Renaissance

A Song for All Seasons (1978) (@256)



This is a transitional album where the band started to flirt with more pop-oriented material on expense of their more progressive stuff. And when Renaissance went pop, like they do here on "Closer than Yesterday", "Back Home Once Again" and the hit "Northern Lights", they started to sound unpleasantly much like ABBA. But the album fortunately also featured enough lengthy progressive epics and symphonic arrangements to make it worth a listen. "Day of the Dreamer" and the title-track are two complex songs that more or less maintained the Renaissance sound of old. And the opening track "Opening Out" has a really beautiful melody that immediately grabs the listener. "Kindness (At the End)" is also quite good, while "She is Love" on the other hand only manages to bore me. The pop songs makes "A Song for All Seasons" an uneven affair, but the progressive tunes are good enough to make it worth checking out if you liked their previous albums. And ironically enough, this was their most popular album home in England, even if it was the first clear sign of the end of the band's best period.

Line-up :
- Jon Camp / bass, bass pedals, electric guitar, lead vocals
- Michael Dunford: 6 and 12 string guitars
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion
- John Tout / keyboards
+ The Royal Philharmonic Orchestra


Track List :

01. Opening Out (4:15)
02. The Day of the Dreamer (9:43)
03. Closer Than Yesterday (3:19)
04. Kindness (At The End) (4:48)
05. Back Home Once Again (3:16)
06. She is Love (4:13)
07. Northern Lights (4:07)
08. A Song For All Seasons (10:55)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Ashes Are Burning (1973) (@256)



This is Renaissance at their peak. The band mixes perfectly rock, classical music, folk, and a soprano female vocalist. The guitars are usually acoustic in this record, the piano is prominent as well as the amazing Annie Haslem's vocals. The drumming is usually simple, except for the title track with its excellent percussion. The bass guitar has a similar sound to Yes' bass.

Line-up:
- Jon Camp / bass, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion, backing vocals
- John Tout / keyboards, backing vocals
- Michael Dunford / acoustic guitar


Track List:

01. Can You Understand (9:49)
02. Let It Grow (4:15)
03. On the Frontier (4:53)
04. Carpet of the Sun (3:31)
05. At the Harbour (6:50)
06. Ashes are Burning (11:24)





Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Azure d’Or (1979) (@256)



This was where the band really gave in for the pressure of making more commercial music, and ended up with a complete sell-out. "Azure d'Or" is filled with Abba-like pop songs like "Jekyll and Hyde" and "The Winter Tree". I won't deny that some of these songs certainly have solid hooks, but they're definitively not progressive rock. The band had now also ditched the orchestra completely, and the task of creating some atmosphere and symphonic sounds was left over to Tout's synths. As you can hear clearly on "Only Angels Have Wings" they were unfortunately of a very synthetic kind, and sounds almost like a joke compared to the orchestral arrangements of the old records. Where the hell are the tasteful sounds that he used on "Novella"? "The Golden Key" and the instrumental "The Discovery" are the only tracks here with the slightest hint of what Renaissance used to be. Drivel like "Forever Changing" is so far from classic Renaissance as it possibly can get, and the album as a whole was the final nail in the coffin for Renaissance as a progressive rock band. They were not exactly the only band that ended the 70's in this way, but it doesn't get less sad for that reason.

Line-up :
- John Camp / bass, pedals, acoustic guitar
- Michael Dunford / acoustic electric guitars, harp
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion
- John Tout / piano, keyboards


Track List :

01. Jekyll and Hyde (4:38)
02. The Winter Tree (3:02)
03. Only Angels Have Wings (3:43)
04. Golden Key (5:13)
05. Forever Changing (4:48)
06. Secret Mission (5:00)
07. Kalynda (A Magical Isle) (3:43)
08. The Discovery (4:23)
09. Friends (3:30)
10. The Flood at Lyons (4:57)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Camera Camera (1981) (@192)



