Customer Reviews

Tales of 1001 Nights, Vol. 1

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This first volume in the 1990 Renaissance retrospective, also known as the "Orange" one, covers the progressive (nee classical) rock group's work from 1971-76. There is only the title track from their first album "Prologue," and then a marvelous representation of the best work from their three greatest albums.

It is interesting to note that the first three tracks--"Prologue," "Can You Understand" and "Carpet of the Sun"-are all live versions from the group's Carnegie Hall concert album. Most fans have usually considered these superior versions to the original recordings since it took the group a few albums to get a true feel for arranging their songs with the lush orchestrations that characterized their best work. The four tracks from "Turn of the Cards," my personal favorite Renaissance album, are where you can best appreciate not only Annie Haslam's voice but how it was as well integrated into the songs as any of the other instruments being played. "I Think of You" and "Black Flame" are relatively simply songs from the group's repertoire, while "Running Hard" and "Mother Russia" are totally representative of their more ambitious, longer, more deeply textured and layered works.

The only complaint would be the under-representation of the "Song of Schehrazade," with only "The Young Price and Princess" segment included, but it is understandable that the entire 25-minute cantata does not appear. There are plenty of other gems contained within. Devotees of Renaissance will note that one particular song is missing from this disc, namely the title track from their second album, "Ashes Are Burning." This was the group's celebrated encore piece, because it lent itself so well to solo efforts by everyone in the band, and the 24-minute live version from their Carnegie Hall concert album is quite appropriately the final track on the second disc.

Of the two volumes in this set, it is the first one that is going to get the most time in the CD player. Unlike most "greatest hits" efforts, this one is laid out chronologically, which allows you the see the growth of the group, as well as its sudden decline after an abrupt change in musical direction, represented by the pair of tracks from the "Azure d'Or" album on the second disc. However, this first album does show the work of musician Michael Dunford and lyricist Betty Thatcher at its zenith and the set is a first rate retrospective that fans will enjoy having until the individual Renaissance albums finally become available in the United States.

Renaissance's music was, compared to other progressive bands, quite "soft". The compositions are generally dominated by piano and accoustic (or, if electrical, then melodious) guitar. There is a very strong classical influence, stemming mainly from romantic or baroque composers such as Rimsky Korsakov or Albinoni. And, always and crucially, there are Annie Halsam's pure, soprano vocals and the mellow (occasionally melodramatic) lyrics, often penned by a British poet, Betty Thatcher.

From an intellectual (and literary) point of view, Renaissance never got close to bands like Genesis or Van der Graaf Generator. But then again, they probably never wanted to. Instead, I presume they wanted to make their own brand of music; less challenging, perhaps, but certainly more than worthwhile. And the 70's allowed them to do just what they wanted: their albums from this decade feature wonderfully structured, long compositions on the one hand, and beautiful, wistful ballads on the other.

Okay, so that's the group. Now for this compilation. I'll be brief. This is just about the best collection of their material you could ever put together. Besides, this is a very handsome package indeed (from the cover to the sleeve notes to everything else). And the compilers certainly haven't skimped when it comes to the playing time: the CD lasts 75 minutes.

In fact, every last detail makes clear that a great deal of love and attention has been spent on this compilation, and because of this - and because of the music, obviously! - I recommend it very strongly to anyone looking for a great introduction to this band. Don't forget, though, that this is only half of the show: if you buy this, be sure to also get Tales of 1001 Nights, Volume 2.

Finally, a word of warning. You might like these two CD's too much. As a result, you might want to go out and get the original album's they're culled from. If so, you should realise that these compilations are pretty thorough, and you'd be doing yourself a disservice to get both these CD's and the orignal records. If in doubt, I'd advise you to buy the following albums (and take it from there, if you choose): "Scheherazade And Other Stories" and "Turn Of The Cards".

Most progressive rock of the 1970s was built around jazz rock solo noodling in classical structure. Renaissance built a small but loyal following creating its music organically, romantically, and beautifully. "Tales of 1001 Nights," part one of a two-part best-of collection, was for loyal fans who could get the band's music on import releases or small labels, if at all.

The music on "1001 Nights," gathered from their 1970s peak, was written by lead guitarist Michael Dunford with lyrics by poet Betty Thatcher. But Renaissance received its energy from Annie Haslam's transcendent voice. Too sensual for folk, too clear and sweet for rock, Haslam's voice soars, strengthening the group's ballads ("I Think Of You," the should-have-been-classic "Carpet Of The Sun") and atmospheric story songs ("Black Flame," the moving "Mother Russia" and "Ocean Gypsy," which Haslam reads as poetry set to music).

Credit also goes to pianist John Tout and drummer Terence Sullivan, who masterminded the group's rock/Rachmaninoff, Bacharach/baroque hybrid. Their cohesive work (rock without electric guitar as main instrument), and Haslam's voice, makes "Tales of 1001 Nights" a recommended sampler for an underrated band in the criticized progressive rock genre.

