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Wikipedia: Renaissance were an English progressive rock band popular in the 1970s. Former Yardbirds members Paul Samwell-Smith, Keith Relf, and Jim McCarty organised a new group devoted to experimentation between rock, folk, and classical forms. This quintet (Relf on guitar & vocals, McCarty on drums, plus bassist Louis Cennamo, pianist John Hawken, and Relf's sister Jane Relf as an additional vocalist) released a pair of albums on Elektra (US) and Island (UK), the first one being produced by Samwell-Smith, but dissolved quickly, leaving McCarty to reform the band into a very different lineup, though McCarty also soon departed. The reconstituted lineup that was eventually settled on was the best-known of the band's history, and consisted of Annie Haslam (vocals), Michael Dunford (acoustic guitar), John Tout (piano), Jon Camp (bass/vocals) and Terence Sullivan (drums). This new Renaissance -- with Dunford in a composer-only role for the time being, and Rob Hendry (electric guitar) filling the guitarist's chair -- released Prologue in 1972 Sovereign Records (UK). The music was written by Dunford and McCarty, with lyrics by poet Betty Thatcher. Hendry departed (to be ultimately replaced by Dunford) as the group turned away from the electric guitar in their music. In the 1970s, Renaissance had a commercially successful career, their sound similar in many ways to folk rock with classical overtones. Renaissance included in their songs quotations and allusions from such composers as Bach, Chopin, Albinoni, Debussy, Rachmaninoff, Rimsky-Korsakov, Prokofiev and others. Renaissance's records, especially Ashes Are Burning, were frequently played on American progressive rock radio stations, such as WNEW-FM, WHFS-FM and WVBR. Renaissance scored a hit single in England 1978 with Northern Lights,which reached #10 there during the summer of 1978. The single was taken from the album A Song for All Seasons, but the band floundered following 1979's Azure D'or, as fans were unhappy with the band's turn towards synthesizers, a path followed by most progressive rock bands at one time or another. Camp had assumed more of the band's songwriting, and Tout and Sullivan left. Haslam, Dunford and Camp released a pair of albums in the 1980s and then broke up. Their albums were not available on CD for some time, though a pair of compilations were issued in 1990. During the 1990s, though, much of their catalog was reissued. In the late 1990s, both Haslam and Dunford formed their own bands using the name Renaissance, and have released albums with different line-ups. The band reformed in 2000 to record the Tuscany album and played one concert at the Astoria in London before embarking on a short Japanese tour. Haslam subsequently announced that the reunion would not be continuing, and Terry Sullivan later recorded an album in the Renaissance style with lyrics by Betty Thatcher Newsinger and keyboard contributions by John Tout. In 2005 Annie Haslam announced that Renaissance would no longer be getting back together for good.

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Additional information is available @ Wiki, @ fansite, @ progarchives and @ allmusic.

Tracklisting:
1. Can You Hear Me Call Your Name
2. Carpet of the Sun
3. Day of the Dreamer
4. Back Home Once Again
5. Can You Understand & The Vultures Fly High
6. A Song For All Seasons
7. Prologue
8. Ocean Gypsy
9. Running Hard

Additional infos for this album are located @ allmusic, @ nlightsweb and @ progarchives.

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allmusic: 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 line-up 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% certainty -- what is true beyond doubt is that the sound is excellent (almost too good for a 70's-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. Indeed, fans of Jon Camp's bass work will especially love this CD, because his playing is way up front here without being obtrusive (just powerful).

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