Search - Renaissance :: BBC Sessions

Typically strong live performances

R. Josef | New Haven, CT United States | 03/07/2003

(4 out of 5 stars)

"Although Renaissance had previously released two double disc live albums ("Live at Carnegie Hall", a 1975 performance, and "King Biscuit: Live at the Royal Albert Hall", 1977),those performances were atypical of a concert by the band because they had full sympohny orchestras backing them up. The question when going to see the band live, usually was: could they perform their elaborate studio creations live without an actual orchestra? After all, they couldn''t carry a symphony with them everywhere!For those of us who had seen the band live in their heyday, the answer was a resounding "yes", but "BBC Sessions" provided the first recorded proof. Taken from concerts from 1975 to 1978 and covering material from the first six studio albums with Annie Haslam, the band is in great form. Underrated keyboardist John Tout provides exciting piano, synthesizer and Mellotron sounds which make the live tracks sound generally full and rich. The other band members also provide twists which make up to a certain extent for the lack of strings -- vamps from bassist-as-lead guitarist Jon Camp; percussive flourishes from Terry Sullivan; vocaleses from the amazing Annie. The mix ensures that all the band members' parts are clear and audible.The material generally comes across well. Of special note are the first live appearances of two songs, "The Vultures Fly High" and "Day of the Dreamer". The only problematic track is the 25 minute suite "Song of Scherezade". The piece that most depends on an orchestra, the band can't quite make it work on their own -- they even have to resort to a tape of the studio version for one brief section. But that's really the only complaint. The occasional sonic flaws (feedback, improper miking on occasion) don't distract from these beautiful performances. The "King Biscuit" CD's are better, because of the thrill of the orchestra, but "BBC Sessions" shows what you were more likely to hear if you went to a 70's Renaissance show. For those of you not lucky enough to be there, here's your chance!"

Could have been better

KEVIN C. DELAHANTY | Newburyport, MA United States | 01/13/2003

(4 out of 5 stars)

"Right out of the box: I'm a Renaissance fan. Have been for years. I have all of their albums. Original vinyl releases.
So much for disclaimers. This album, although enjoyable, could have been better. What I find rather disingenuous is when artists tell you (in the liner notes) that they left in the little glitches so as to preserve the live feel. C'mon, who do they think they're kidding? Stop the nonsense, you already have our money!
A balance has to be struck within the heart of the consumer as to how much he/she enjoys an artists' music & what level of quality that music is presented below which the consumer says "No!" I don't need a performer telling me they are trying to preserve the live feel of a recording when what they're really doing is justifying shoddy production efforts.
I am glad these recordings were finally released. I just wish the moneychangers who profited from their manufacture spent a little more quality time dusting off these gems."

An Impressive Progressive Rock Album

saintchris7 | dirty jersey | 11/30/2000

(4 out of 5 stars)

"I just picked up this album on a whim the other day, and while I don't know alot about progressive rock, this album really impressed me. Also, I own a number of other BBC live albums, all of which are good. One of things I found most interesting about this album was the instrumentation. Most of the songs are long, over, or just under ten minutes, and often contain different musical parts, somewhat like classical music. One of the standout elements of the music is the abscence of lead guitar solos. The guitarist, Michael Dunford, sticks mainly to understated finger-picking or strumming which works very well. Annie Haslam is Renaissance's vocalist. She is very expressive, and sings very well with their faster paced songs such as Vultures Fly High, just as well as she sings on such pieces like Song of Scheherazade, the epic, wandering twenty-five minute song that closes the first disc. The other three members of the group fill out the music with keyboards, bass, and drums. John Tout, the keyboard player uses both the piano sound and synthesizers. This is probably my only complaint about the album. During some of their longer instrumental workouts, John Tout's synthesizers can become somewhat boring, however, this is only a small complaint. I think you will find that in this album's mix, John Camp's bass work stands out, which is good because you can hear how he fills his space with really beautiful bass lines. To finish this, I would like to say that while this whole album is enjoyable, the standouts are Midas Man and Song of Scheherazade on disc one, and Ocean Gypsy, Mother Russia, and Ashes are Burning on disc two. Big thanks to the BBC for releasing this great set of live music!"