HOOKFOOT - LONDON 1974/RENAISSANCE - NEW YORK 1976

July 2, 2015 – 5:10 am

Click on the panels for a better view or to download artwork.

HOOKFOOT/RENAISSANCE
London 1974/New York 1976 [no label, 1CD]

Hookfoot - Live at the Paris Theatre, London, UK; January 12, 1974. Renaissance - Westchester County Center, New York; December 15, 1976. Very good FM broadcasts.

Both Hookfoot and Renaissance are not commonly shared on the net, and so for the collectors - here’s a trip down memory lane. Hookfoot was a British rock band, active from 1970 to 1974. Formed by Caleb Quaye (guitars, piano and vocals) and three fellow DJM session musicians, Ian Duck (vocals, guitars and harmonica), Roger Pope (drums) and David Glover (bass), the band were also backing musicians for Elton John, appearing together on most of his early recordings for DJM. Fred Gandy of Bluesology later replaced David Glover.

Renaissance are an English progressive rock band, best known for their 1978 UK top 10 hit Northern Lights and progressive rock classics like Carpet Of The Sun, Mother Russia, and Ashes Are Burning. They developed a unique sound, combining a female lead vocal with a fusion of classical, folk, rock, and jazz influences. A characteristic element of the Renaissance sound is Annie Haslam’s five-octave voice. - wikipedia

Thanks to DimeTravel and kneesfudd for sharing Hookfoot at Dime.

kneesfudd’s notes:

- Primo stereo SBD.
- Warts: Mk1 version has some low-end turntable hum. Few very lite LP pops missed during repairs (or apparent on Mk2 after NR). 1st 8secs of talk/intro slightly muffled/tape wow.

Click here for the complete notes.

Click here for the lossless Hookfoot flacs.

Thanks to Doinker for sharing the Renaissance tracks at Dime.

Doinker noted: “This taping was taken from a 1987 WNEW rebroadcast and was directly recorded to the reel you are now listening to. The sound quality is just about perfect for a radio transmission from this era.”

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Lineage:
Hookfoot: BBC stereo soundboard transcription disc > 1st generation Maxell SXII-90 high bias cassette, Dolby B on. (VERY low & uneven levels & marked “no Dolby”, but clearly MUST have been Dolby B encoded - FAR too bright without it).
Playback 2015-04-19: 1st generation stereo Maxell SXII-90 high bias cassette on Nakamichi 680ZX cassette deck, Dolby B on, azimuth adjusted for individual tape, heads cleaned & demagnetized > Sony Linear PCM Recorder PCM-M10 (LPCM 44.10kHz/16bit WAV files) > computer > Audacity [normalisation to remove DC offset, channel/phase alignment, fades, manual one-at-a-time glitch, bump, pop, click, dropout & dullspot repairs, volume adjustments, NO equalisation] > CD Wave (track splits) > flacs (Trader’s Little Helper)

Renaissance: FM > TDK 150H reel at 3.75ips > Sound Forge 6.0 at 24 bit 48Khz > Bit level conversion and resampling to 16 bit 44.1Khz > FLAC

Click on the highlighted tracks to download the MP3s (224 kbps). As far as we can ascertain, these tracks have never been officially released on CD.

Please Do Not Hammer The Links. Due to the size of some of the files, please be very patient when downloading the tracks. It could be that the server was very busy. The tracks should still be around. Please try again later. Kindly email us at [email protected] if you encounter persistent problems downloading the files.

Hookfoot 1974
Track 01. introduction 0:31 (877k)
Track 02. I Don’t Need 3:09 (5.3MB)
Track 03. If I Had The Words 4:04 (6.8MB)
Track 04. Ridin’ On A Thunderstorm 6:51 (11.5MB)
Track 05. Cruisin’ 5:38 (9.5MB)
Track 06. Nature Changes 7:08 (12.0MB)
28 mins

Lineup:
Caleb Quaye - lead electric guitar, vocals
Ian Duck - rhythm electric guitar, harmonica, vocals
Fred Gandy - electric bass
Roger Pope - drums

Renaissance 1976
Track 07. Intro by Allison Steele 1:16 (2.1MB)
Track 08. Carpet Of The Sun 3:47 (6.4MB)
Track 09. Mother Russia 9:56 (16.7MB)
Track 10. At The Harbour 7:06 (11.9MB)
Track 11. Running Hard 9:40 (16.2MB)
Track 12. Conversation 1:26 (2.4MB)
Track 13. Black Flame 6:32 (11.0MB)
Track 14. Touching Once 10:09 (17.1MB)
50 mins

Click here to order Hookfoot releases.