Many changes in the band before recording this album : Two longtime members have left the band, a change of record company, in 1979 the band had to replace the sound of the orchestra by the use of keyboards and synthesizers. Also their musical style has changed a lot since the previous album. One can notice this by the 'plastic' keyboardsounds and the bass lines which sometimes are pretty irritating. Most of the tracks are short in length and haven't the complex structure of their seventies recordings. In fact some of the stuff is pure pop and songs like "bonjour swansong" comes close to the sound of Abba. Please go on reading. But not everything is bad. Annie Haslam still has a great voice and on this album she uses her voice with more creativity than she did before. Fortunately there's also some tracks which are worthwhile checking out. Especially Ukraine ways takes you back to the days of their musical peak. Tyrant-Tula is also an interesting track, maybe not progressive rock as we know it but quite surprising and consistent with a mix of progressive and reggae. Okichi san is more a typical Renaissance track with eastern influences. These tracks make the album still a must have for the die-hard fan. A greater effort than the next album "time-line" which I would recommend to no one.

Line-up :
- Peter Barron / drums, percussion, backing vocals
- Jon Camp / bass, electric guitar, backing vocals
- Michael Dunford / acoustic & electric guitars, backing vocals
- Peter Gosling / keyboards, backing vocals
- Annie Haslam / lead & backing vocals


Track List :

01. Camera Camera (6:01)
02. Faeries (living at the bottom of the garden)(3:45)
03. Remember (4:33)
04. Bonjour swansong (3:32)
05. Tyrant-Tula (5:58)
06. Okishi-San (6:00)
07. Jigsaw (5:00)
08. Running away from you (3:35)
09. Ukraine ways (6:37)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Day of the Dreamer (Live 1978) (@256)



I just can't get enough of live albums! Unlike previous releases, this is not a single concert, rather it is a compilation of old recordings. Though there isn't information which concerts, the line-up and the track list suggest late 70s.

Listening closely to these songs suggests that maybe at least 3 different sources were used: this is not a problem as any variations in the sound quality are so small as to be insignificant. Even the last 2 tracks, which clearly do have distinctly different sonic characteristics, blend in quite well. Overall, the sound is just about as good as anyone can expect: excellent dynamic range; clear and bright; excellent separation and stereo imaging allowing all instruments to occupy their own space (though there is perhaps some bleed from drums and bass); and virtually no background noise. Generally, the mix is good, but could be better: errors in fading up the guitar in several places; harmony vocals which ought to be a little stronger; and some people might think the bass guitar should be toned down a notch. Personally, I like the feel of this, as the prominent bass, together with some feisty drumming, help to drive the music. Small subtle changes betray the multiple sources, but overall it has a crystal clear sound which creates a greater sense of intimacy than is normally the case when they are supported by an orchestra.

These are indeed some very fine performances by a group of very talented musicians at the top of their game and no orchestra this time around. Suffice to say that all songs are performed well - there are no duds. On the merit side it is wonderful to hear the material from 'A Song For All Seasons' (which at least helps to date that material to 1978 or later!); while on the debit side, the last 2 tracks - Ocean Gypsy and Running Hard - are probably the weakest, not because of poor playing, but because the sound is not as punchy.

So, with no orchestra, how do they fill the gaps? By adding synths to the piano played by John Tout. It is the reason this album is intriguing, but it is also it's Achilles Heel! Nothing wrong with Tout's playing, as he demonstrates he is capable of operating multiple keyboards simultaneously as well as the best of them. No, his playing is exemplary, the problem is in the sounds he makes with those synths. On most of the songs (the last 2 are notable exceptions), the synth sounds, especially the pads and washes, are cheesy and generic, probably from an early digital keyboard - eg, substitute 'string' sounds that sound just like, well, substitute string sounds! During the early instrumental passages of A Song For All Seasons, a disastrous saw-tooth synth singularly fails to emulate a brass section! Twenty years or more ago this may have been an accepted practice, and these sounds certainly crawled all over a lot of records, but today they merely sound dated and out of place.

However, despite the reservations about the synths, this is a cracking album offering an alternative live view. This is how most of us will have experienced them in the live environment - just the 5 core musicians naked and thriving on it.

