HomeGuideAnnie HASLAM annotated discography

Annie HASLAM annotated discography


ANNIE HASLAM –
Lady Transcending

White Dove Records 2006

Uncommon recordings from the singer’s individual archives with the title which means “beyond the expected” and the subtitle becoming “Musical Journey”.

Although expectations for Annie Haslam’s new all-original album, the initial considering that 1999’s “The Dawn Of Ananda”, are higher, the lady’s producing a pit-quit does not outcome in a pity. As excellent as it is at its face worth, this collection’s target audience are the hardcore fans who, more than the years, have been hunting for every single record the singer appeared on. Now, a couple of these pieces seem right here, whilst the bulk of the CD is comprised of previously unreleased cuts: out-requires and artefacts from the sessions that didn’t outcome in an LP. A mixed bag, then, with Annie’s voice a popular denominator that is not sufficient for integrity but adequate for possessing a excellent time.

And it is this target that the operating order serves: the songs do not come chronologically arranged but what was recorded at a specific time is gathered in groups. Extra detail on every of these would be valuable for understanding as to exactly where, for instance, the opening triplet from 1992 did have to finish on, as the vestiges of the echo-laden ’80s production make songs like the tear-jerking “Parachute To You” rather bleak for Haslam’s subsequent outing, “Blessing In Disguise”. Certainly destined to be incorporated on this record but omitted in the finish, was the BEE GEES’ uplifting “My Eternal Love”, performed with significantly much more conviction, which may clarify the coldness of Annie’s delivery of melodies she can not make her personal. That is why “Lily’s In The Field”, co-written by the songstress with YES’ guitar wiz, Steve Howe, and released as a single for Bosnian relief charity in 1995, stands out emotionally. Ten years earlier, Annie had a go at two covers that challenging-hitting Dave Dowle’s drums propel: Mike Rutherford’s dancefloor-filler “Communication” finds Haslam reaching for unusually low register and pulling it with a good passion, that she also shows in disco groove of Warwick Embury’s “Shadows”.

No significantly less uncommon can appear two recordings laid down in 1998 with Carl Perkins’ household, “Beyond The Blue” composed by the lately departed master, but these ballads are neither nation nor rockabilly – in contrast to THE EVERLY BROTHERS’ “So Sad” from 1974’s when Haslam stayed late a single evening in the studio right after the rest of RENAISSANCE went back dwelling to sleep right after a extended day’s recording. A good ditty, just as “Hunter Trials” off the Sir John Betjeman’s tribute album, but it does not get below the skin as deep as “Somewhere Out There”, initially a siblings’ song that Annie recorded in 1994 with her brother Michael, a Brian Epstein protege back in the ’60s, or the closing orchestral hymn of “Reaching Out” which harks back to the RENAISSANCE’s halcyon days. A glance back cast, it is time to move on forward.

Annie’s comments:

Annie’s fave tracks:

***


ANNIE HASLAM –
Reside Studio Concert, Philadelphia, 1997

Voiceprint 2006
See the DVD

A companion piece to the DVD, sonically this functionality is significantly less intimate but arguably much more engaging.

In contrast to her Brazilian endeavor of the very same year, when Annie Haslam entered a little recording studio in Philadelphia, selected for the basic reality that the singer lives in the region, she decided to do so with a complete band. But piano player Rave Tesar, David Biglin who operates keyboards and guitar right here, and drummer Joe Goldberger are much more than just accompanists – for Annie, they’re much more like a household so, with the tiny audience comprising excellent buddies, there was no stress whatsoever, the presence of cameras notwithtanding. And it feels, as Haslam’s delivery borders with what can be named swagger: that is the way “What He Seeks” and “Pool Of Tears” are, recorded reside for the initial time right here and sounding nicely distinctive from the “Blessing In Disguise” versions. At the very same time, the RENAISSANCE classics – “Captive Heart”, “Carpet Of The Sun” and “The Young Prince And Princess” – are sublime staples of the artist’s stage set and do not transform significantly but come off as scrumptious as ever.

