RENAISSANCE : DELANE LEA STUDIOS 1973

1. Can You Understand?
2. Let It Grow
3. Sounds Of The Sea
4. Carpet Of The Sun
5. At The Harbour
6. Ashes Are Burning
7. Prologue.

Label : Purple Pyramid Records (Cleopatra)

Release Date : February 3, 2015

Venue : DeLane Lea Studios, London, UK

Recording Date : October 1973

Length : 51:14

Review (Let It Rock) : 1973 was a special year for Renaissance for it was then that the band's classic line-up solidified, yet it also marked the first time when the group didn't follow their latest album with a tour - for economic reasons. Instead, they opted for a one-off performance in a recording studio at Wembley for a small audience, which resulted in this unique document taped from soundboard and having been on a bootleg circuit for years in inferior quality. More so, it resulted in much tighter, than on-stage, performance, with the accent on the instrumental interplay rather then Annie Haslam's soaring voice. Fantastic as ever, the singer sends a crystal note to the sky in "Ashes Are Burning" - the symphonic-to-jazz title epic from the then-recently released LP, embellished here with Al Stewart's backing and Andy Powell's highly charged bluesy solo - but it's Terry Sullivan's drums and Jon Camp's bass that build a solid foundation at the bottom end of the ensemble work. The stunning dynamics are at play from the opening salvo of "Can You Understand" to the last effusive chords of "Prologue" whose heart marries samba to baroque dance, and relent only on a new song "At The Harbour," where ethereal organ and Michael Dunford's gentle acoustic picking provide a safety net for an otherwise a cappella delivery. This piece, together with "Sounds Of The Sea" from the previous album, which saw the second advent of Renaissance, would soon be dropped from the group's set yet swells delicately for a while, floating on John Tout's piano. Just as innocent, the largely acoustic "Let It Grow" demonstrates the band's handling of intricate vocal polyphony, while "Carpet Of The Sun" is, for all its romanticism, dappled with experience, one to carry the quintet through their orchestra-shrouded '70s. No such strings attached yet, it's the beginning of the band's song for all seasons.

Review (Dime) : What makes this performance so special ? As the group progressed from this point on, the music became richer, denser, and more complex. It also became darker and morose. By contrast, this show is bright and airy and is absolutely bursting with good vibes. Like me, you may get an epiphany from time to time from listening to it! As an added bonus, Annie and co. brought in Andy Powell (from Wishbone Ash) on guitar and Al Stewart on backup vocals for a sterling "Ashes Are Burning". This is one great show!

Review (Amazon) : A captivating live-in-the-studio release from 70s prog rock icons Renaissance performing to a small gathering of friends at the historic De Lane Lea Studios (used by everyone from The Beatles to Queen, Jimi Hendrix & Pink Floyd)! Beguiling vocalist and ingenue Annie Haslam leads her group through nearly the entire fourth album Ashes Are Burning with special guest appearances by Wishbone Ashs Andy Powell and folk singer Al Stewart! The history of Renaissance is essentially the history of two separate groups, rather similar to the two phases of the Moody Blues or the Drifters. The original group was founded in 1969 by ex-Yardbirds members Keith Relf and Jim McCarty as a sort of progressive folk-rock band, who recorded two albums (of which only the first, self-titled LP came out in America, on Elektra Records) but never quite made it, despite some success on England's campus circuit. Their first album in this incarnation, Prologue, released in 1972, was considerably more ambitious than the original band's work, with extended instrumental passages and soaring vocals by Haslam. Their breakthrough came with their next record, Ashes Are Burning, issued in 1973, which introduced guitarist Michael Dunford to the lineup and featured some searing electric licks by guest axeman Andy Powell. Their next record, Turn of the Cards, released by Sire Records, had a much more ornate songwriting style and was awash in lyrics that alternated between the topical and the mystical. The group's ambitions, by now, were growing faster than its audience, which was concentrated on America's East Coast, especially in New York and Philadelphia -- Scheherazade (1975) was built around a 20-minute extended suite for rock group and orchestra that dazzled the fans but made no new converts. A live album recorded at a New York concert date reprised their earlier material, including the ""Scheherazade"" suite, but covered little new ground and showed the group in a somewhat lethargic manner.

Review (ProgArchives) : Annie Haslam, vocalist of Renaissance, earned the sobriquet of Queen of progressive rock for her incredible exploits. But even she had to start somewhere. Given that her first proper band experience (excluding the cabaret band she was in earlier) was with Renaissance, she was still finding her feet in the early years. While her innate talent and classical training gave her a headstart, the contrast with her mid 70s peak is pretty stark. As it is, unfortunately, on this album. On the face of it, the track selection alone should make this album, taken from a 1973 concert at DeLane Lea studios, a winner, even within the cornucopia of Renaissance live albums. Let It Grow, At The Harbour and Sounds of the Sea aren't on any official live releases of the band, though the former did make it to Annie Haslam's solo live album Brazilian Skies. Further, Andy Powell and Al Stewart guest on Ashes Are Burning, making it one of only two recorded live performances which have the guitar solo (the other being the Academy of Music concert). But, as said above, Annie is yet to attain the sheer, frightening perfection she would only a couple of years down the line. There are pitch issues but I wouldn't mind them so much if not for another issue that really spotlights them: her attack. At this point, her attack is still a bit harsh and it makes her singing sound stiff (in comparison to what she would go on to do). If you were to compare her performance of Carpet of the Sun here to the one on Midnight Special in 1977, it is particularly evident. There was, after all, a point of time when even a singer as great as her was worried about getting it right. Ironically, this fear pushes her into committing more errors than she would in concerts from later on where she simply cut loose. Not to worry, Annie's B minus game is still pretty damn good and the vocalese coda of Sounds of the Sea is especially gorgeous, with an unexpected twist at the end. There is also the mesmerizing coda of At The Harbour to savour. And as in so many other shows, she raises her game come time to perform Ashes Are Burning. The musicians perform their parts impeccably well and with feeling, which too forgives a lot. The sound isn't awesome but it will do. So what gives? Just that there isn't a compelling reason to add one more Renaissance live album to your collection here. Not unless you are particularly fond of the rawness of bands in their early days, say like the popular music reviewer George Starostin. Me, I do like the rawness but only when it adds to the energy of the performance. Rawness can also mean hesitation and lack of confidence and there's more of that here. Renaissance gave better concerts than this one and plenty of them. But if you do get this album, you won't regret it.

Review (Wikipedia) : Renaissance DeLane Lea Studio 1973 is een livealbum van Renaissance. Het album is een soort nakomertje, want de band is ten tijde van uitgifte al jaren opgeheven, al zijn er af en toe reünierournées. Het album bevat opnamen van een optreden dat de band verzorgde in de DeLane Lea geluidsstudio eind 1973. De band zag zich geconfronteerd met de reisbeperkingen door de oliecrisis van 1973, maar ook door hun eigen standpunt, dat een concertzaal (voor popmuziek) wel een vleugel moest hebben, wilde de band komen optreden. De mogelijkheden voor optredens waren daardoor dusdanig beperkt dat Renaissance alleen tot een optreden kwam in een geluidsstudio. Het publiek bestond uit een beperkt aantal toehoorders, meest familie en kennissen. De hoesontwerper Hipgnosis leverde een foto van de band voor de achterkant van de hoes.