Renaissance – Symphony of Light

Renaissance’s music performs in majestic splendor inside the music of our heart. Their progressive rock sound intersects classic symphony and famous literature at various points throughout the Renaissance catalog.

Mother Russia” a song about Aleksandr Isayevich Solzhenitsyn is played with strength and conviction. Ever present as well is a “Song of Scheherazade” an epic tone-poem based upon stories from One Thousand and One Nights.

If I had to say what my favorite Renaissance classic track was it would be, “Ashes Are Burning” from the album by the same name (1973).

These are some of the progressive rock foundation works that Renaissance successfully builds upon with the recording, Symphony of Light, a renaming of Grandine il Vento originally issued in 2013. Symphony of Light has three added bonus tracks, “Immortal Beloved”, “Tonight”, and “Renaissance Man”, a song specially written by Annie Haslam and Rave Tesar in honor of the late Michael Dunford. The album has new artwork design and the release date by Red River Entertainment is April 15th 2014.

Symphony of Light  is a testament to the unforgettable melodies and love that Michael Dunford infused into his work. Michael died prematurely in 2012 after this album was finished. The album starts off with powerful lyrics by Annie Haslam in the title track about the life of Leonardo da Vinci followed by Waterfall, a song written about the rainforests in Brazil. All the songs bathe the listener in flavors from far off countries, with lush orchestral arrangements and unusual lyrical content, with guest performances from Ian Anderson (Jethro Tull) and John Wetton (Asia).

Renaissance is:

Annie Haslam lead vocals, Rave Tesar keyboards, David J Keyes bass guitar, Jason Hart keyboards, Frank Pagano drums, Ryche Chlanda acoustic guitars


1. Symphony of Light

2. Waterfall

3. Grandine il Vento

4. Porcelain

5. Cry to The World

6. Air of Drama

7. Blood Silver Like Moonlight

8. The Mystic and The Muse

9. Tonight

10. Immortal Beloved

11. Renaissance Man


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Jeff Lynne returns in more ways than one

When you hear the name Jeff Lynne, the words respected musician, composer, collaborator and producer come to mind. He is returning to the music scene with two very special recordings on October 9, 2012. I welcome his efforts with renewed anticipation and internal excitement.

The first recording is his first solo album in 20 years, Long Wave. 

“I call this new album Long Wave because all of the songs I sing on it are the ones heard on long wave radio when I was a kid growing up in Birmingham, England,” Lynne explains. “These songs take me back to that feeling of freedom in those days and summon up the feeling of first hearing those powerful waves of music coming in on my old crystal set. My dad also had the radio on all the time, so some of these songs have been stuck in my head for 50 years. You can only imagine how great it felt to finally get them out of my head after all these years.”

The other recording is Mr. Blue Sky – The Very Best of Electric Light Orchestra.

Here Lynne has artfully revisited and re-recorded the greatest hits of Electric Light Orchestra, and actually improved on some of the most classic and beloved recordings ever.

Jeff Lynne has also reunited with former ELO band mate Richard Tandy.  Videos of the pair performing “Showdown” and “Evil Woman” have been posted to

“There was a big reason I wanted to re-record these ELO songs,” says Lynne. “When I listen to the old versions they don’t sound the way I thought they did when I first wrote and recorded them. I wanted to use the experience I’ve gained producing records ever since and have a completely new try at them. I’m not saying the old versions aren’t good; I like them very much. We were doing our best, but experience and technology also play a big a big part, and these new ones sound much more solid and tight.”

The album includes a never-before-heard bonus track, ‘The Point Of No Return,’ and a very special version of ‘10538 Overture’ that’s a nod to ELO’s 40th anniversary.

Tuesday Afternoon – The Moody Blues

Tuesday Afternoon
Image via Wikipedia

I love when a music post teaches me more about the history of a song. I have found  Wikipedia invaluable in constructing posts. The structure of Wikipedia lends itself well to an artist’s discography. Wikipedia discography’s are listed chronological and contain album cover art that is public domain (i.e. reusable for posting). Each discography has many facts about the date of the recording, producer, the song listing, the musicians who played on the session, etc.

“Tuesday Afternoon” (sometimes referred to as “Forever Afternoon (Tuesday?)”, or simply “Forever Afternoon”) is a 1968 single by English symphonic rock band The Moody Blues, and presented in its original album form on their 1967 album Days of Future Passed in two parts.

The first part, the one most familiar to listeners, called “Tuesday Afternoon”, was originally released on The Moody Blues 1967 album Days of Future Passed, a concept album chronicling a typical day. On the album, it was part one of “The Afternoon” track titled “Forever Afternoon (Tuesday?)”.

The second part of the album version is a track entitled “(Evening) Time to Get Away”, which is uncredited on the original album. Composed by John Lodge, the song hinges on the end of a work day and returning home.

“Tuesday Afternoon” was released as a single in 1968, and was the second single from Days of Future Passed (the first being “Nights in White Satin”). It was backed with another Days track, “Another Morning”. The single version of “Tuesday Afternoon” was oddly edited down to 2:16, ending before the repeat of the opening riff and “Tuesday afternoon” verse.

According to an interview with Justin Hayward, he wrote “Tuesday Afternoon” while sitting in the middle of a field near his home in England on a beautiful spring afternoon. He claims that he had his acoustic guitar in hand and the song just came to him. The song features Justin Hayward on lead vocals and acoustic guitar. The backing melody comes from the mellotron, which was played by Mike Pinder. There is also a short flute solo at the end played by Ray Thomas.

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