Author: Peter Podbrežnik
Artist: Renaissance
Label: Island Records
Release: 1969
Runtime: 39:24
Rating: 4/5
Legendary British progressive rock pioneers Renaissance often get overlooked these days when people list the most important and influential prog rock bands of all time, which is somewhat unfair. They went down in music history above all as the most successful (and, for plenty of music connoisseurs, the best) progressive rock band with a female lead vocalist. The constant lineup changes that dogged them throughout their career cut into their commercial reach quite a bit, even though evergreens like »Carpet To The Sun«, »Ashes Are Burning«, »Mother Russia« and their biggest hit, »Northern Lights«, secured them a place for all eternity among the most exciting and high-quality representatives of seventies symphonic progressive rock.
Their self-titled debut was recorded by a lineup that lasted together for less than two years before getting a complete overhaul. The original Renaissance were the brainchild of guitarist/vocalist Keith Relf and drummer Jim McCarty, two former members of the legendary blues/psychedelic rockers The Yardbirds. Relf and McCarty envisioned their new band as a musical collective that would blend classical, folk and rock, a stylistic mix that more or less remained a key part of Renaissance’s sonic vocabulary throughout their entire career. They were joined in this by bassist Louis Cennamo, pianist/harpsichordist John Hawken and Relf’s sister Jane, who took on the role of additional vocalist. Before the arrival of the legendary singer Annie Haslam in 1971, who helped Renaissance establish their trademark sound, the female vocals, despite their undeniable quality, played something of a ‘second fiddle’.
What pushed Renaissance among the key innovators of symphonic prog rock already on their self-titled debut from 1969, which was better than the debuts of plenty of better-known and more beloved prog rock heavyweights, was the successful fusion of classical, often baroque-flavored arrangements on Hawken’s piano and Relf’s folk rock-tinged guitar variations. It probably goes without saying that The Yardbirds were known for hosting the most gifted guitarists of their era in their ranks. In his career with that aforementioned legendary band, Relf was ‘merely’ the lead singer, harmonica player and occasional acoustic guitarist.
In his short musical career, which ended tragically in 1976, at barely 33 years old, when he died from playing an improperly electrified electric guitar, he never got a real chance to develop further as a guitarist and perhaps reach the technical level of his famous former Yardbirds colleagues, led by Eric Clapton, Jeff Beck and Jimmy Page. Rock history will therefore remember him mainly as a superb singer. The gorgeous vocal harmonies and the pleasant vocal contrast between the Relf siblings played an important role in adding artistic depth to the original Renaissance sound. On »Renaissance«, Jane, with her alto, even proved a touch more convincing than her brother, and it’s kind of a shame that, as a brilliant singer, she never achieved greater recognition later in her career.
The opening 11-minute-plus symphonic prog rock epic »Kings And Queens«« introduces Renaissance from the very first moment as an extremely ambitious outfit, brimming with youthful energy and a hunger to prove themselves. Dramatic, complex piano arrangements and scattered drum beats pave the way for Keith’s melodic vocal, which blossoms in the epic chorus. Mighty backing vocal harmonies keep deepening the ethereal, mysterious atmosphere, which sits in perfect harmony with the troubadour-style lyrics about half-mythical, half-real kings and queens. Complex time changes and numerous instrumental variations are fine proof that Renassiance swore by melodic tunes and improvisation-laced experimental unpredictability at the same time.
Shot through with psychedelic touches, »Innocence« opens with an unusual, jazz-tinged improvisation, after which the band members, using piano and guitar, completely unexpectedly shape an exceptionally beautifully arranged central melody. Hawken’s baroque-tinged piano classicism, paired with Relf’s pastoral-flavored guitar phrases, is key to creating a truly antique-sounding British atmosphere with a certain aura of mystery hanging over it the whole time, while the McCarty-Cennamo rhythm duo clearly swore by the jazz school of music.
On the gorgeous ballad »Island«, which also came out as a single in a shortened version, you can marvel at Jane Relf’s exceptional vocal talent, adorned with wonderful orchestral arrangements and epic backing vocal harmonies. Although Renaissance created a whole bunch of excellent, pastoral-flavored ballads over their rich career, »Island« remains one of their very best achievements. Hawken’s baroque piano solo makes for an interesting spice-up of the rhythmically lively instrumental interlude. Jane keeps hold of the lead vocal scepter on the melodramatic »Wanderer« too, which features plenty of unpredictable rhythmic variations and almost danceable troubadour arrangements that wouldn’t have embarrassed anyone at the court of King Henry VIII. Her singing is even better this time and is the main source of the romantic epic quality that Renaissance don’t skimp on at any point across the whole album.
The highly complex »Bullet« is the second of the album’s two longer symphonic prog rock epics and yet another fine proof that the original Renassiance were a technically high-caliber band, as it’s teeming with jazz improvisations. Keith’s theatrical vocal is backed by witty backing vocalizations, while exotic-flavored percussion keeps good company with the scattered piano arrangements. Keith’s harmonica variations also bring a whiff of blues into the complex sonic collage. The second part of this experimental composition is, thanks to the psychedelic-jazz improvisations, even a bit eerie and chaotic, which was quite a rarity for the almost always upbeat and ‘bright’ Renassiance. Some CD versions of »Renassiance« include two bonus tracks: a shortened single version of the evergreen »Island« and the classical romantic ballad »The Sea«, where Jane Relf shines once again on lead vocals, backed by mighty backing vocal harmonies.
With their self-titled debut, a surprisingly good document of successful epic sensibility, artistic innovation and solid technical chops, Renaissance proved that even in their earliest steps they could go toe to toe with the best progressive rock bands of their day. There was some beginner’s naivety, mostly in the rather one-dimensional lyrics, but that was perfectly normal for such a young and idealistic outfit. As a final bit of trivia, »Renaissance« was, until 1978, their only album to chart in the UK right after its release, which clearly shows just how popular they were with critics back home throughout most of their career.
Lineup
Keith Relf – vocals, guitar, harmonica
Jim McCarty – drums, percussion, backing vocals
John Hawken – piano, harpsichord
Louis Cennamo – bass guitar
Jane Relf – vocals, percussion
Production
Paul Samwell-Smith
Tracklist
1. Kings and Queens (10:56)
2. Innocence (7:07)
3. Island (5:58)
4. Wanderer (4:02)
5. Bullet (11:21)
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