Line-up :
- Jon Camp / bass, pedals, vocals
- Michael Dunford / acoustic guitar, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion, back vocals
- John Tout / keyboards, synths, back vocals


Track List :

01. Can You Hear Me (13:59)
02. Carpet of the Sun (3:51)
03. Day of the Dreamer (10:10)
04. Back Home Once Again (4:07)
05. Can You Understand/The Vultures Fly High (5:29)
06. Song for All Seasons (11:09)
07. Prologue (7:37)
08. Ocean Gypsy (7:44)
09. Running Hard (9:35)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Illusion (1970) (@192)



Renaissance's second album proved to be hard to complete. Hawken left during the recording, and the band had to include the rushed and half-baked "epic" "Past Orbits of Dust" with Don Shin on keyboards to fill up the album. The record was also commercially doomed as it only was available in Germany (it was of course released domestically some years later when Renaissance's career started to take off). On a more positive note, guitarist Michael Dunford joined the band and would prove to be important in the songwriting-department of Renaissance. "Illusion" was also the first album to feature lyrics by poetess Betty Thatcher. Musically it was also an improvement over the debut, and showed a more focused band, with the exception of the earlier mentioned "Past Orbits of Dust". Jane Relf delivers her best vocal-performance with the group on the lovely and strongly classical-influenced ballad "Face of Yesterday". The complex "Mr. Pine" was the most typically progressive the first line-up of Renaissance ever got. The dark and moody "Golden Thread" featured strong vocal-harmonies that would be one of the trademarks of the classic Renaissance sound. "Love Goes On" and "Love is all" are on the other hand two short, repetitive and lightweight tunes. The best moments of the album left no doubt about the potential and ambitions of the group, but they had still not yet managed to develop it into a convincing whole.

Line-up :
- Keith Relf / vocals, guitar
- Jim McCarty / drums, vocals
- Louis Cennamo / bass
- John Hawken / keyboards
- Jane Relf / vocals, percussion


Track List:

01. Love Goes On (2:51)
02. Golden Thread (8:15)
03. Love Is All (3:40)
04. Mr. Pine (7:00)
05. Face Of Yesterday (6:06)
06. Past Orbits Of Dust (14:39)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

King Biscuit Flower Hour Vol. 01 (1977) (@192)



The material on this album was recorded at The Royal Albert Hall, London, for later transmission in USA on the weekly King Biscuit Flower Hour radio show. The concert was the last of three performed in October 1977 with famous Royal Philharmonic Orchestra conducted by Harry Rabinowitz. Twenty years later this album was put together, remixed from the original 24-track master tapes by Michael Dunford. There are two volumes deriving from this concert, but the bulk - and best - of it is on this first volume.

Comparisons with the earlier classic Carnegie Hall set are inevitable as four of the five tracks are common to both, but performance issues are outweighed by concerns of a more technical nature. On the positive side, it has to be said the orchestra has been recorded brilliantly, each instrument sounding clear and vibrant, the texture of the cellos especially well presented. Overall the sound is crisp, bright and detailed, presumably a result of digital mastering. But beneath the surface all is far from satisfactory: background hiss and general hum is apparent on the quietest passages, but they pale into insignificance compared to a continuous buzz emanating from one or more equipment jacks or earth loops.

The problems are exacerbated by some indifferent mixing. For example, during Can You Understand the orchestra doesn't come in on its regular cue point but creeps up on you a few bars later, and Annie is faded up a couple of beats too late after a cue during Song Of Scheherazade. Perhaps in themselves not earth shattering [the tracks on Vol 2 are worse], but there are many such niggles that begin to add up after a while. The sound of Tout's piano is another major flaw - it sounds false, synthetic and, well, awful. Which is not good for such an important component of the band's sound.

Performances are, on the whole, very good. Certainly up to scratch with a few reservations. Opener Prologue is rather like those orchestral tribute albums, the entire track played as an 'overture' by the orchestra. While recognisable, it has been arranged, rearranged and twisted into an entirely new and exciting shape quite different from any other version. Can You Undestand, despite a spirited performance from the band, sadly sinks under a barrage of technical faults which conspire to mar what would have been an excellent rendition. Carpet Of The Sun is fine, though the dense string section seems to hold back the energy at times.

Can You Hear Me? begins with a slightly ponderous opening flourish with an overweight arrangement, but picks up nicely when Dunford's 12 string acoustic accompanies Annie into the first verse. At times the band sounds a little soft when they should be forceful, and the central instrumental section is spoiled by some off-key bass work. Later, the song builds to an excellent crescendo, but again there is the suggestion that the orchestra is dragging slightly.

