Tales of 1001 Nights, Vol. 2

( 1 )

Editorial Reviews

All Music Guide - Bruce Eder
The second volume of Sire Records' retrospective compilation on Renaissance is not as impressive musically as its predecessor, devoted as it is primarily to the lesser of the group's late-'70s repertory. The intelligent thing to have done with this volume would have been to put "Song of Scheherazade" on this volume, which would have shored up its value -- perhaps this would have been an awkward fit, as the disc was to include the 23-minute live version of "Ashes Are Burning," but one or two of the lesser songs that are here might've been sacrificed. As it is, the material is less concise and accessible than that of the preceding volume, though it still has very attractive ...
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Editorial Reviews

All Music Guide - Bruce Eder
The second volume of Sire Records' retrospective compilation on Renaissance is not as impressive musically as its predecessor, devoted as it is primarily to the lesser of the group's late-'70s repertory. The intelligent thing to have done with this volume would have been to put "Song of Scheherazade" on this volume, which would have shored up its value -- perhaps this would have been an awkward fit, as the disc was to include the 23-minute live version of "Ashes Are Burning," but one or two of the lesser songs that are here might've been sacrificed. As it is, the material is less concise and accessible than that of the preceding volume, though it still has very attractive vocal and piano flourishes, and stunning melodies. There are also a few of what could be considered "offbeat" numbers for the group, most notably the folk-like "Northern Lights," and "Midas Man," on which the dominant instrument for much of the song is Mick Dunford's acoustic guitar rather than John Tout's piano. Much of the music seems more of a reach, however, in terms of subject matter, making this volume more of an acquired taste than its companion, and a choice more appropriate for hardcore fans of the group than those with a casual interest.
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Product Details

  • Release Date: 3/16/1990
  • Label: Sire / London/Rhino
  • UPC: 075992614320
  • Catalog Number: 26143
  • Sales rank: 86,754

Album Credits

Performance Credits
Renaissance Primary Artist
Annie Haslam Vocals, Background Vocals
Jon Camp Bass, Cello, Vocals, bass pedals
Harry Rabinowitz Conductor
Terence Sullivan Percussion, Drums, Vocals
John Tout Keyboards, Vocals
Michael Dunford Acoustic Guitar, Electric Guitar, Vocals
Technical Credits
Renaissance Arranger, Producer
Louis Clark Orchestral Arrangements
Barry Griffiths Orchestra Leader
David Hentschel Producer, Engineer
Richard Hewson Orchestral Arrangements
Dick Plant Engineer
Carmine Rubino Engineer
Margo Chase Art Direction
David Samuel Barr Liner Notes
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Customer Reviews

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Sort by: Showing 1 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    Straying ever so slightly from their classical roots

    More than any other band in the progressive/classical movement of the 1970's, Renaissance stayed close to the symphonic stylings of the Romantic composers of the late 19th/early 20th century. They never relied on a "super-jock" instrumental soloist(i.e.Keith Emerson, Steve Howe, Rick Wakeman)and seldom strayed far from acoustic instrumentation. The songs on "Tales of 1001 Nights, Vol. 2" are culled from later studio recordings in this band's regrettably short career.The offerings from the album "Novella" showcase the band's jazzier side, including a nice trumpet solo. The "Song for All Seasons" album is well represented, and Annie Haslam's striking vocals are showcased on the melodically-pleasing "Northern Lights". "Azure d'Or" was much maligned by even the most devoted fan of Renaissance, but "Winter Tree" is a pleasant pop song, reminiscent of 80's synth pop. Finally, there is a 24 minute live version of the elegiac "Ashes are Burning", which builds from Annie's vocals into a tasteful piano solo by John Tout. Jon Camp, one of the most underrated bassists of the period, uses his bass effectively as lead instrument, soloing to a dramatic build that breaks with Mike Dunford's chiming harmonics on the acoustic guitar, bridging into the return of the whole band and the orchestra, and Haslam's final vocal run. It is truly a sublime piece of music. Renaissance was an incredibly talented ensemble and featured one of the loveliest voices in rock music. I still enjoy listening and find their music appreciates with time.

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