Annie possesses that uncommon capacity to be warm on rather ethereal compositions such as “Seashell Eyes” and “Summon The Angels”, all simply because she’s significantly much more involved now in the topic matter of what she’s singing about, and Joe and David’s backing vocals maintain her voice firmly grounded. In “After The Oceans Are Gone” she lets herself loose to fly higher, nonetheless, but is much more cautious when it comes for eco-themed light romp of “Sleepless Mother” and jazz-tinged ballad “Goodbye Trees” (the latter’s not on the DVD) which but have to seem on a studio album. Getting a studio concert, this programme is extremely, extremely satisfying.

Annie’s comments:

Annie’s fave tracks:

****1/two


ANNIE HASLAM –
1 Enchanted Evening

White Dove Records 2002

A church concert taking the lady on a journey by means of the songs which shaped her as an artist – and none that she helped shape.

Taking the stage of the Upper Tinicum Lutheran Church in Pennsylvania in the summer season of 2001, Annie Haslam was set to surprise the audience who utilized to hear Christmas perennials from her as nicely as selections from the physique of perform the singer had performed each with RENAISSANCE and solo. This time Haslam decided to play, along with Rave Tesar on keyboards, a distinctive game and execute compositions that she didn’t have but  to be undertaking: covers of the pieces Annie loves dearly – from Rogers and Hammerstein’s “Some Enchanted Evening” by means of Faure’s haunting melody of “One Day” she recorded with an orchestra to Lennon and McCartney’s “She’s Leaving Home”, all sung rather chamber but sincerely. As a single could suspect, there’s not a lot of pop hits – in reality, here’s only Joni Mitchell’s “I Don’t Know Where I Stand” joining the Fabs’ dramatic ballad – but what there is, such as Jobim’s classic bossa novas “Corcovado” and “Desafinado”, sits extremely comfortably with not-purely-operatic aria from Handel’s “Rinaldo” and currently familiar coupling of “Nature Boy” and “If I Loved You”. The repertoire illuminates previously unseen facets of Annie’s talent, even although she has a extremely particular timbre and does not go all more than the spot emotionally. She’s – as usual – becoming herself, and that is what tends to make the lady so adorable.

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Haslam’s charmingly frisky on Gilbert and Sullivan’s “Tilt Willow”, solemn in Bernstein’s really like anthem, “One Hand, One Heart”, and rather organic in a different classic, arioso “Dank Sei Dir, Herr” off Handel’s “Messiah”, as her voice conveniently lends itself to such a diverse material feeling organic to every single musical era she handles. That is a sign of a true master of the art. Entirely unexpected option of soul-caressing songs is practically nothing significantly less than magic from the bottom of Annie’s heart.

Annie’s comments:

Annie’s fave tracks:

*****


ANNIE HASLAM –
It Snows In Heaven Also

White Dove Records 2000

A winter song for all seasons, a wordly message complete of light, an earthly ode to soulful living.

It is a longtime trend placing out a Christmas album when the Yuletide is in sight, but largely that is a sign of inventive nicely operating dry. It requires a accurate master to take the nicely-recognized seasonal fodder way up higher exactly where the songs belong but maintain them firmly rooted emotionally for all to relate. And that is precisely what Annie Haslam achieves with this record which can be enjoyed at any time of the year.

Accompanied by Rave Tesar’s piano, the singer delicately pulls the heart-strings from the opening “O Holy Night” to the closing “White Christmas”, filling the space in between the jazzy and the conventional with wealthy stylistic spectrum whilst retaining her personal musical indentity and adding a titular ballad to the canon. Annie feels equally free of charge right here in the chorale of “Away In A Manger”, rendered a cappella, the majestic children’s ditty that is “Walking In The Air”, re-christened “The Snowman” right after the animated film it was written for, or the swing of Mel Torme’s “The Christmas Song” – although often she multi-tracks the vocals for a higher impact. But it is in the Hollywood drama of “Have Yourself A Merry Little Christmas” and the folksy domain of “We Three Kings” that Haslam sounds impeccably organic. A diverse but entire perform which grows on and on with every single new spin.

Annie’s comments:

Annie’s fave tracks:

****1/three


ANNIE HASLAM –
The Dawn Of Ananda

White Dove Records 1999

Out of the vision the songstress had, come inspirational angels whose wings spread the satisfied inventive maturity.