Song Of Scheherazade is good but again not faultless. The opening orchestral introductory passages sound a little uncontrolled, as do Festival Preparations, and there seems to be a vicious mixing edit cutting the orchestra from the background of Love Theme. The final Scheherazade theme is fine but disappointingly Annie fails to build tension towards her final high climax. Add in the already mentioned problems and they all add up to a frustrating experience.

That really sums up this album. In general the band and orchestra play well, as you would expect from a bunch of talented professionals, but there are simply too many technical problems to ignore. The result is clearly no match for the Carnegie Hall set which must be first choice for anyone looking for a Renaissance live album, but can still be enjoyed if you can see past the buzz.

Line-up :
- Jon Camp / bass, vocals
- Michael Dunford / acoustic guitar, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion
- John Tout / keyboards
with
- Harry Rabinowitz and the Royal Philharmonic Orchestra


Track List :

01. Prologue (8:14)
02. Can you understand (11:17)
03. Carpet of the sun (3:48)
04. Can you hear me (13:58)
05. Song of Scheherazade: (25:17)




Downloads:

Code: 

Download Link

Pass:

Code: 

Download Link

King Biscuit Flower Hour Vol. 02 (1977) (@128)



This is the second of a pair of volumes principally derived from a concert performed in October 1977 at the Royal Albert Hall, London, with the Royal Philharmonic Orchestra. Essentially, observations about technical quality apply to both volumes: the recordings are crisp and dynamic, and the orchestra is exceptionally detailed, but they are plagued by a persistant buzz throughout as well as some inevitable hiss and hum, despite being mixed and remastered in 1997. Additionally, John Tout's piano sounds awful, and the mix, at least as regards balance between orchestra and band, is at best variable.

While Volume 2 will prove to be a less satisfactory proposition than its twin, opening track Running Hard is a very fair start though marred by an orchestra that is inaudible for a large part of the time and at others is too recessed. That apart, though, the band perform very well, almost too faithfully to the original studio version. Aside from the technical issues, this track compares well with the standard-setting Carnegie Hall set. Midas Man is played without orchestra, Dunford's 12-string acoustic providing the main motive force backed by a variety of synths. It works well and the layered harmonies are spot on.

Mother Russia begins well, and is another good performance spoiled by an odd disappearance of the orchestra which resurfaces later on. Touching Once is even more bizarre. Even when the orchestra makes a late appearance it can barely be heard until the instrumental interlude when things get a little chaotic during the section with a sax solo. Control is just about maintained but it is a close run thing! It ends on a rousing climax though. Ashes Are Burning closes the main set with a lengthy 27 minute version, ten minutes of which contains mostly unnecessary and tedious unaccompanied solo spots, the sort of over-indulgent nonsense that everybody did in those days. The remainder sounds OK though, especially rocking out in an extended coda with Annie's vocalese.

This volume is augmented by a couple of tracks from other sources to flesh out the running time. The first additional track presents a problem. It should be a version of Prologue recorded in July 1979 without an orchestra, but some early copies were pressed with live rendition of A Song For All Seasons instead before the fault was rectified. Inevitably, my copy has A Song For All Seasons: it's live, it is sonically quite different to the other tracks but source is unknown, it has probably been severely overdubbed. It is OK without being special. Final track - You - is a previously unreleased studio recording from approx 1981. Again, it is OK, but marred by an overuse of synths.

Overall this volume doesn't gel quite as well as Volume 1, due partly to the ten minutes of solo tedium that should have been left on the cutting room floor, and having two alien tracks tagged on at the end as make-weights. Otherwise it is a set of good to excellent performances spoiled by those persistant technical problems. If you can only get one, then get the first volume. Better still, get the 2CD Carnegie Hall set.

Line-up :
- Jon Camp / bass, pedals, vocals
- Micheal Dunford / acoustic guitar, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion
- John Tout / keyboards
with
- Harry Rabinowitz and the Royal Philharmonic Orchestra


Track List :

01. Running Hard (10:33)
02. Midas Man (4:33)
03. Mother Russia (10:01)
04. Touching Once (Is So Hard To Keep) (10:13)
05. Ashes Are Burning (28:02)
06. Prologue (9:02)*
07. You (8:21)**
a) Part 1
b) Part 2
* Recorded live on July 28th, 1979 at the Convention Center in Ashbury Park, N.J.
** Unreleased song.




