The Lady and the Unicorn

Its first four pieces, Trotto, Saltarello, Lamento di Tristan and La Rotta, are arranged from a Tuscan manuscript of the late fourteenth or early fifteenth century, now in the British Library, and the cover comes from the Lady and the Unicorn tapestry. Renbourn described it as early music played in a folk way and folk music played in an early way, and said the kinship between the two led him to use their melodies and rhythms as frameworks for solos, much as small jazz groups did. The flautist Tony Roberts became a friend and mentor, and the partnership led to the John Renbourn Group.

Slipcue called it a masterpiece. Reviewing the 1971 Queen Elizabeth Hall concert that promoted it, Melody Maker's Andrew Means wrote that Renbourn was a musician rather than a performer.