TURN OF THE CARDS

Another superior effort from the royalty of symphonic prog! Turn of the Cards contains no less than three prog epics all of which deserve to be admitted to the hallowed Vaults of Valhalla. The Gershwin-sounding "Running Hard", and two of my all-time favorite Renaissance songs, "Things I Don't Understand" and "Mother Russia". The other songs I can live without (and have, thank you very much). "Things I Don't Understand" has such a great pace, carved out by the strumming guitar of Michael Dunford and the syncopated hits of John TOUT's piano and Jon CAMP's bass. The fast pace at which Annie has to sing brings out another side to her that is wonderful--amazing remains the clarity of her annunciation--and pitch changes with the key/chord changes! And her scatting and high, HIGH pitched angelic riffs in different parts are . . . amazing. (I'm running out of superlatives for this woman.) Tout's piano solos and embellishments around the vocals are simply mesmerizing. Definitely one of his best songs. As other reviewers have noted before me, "Mother Russia" does an amazing job of capturing the harsh cold of the Russian landscape (and people). The use of full orchestra in support makes for a much more powerful, more full expression of the intended theme--and used to its fullest is a testament to the mature compositional skills of the band members. Amazing song. And so emotional! (Something Annie is often criticized for lacking.)

1. "Running Hard" (9:39) is a good song with what feels to me like a Gershwin/Russian feel to its foundation. The song peaks with the acoustic guitar/orchestra-driven final three minutes. (17.75/20)

2. "I Think of You" (3:07) nice acoustic guitar chord progression over which Annie's crystalline voice sings in a beautiful CARPENTERS-like melody (especially enhanced by John's harpsichord joining in for the second half). Gorgeous. Could've almost been a radio hit. (9/10)

3. "Things I Don't Understand" (9:29) Such a great song: such great pacing from all band members from the opening. One of my favorite Jon Camp bass performances. I also like the effect of the background voices accompanying Annie's lead throughout the song (except during her wordless vocalise in the third minute.) Definitely one of the finest prog epics of all-time. The key and tempo shift mid-fifth minute is awesome followed by one of prog's finest bucolic passages ever (12-string based, of course) and then one of the band's best finishes ever. Love those rich harmony vocals and chunky bass! (20/20)

4. "Black Flame" (6:27) a song that is so universally loved that I am totally mystified to find myself an outlayer. I've never felt a connection or attraction to this song, even with an appreciation for the wonderful sensitive interplay between the instruments during the prolonged intro (nearly two minutes). Annie's voice is so clear and penetratingly confident, but then the MacArthur Park-like tympani & harpsichord bombast pushes me away. And those lyrics! WTF!? Great keys (and church organ!) in the fifth minute, but then back to the opening motifs for the finish. (8.75/10)

5. "Cold Is Being" (3:05) church organ opens this one--over which Annie sings (as if she's in a church pulpit!--singing a funeral dirge.) Interesting song that might have been better off being left in church. (8.25/10)

6. "Mother Russia" (9:21) One of the first English "pop" songs that seemed to capture the true sounds and essence of my perception of the Russian spirit. (At the time, I had been heavily into 19th Century Russian novelists like Tolstoy, Gogol, Lermentov, Turgenev, and, especially, Feodor Dostoevsky.) Another favorite that I consider one of the finest examples of the power and potential of the prog epic. (20/20)

A/five stars; a masterpiece of progressive rock music and another excellent Renaissance album in which the band continues to gel and mature.