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Novella (1977) (@256)



Following in the footsteps of “Scheherazade�, although not getting as brilliant in terms of overall musical quality and artistic magic, “Novella� still deserves a place of honor in the history of Renaissance, mostly because it is full of so many good ideas, the habitual exquisite performances (typically featuring Haslam’s captivating singing and Tout’s keyboards, including more synth than ever before), and excellent arrangements for band and orchestra.

Line-up :
- Jon Camp / bass, bass pedals, acoustic guitar, backing vocals
- Michael Dunford / acoustic guitar, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion, backing vocals
- John Tout / keyboards, backing vocals


Track List :

01. Can You Hear Me? (13:39)
02. The Sisters (7:12)
03. Midas Man (5:46)
04. The Captive Heart (4:16)
05. Touching Once (Is So Hard To Keep) (9:26)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Prologue (1972) (@256)



A slightly misleading title for this album, as it was actually the third release under the Renaissance name. In fairness though, the line up completely changed prior to the release of this album, which saw Annie Haslam take on vocal duties for the first time.

Renaissance were forerunners for present day prog bands such as Karnataka and Mostly Autumn, complete with predominantly female vocals. “Prologue� was a major step forward for Renaissance from their rather patchy debut album, containing as it does a number of very strong pieces.

The opening “Prologue�, and the closing “Raja Khan� are similar, in that they are both essentially instrumental tracks, even though they have female vocals. There are no lyrics, the vocals merely leading the melody, the way they do on Pink Floyd’s “Great gig in the sky� for example. Both are excellent tracks, well performed, and refreshingly original. The other tracks have more orthodox vocals. “Kiev�, my favourite track, is somewhat unusual in the it has a male lead. The track tells a lovely story, bisected by one of Renaissance classically based piano pieces.

A superb album of lush melodies, full of originality, great song writing, and great performances. The LP sleeve is very original too.

Line-up :
- Jon Camp / bass, tamboura, vocals.
- Annie Haslam / lead vocals, percussion
- Rob Hendry / guitar, mandolin, chimes, vocals
- Terry Sullivan / drums, percussion
- John Tout / keyboards, vocals


Track List :

01. Prologue (5:39)
02. Kiev (7:39)
03. Sounds of the Sea (7:09)
04. Spare Some Love (5:05)
05. Bound for Infinity (4:17)
06. Rajah Khan (11:14)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Renaissance (1969) (@256)



Following the break-up of The Yardbirds in early 1968 drummer Jim McCarty and guitarist/vocalist Keith Relf formed Together, an acoustic based group. This short lived then became Renaissance in early 1969 with the addition of John Hawken (keyboard), Louis Cennamo (bass) and Jane Relf (vocal).

So, this is the pre Annie Haslam period of the band. Musically, I would say this debut album has significant contribution in laying strong foundation of progressive rock music altogether with King Crimson, ELP, Yes, Genesis and Pink Floyd. Renaissance has its own identity than the others. This debut album sets an important milestone for Renaissance music direction in the future.

Jane Relf's vocals are not really always in the foreground: other musicians also sing on this album. For those who expect an Annie Haslam performance, then forget about it. The lead & backing vocals are interesting though. This record is definitely piano oriented: when there are piano or harpsichord, this album sounds quite classical baroque. On the first side, it is a bit disappointing to hear an outstanding first baroque part, followed by a rythmic piano rock ballad containing harmonica a la Zappa, and finally finished with a minimalist psychedelic instrumental part. This record, like the next one, has some psychedelic influences. The best moment is definitely the progressive part on Innocence: very structured and delightful! For 1969, this record is really avant-garde.

Line-up :
- Keith Relf / vocals, guitar, harmonica
- Jim McCarty / percussion, vocals
- John Hawken / piano, harspichord
- Louis Cennamo / bass guitar
- Jane Relf / vocals, percussion


Track List :

01. Kings And Queens (10:55)
02. Innocence (7:05)
03. Island (5:57)
04. Wanderer (4:00)
05. Bullet (11:24)
06. Island (single) (Bonus)
07. The Sea (Bonus)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Scheherazade and Other Stories (1975) (@256)



When somebody asks me about symphonic prog’ I always think of Renaissance and specially of this amazing release, the arrangements, chorus and Annie Haslam’s operatic voice are unique in the musical world and represent by own right what the word symphonic should mean.

