A Maid in Bremen was a live recording of the John Renbourn Group recorded at Roemer in Bremen on February 14th 1978. The band lineup at the time was John Renbourn (guitar/vocals), Jacqui McShee (vocals), Tony Roberts (flute, oboe and vocals), Keshav Sathe (tablas) and Sandy Spencer (cello). In the album’s liner notes Jacqui McShee mentions that this is the only recording of the group that exists featuring Sandy Spencer, who would return to America shortly afterwards. 

The album opens with "I Am A Maid That’s Deep in Love" and features a stunning lead vocal from Jacqui McShee, the tune is not unlike the Fairport version of Reynardine. The first thing one notices is the level of the performances from the whole band, who are so tight that it’s easy to forget this is a live recording. "Death and the Lady" is up next and features an ensemble vocal and some pretty mean tabla playing from Keshav Sathe. "Westron Wynde" is a short poem beautifully performed acapella by McShee, that takes us into the bluesy instrumental "Sweet Potato", which is followed up with one of the truly great traditional songs, "John Barleycorn". This is a really nice version with some lovely flute playing from Tony Roberts and some outstanding guitar playing from John Renbourn. "Turn Your Money Green" is a bluesy number, quite reminiscent of how Canned Heat might have sounded with a female vocalist, whilst "My Johnny was a Shoemaker" returns to a more pastoral folk sound with a great Jacqui McShee vocal and more amazing flute from Tony Roberts before we head to the heart of the Somerset countryside for the brilliant "To Glastonbury", which is followed by a rather wonderful tabla solo from Keshav Sathe. This is followed by a couple of instrumentals "Gypsy Dance/Jews Dance Neusiedler Melody". 

"The Maid on the Shore" is up next and features yet another astonishing vocal from Jacqui McShee and yet more outstanding musical performances from the whole band. This really is a group of musicians playing at the peak of their powers. Another great story song, "A Maid in Bedlam", swiftly follows with another fine lead vocals performance from Jacqui. The next track "Sidi Brahim" was apparently 4 days old; you would never tell from listening to the performances as the instruments ferociously weave in and around Keshav’s tablas as if they had done it a thousand times before. This for me is one of the most interesting tracks on the album and really highlights just how incredible this band was. At almost 11 minutes long it is a genuine tour de force, a folk raga with an eastern flavour that stretches out and never overstays its welcome. This is followed by the classic traditional song "The Cruel Sister", a song that became synonymous with Jacqui McShee from the near-perfect rendition from the Pentangle album in 1970. This version is played a little faster, yet it still makes the hairs stand up on the back of the neck. The next track "Kokomo Blues" is Renbourn’s tip of the hat to blues legend Kokomo Arnold, whose version of the song would provide the bones on which Robert Johnson would build the blues classic "Sweet Home Chicago", and it’s a mighty fine version with some great blues guitar from Renbourn. The album closes out with another traditional song, "Will of Winsbury" set to the same tune as "Farewell, Farewell" by Fairport Convention from their classic album Liege and Lief. 

Overall, A Maid in Bremen is a classic live album performed by an astonishing group of musicians at the peak of their powers. Every track oozes class, from the raw acoustic blues of "Kokomo Blues" to the traditional strains of "Cruel Sister" or "John Barleycorn". It’s a near-perfect setlist from a near-perfect group that draws influence from a wide range of musical styles from traditional folk and blues to jazz and Indian classical music. A joyous and uplifting album that should be heard by all fans of 1960s and 70s folk music.