While most commonly labelled a folk musician, Renbourn's musical tastes and interests take in early music, classical music, blues and world music. His most influential album, Sir John Alot (1968), featured his take on songs from the Medieval era.
He died on March 26, 2015.
Career
John Renbourn studied classical guitar at school and it was during this period that he was introduced to Early Music. In the 1950s, along with many others, he was greatly influenced by the musical craze of "Skiffle" and this eventually led him to explore the work of artists such as Leadbelly, Josh White and Big Bill Broonzy.
In the 1960s the new craze in popular music was Rhythm and Blues, also the impact of Davey Graham was being felt. In 1961 Renbourn toured the South West with Mac MacLeod and repeated the tour in 1963. Renbourn briefly played in an R'n'B band while studying at the Kingston College of Art in London. Although the British 'Folk Revival' was underway at this time, most folk clubs were biased towards traditional, unaccompanied folk songs and guitar players were not always welcome. However the Roundhouse in London had a more tolerant attitude and here, John Renbourn joined Blues and Gospel singer Dorris Henderson, playing backing guitar and recording two albums with her.
Possibly the best known London venue for contemporary folk music in the early 1960s was "Les Cousins" in Greek Street, Soho, which became the main meeting place for guitar players and contemporary singer-songwriters from Britain and America. Around 1963, Renbourn teamed up with guitarist Bert Jansch who was visiting London from Edinburgh and together they developed an intricate duet style that became known as "folk baroque". Their album "Bert and John" is a fine example of their playing.
Renbourn released several albums on the Transatlantic label during the 1960s. Two of them, "Sir John Alot" and "Lady And The Unicorn" sum up Renbourn's playing style and material from this period. "Sir John Alot" has a mixture of jazz/blues/folk playing alongside a more classical/early music style. "Lady And The Unicorn" is heavily influenced by Renbourn's interest in early music.
At around this time, Renbourn also started playing with Jacqui McShee who sang traditional British folk songs. Together with Bert Jansch, bassist Danny Thompson and drummer Terry Cox, they went on to form Pentangle. The group became very successful, touring America in 1968, playing at the Carnegie Hall and at the Newport Folk Festival.
Renbourn went on to record more solo albums in the Seventies and Eighties. Much of the music is based on traditional material with a Celtic influence, interwoven with other styles. He also collaborated with American guitarist Stefan Grossman in the late 1970s recording two albums with him, which at times hark back to the folk baroque days with Bert Jansch.
In the mid-1980s Renbourn went back to university to earn a degree in composition, since which time he has focused mainly on writing classical music, while still performing in folk settings.
Renbourn continues to record and tour. In 2005 he toured Japan (his fifth tour of that country) with Tokio Uchida and Woody Mann. In 2006 he played at number of venues in England, including appearances with Robin Williamson and with Jacqui McShee. He is working on a new solo album and collaborating with Clive Carroll on the score for the film Driving Lessons directed by Jeremy Brock. In 2008, he toured with the reformed Pentangle.
John Renbourn Group
Bert Jansch & John Renbourn
Dorris Henderson & John Renbourn
John Renbourn & Jacqui McShee
John Renbourn & Stefan Grossman
John Renbourn & Robin Williamson
Clive Carroll & John Renbourn
Candyman
John Renbourn Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Candy man, candy man
I′d give anything in this Godalmighty world to get my candy man home
Candy man, candy man, candy man, been here and gone
Candy man, salty dog
I'd give anything in this Godalmighty world to get the candy man home
That big legged Ida, big legged Ida
I love that big legged girl, God knows I do
You can run and get the pitcher, get the baby some beer
Run and get the pitcher, get the baby some beer
Run and get the pitcher, get the baby some beer
Run and get the pitcher, get the baby some beer
Run and get the pitcher, get the baby some beer
Run and get the pitcher, get the baby some beer
I′d do anything in this Godalmighty world to get my candy man home
Little red light, little green light
Little red light, little green light
That little red light, little green light
Got to stop on the red light, go on the green
Don't you mess with Mister In Between
Peppermint stick, little brass band
Peppermint stick, little brass band
That peppermint stick, little brass band
I'm going down to New Orleans to sit on a candy stand
Candy man, candy man, candy man, been here and gone
Candy man, Santa Claus
I′d do anything in this Godalmighty world to get my candy man home
The song "Candyman" by John Renbourn is a traditional folk blues song that has been covered by many artists throughout the years, including Mississippi John Hurt and Grateful Dead. The song is about a man named Candyman who has come and gone, leaving the singer longing for his return. The repeating refrain of "Candy man, candy man, candy man, been here and gone" emphasizes the transience of Candyman's presence and the singer's desperation to have him back.
The lyrics also reference Big Legged Ida, who is loved by the singer, and the need to get the baby some beer, demonstrating the rough and casual lifestyle of folk blues performers. The song takes the listener on a journey, referencing peppermint sticks, brass bands, and New Orleans, but always coming back to the Candyman who is the heart of the song's longing. The final refrain, "Candy man, Santa Claus," adds a touch of whimsy to the song's longing, suggesting that the singer would go to any lengths to bring the Candyman home, even if that means relying on a fictional character.
Line by Line Meaning
Candy man, candy man, candy man, been here and gone
The Candy man has been here and left several times.
Candy man, candy man
The singer is addressing the Candy man repeatedly.
I′d give anything in this Godalmighty world to get my candy man home
The singer is expressing his desperation to have the Candy man back home at any cost.
Candy man, salty dog
The Candy man is being likened to a 'salty dog,' which means a man who is untrustworthy and deceitful.
Big legged Ida, big legged Ida, big legged Ida, big legged Ida
The artist is repeating the name of a woman named Ida who has big legs.
That big legged Ida, big legged Ida
The singer is referencing Ida again and emphasizing her physical attribute of having big legs.
I love that big legged girl, God knows I do
The singer is expressing his love for Ida despite her physical feature of having big legs.
You can run and get the pitcher, get the baby some beer
The artist is instructing someone to get a pitcher to give beer to a baby, which is not advisable due to the negative impact of alcohol on children.
Don't you mess with Mister In Between
The artist is warning someone not to interfere with neutrality, as they may face unintended consequences.
Peppermint stick, little brass band
The artist is referencing a peppermint stick candy and a small brass band.
I'm going down to New Orleans to sit on a candy stand
The singer is going to New Orleans to sell candies sitting on a candy stand.
Candy man, Santa Claus
The Candy man is being compared to Santa Claus.
Writer(s): John William Mark Renbourn
Contributed by Elena C. Suggest a correction in the comments below.
speleojazzer
on Can't Keep from Crying
These are NOT the lyrics to JR's Can't keep from Crying