Renaissance is a piano and vocals dominated band with elaborated arrangements but sometimes a bit light compared to most of the prog’ bands from the 70’s, not weak but softer and warmer. Using a comparison with sports, if Genesis and ELP are heavyweights that can kill the opponent with the first chord, Renaissance is like a middleweight, who also needs style and elegance to win the fight.

“Song of Scheherezade� a 24 minutes epic based on the 1001 Nights, it’s so impressive that people use to forget the rest of the album, something unfair because this release is well balanced and all the tracks have their own merits.

The album begins with a strange song called “Trip to the Fair� that starts with an impressive 3 minutes piano intro with chorus and light percussion that mixes with talent elements of different musical eras, which is suddenly followed by the wonderful voice of Annie. Maybe the problem with this song is that after the strong opening you expect something more powerful, but the band changes the direction of the song towards a softer and dreamy tune with some jazz chords that create a traveling fair atmosphere, but with the sacrifice of the power that the introduction make the listener expect, a good song but a bit uneven.

The second track (“Vultures Fly High�) has a better balance, starts strong and ends stronger, less symphonic and more rock oriented than the rest of the album but powerful and fast, the band members show they are capable of making good short songs.

Side A (in LP format) ends with “Ocean Gypsy� a softer song where again Annie’s vocals are the highlight, with evident participation of the rest of the members, this song is more predictable than all the other tracks but stronger than the previous because makes clear that Renaissance is a complete band, not only a piano and vocals duet.

Side B is what makes Renaissance a transcendental band, “Song of Scheherezade�, without doubt their most elaborate work, an epic that has everything, solid piano, good orchestra and chorus plus excellent work of all the band, the Arabic atmosphere is perfect and the vocals not exclusively by Annie Haslam are amazing, if you add the spectacular changes and sudden musical explosions you get an unforgettable masterpiece that must be listened before reading any review.

No progressive collection is complete without this album and “Live in the Carnegie Hall� where you can listen a more solid version of “Song of Scheherezade� (if this is possible).

Line-up:
- Jon Camp / bass, pedals, vocals
- Michael Dunford / acoustic guitar, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion, backing vocals
- John Tout / keyboards, backing vocals


Track List:

01. Trip To The Fair (10:48)
02. The Vultures Fly High (3:07)
03. Ocean Gypsy (7:05)
04. Song Of Scheherazade: (24:52)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Songs from Renaissance Days (@192) 1979



Songs From Renaissance Days is a collection of material that never made it onto a studio album. It was never intended as a mainstream release, and should therefore be approached as a bonus. One track - Island Of Avalon - was recorded in 1979 when John Tout and Terry Sullivan were still in the band. The remainder originated from the early 1980s when the core threesome of Annie Haslam, Michael Dunford and Jon Camp were joined by a variety of assistants.

Considering its genesis this is not a bad album at all. Many of the songs are of the standard of Camera Camera and in many cases are superior to most of Time-Line. There is good and bad though. Africa begins with clichéd African tribal sounds and rhythms before heading off onto an averagely nice song; Dreamaker is a pleasant lullaby-like ballad; Northern Lights is a new-wave version of the old hit single; No Beginning No End is very good Abba-pop; Only When I Laugh enters Diva territory with a slow ballad; The Body Machine is lively new-wave pop; Writer Wronged is a beautiful song with a sublime flute solo; Island Of Avalon jangles along spiritedly with the help of Tout and Sullivan; America is an average rendition of Paul Simon’s classic; finally, You is a true mini-mini-epic of old style Renaissance but stuffed full to the gills with wall-to-wall synths.

Clearly, the band were investigating the options at this time, though I don’t hear any punk …. ! Not a lot of Prog either really, nor much old piano-and-orchestra-and-acoustic-guitars symphonic Renaissance, but at least Annie is still here trying to make sense of it all without all the silly vocal affectations she adopted on Time-Line, and Dunford’s acoustic guitars make their presence felt occasionally amidst predominantly synth based arrangements. Overall, the kind of album that would appeal to someone who enjoys the soft-rock of Camera Camera or pop of Time-Line. Everyone else should beware.