You could or could not think in heaven higher but for an artist humble sufficient the winged creatures sent down to earth are a good metaphor. Annie Haslam’s angels, or the a single she made for her fan club and named Ananda which implies “bliss” in Hindu, signalled a new starting. The singer launched a label of her personal, White Dove, and matured as a strong writer penning the lyrics for the nine out of ten tracks on the album exactly where, once again, all cuts bar a single mention the angels. There’s a genuine spirituality on show, dissolving one’s self in the sea of really like.

It is ebbing serenely with “Precious One”, subtle but moving song co-written with RENAISSANCE leader, Michael Dunford, who fondles his former bandmate’s crystal voice in Rave Tesar’s gentle keyboards, and rippling in the raga of “Ananda” that, save for the chorus, appears rather bleak. The challenge is Tesar, the principal player on this record, comes up with exciting arrangements, whilst as a composer treats the vocals as a different new age instrument rather than major force, which is not poor in itself but requires Haslam’s feelings someplace out of right here as a result, “Summon The Angels”, arranged and composed by David Biglin and performed reside before taken to the studio, and celestial “‘Michael’ Prince Of Angels” stand out. They just breathe, and air is filling the chorale-massive pop of “This Is Destiny” which once again sees the singer in the organization of Tony Visconti, going – a uncommon occasion on the album – for the “verse-chorus” structure.

A different instance of classical structure is “A Thousand Angels”, written by Mickey Simmonds: a Bach-like baroque descending an allegory of the topic matter. On the contrary, “Running River Runs” comes on rousing, and alliteration is worked cleverly right here. Laid down in America, “The Dawn In Ananda” feels a extremely English idea album, the melodies following the lyrics and the narrative inextricably intertwined with the tunes. That is freedom and a accurate angelic dawn.

Annie’s comments:

Annie’s fave tracks:

****


ANNIE HASLAM –
Reside Beneath Brazilian Skies

White Dove Records 1998


Emotionally naked and musically stripped, the angels fly higher in the sun.

She may be singing extremely English music, but perhaps her restraint is the explanation Annie Haslam has a steady following in hot Brazil. It was a bit adventurous to tour there in 1997 but anything turned out extremely nicely, as documented on the album recorded in Rio de Janeiro and Petropolis. With David Biglin as her sole stage cohort handling keyboards and guitar and making use of some backing tracks to bolster the voice, the functionality is as intimate as it gets, from the opening “Come along with me” of “Carpets Of The Sun” to the “Spare Some Love” universal finale. Beginning with a brace of RENAISSANCE classics, the singer appears to have never ever been as vulnerable as in the sparest of accompaniments on “The Captive Heart”, prior to introducing her solo repertoire to the enchanted audience. A particular treat, certainly: bookended by familiar melodies of playful “Moonlight Shadow” and the heart-wrenching pairing of “Nature Boy” and “If I Loved You” are “Blessing In Disguise”, splashed with acoustic guitar, and two new songs, sensually transparent “Seashell Eyes” and “Summon The Angels”, the latter but to be recorded for Haslam’s subsequent album and the former’s studio reduce nonetheless unreleased.

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It is a seamless flow of the feelings, exactly where the specially-fashioned “Brazilian Skies” gets filled from the very same fantasy spring as the airy YES cover, “Turn Of The Century”, and “The Young Prince And Princess”, unsung for pretty a time. There’s an immense joie de vivre in Annie’s singing, with “Let It Grow” a hearty get in touch with for togetherness that is currently there, and breezy “Northern Lights” echoing the place’s atmosphere. Annie Haslam’s initial reside outing is a quietly uplifting delight extremely suggested to everyone.

Annie’s comments:

Annie’s fave tracks:

*****

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ANNIE HASLAM’S RENAISSANCE –
Blessing In Disguise

1 Way Records 1994

The illness’s defeated, Annie re-emerges as a fantastic firebird glittering in the hands of glamorous master.

Enabling a 5-year gap in between the records is not the most effective way to launch a profession, but for Ms Haslam it was down to suffering from which she re-appeared on the scene stronger than ever prior to – at least, from inventive point of view. A explanation excellent sufficient for the singer to get in touch with her new project RENAISSANCE, though that may be performed in order to distinguish it from Annie’s former bandmate, Michael Dunford’s endeavor below the very same name. The two certainly missed their old ensemble, as each decided to revive its then-unreleased ballad “Dreamaker”, provided new lyrics and re-christened “Love Lies, Love Dies”. But Haslam’s new foil became no other than Tony Visconti largely recognized for his production perform with David Bowie and Marc Bolan, Visconti’s a fine composer in his personal proper and his music serves the singer the most effective on this superb, if a bit as well extended record.

