1975 RENAISSANCE SCHEHERAZADE STORIES TRIP TO THE FAIR ACID ROCK VULTURES FLY 33 LP

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Renaissance – Scheherazade And Other Stories

Label: Sire – SASD-7510

Format: Vinyl, LP, Album

Country: US

Released: 1975

Genre: Rock

Style: Art Rock, Prog Rock, Symphonic Rock

Tracklist

A1 Trip To The Fair 10:48

A2 The Vultures Fly High 3:07

A3 Ocean Gypsy 7:05

Song Of Scheherazade (24:37)

B1 Fanfare 2:37

B2 The Betrayal 4:55

B3 The Sultan 2:46

B4 Love Theme 2:29

B5 The Young Prince And Princess As Told By Scheherazade 4:04

B6 Festival Preparations 1:07

B7 Fugue For The Sultan 2:12

B8 The Festival 2:12

B9 Finale 2:30

Marketed By – ABC Records, Inc.

Record Company – Sire Records, Inc.

Recorded At – Abbey Road Studios

Mastered At – Sterling Sound

Phonographic Copyright ℗ – BTM Ltd.

Copyright © – BTM Ltd.

Published By – BTM Music (2)

Pressed By – Columbia Records Pressing Plant, Terre Haute

Acoustic Guitar, Vocals – Michael Dunford

Arranged By – Renaissance (4)

Arranged By [Orchestral Arrangements] – Tony Cox

Bass, Vocals – John Camp*

Design [Cover Design] – Hipgnosis (2)

Drums, Percussion, Vocals – Terence Sullivan*

Engineer – John Kurlander

Engineer [Assistant] – Patrick Stapley*

Illustration – Colin Elgie

Keyboards, Vocals – John Tout

Lacquer Cut By – RL*

Lead Vocals – Annie Haslam, John Camp* (tracks: B3)

Music By – Betty Thatcher, Tout* (tracks: A1, B1, B2, B6, B7, B9), Camp* (tracks: B2, B4, B6, B9), Michael Dunford

Photography By – Hipgnosis (2)

Producer – David Hitchcock, Renaissance (4)

Recorded during May 1975.

"Our special thanks to Chas, Terry, John, Nicky and Mal for keeping the show on the road. Thanks to Neil Watson and the members of the LSO."

Copies came with inner sleeve with lyrics on one side and the band's image on the flip.

In runout area, "STERLING" and "B"'s are stamped, rest is etched.

Rights Society: ASCAP

Matrix / Runout (A-Side Label): SASD-7510-A

Matrix / Runout (B-Side Label): SASD-7510-B

Matrix / Runout (A-Side Runout): IT SASD-7510-A-1 STERLING RL B3

Matrix / Runout (B-Side Runout): IT SASD-7510-B-1 B

SOUND TESTED / BUYER APPROVED

RECORDING PLAYS VG+ > EX

COVER IS VG > VG+

https://www.youtube.com/watch?v=MEZ5tu1RIJU

(EXAMPLE, NOT ACTUAL RECORD)

Renaissance was originally formed in London, UK, in 1969 by ex-The Yardbirds vocalist Keith Relf and drummer Jim McCarty who wanted to explore a new sound blending elements of rock, folk and classical music. Relf assumed the role of guitarist, and they were joined by bassist Louis Cennamo, keyboardist John Hawken, and vocalist Jane Relf. This lineup recorded the first self-titled album and most of the second album, Illusion (1971). A rapid series of personnel changes followed. Guitarist and composer Michael Dunford first appeared on Illusion. Before his departure from the band Hawken recruited new vocalist Annie Haslam. By 1972, when the Renaissance recorded their third album, Prologue, none of the original members remained though McCarty still wrote music for the band.

By 1973 the lineup had stabilized with Haslam, Dunford, keyboardist John Tout, bassist and vocalist Jon Camp, and drummer Terry Sullivan. This lineup produced a string of relatively successful albums over the remainder of the decade. They had one Top 10 single in the U.K., "Northern Lights", from the album A Song For All Seasons (1978).

