Annie Haslam

The first album by the '70s (i.e. Annie Haslam) version of Renaissance is a transitional work, rooted in more standard hard rock sounds (including psychedelia) than what followed. One can spot the difference, which may please some listeners and put others off, in the fairly heavy guitar sound of "Prologue," Rob Hendry's electric instrument playing both lead and rhythm parts prominently at various times behind Annie Haslam's soaring vocals and adjacent to John Tout's piano. "Kiev" may also startle some longtime fans, since Haslam doesn't handle the lead vocals, the male members' singing being much more prominent. The ethereal, flowingly lyrical "Sounds of the Sea" is the cut here that most resembles the music that the group became known for in the years ahead, and shows Haslam singing in the high register for which she would become famous.

Essential: A masterpiece of prog rock music.
How to describe Renaissance for those who haven't listened them yet? Well the best way is giving them a copy of Live at the Carnegie Hall, because some bands are better on stage, others are worst, but Renaissance is just as good in both situations.

The first album by the '70s (i.e. Annie Haslam) version of Renaissance is a transitional work, rooted in more standard hard rock sounds (including psychedelia) than what followed. One can spot the difference, which may please some listeners and put others off, in the fairly heavy guitar sound of "Prologue," Rob Hendry's electric instrument playing both lead and rhythm parts prominently at various times behind Annie Haslam's soaring vocals and adjacent to John Tout's piano.

Grandine il vento is the 13th studio album by the English progressive rock band Renaissance, first released in 2013 and re-released as Symphony of Light in 2014. First Renaissance studio album in over a decade, with vocalist Annie Haslam and guitarist/composer Michael Dunford. Recorded before the tragic passing of Michael Dunford in late 2012. Featuring guest appearances by Ian Anderson of Jethro Tull (on Cry to the World) and John Wetton (Blood Silver Like Moonlight).

Essential: a masterpiece of progressive rock music
OH WOW! Another perfect Renaissance album. Maybe Annie Haslam has her best voice on this record: using headphones, the experience is more than pleasant! Other musicians’ backing vocals support very well Annie’s lead vocals.

Excellent addition to any prog rock music collection
Year 1979, controversial year, the end of the golden decade of the seventies (musically speaking). It’s not only because I say it, but surprisingly, this is one of Renaissance’s best albums and last. We should have thought that because they gave up their classic and epic 10 minute long songs, it was the end of the band.

This CD is a most satisfying listening experience, despite a few shortcomings in the packaging. Released under the auspices of Annie Haslam at a time when Renaissance had splintered in several different directions (with even Jane Relf reportedly getting ready to start using the group name again), it's assembled from what appear to be several live performances – the notes by Haslam would lead one to believe that these date from the late '70s, and the lineup of Haslam, Michael Dunford, John Tout, Jon Camp, and Terry Sullivan. But as there are no dates or actual credits, that's impossible to say with 100-percent certainty – what is true beyond doubt is that the sound is excellent (almost too good for a '70s-vintage concert recording) and the performances are superb from beginning to end; not only is the band tight and loud, but Haslam is in even better shape vocally than the rest of them are instrumentally.