It is nearly genial to usher a listener in with the a cappella title song wrapping Annie’s pure voice in Tony’s warm vocals prior to showering the comer with the hushed but lively “Pool Of Tears” rainbow drops that dance in Jordan Rudess’ liquid keyboard strains. Feelings are all about right here, and coupling the slower tracks such as “Raindrops & Leaves” and “In Another Life” does not sound maudlin with a excellent sprinkling of guitars and the DIXIE DREGS’ man’s piano, it is strong fare for the FLEETWOOD MAC and ABBA fans alike for love. The secret extremely normally lies in the minimalist method applied to a good impact to “A Whisper From Marseilles” which sets Haslam’s vocals against a tiny much more than Visconti’s sparse ivory tinkling and then baroque harpsichord of “I Light This Candle” or “The Children (Of Medellin)” devoted to the excellent charity result in but as well lachrymose to like. However if this – and “The Sweetest Kiss”, Annie’s second take on Faure’s “Pavane” – is what can be anticipated from the lady, the sparkling Moroccan groove of “What He Seeks” is not, but she glides on it with a uncommon elegance and reaches for the jovial hopefulness in “After The Oceans Are Gone”. A timeless perform which any individual who has a heart can relate to.

Annie’s comments:

Annie’s fave tracks:

****four/five

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ANNIE HASLAM –
Annie Haslam

Epic 1989

Time to come into her personal, the songstress tends to make a low commence to the wuthering heights.

By the finish of the ’80s it was clear RENAISSANCE had been no much more, and Annie Haslam had to figure out her personal futher way which hadn’t been so significantly mapped out by her two prior albums. If she planned a sort of a inventive household scenario, Haslam did it proper: gathering a tight circle of buddies such as Larry Rapid and Raphael Rudd about her and fledging as a songwriter, Annie came up with a strong collection of original tunes sprinkled with a smattering of covers – possibly, to beckon the listening bees to her blossoming flower.

This may be an explanation for kicking in with “Moonlight Shadow” which hardly improves on the Mike Oldfield original, in particular with a 4-to-the-floor beat and an unexpected fade-out, but there’s no denying the song suits the voice completely. Just like “Wishin’ On A Star”, a Rose Royce soul classic stripped right here of its sexual tones and thrown back into romantic skies – the spot exactly where the singer feels in her element. Annie shoots higher with majestic, if upbeat, “The Angels Cry” that THE MOODY BLUES’ Justin Hayward brought in and assists singing, but Haslam nearly loses the celestial streak in bleak pop of “Further From Fantasy” and the synthetic sound of “When A Heart Finds Another” saved not by the harmonies but by the quick burst of major-notch vocalise. There is excellent FM fare, such as “One More Arrow”, and soulful she can be as well, like “Let It Be Me”, bronzed with Mel Collins’ sax, and “Wildest Dreams” show. Nonetheless, Annie’s as well humble handling her personal tiny creations, and quiet “Celestine” is not what solemn vignette “She’s The Light” promises to develop into. But it is the closing “One Love” exactly where the light genuinely shines displaying the singer her vibrant future.

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Annie’s comments:

Annie’s fave tracks:

***


ANNIE HASLAM –
Nonetheless Life

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Eaton 1985

Rather ambitious project pulled off only by the purity of the intent and the voice.

1985 signalled the finish of the RENAISSANCE, and exactly where could the band’s vocalist go to in the plastic age if not for the protected harbor of classical globe. But Annie has never ever positioned herself as an operatic singer and pretending has never ever been the white horse for her to ride on. That is why Ms Haslam teamed up with Louis Clark, an knowledgeable conductor who properly helped out each her prior band and ELO, and Betty Thatcher, whose lyrics she’d been singing for decade and a half, to develop a song cycle primarily based on the classical pieces and provide it with The Royal Philharmonic Orchestra and The Royal Choral Society. Fairly a bold move: with the music nicely-established, the strain was on the reading. And right here, all tentative indicators of rock mannerism thrown away, Annie excels and exceeds all the wary expectations.

