Renaissance - Azure D’Or (1979) US Promo 1st Pressing - LP/FLAC In 24bit/96kHz

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Renaissance - Azure D’Or (1979) US Promo 1st Pressing - LP/FLAC In 24bit/96kHz

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Renaissance - Azure D’Or (1979) US Promo 1st Pressing - LP/FLAC In 24bit/96kHz

Close

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Renaissance - Azure D’Or (1979) US Promo 1st Pressing - LP/FLAC In 24bit/96kHz

Close

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Renaissance - Azure D’Or (1979) US Promo 1st Pressing - LP/FLAC In 24bit/96kHz

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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. Many people think that they started with pop music form one moment to the next, but this is one of their most elaborated albums. In just 4 minutes they created true jewels of symphonic rock! Of course there are also a couple of pop-oriented songs like The Winter Tree and Friends. From the rest of the album I highlight Jekyll and Hyde, Golden Key, Kalynda (A Magical Isle), among others. I have to say that the variation of rhythms and the instrumentation is a joy to listen to. It’s not only me who thinks like this. I chose some reviews from different authors. Oh! this is important! They incorporate for the first time the Mellotron!​

Fran Solo, 2017

At the moment, this is my favorite album from Renaissance. I never noticed how much they sounded like Yes, how much their logo looked like Yes’ logo, how much Annie Haslam sounded like Jon Anderson, how Jon Camp might well have squired under a certain teacher. As I’ve noted earlier, all this at a time when the old guard was limping into the new decade, at a time when new hands were needed to grab at the brass ring. (I really have to stop mixing my metaphors.) At the core of Azure d’Or are some of the band’s most succinct, magical creations: “Jekyll And Hyde,” “The Winter Tree,” “Kalynda.” I suspect this is what most progressive bands were trying to do in 1979: write smart and snappy arrangements within the context of four-minute songs. That few pulled it off (Camel and Genesis come to mind) shows what a fine line it was. Looking back, though, Renaissance often floundered in the epic format, not the fount of inspiration that flowed from the very heart of Yes, Gentle Giant, Tull, etc. On Azure d’Or, the band is able to pack very clever twists into the standard verse/chorus format, which results in songs that brim with goodness (as opposed to a handful of deflated opuses). Everything moves briskly, purposefully, without a leaky patch in the thatch. Maybe Renaissance were late bloomers, a rarity as progressive rock bands go. Azure d’Or remains a treat on the tree of late ’70s prog, as tart and tasty a selection to grow from their limb as I can recall.

Review by daveconn, progarchives.com

This is the first album with short songs, so the long complex progressive compositions are no more present here. Nevertheless the song are quite sophisticated, you just have to listen the still very elaborated bass to be convinced. Annie’s voice is outstanding, as always. The main change are the keyboards: John Tout added some new technology here and it works in a certain way. Actually it replaces the classical arrangements we were used to listen on their previous albums. The only difference is that it sounds more artificial. There are lots of rythmic acoustic guitar, and some electric guitar parts.
“Secret Mission” has outstanding bass, reminding me GENESIS’ “get’em out by Friday”! Finally, it is a real pleasure to listen to all the album, because ALL the songs are really good!

Review by greenback, progarchives.com

Renaissance – “Azure D’Or” is one those LPs that is criminally underrated along the likes of Yes – “Going For The One” and Genesis – “And Then There Were Three…”. Certainly this release deserves a 3.5 or 4.0 rating out of 5 stars as it stands alongside the greats in the Renaissance discography. Produced by David Hentschel (of Genesis “And Then There Were Three”), some people have a problem with his production? I don’t get it.
The material is varied if somewhat eclectic sounding…and STILL Renaissance. I find “Azure D’Or” to be one of Renaissance’s more “traditional proggy” sounding LPs. Many have mentioned the introduction of new sounding keyboards by John Tout. Sure, there’s an introduction to new keyboards, but they still sound very ’70s by prog. standards, and not unlike(quite similar, really) to what Tony Banks of Genesis and Rick Wakeman of Yes were using at the time. You’re not going to get Ultravox or Depeche Mode here, folks. No New Wave here…just a refinement of prog.(the same approach Genesis took with “And Then There Were Three” and Gentle Giant on “The Missing Piece” -side 2). You’re getting string-synth, yamahas, moogs, etc. in this package. Nothing out of step from the ’70s prog scene. In fact, I am reminded of the John Williams project SKY with Annie Haslam on vocals. Speaking of SKY, the instrumental here “The Discovery”, would not be out of place on one of their first 2 LPs. Francis Monkman could’ve played keyboards on this. Also of note is the vibraphone. Vibraphone is used quite often on this release with hints of Pierre Moerlin’s Gong, Mike Oldfield’s “Incantations” and early Gentle Giant.

This release would appeal to fans of Curved Air and Sky, although it still sounds like
Renaissance. Give this one new ears, please. 4 stars out 5.

Review by Gooner, progarchives.com

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