ASHES ARE BURNING

"Ashes Are Burning" signals the starting point for the definitive maturation of Renaissance's voice within the ample realms of British art-rock through the 70s. In many ways, this album follows in the path that the band had begun to trace in the "Prologue" album, but now you can tell that the ensemble bears a more solid feel and aims at more ambitious schemes in terms of writing and arranging the material. Also, The First Lady of Prog Rock (Annie Haslam, of course) begins to expand her vocal skills, charisma and finesse in a broader fashion within the band's sonic architecture. Speaking of sonic architecture, this is the first Renaissance album in which the orchestral arrangements become an integral part of some songs' inherent intensity: while not on the same level as any of the individual components of Renaissance's golden trilogy ("Turn Of The Cards"/"Scheherazade"/"Novella"), "Ashes Are Burning" pretty much installs the band's statement in the history of progressive rock from the folk-rock trend. Dunford, always present with his array of acoustic 6 & 12 string guitars, only became an official member after the album was released, so he is credited as a guest musician (just a bit of trivia). With the bang of a gong starts the opener 'Can You Understand?', a classic, a staple, and quite deservedly so ? it sets the standard of Tout's keyboards leading the melodic developments, the rhythm duo delivering a dynamic framework and Annie singing with such power and feeling that she actually makes the lyrics and music her own. The sung portions go from tranquil acoustic folk to something more related to a stylish sort of country, and it is at this point that the track capitalizes its dominant optimistic mood. 'Let It Grow' is a lovely ballad that sounds like a crossroad between Bread and early Yes; immediately after, 'On The Frontier' offers a very similar scheme, only with more prominent vocal ensembles that enhance the folky vibe properly, as well as a clever use of subtle jazzy moods some time during the interlude. The latter is not a Renaissance original entirely: in fact, it first appeared a few months earlier in an album by Shoot, which was led by Renaissance alumnus Jim McCarty. 'Carpet Of The Sun' is one of the most recognizable short songs by the band ? it is catchy, bearing an appealing sense of naivety in both the melodic phrases and the contemplative lyrics. It so should have been a worldwide hit!... just like songs by Simon & Garfunkel and Carole King had already been. At this point, some may feel that the album is reaching some sort of monotony in style: it may not be wholly false in terms of structure, but the actual quality of the music and the undeniable appeal of the performances make the repertoire remain fresh as the album goes on. Also, at this point, the average straight male fan should be totally in love with Annie, just like I have been since I first discovered the band. 'At The Harbour' shows the band going back to their ceremonious side ? the piano intro is moving and mysterious, yet warm and bearing a certain sense of intimacy? and it should be, since it is based on a Debussy piece, and the aforesaid composer was very keen on that sort of ambience. Well, the song's main theme bears a melancholic Celtic mood to it, a real sailor's song that portrays the worries of women who wait for their husbands to get back to the dock alive and kicking while a storm seems to enrage the sea greatly. The piano-vocal reprise aptly provides a culminating dramatic feeling for the song's closure. Last but not least, the namesake track closes down the album with a solid recapitulation of the opener's grandiosity. Quite certainly, this piece's melodic framework and development is the ambitious apex of the album, and no wonder that expanded live renditions of it should become defining moments in Renaissance's history. The first sung section is intense yet maintaining an elegant framework of sonic delicacy; then comes an instrumental interlude in which the instrumentalists shift toward a different, extended dynamics; finally, the announcement of ashes burning the way makes one of the greatest Haslam moments ever, which can only be succeeded by a plethoric fade-out that featured an electric guitar solo by guest Andy Powell (illustrious member of Wishbone Ash). This is a real lovely album, full of musical imagination, wonderfully crafted by a band that was just one step away from their peak: "Ashes Are Burning" started the period where Renaissance ruled the progressive folk-rock environment worldwide.