Exactly where other individuals would blow it all up, Haslam, when the bombastic introduction of “Forever Bound” abates, soars serenely in Tchaikovsky’s melody amidst the clouds of choir counterpoint and then, in the sunrise delight, goes along with it. Elsewhere, she joins the other singers in Mozart’s “Ave Verum”, nonetheless in original Latin. Bach’s “Air”, transformed into the album’s title track, borders in its simplicity and joyful baroque vocalising with radio-friendly pop music but never ever crosses the line to the cheesy. Dangerously close to the Broadway come two Faure’s ballads, but they also handle to keep on this side of banal – in contrast to “Bitter Sweet”, that is Saint Saens’ “The Swan”, or “Glitter And Dust” from “The Swan Lake”, supplied with Barry De Souza’s drums.

As for “Shine”, or Satie’s “Gymnopedie No 2”, Annie wasn’t the initial non-classical artist to tackle the piece – BLOOD SWEAT &amp TEARS had been at it significantly earlier – but Haslam turns it, as nicely as Delius’ “Skaila”, into a delicate piece of operetta. Incredibly fine, even although all the compositions hail from distinctive genres and epochs anyway, but turning instrumental passages or pure piano tune – such as Chopin’s etude, for “Careless Love” – into vocal lines astounds. Not so with Albinoni’s “Adagio”, previously performed by RENAISSANCE with Haslam’s voice and organ only and as “So Cold” much more expressive than right here, as “Save Us All”, not so significantly reworked from the composer’s version and, consequently, a bit pointless. What tends to make sense is downscaling of Wagner’s march for “Chains And Threads”, a genuine, rousing woman’s theme. In no way the valkyrie, Annie Haslam emerges all valorous on her personal.

Annie’s comments:

Annie’s fave tracks:

****four/five


ANNIE HASLAM –
Annie In Wonderland

Sire 1977

With her key band taken as well severe, the RENAISSANCE lady follows the girlish want to be frivolous.

It is challenging to say as to what extent Annie Haslam was content material with the way RENAISSANCE had been steered towards the grandiose ideas when the common public wanted one thing lighter. What with the self-respect, the alterations had been to come in the type of “Northern Lights”, but a single year prior to the ensemble’s sole hit, Ms Haslam went solo – in order to let her hair down and be the true self, relatively-like but down-to-earth. With her bandmate Jon Camp on bass and her then-fiance Roy Wood playing nearly anything else, generating and submitting a good Carroll-goes-rock cover illustration, Annie re-invents herself as a faux vaudeville vocalist right here, on the fine choice of originals and nicely-recognized songs.

The commence is camp, with multi-tracked voice of “Introlise” breaking into a tremulous transparency of “If I Were Made Of Music”, a tuneful calling card and an aromatic essence of the singer’s nature, exactly where drama could bring a smile and tears are brought by pure joy of the superb capacity to make a sound. It is a globe complete of surprises, like in brass-sunny “Inside My Life” and the morning wide-eyed vision of “I Never Believed In Love”, in which Annie’s crystal-clear warble comes offset by Wood-sung choruses and underpinned with his sax solo. But in this globe, a different sort of acoustic romance is never ever far away, and Haslam scales the heights of sensuality in Rogers and Hammerstein’s staple “If I Loved You” that is emotionally linked to the other side of the original LP which peaks with a different perennial, “Nature Boy”, delivered in an upbeat way that arguably tends to make this version a definitive a single.

There’s harmony in the album and there’s a contrast, as well, in between pure ABBA-esque pop of “Hunioco” with its African chant and the closing solemn take on Dvorak’s Symphony No. 9 that is “Going Home” – certain, the RENAISSANCE lady wouldn’t be herself with out an injection of classical music. Nonetheless, all of these facets come collectively in “Rockalise”: pure wordless singing more than gentle backdrop that gets speared by the rock beat to a good impact – extremely glam, with Louis Clark’s string arrangement drawing in the Wonderworld sense of absurd. A masterpiece for all seasons and for all ages.

Annie’s comments:

Annie’s fave tracks:

*****

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