Click here to order Renaissance releases.

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Click here for more shows that are still open for sharing.

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  1. 4 Responses to “HOOKFOOT - LONDON 1974/RENAISSANCE - NEW YORK 1976”

  2. Always a treat to get some quality Renaissance, and introduced by none other than the Nightbird herself! Very cool!

    By Rick on Jul 2, 2015

  3. Thank God for WNEW-FM NYC. They broadcast many shows having nothing to do with KBFH or any other syndicated shows. My tape shows the Renaisance tape at 90 minutes; so its prob incomplete here; but Bigo deserves cred for bringing it to the world. Thanks Michael! Now if someone will clean up the 1969 Fillmore West show with the Keith Relf incarnation of the band; we’ll be good to go.

    By rich on Jul 2, 2015

  4. Great post!! I was aware of Renaissance, but had hardly heard anything by them. Thank you!! Some Caravan would be nice as well….just saying…

    By DanC on Jul 2, 2015

  5. I saw Caleb Quaye in the early 70’s playing with Bill Quateman who was supposed to be the next big thing. I recognized his name from Elton John’s first work. Quaye’s story is a bit like Forest Gump. He’s got religion now but back in the day…

    http://www.newworldmusic.org/Caleb_s_Band_Page.html

    “As a child, …some of the world’s greatest musicians and singers came through our house, as friends of my parents. My dad was good friends with Django Reinhardt, Charlie Parker, Dizzy Gillespie and members of Duke Ellington’s orchestra, along with Ella Fitzgerald, Lena Horne, Billie Holliday and many others. ”

    “I met Elton shortly after leaving high school at age 15. At that time he was not Elton, but Reg Dwight. We were both office boys in what was known then as Tin Pan Alley…”

    “I landed a job at Dick James Music, which was the company that published the Beatles’ music. This was in 1965…”

    “I first got involved with drugs in 1966. I was working on a project with Mick Jagger and one day, while working on some song arrangements at his apartment, he said to me, “You must smoke some of this” and he handed me a big, fat joint.”

    “I recorded his [Elton John] demos and this turned into a work in progress, after he found a partner in lyricist Bernie Taupin. In 1967 I was called on the carpet, after having been found out to be giving free studio time to various artists, in order to help them with their music…”

    “Under threat of expulsion from the company, I pleaded with Dick James to listen to the songs we had recorded with Reg & Bernie. Dick listened and promptly signed them to their first recording and songwriting contract and the rest, as they say, is history. Not only did I play on the demos, but played guitar on most of Elton’s “early stuff” or “the classic period,” such as the Tumbleweed Connection album, Tiny Dancer and Levon.”

    “a music contractor… David Katz… said to me, “Caleb, I love your playing and I was wondering if you could help me out; I have a bunch of studio work lined up and I usually use Jimmy Page, but he has just quit doing session work to join the Yardbirds. If you’re interested, I need you to join the musicians union.”

    “…I got to play on most of the records by a group called The Troggs. So, you can hear me on their version of “Wild Thing”, “I Want To Spend My Life With A Girl Like You”, “Love Is All Around”, etc. I was fortunate to work up close with so many people of that era. For instance: many of the Liverpool groups that were under Brian Epstein’s management, such as Gerry Marsden, The Fourmost, Billy J. Kramer and the Dakotas.”

    “While working for Dick James Music and running the studio, one of my jobs was to make publisher copies of the masters of the Beatles’ albums. …So, this is how I became the first person outside of the Beatles’ immediate circle to hear their recordings from Help, through to the White Album. I was the person who played it to Graham Nash for the first time. At that time he was still with the Hollies, but I think that hearing Pepper was the catalyst for him to leave the Hollies and join Crosby and Stills. I still remember his reaction to the album, as the last piano chord of “A Day In The Life” was fading out. He simply got up and walked out of the studio, saying, “They’ve done it!”

    And Harry Nillson (Schmilsson), Beach Boys, Joan Baez, Al Kooper, John Klemmer, Eddie Henderson, Dusty Springfield, Liza Minnelli, Joan Baez, Ralph McTell, Pete Townsend, Hall & Oates, Shawn Phillips, Yvonne Elliman, Lou Reed, Dick Heckstall-Smith and Cochise.

    http://www.newworldmusic.org/Caleb_s_Band_Page.html

    By Pierre on Jul 2, 2015

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