The tapes of these sessions really did get lost or at least separated from their ever-responsible guardian, me. After Pentangle I moved down to the west country with the intention of leaving a lot of London stuff behind and these tapes were a part of that. They are the now not-so- missing link between ‘Faro Annie’ and ‘A Maid in Bedlam’ and somehow remained intact after the dissolution of the original Livingston studios. The move, which brought me into closer contact with Tony Roberts, was the beginning of a different lifestyle and an involvement in a more rural type of music. This recording points in that direction, half electric and citified, with Roy Babbington playing 6-string Fender bass and myself clanging a Strat, and half pastoral and Glastonbury bound. The more pastoral sounding sides mark the first collaborations with all of the future John Renbourn Group, Tony, Jacqui, Sue, and now tabla player Keshav Sathe.
The Young Man’s Song