I keep searching for music like Renaissance Tales of 1001 Nights. There was a time when rock could include instruments and proficiency, when the pieces were longer than 3 minutes, when the themes were more than mating, when one could listen in the dark and let the music paint pictures. This record achieves this 70's "Progressive Rock" goal second to none. Think of Tales in terms of ELP's densest & most serious work, not unlike Take a Pebble but gently, with an orchestra, and with unparalleled female vocals.

What a treat this CD turned out to be infact after playing it just once I ordered VOL 2. First of all the sound quality is remarkable considering this material comes largely from the early 70`s. This is a band thats not frightened to challenge conventional progressive boundaries, not only that they get big results . For me Renaissance are like a more restraint version of all the older progressive bands, they include odd timing meters and loads of classical orientation. Perhaps the big plus to Renaissance apart from there fantastic musical composisions is Annie Haslam, WOW what a great voice she has (beautiful) yet also dynamic, and the keyboard work of John Tout will surely not go unoticed on this CD. To sum it up it runs for over 70 minutes and in all of that time I cant say there is a bad song on it. When they compiled this CD they must have really thought long and hard about it because I have listened to many progressive bands and rarely before have i heard such beauty.
I guess for me this was a perfect selection (being new to Renaissance) I plan to get every one of there CD`s but this was a great place to start . I hope you like Renaissance as much as I do, if you like prog with classical influences your going to love this !

This CD is well worth owning - especially if you can only have ONE Renaissance CD in a "limited collection". Although a CD it should whet your appetite for more Renaissance - perhaps in other formats. The song "I Think of You" which in some ways sounds like it belongs in a romantic film is, to put it mildly, simply captivating. Annie Haslam's sexy and dream-like vocals carries you to the past and back again. Carpet of the Sun demostrates that the band did actually come across quite well LIVE and did not rely on studio "gimmicks" to project imagery, fantasy, and imagination. I prefer this CD to the "VOL II" version which contains mostly later songs.

Renaissance is a band like no other. Some call it progressive or art rock. But unlike other "progressive" bands, Renaissance's material is listener friendly.

Often drawing on classical themes or Celtic ideas--their music takes you places. The tunes evoke visions of different worlds--I call it "visual music."

Annie Hanslam's voice is stunning on all tracks and the musicianship is top notch. This is a great introduction to their music.

After hearing this--you may find yourself wanting more--either from them or other bands that are similar.

Give it a try--you my find yourself traveling and escaping your own reality for a few minutes. We all need to do that every now and then. If anything can take you there--it's the music of Renaissance.

If one's musical inclination lies in the fusion of folk, rock and classical music, then "Tales of 1001 Nights -- Vols. I & II" by Renaissance should resonate comfortably with you.

Similar in musicality to Mannheim Steam Roller, but interwoven with thoughtful lyrics from Cornish poetess Betty Thatcher, many of the masterpieces which brought international acclaim to this seventies 'art rock' group are faithfully represented here, both in their Carnegie Hall and studio recordings between 1971 and 1979.

While the inclusion of "Rajah Khan", "The Flood at Lyons" and "Sisters" would have been nice additions to either of these albums (or perhaps another album a la "Tales of 1001 Nights -- Vol. 3"), it is nonetheless an absolute delight to hear many of Michael Dunford's skillfully crafted compositions, Annie Haslam's soaring vocals, Terry Sullivan's classical interpretations on keyboard, Jon Camp's lead bass and John Tout's percussion preserved on two CDs for future generations.

Though critics often label Renaissance a 'pretentious' progressive rock band, one should consider their musical repertoire in the context of instruments available and musical styles other bands had covered up to this time, in which case one will then realise the innovation and intelligence of these meistersingers.

The music of Renaissance was standard on the airwaves in Philadelphia 1971-75, when I was an undergraduate. I know that early exposure to a combination of high-energy instrumentals and the dynamic voice of Annie Haslam made me really take rock seriously. It is very unfortunate that this band has been neglected by FM rock radio in recent years, since the younger rock fans are missing music that has both energy and competence. Each piece in this album is like a symphony, in terms of the interplay of instruments. Anyone who is into prog rock should have volumes one and two of this series. Exposure may make you hunt for music by the earlier versions of the band as well. And, you won't have to buy over-priced CDs of the music produced in Japan and sold in the bi-annual record convention in the local motel.

i love renaissance, and this "best of - part 1" cd has some great cuts on it. "carpet of the sun" always puts me in a good mood. several of the cuts show of annie haslim's spectacular voice. ("ashes are burning", which is at the end of vol II, always gives me goosebumps) this band is so original, they're different from any other band i know