Line-up :
- Michael Dunford / acoustic guitar, backing vocals
- Annie Haslam / lead and backing vocals
- Jon Camp / bass, backing vocals
- Terry Sullivan / drums (8)
- John Tout / keyboards (8)
- Peter Gosling / keyboards
- Eddie Hardin / keyboards
- Mike Taylor / keyboards
- Rod Edwards / keyboards
- Peter Baron / drums
- Gavin Harrison / drums
- Ian Mosely / drums
- Dave Dowle / drums
- Bimbo Acock - flute


Track List :

01. Africa (4:43)
02. Dreamaker (4:59)
03. Northern lights (4:24)
04. No beginning no end (5:06)
05. Only when I laugh (4:10)
06. The body machine (4:08)
07. Writers wronged (4:00)
08. Island of Avalon (2:46)
09. America (3:59)
10. You (8:18)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Time Line (1983) (@160)



Without a doubt, this is the worst Renaissance studio album you could possibly get. At this time, they had degraded to an 80’s pop combo and somehow didn’t notice that most of their 80’s peers were doing the styles they were trying out much better than they were.

Yes had enormous success changing their style because they still made great music, as well as Genesis. Even Gentle Giant made a decent new-wave influenced 80’s album (Civilian) despite it being unnoticed by the general record buying public, and King Crimson at this time sounded nothing like their former selves, yet updated the style to fit with the times while sticking to their forward-thinking ideals.

Renaissance, however, did not have such luck making the transition to one of the worst periods of rock music. Any listen to their classic material would tell you why. At least Yes, Genesis, King Crimson, and Gentle Giant “rocked� within the hearts of their somewhat dissonant, complex songs. Renaissance always took a more pastoral, acoustic approach, and had orchestral accompaniment most times. To try to transition to new wave and synth-pop from their old style would have been (and was) one of the most jarring transitions you could possibly ask for.

At least Camera Camera was entertaining. At this point, they were trying to incorporate their old, “classical rock� approach with the new wave ideals, and at this point they were doing both well although the clash of styles was somewhat jarring. With “Time Line� they made the full transition, and the end result was downright ugly. The album is full of sequenced drums, cheesy basslines, and ugly 80’s synths. This goes without mentioning that sonically, as well as melodically, most of the album is disposable.

Line-up :
- Jon Camp / bass, guitar, lead & backing vocals
- Michael Dunford / acoustic & electric guitars, backing vocals
- Annie Haslam / lead & backing vocals


Track List :

01. Flight (4:06)
02. Missing persons (3:34)
03. Chagrin Boulevard (4:22)
04. Richard IX (3:38)
05. The entertainer (4:44)
06. Electric Avenue (4:55)
07. Majik (3:09)
08. Distant horizons (3:56)
09. Orient Express (3:54)
10. Autotech (5:21)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Turn of the Cards (1974) (@256)



The usual wonderful, folky, symphonic, naked sprint through a fragrant autumn meadow you may have come to expect from Renaissance at this time...and why not?! Turn of the Cards is in my opinion a prog masterpiece. Big words, I know, and I never thought Ashes are Burning could be topped, but this album, the bridge between Ashes are Burning and Scheherazade, does not fall over for a second. Every track is a gem.

The bands performance is stunning as ever, John Tout in particular plays a fine album. The classically inspired piano intro to 'Running Hard' sets the mood perfectly and the graceful symphonic fall into the song itself produces one of those 'hair on the back of your neck moments' Did for me anyway! (Check out the live version on Carnegie Hall!!) This is currently my favourite track on the album. The pace of the song gives the impression of charging headlong; wonderful musical onomatopea (yes I know. That's not how you spell it) "Things I don't Understand" is another classic with great harmony vocals and a floating haunted feel, as it changes pace and mood, skillfully executed by these very talented musicians.

Mother Russia closes the album perfectly. Another Renaissance epic, or perhaps semi epic, to stand proudly alongside 'Ashes are Burning' and 'Song of Scherazade'. An addictive album, skillfully played and written with beautiful classical references and one of the best vocal performances from Annie Haslam I've heard.