By 1980 Sullivan and Tout departed leaving Haslam, Dunford, and Camp as the stable core of the group with various other musicians coming and going through the early and mid 1980s. The group released two albums, Camera Camera (1981) and Time-Line (1983) which were not well received by either fans or critics. Renaissance went into the studio to record a further album but found themselves without a label willing to release it. Material for this album as well as discarded tracks from the sessions for the previous three releases finally saw the light of day as Songs From Renaissance Days in 1997.

Renaissance broke up in 1987 but both Michael Dunford and Annie Haslam tried to revive the name with different musicians in the 1990s. Haslam, Dunford, Tout, and Sullivan did reunite and released a studio album, Tuscany, in 2001, and a live album, In The Land Of The Rising Sun, in 2002. In 2009 Haslam and Dunford reformed Renaissance for a 40th anniversary concert tour. Rave Tesar, who replaced John Tout on keyboards for the 2001-02 tour and David J. Keyes, the bassist from the same tour, also rejoined the band. Two new members were also added to the lineup, keyboardist Tom Brislin and drummer Frank Pagano.

Live CDs and DVDs from their 2011 tour were released, with Jason Hart replacing Tom Brislin on keyboards. In 2013 their first new studio album in 12 years, Grandine Il Vento was released. It was the last album to feature Michael Dunford, who died in November, 2012.

Members: Annie Haslam, Binky Cullom, Charles Descarfino, David J. Keyes, Frank Pagano, Gavin Harrison, Geoffrey Langley, Jane Relf, Jason Hart, Jim McCarty, John Hawken, John Tout, Jon Camp, Keith Relf, Leo Traversa, Louis Cennamo, Mark Lambert, Michael Dunford, Mickey Simmonds, Mike Taylor, Neil Korner, Pete Finberg, Peter Baron, Peter Gosling, Rave Tesar, Rob Hendry, Stephanie Adlington, Terry Crowe, Terry Slade, Terry Sullivan, Tom Brislin

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FYI

John Mark Nelson (born November 23, 1993) is an American songwriter and producer based in Minneapolis, Minnesota. John Mark Nelson released his debut album Still Here in 2011. His second release, Waiting and Waiting, was released in August 2012. In June 2014, Nelson released his third album, Sings The Moon, thanks to a successful Kickstarter campaign that helped him fund the project. His fourth full-length album, I'm Not Afraid, was released in September 2015 on GRNDWIRE Records.

Nelson was born in Laguna Beach on November 23, 1993. He attended Minnetonka High School and graduated there in 2012.

On January 17, 2013, Nelson launched a Kickstarter campaign to fund his third album production. The campaign was funded on February 7, 2013 with the goal of $16,735. The album was produced by Matt Patrick with co-production of Nelson. One of the songs on Sings the Moon, titled "The Moon and the Stars," was featured as his first music video and aired on MTV on August 13, 2013. On June 24, 2014 he released the album Sings The Moon. For this effort, rather than playing and engineering everything at his home, Nelson opted for a professional studio recording and chose the Library Recording Studio in Minneapolis. Sings the Moon was co-produced by The Library Studio's owner/operator Matt Patrick (producer). He employed his live band; Nate Babbs, Benjamin Kelly, Nic Eggert, Grace Keating but also brought in several guest musicians; Jeremy Messersmith, Jeremy Ylvisaker, Matt Patrick (producer), Aaron Fabbrini, Ben Rosenbush, Kara Laudon, Anne Hartnett, Zach Miller,Jim O'Neill, John Cushing, Josh Misner, and Kenni Holmen. Nelson released the album's second single "Boy" was directed by Mairin Hart and released on YouTube on October 22, 2014.

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In music, a single or record single is a type of release, typically a recording of fewer tracks than an LP or a CD. This can be released for sale to the public in a variety of different formats. In most cases, the single is a song that is released separately from an album, but it can still appear on an album. Often, these are the most popular songs from albums that are released separately for promotional uses such as commercial radio airplay, and in other cases a recording released as a single does not appear on an album. 45 rpm records are played on a record player or turntable. They can be played one at a time, with the records changed manually after they finish, or a stacking spindle could be used to play up to six in succession without manually changing them. The use of the spindle led to the coined "Stack O Wax" term in the 1950s.

