Customer Reviews

Prologue

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4 star:		(8)
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If that title seems a little confusing, there's a good reason. This is actually the third lp from Renaissance, the group formed out of the ashes of The Yardbirds, founded by Yardbirds vocalist Keith Relf and drummer Jim McCarty. After two imaginitive early albums, Relf died in a freak home electrocution and McCarty left the band. Between the second album and this release, the entire personnel of the band changed -- not one person who plays on this recording was on the last one (the band's name, meaning of course 'rebirth', is now doubly appropriate). There is some continuity -- McCarty had a hand in two of the songs ('Kiev' and 'Bound for infinity'), and the band's classical influences remain strong.

This is the first time listeners were exposed to the beautiful vocals of Annie Haslam, soon to become one of progressive rock's most respected voices. John Tout's masterful keyboard work dominates instrumentally -- from the open bars of the first track, a causal listener might think a classical disc might have been substituted by mistake, but with the entry of Jon Camp's bass and Terry Sullivan's drums, the classical and rock influences mesh thoroughly and effectively. Rob Hendry's guitar work is tasteful throughout as well. An added treat is the guest appearance by Francis Monkman (ex-Curved Air) on synthesizer on the final track, 'Rajah Khan'.

Throughout their long career, the music of Renaissance was always very impresionistic and evocative -- and the evidence of that can be heard very clearly on this excellent recording. By the time of their next release, ASHES ARE BURNING, the band had gelled even further, and they were off and running, composing their own material and making a very respectable name for themselves in the area of progressive rock.

An essential audio document of an important genre. Nice to see it available at a reasonable price.

John Tout's impressive piano playing and Annie Haslam's high flying soprano brought Renaissance back with "Prologue," the band's first album with the completely revamped lineup the went forward with the name after an earlier carnation with ex-Yardbird Keith Relf. It was this lineup that brought the group its greatest success. For that reason, "Prologue" can be ultimately viewed as a debut effort. While not flawless, it remains a noteworthy album.

Here it is the keyboards that provide the groundwork for the band's music, unlike the more orchestral approach it would take on later efforts. The majestic "Kiev," and the soft, gentle "Bound For Infinity" are the real highlights here. While occasionally sounding a mite dated, each perfectly sums up the band's sound at this stage of the game.

The only real misstep here is the eleven minute closing instrumental "Rajah Khan" which may have sounded good in 1972, but today comes across as little more than a pretentious experiment -- the kind that often (and rightfully) gives 70's "progressive rock" such a bad name.

But on the whole this is an enjoyable effort, and one that should be of great interest to those who enjoyed later efforts like "Turn of the Cards" and "Scherazade."

This initial album from the most beloved of the progressive/classical rock bands is certainly a mixed bag and it is not surprising that only the opening title track was included on the initial two-volume Renaissance CD. Michael Dunford, who had yet to become as comfortable with performing as he was with composing, wrote the music for four of the six songs but officially left the group before "Prologue" was recorded. However, there are clear signs of what was to come from the group. The influence of classical music is seen in Dunford's "Prologue" interpolates Chopin and Bach while the Jim McCarty piece "Kiev" quotes Rachmaninoff. All of the lyrics are penned by Betty Thatcher, the reclusive Cornish poetess, and sung by the glorious Annie Haslam.

In retrospect it is certainly interesting to look at the the rough beginnings of "Spare Some Love" as a "pop hit" and "Rajah Khan" as a lengthy instrumental set piece and then compare them with "Carpet of the Sun" and "Ashes Are Burning" on the group's very next album (the two albums were released as a CD set "Renaissance: In the Beginning") by Capitol some time back), the point at which Renaissance can truly be said to have found its voice.

The first Renaissance album recorded with Annie Haslam on vocals, this album stands along with their best work. The familiar elements of the classic Renaissance sound are all here - the classical music influences, the piano dominated arrangements, and Annie's soaring vocals. Sit down, turn up the volume on your stereo, and listen to the opening track. You'll be swept away by the power and beauty of the music.

Prologue was actually Renaissance's third album but the first to feature the hypnotic voice of Annie Haslam. The first time I heard her sing in the first minute of the opening title track I was hooked! Of course, Renaissance went on to pioneer the symphonic rock formula that's become so popular in recent years but it's the lack of an orchestra that makes Prologue so intriguing. Instead of the literary pretension of the band's later orchestral works you have 4 musicians and one incredible voice stretching the boundaries as far as they'll go. Like most artists trying to carve out a new sound sometimes they fail but when it succeeds it's remarkable. Check out the title track, the roughcut original version of Share Some Love and Annie's haunting vocalizations on Rajah Kahn. This one's right up there with the seminal early works of progressive rock like 'The Yes Album' and 'The Lamb Lies Down on Broadway'.

I fell in love with this album back in the Summer of '77! Listened to it daily! Annie Haslum's voice is like an Angel!

Even know, some thirty plus years later I can still remember the first moment I heard the song "Prologue" come out of a schoolmates speakers. When Annie Haslam started to sing I was hooked on this band and the rest is history. This band is just about perfect IMHO. Annies vocals and the other bandmembers compliment one another to a tee.

This album marks them as a "progressive" band. (I don't know what they were with Jane Relf, but I think by this album they had an entirely different lineup.)Their sound is clearly progressive, with elements of classical, jazz and classic rock, but it is also a simpler style than some of their later albums, which had more long instrumental sections. I love their other albums too, but to me Prologue is like Dream Theater's Awake in being complex, but not as overwhelmingly intricate (to some) as their later works.

"Prologue" is an experimental-type song, with vocals that don't contain words. It's a happy feeling song and the middle section makes me want to dance. "Kiev" is a story telling song with some cool bass parts, more great piano sections, and it sounds sad until the very end. "Sounds of The Sea" is a slow piano song, these days too slow for me but still a beautiful song. "Spare Some Love" is a very hippie-like song. "Bound For Infinity" is slower, but also one of my favorites, sad and beautiful. "Rajah Khan" is the closest thing they've ever done to heavy metal. I love the intro. This song is another wordless-vocal song, which is very psychadelic and trippy, kind of tribal, and one of the weirdest songs I've ever heard. I love it!

This album contains a lot of beautiful 3-part harmonies and a lot of skillful, sensitive piano playing, which sometimes contains sections of classical music. Every time I hear piano playing in modern music it makes me think of Renaissance.

To me, this is Renaissance's best album, followed by many more. I love everything about it. And of course, Annie Haslam is the best singer in the world. I love her to death. I've listened to this album (in record form too!) and stared at its surreal cover ever since I was a kid and it has had so much influence in my life.

Definately their best album... Spare some love is my favorite song ever. It doesnt have as much pretentiousness as their other albums... The best album by my favorite band... yeah... its good

I just cannot believe that this was made in early seventies.
The progressive is dead after 1990.
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