I guess that, like many, I became acquainted with the lush symphonic sound of Renaissance through their wonderful 1978 single Northern Lights and the album ‘A Song For All Seasons’, from which it was taken. Renaissance were a very different sort of group to many others, they seemed to possess some different kind of stature and class and style. They, of course, had quite a history and an extensive back catalogue of music. I remember getting the excellent compilation albums ‘Tales Of 1001 Nights’ Volumes 1 and 2 on import, both expensive but gathering together much of the essential Renaissance canon.
After ‘A Song For All Seasons’ came the somewhat less brilliant ‘Azure d’Or’ in 1979, which effectively finished the group as the coming years were not good for Renaissance. After their contract with WEA ended they signed to Miles Copeland’s IRS label which was a much smaller label and lacked much commercial clout and promotional skills. The band released the very different ‘Camera Camera’ album, as it largely ditched the lush symphonic sound to be replaced by a techno pop style that was largely ill suited to the band and, as such, they lost a lots of fans. This was compounded by the disastrous ‘Time-Line’ album which muddied the water even further with a move towards pop music which, again, did not yield the expected results and, as such, the album bombed significantly with the inevitable departure of Jon Camp.
Annie Haslam and Michael Dunford recruited some US musicians and continued to tour both the USA and Japan, both of which were strong markets for the band. However, in 1987, the group disbanded until, in 1998, Haslam, Dunford, and Terence Sullivan regrouped once again to work on new material that was more in keeping with the heyday in the 1970’s. They were also joined by John Tout on several tracks, with keyboardist Mickey Simmonds further augmenting the band. The resulting album, ‘Tuscany’, marked a return to form. Although its release was delayed until October 2000, the album was well received by fans and marked a strong return to form for Renaissance. In 2001 the band returned to Japan once more where they recorded a show in Tokyo, which later emerged as the live release ‘In The Land Of The Rising Sun’. This is included in this 3CD reissue of ‘Tuscany’ and it sounds very good indeed including, as it does, four songs from the ‘Tuscany’ album alongside familiar Renaissance staples like Carpet Of The Sun, Opening Out, Northern Lights, Mother Russia and Ashes Are Burning.
‘Tuscany’ the album is very much a return to form with excellent performances and strong and satisfying tracks like Lady From Tuscany, Pearls of Wisdom, Dear Landseer and the very epic One Thousand Roses which, again, recaptured much of what those difficult early 1980’s albums had thrown out. This was Renaissance reborn and revitalised, this made everyone happy that, from the ashes of disaster, a stronger, energised and invigorated incarnation had risen like a phoenix.
The album begins with the stately and lushly symphonic Lady From Tuscany, which has a graceful and powerful vocal from Annie. The song is very sensual in parts and is an excellent opening song which shows the Renaissance we loved are back in style. Pearls of Wisdom is another glorious track, again, very sensual lyrically and sumptuous musically. This is followed by the wonderful Eva’s Pond with its delicate piano motif and lush orchestral backing and the clear distinct voice of Annie Haslam, who adds a touch of class with her delicate and yet powerful vocals, another beautiful song. Next is the excellent Dear Landseer, which is the story of a painter who’s work is appreciated in royal circles with resulting commissions happening.
In the Sunshine features Annie’s ex partner Roy Wood on bass and keyboards, he also produced the track with Annie and Michael Dunford. Again, this song has a very sensual theme and oozes passions, mostly unfulfilled but hopeful, it is a wonderfully evocative song with excellent performances and strong content. You can capture much of Wood’s multi instrumental brilliance here, this wouldn’t have been out of place in his own earlier works. In My Life is rather more introspective in tone and wistful as the words seem to seek to right previous wrongs and lack of support. it is a very honest track and has lots of warmth and hope in its themes, another well written and delivered piece of music. The Race is another great sounding track with a great bass line from Alex Caird, who plays beautifully on this track, really driving it along with Mickey Simmons’ synths adding gracefully to the lush orchestral sounds. It is a rather up-tempo song for Renaissance but it really does work well for them here, most impressive sounding. Dolphin’s Prayer opens with a sole synthesiser sweep and sound, this shorter track has some exquisite vocals which show the strength of Annie’s voice to great effect.
The penultimate track, Life In Brazil, is rather good too, having a slightly Latin feel to it in parts. It works well enough but I feel that it somehow isn’t bold enough in embracing its Latin roots, it’s good but could have been outstanding. The album closer One Thousand Roses returns us to the sensuality that pervades much of this album, speaking as it does of an unrequited love and unfulfilled passions. There is much aching and longing to this track and it is a strong conclusion to what is a really strong later album from Renaissance. It’s great to have the band back, once again treading a well loved path and having new adventures which continue to this day.
Released 3rd May, 2024.
Order from Cherry Red Records here:
Renaissance: Tuscany, Expanded 3CD Edition (cherryred.co.uk)