History: The basic parameters of the music single were established in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercial music. Gramophone discs were manufactured with a range of playback speeds (from 16 rpm to 78 rpm) and in several sizes (including 12″/30 cm). By around 1910, however, the 10-inch (25 cm) 78 rpm shellac disc had become the most commonly used format.

The inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The relatively crude disc cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, and a high rotation speed was necessary to achieve acceptable recording and playback fidelity. 78 rpm was chosen as the standard because of the introduction of the electrically powered synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm.

These factors, combined with the 10-inch songwriters and performers increasingly tailored their output to fit the new medium. The 3-minute single remained the standard into the 1960s when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recordings. In 1968 songwriter Jimmy Webb shattered the standard 3 minute format with "MacArthur Park" which exceeds 7 minutes length. Although Webb had written million-selling songs and was a multiple Grammy winner, the song had been rejected by several labels as simply too long for the marketplace to bear. The Beatles' also challenged deliberately the long-standing 3-minute standard for pop singles with their 1968 7 minute 20 second single "Hey Jude" which according to some was extended in length in order to exceed "MacArthur Park"

Singles have been issued in various formats, including 7-inch (18 cm), 10-inch (25 cm) and 12-inch (30 cm) vinyl discs (usually playing at 45 rpm); 10-inch (25-cm) shellac discs (playing at 78 rpm); cassette, 8 and 12 cm (3- and 5-inch) CD singles and 7-inch (18 cm) plastic flexi discs. Other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc (5″/12 cm, 8″/20 cm, etc.).

The most common form of the vinyl single is the 45 or 7 inch, the names are derived from its play speed, 45 rpm and the standard diameter 7″ (18 cm).

The 7″ 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.

Although 7″ remained the standard size for vinyl singles, 12″ singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12″ discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they 'wore' better, and were less susceptible to scratches. The 12″ single is still considered a standard format for dance music, though its popularity has declined in recent years.

The sales of singles are recorded in record charts in most countries in a Top 40 format. These charts are often published in magazines and numerous television shows and radio programs count down the list. In order to be eligible for inclusion in the charts the single must meet the requirements set by the charting company, usually governing the number of songs and the total playing time of the single.

In popular music, the commercial and artistic importance of the single (as compared to the EP or album) has varied over time, technological development, and according to the audience of particular artists and genres. Singles have generally been more important to artists who sell to the youngest purchasers of music (younger teenagers and pre-teens), who tend to have more limited financial resources. Perhaps the golden age of the single was on 45's in the 1950s and early 1960s in the early years of rock music. Starting in the mid-sixties, albums became a greater focus and more important as artists created albums of uniformly high quality and coherent themes, a trend which reached its apex in the development of the concept album. Over the first decade of the 21st century, the single generally received less and less attention in the United States as albums, which on Compact Disc had virtually identical production and distribution costs but could be sold at a higher price, became most retailers' primary method of selling music. Singles continued to be produced in the UK and Australia but have declined since the mid first decade of the 21st century.

Dance music, however, has followed a different commercial pattern, and the single, especially the 12-inch vinyl single, remains a major method by which dance music is distributed.

As of 2006 the single seems to be undergoing something of a revival. Commercial music download sites reportedly sell mostly single tracks rather than whole albums, and the increase in popularity seems to have rubbed off on physical formats. Portable audio players, which make it extremely easy to load and play songs from many different artists, are claimed to be a major factor behind this trend.

A related development has been the popularity of mobile phone ringtones based on pop singles (on some modern phones, the actual single can be used as a ringtone). In September 2007, Sony BMG announced they would introduce a new type of CD single, called "ringles", for the 2007 holiday season. The format included three songs by an artist, plus a ringtone accessible from the user's computer. Sony announced plans to release 50 ringles in October and November, while Universal Music Group expected to release somewhere between 10 and 20 titles.

In a reversal of this trend, a single has been released based on a ringtone itself. The Crazy Frog ringtone, which was a cult hit in Europe in 2004, was released as a mashup with Axel F in June 2005 amid a massive publicity campaign and subsequently hit #1 on the UK charts.​

 

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