I don't get it. Maybe I shouldn't have used this album as an introduction to John Renbourn. It's good, no doubt, and he is a very talented artist, but after many listenings nothing ever grabbed me, made me sit up and pay attention. I'm glad I bought a good used CD for not too much bucks. But I will occasionally put it in my rotation, I'm sure.

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.

On this session, Renbourn proves again that he is one of the undisputed masters of the guitar. The tracks are generally minor-key medieval/renaissance-era mood-pieces adapted for solo guitar, and as such they work beautifully. This is a perfect winter/early morning/rainy day album, and I believe it's a masterpiece both for the amazing playing and the unique, marvelous compositions. A couple of the tracks also include fife and drums, and do so to good effect. This is my favorite Renbourn recording. If you're a fan of his, of great steel-string guitar work, or of interesting early music, don't miss this one.

I can't recommend this CD enough. I've always admired the playing of John Renbourn. I feel he's probably one of Britain's greatest ever acoustic guitarists. I confess to not having been a huge folk enthusiast over the years and there are many better qualified to discuss the merits of both the music and guitar playing in general, than myself.However, this particular CD never fails to uplift - despite the music being rooted firmly in medieval styles of traditional folk, here and in John Renbourn's gifted hands, it acquires an almost transcendental quality. There's something both effortless and timeless in the sheer musicality on offer here and I can see it appealing to guitarists and non-guitarists alike.

The 1985 album form John Renbourn is The Nine Maidens. This is a stunningly brilliant album.It is deeply rooted in the music and love of south west Britian.It even features the ceremonial Padstow Obby Horse drum. But the album also features elements of celtic folk, baroque and classical as well as hints of jazz blues.This fine instrumental album begins with a re working of a piece John had performed before, NewNothynge is a duet version of a solo tune called Lady Nothynge’s Toye Puff. Here, with the help of studio over dub John duets with himself. Track two is another re working of an old piece. This time The fish in the well is a reworking of The princess and the puddings. Remy Froissart helps out with this second guitar duet. Track three Pavan D Aragon is fabulous with its echos of the 16th Century.Track four, Variations on my Lady Carey’s Dompe is a set of variations for recorder and guitar based on one of the earliest virginal pieces, from around 1525. This is the track that features the Padstow obby horse drum that is used on the May Day celebrations. John plays the drum and the guitar thanks to the studio over dubs and is joined by Toby Pedley on recorders.Track five, circle dance is based on the Medieval dance tune. Track six is the stand out piece on the album. It is the title track The Nine Maidens, Named after the ancient stones The Nine Maidens that stand in Cornwall. There are three movements in this track. On this track Toby Pedley returns on recorders along with Ben Burrow on congas. Also Jules Diggle appears on tambourineThis is a most enjoyable album and is highly recommended to fans of John Renbourn.

This 1986 album is another landmark in the career of the exceptional John Renbourn. At times it almost seems like a career retrospective, mixing elements of folk (especially celtic rythms) with eastern influences, jazzy flourishes, early baroque stylings and the odd bluesy break.. It's a perfect synthesis of all his previous influences into one beautiful whole that shows that he has progressed as an artist, learnt new things, but never at the expense of the old things which he has never forgotten or stopped using in his work.It's a sublime album of instrumentals, with Renbourn's guitar the real star of the show. His playing is amazing. It's a thing of beauty, 5 stars.

Gorgeous short but sweet classic album from the unimitable John Renbourne. Delivered on time and in good condition.

I was looking for something very laid back and instramental and this album is stunning i will be getting more of John Renbourn music .