Start With no Jim Camp

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.

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…

Classical rock ensemble formed as an outlet for a pair of ex-Yardbirds, but later driven by Annie Haslam's three-octave voice and John Tout's piano.
The history of Renaissance is essentially the history of two separate groups, rather similar to the two phases of the Moody Blues or the Drifters. The original group was founded in 1969 by ex-Yardbirds members Keith Relf and Jim McCarty as a sort of progressive folk-rock band, who recorded two albums (of which only the first, self-titled LP came out in America, on Elektra Records) but never quite made it, despite some success on England's campus circuit…

From The Studio's earliest days, music has always been an integral part of the Disney creative process. But when 'Who's Afraid of the Big Bad Wolf' debuted in 1933, it began a musical legacy that remains unmatched to this day. Disney Classics Box Set is a music collection that represents this legacy.

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.

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…

This is a great collection of rare and hard to find tunes compiled by Jeffrey Glenn. Hundreds of odds & ends by little known groups, famous singers, and famous singers before they became famous.