Line-up :
- Jon Camp / bass, vocals
- Michael Dunford / acoustic guitar, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion, backing vocals
- John Tout / keyboards


Track List :

01. Running Hard (9:37)
02. I Think of You (3:07)
03. Things I Don't Understand (9:29)
04. Black Flame (6:23)
05. Cold is Being (3:00)
06. Mother Russia (9:18)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Tuscany (2001) (@224)



As the twentieth century drew to a close it seemed possible that the elements were in place for a reunion of Renaissance's classic line-up. A reunion duly occurred but significantly without bassist Jon Camp or lyricist Betty Thatcher-Newsinger. In the event, John Tout was able to participate in only a few of the recording sessions, adding his trademark piano to the keyboard orchestra of new boy Mickey Simmonds. Annie Haslam took on the role of lyricist while Camp was replaced by Alex Caird on bass.

The result, while not exactly a return to form, is still a magnificent achievement, similar in many ways to Yes's 'comeback' album Magnification. While the sound here is clearly identified with the Renaissance of the 1970s, yet it also has moved on: less complex, shorter and fewer instrumental passages, a smoother more dignified sound where the ideas no longer tumble after each other in a rush but build sustainable atmospheres and moods. Economics also play a part as flesh-and-blood orchestras are replaced by a synthetic variety consisting mostly of strings!

Considering some of the poor efforts of the early 1980s, it is a relief to find Michael Dunford has not, after all, lost the ability to write memorable well-crafted tunes that stick in the mind long after the CD has finished. And Annie has contributed some fine lyrics, addressing topics like the plight of beached dolphins [Dolphin's Prayer], using race-running as a metaphor for a need for acceptance and popularity [The Race], or an open letter to the 18thC painter/sculptor who created the lions in London's Trafalgar Square [Dear Landseer]. Nothing earth shattering at all but something with a little more meat than the generic adult relationships of several songs.

As in their heyday, songs are written specifically to suit Annie's voice, using her range and abilities to enhance rather than superficially impress with unnecessary theatrics. She sounds wonderful, as good as she has ever done. Musically they range from simple ballads where Annie is accompanied only by lush keyboard orchestration [Eva's Pond and Dolphin's Prayer], to more energetic songs with longer and more developed arrangements [Deer Landseer, One Thousand Roses and especially The Race]. The interest is in detail and dynamic, rather than complexity: a delicious 'flute' solo, a sexy trill from Annie, a Mellotron-like string-pad, a jig-like keyboard riff, or a brief section of male harmonies from Roy Wood. These are the things that make this album special.

Taken on merit, Tuscany is a very fine album indeed, clearly tracing its lineage to the great days of the 1970s, yet replacing youthful energy with a sage maturity. The emphasis is less on instrumental dexterity and more on overall quality of performance concentrating on their greatest asset - Annie's voice. It is perhaps what you might expect them to make after all this time. Sadly, and very frustratingly, the nature of human egos mean Tuscany is likely to be the last original work from Renaissance. If so, then it stands as a fitting epitaph to a great band.

Line-up :
- Annie Haslam / lead and backing vocals
- Michael Dunford / acoustic guitars, backing vocals
- Terence Sullivan / drums, percussion
- Mickey Simmonds / keyboards, backing vocals
with
- John Tout / piano (2,4), Harpsichord (4), keyboards (8)
- Roy Wood / bass (4,5), keyboards (5), backing vocals (8), percussion (9)
- Alex Caird / bass (1,2,6,7,9,10)


Track List :

01. Lady From Tuscany (6:40)
02. Pearls Of Wisdom (4:25)
03. Eva's Pond (3:40)
04. Dear Landseer (5:19)
05. In The Sunshine (4:25)
06. In My Life (5:26)
07. The Race (4:58)
08. Dolphins Prayer (3:19)
09. Life In Brazil (3:40)
10. One Thousand Roses (7:12)




Download:

Code: 

Download Link

Pass:

Code: 

Download Link

Renaissance - Renaissance (1969)




TrackList:

01 Kings & Queens 10:56
02 Innocence 7:07
03 Island 5:58
04 Wanderer 4:02
05 Bullet 11:20

Personnel:
Keith Relf (vocals, guitar, harmonica),
Jim McCarty (drums, vocals),
John Hawken (keyboards),
Louis Cennamo (bass),
Jane Relf (vocals).




Download:

Code: 

Download Link