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Track List
01) Opening Out
02) The Day of the Dreamer
03) Closer Than Yesterday
04) Kindness (At the End)
05) Back Home Once Again
06) She Is Love
07) Northern Lights
08) A Song for All Seasons
01) Opening Out
02) The Day of the Dreamer
03) Closer Than Yesterday
04) Kindness (At the End)
05) Back Home Once Again
06) She Is Love
07) Northern Lights
08) A Song for All Seasons
4:15
9:43
3:19
4:48
3:16
4:13
4:07
10:55
Data Complete
40%
Total Rating
40%Total Rating
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CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1978
Progressive Rock
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Album
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Album Description
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The next to last album by Renaissance as a full-time, ongoing group, A Song for All Seasons was a courageous effort in its time, wearing its classically based progressive rock colors proudly on its sleeve amid the punk and new wave booms that were sweeping across the musical landscape. Vocalist Annie Haslam and pianist John Tout generated some memorably beautiful moments, ably supported by the Royal Philharmonic Orchestra and conductor/arrangerHarry Rabinowitz. The first two tracks, "Opening Out" and "The Day of the Dreamer," ultimately promise a little more in the way of classically based lyricism than the album delivered; and the harder rocking moments are only fitfully interesting, despite the best efforts of bassist Jon Camp and guitarist Michael Dunford. But the pop tracks here, most notably "Northern Lights," "Back Home Once Again," and the acoustic guitar-driven "Closer Than Yesterday" are appealing on a level that was mostly new to the group. A few more numbers like those, interspersed with the more ambitious works on this album, and Renaissance might have found that wider following that always eluded them. But ultimately the album pulls in one or two too many directions at once, especially on the moody "She Is Love." For a finale, the title track, "A Song for All Seasons," (clocking in at almost 11 minutes) plunges us back into heavily orchestrated art-rock head-first and several yards deep, and succeeds better than most of the group's ambitious suites and song cycles of the second half of the '70s. The album has some gorgeous moments, but coming out at the end of the '70s, it was timed about as poorly as any LP ever issued, in terms of finding an audience -- which doesn't stop modern audiences from savoring its appeal or those moments, three or four decades on.
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The next to last album by Renaissance as a full-time, ongoing group, A Song for All Seasons was a courageous effort in its time, wearing its classically based progressive rock colors proudly on its sleeve amid the punk and new wave booms that were sweeping across the musical landscape. Vocalist Annie Haslam and pianist John Tout generated some memorably beautiful moments, ably supported by the Royal Philharmonic Orchestra and conductor/arrangerHarry Rabinowitz. The first two tracks, "Opening Out" and "The Day of the Dreamer," ultimately promise a little more in the way of classically based lyricism than the album delivered; and the harder rocking moments are only fitfully interesting, despite the best efforts of bassist Jon Camp and guitarist Michael Dunford. But the pop tracks here, most notably "Northern Lights," "Back Home Once Again," and the acoustic guitar-driven "Closer Than Yesterday" are appealing on a level that was mostly new to the group. A few more numbers like those, interspersed with the more ambitious works on this album, and Renaissance might have found that wider following that always eluded them. But ultimately the album pulls in one or two too many directions at once, especially on the moody "She Is Love." For a finale, the title track, "A Song for All Seasons," (clocking in at almost 11 minutes) plunges us back into heavily orchestrated art-rock head-first and several yards deep, and succeeds better than most of the group's ambitious suites and song cycles of the second half of the '70s. The album has some gorgeous moments, but coming out at the end of the '70s, it was timed about as poorly as any LP ever issued, in terms of finding an audience -- which doesn't stop modern audiences from savoring its appeal or those moments, three or four decades on.
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