Published on Aug 31, 1999
I am not normally a fan of live albums – I prefer the controlled
surroundings of the studio, where the artist can hopefully make
music as close to the version in their head as is possible. As with
everything in life, though, there are exceptions to this rule –
Deep Purple’s
Made In Japan, Camel’s
A Live Record and Utopia’s
Another Live are examples that spring instantly to mind.
Meet another one – Renaissance’s
Live At Carnegie Hall. I managed recently to pick up this
double LP at an embarrassingly cheap price in a second hand shop –
bargain!
This is the second main incarnation of the band – the founder
member, and former Yardbird, Jim McCarty having left during the
creation of
Prologue, the band’s second album. On this release may be
heard the highly-rated Annie Haslam (vocals), Mike Dunford (vocals
and guitars), the excellent John Tout (keyboards), Jonathan Camp
(Bass) and Terence Sullivan (Percussion). For the live performance,
add a major credit for the New York Philharmonic Orchestra.
The opening track is “Prologue”, written by Dunford, the only
track on the album from the previous version of the band. It
consequently has a substantially different sound about it. Smoothly
played, there’s a free-form, jam session feel to it. There’s a
classically-played piano, bass and drum break that is simply
joyful, subsequently slowing to a thoughtful treatise bearing
Haslam’s trademark haunting vocals.
We then hear the first of several irritatingly chatty verbal
introductions. I really could do without these spoken interludes –
oh, well. “Ocean Gypsy” is a ballad off the
Scheherazade album from 1975. It is principally a vehicle
for Haslam’s vocals, but the song suffers an excess of saccharin
and I start to tire of hearing it before too long. There’s an
instrumental middle section where things start to pick up – I love
Haslam’s voice, but it is possible to get too much of a good
thing.
Last track on Side One, Disc One of the LP is “Can You
Understand”, off 1973’s
Ashes Are Burning. There’s a stirring piano intro, with bass
guitar purposefully high in the mix. The song has a dreamy,
ethereal feel, with excellent matching of vocals and
instrumentation. Tout’s keys are terrific.
“Carpet Of The Sun” is another track from
Ashes Are Burning. The live version is rather good, perhaps
due to increased energy from the live performance, and from the
added dimension that an orchestra can lend. Haslam’s vocals have
rarely been better, and rate comparison with Karen Carpenter for
richness and assurance.
Next is the turn of “Running Hard”, from 1974’s
Turn Of The Cards. The piano introduction leads to a rather
uninspiring patch, although Dunford and Haslam link up well
vocally. Then, suddenly, there is an interesting sort of fugue
going on, enhanced and augmented by the orchestral accompaniment.
The track winds down melodically to a finish, and is thus rescued
from the mediocrity one originally feared.
Last track of the first disk is “Mother Russia”, another track
from
Turn Of The Cards. The sound is dramatic, and Haslam’s
vocals dominate. By now, we expect a busy first section to give way
to an introspective middle, hauntingly realised by Haslam, and we
are not led astray. Things work themselves to a minor crescendo,
but overall, this track seems rather bland to me.
The second LP disc has two tracks only, both epics in the true
sense. “Scheherazade” is a long piece in three movements, and is
based upon the classical work by Rimsky-Korsakov. A partially
amusing, but mainly distracting spoken lead-in gives way to a
suitably Arabian-sounding intro. The first movement is definitely
classically-inspired, absolutely full of drama and power. The use
of orchestra enables the creation of numerous sound textures,
coupled with a very grand feel.
Before things get too far out of hand, there’s a bass guitar
lead, together with choral accompaniment, which provides a bridge
to the actually telling of the story. Rather refreshingly, it is
Dunford who assumes this mantle, with Haslam providing backing. A
moving duet ensues, as Scheherazade’s tale is woven into that of
the Sultan. Tout’s keys once again thoroughly impress me, and then
there is a vivid demonstration of why a mellotron, much as I enjoy
that instrument, is no substitute for an orchestra.
Piano and percussion perform a cat and mouse affair that
introduces the second movement, whereupon the orchestra is allowed
to take centre stage for a time. An extremely attractive fugue
follows, with piano, driving bass, orchestra overlaying the action
and a lovely la-la-la vocal backing. There is a wonderful sense of
power and of movement here. Things slow down for a sensitive flute
and guitar duet, then there’s a piano reprise of one of the main
motifs from the first movement, the “Cruel Sultan King” refrain
sung by Dunford. The stirring finale is sung by Haslam.
The use of an entire side of an LP allows for a great deal of
ground to be covered, but at no time does the band seem to lose
direction or impetus in composition or execution, a feat not always
emulated by other progressive bands of the period (I won’t mention
Yes’
Tales From Topographic Oceans at all).
“Ashes Are Burning” is the track of the eponymous album which
covers the second side of the second disc. It features Haslam’s
soaring vocals, and some really beautiful melodies, interspersed
with jazz-rock jam sessions. Good movement throughout. Some
listeners may wonder where the track is headed, but I suggest that,
if you have made it this far having played all the previous songs,
you won’t be unduly concerned. Enjoy the ride.
Renaissance were, at this stage of their career, at the height
of their creative and performing prowess. The only thing they lack
for me were transcendent moments of beauty, preventing me from
conferring the highest of grade score, but they represent essential
listening for the dedicated prog-head.