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4.1 out of 5 stars21
4.1 out of 5 stars
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on 20 September 2006
Many have said that on this album her voice was showing signs of the damage caused by alcohol and other abuse. Whilst her voice is definitely different on some of the tracks, on others its pretty much as always. Her "different" voice seems to be heavily influenced by Joni Mitchell of the same period.....not an impersonation but a similar style.

As on her previous release (Like an old fashioned waltz) she is accompanied by lush strings on several tracks.

The bonus tracks are all excellent and somewhat unusually her cover versions are up to the standard of her own stuff.

Not as good as "Sandy"...but not to be avoided either.
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on 3 June 2011
"Rendezvous" was Sandy Denny's last studio-album. Though it's generally agreed that all Denny's records are of the highest quality this album is often referred to as the least succesful. This is mostly due to the fact that some tracks seem a little burdened down by too heavy orchestration. Another problem could be that the album may seem to lack the clear direction of her previous three.

Nonetheless, the album contains some of Denny's greatest songs. "One Way Donkey Ride", "Take Me Away" "No More Sad Refrains" and "I'm a Dreamer" are all classic Sandy Denny.

The album features three cover versions. The opening track "I Wish I Was a Fool For You" was written by long-time friend Richard Thompson whose great guitar playing is present on many Denny recordings. It's the most hardrocking track on the album and a great opener. The inclusion of Elton John's "Candle in the Wind" is probably a mistake; Sandy doesn't sound very inspired and the arrangement of the song is not very different from the original. Her version of "Silver Threads and Golden Needles" is much more successful, it sounds like a Denny original.

The ambitious "All Our Days" has some fine thought-provoking lyrics ( like most of her songs ), but the grandiose classical arrangement makes it seem a little out of place on this album.

"Gold Dust" shows the funky/jazzy side of Denny. The song was originally thought to be the title track and it became part of Denny's 1977 live-repertoire, along with a handful of other songs from this album.

The live album "Gold Dust / The Final Concert" released on Island Records in 1998 is highly recommended.

The five bonus-tracks are all fine. I'm particularly fond of the B-side "Still the Waters Run Deep" and her very last studio recording, the moving "Moments".
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on 5 February 2015
Plenty of other reviews here to tell you how wondeful the music is. And I would generally agree (being a Sandy fan). But I feel it would be useful to make a point regarding the 're-mastering' of this recording.
I'll start by saying that I'm not usually someone who rushes out to buy (yet another) new version of the same recording. Initially I bought this on vinyl when it came out ... and it was a terrible pressing (I may be losing some of my younger readers here) - so much so that I actually binned it. I was pleased when I got one of the first copies on cd - on Hannibal. But had to admit that it didn't sound very impressive, the bass was week, the drums were dull and the overall feel just didn't lead me to playing it very often.
For comparison, the re-master of Old Fashioned Waltz is superb (I bought that as I literally wore out the vinyl copy). However the re-master of Sandy I felt added nothing. So, it was with some trepidation that I ventured to buy the Rendvevous re-master (well, it was less that £5). And I'm happy to say that it is excellent. Well worth it. A final point on the music - no idea why Sandy recorded these awful cover songs - particularly when we now hear what she left off!
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Her fifth and final solo LP (six including her stay with "Fotheringay" in 1970) was released in the UK in May 1977 to widespread public indifference and press bewilderment and would unfortunately prove to be her swan-song. Because of its deliberately 'modern' sound and the heavy-on-the-sauce productions on some numbers – "Rendezvous" has been applauded and berated in equal measure. But at least this gorgeous CD remaster gives it another chance. And I'd argue too damn right. Because as always it's the good stuff with Sandy Denny that stays with you and obliterates all the rest. Here are the details for England's finest Lady Singer...

UK released May 2005 (reissued August 2007) – "Rendezvous" by SANDY DENNY on Universal/Island IMCD316 / 982 802-4 (Barcode 602498280249) is an 'Expanded Edition' CD Remaster and plays out as follows (58:40 minutes):

1. I Wish I Was A Fool For You (For Shame Of Doing Wrong)
2. Gold Dust
3. Candle In The Wind
4. Take Me Away
5. One Way Donkey Ride
6. I'm A Dreamer [Side 2]
7. All Our Days
8. Silver Threads And Golden Needles
9. No More Sad Refrains
Tracks 1 to 9 are her fifth and final album "Rendezvous" – released May 1977 in the UK on Island Records ILPS 9433. Produced by Trevor Lucas – all songs are Sandy Denny originals except "I Wish I Was A Fool For You (For Shame Of Doing Wrong)" by Richard Thompson, "Candle In The Wind" by Elton John and "Silver Threads And Golden Needles" by Jack Rhodes and Dick Reynolds (covered by The Springfields, Linda Ronstadt and Fotheringay).

BONUS TRACKS:
10. Still Waters Run Deep – a Sandy Denny original non-album B-side to "Candle In The Wind" - released May 1977 in the UK on Island WIP 6391 ('DJ Promo' copies only)
11. Full Moon – Previously Unreleased Outtake originally issued on the January 1986 4LP/3CD Box Set "Who Knows Where The Times Goes" on Island SDSP 100
12. I’m A Dreamer (Demo) – recorded at home, Byfield, Northants in March 1976. First issued on the October 2004 5CD Box Set "A Boxful Of Treasures" on Fledg'ling Records NEST 5002
13. Easy To Slip – a Little Feat cover version
14. Moments – a Bryn Haworth cover version
Tracks 13 and 14 first appeared on the 1995 Australian CD compilation "The Attic Tracks 1972-1984" for Sandy Denny and Trevor Lucas on Raven RVCD-46

As with all of these superb Sandy Denny CD reissues on Island's 'mid price' series – the project was researched and co-ordinated by DAVID SUFF and TIM CHACKSFIELD with assistance from JOE BACK at Universal. There’s a very tasteful card slipcase, a Pink Island label on the CD (that should actually be an Orange label to match 1977 and not the 1969 Pink-Eye variant) and hand-written lyrics from "So More Sad Refrains" on the inlay beneath the see-through CD tray. The 12-page booklet features brief but informative liner notes from Fledg'ling Records head honcho and Sandy fan DAVID SUFF - as well as repros of hand-written lyrics and music charts (the lyrics to the songs that were on the vinyl insert are also there too). But the big news is a Remaster by a fave Engineer of mine – DENIS BLACKHAM of Skye Mastering. And what a gorgeous job he's done. This CD sounds superb and is also one of those instances where the BONUS TRACKS tip the purchase into a 'must have'...

From the wind-in-her-hair against a city backdrop artwork and the opening keyboard-rock of Richard Thompson's "I Wish Was A Fool For You..." and the funked-up Miles Davis trumpet of "Gold Dust" – it's clear that this album trying real hard to leave 'Folk' behind – and kind of succeeding. You're also aware of the huge number of instruments and players present. Although it doesn't say who exactly plays on what – the big name luminaries impress - Steve Winwood of Traffic, John 'Rabbit' Bundrick of Free, Jess Roden of Bronco, Jerry Donahue, Richard Thompson, Dave Mattacks and Bob Pegg of Fairport Convention, Billy Lively of Ronnie Lane's Slim Chance, Pat Donaldson of Fotheringay, Bob Weston of Fleetwood Mac and even Reggae artist Junior Murvin. Not to be outdone by these band playing upstarts – the Backing Singers included a neat roll call too - Benny Gallagher and Graham Lyle of Gallagher & Lyle, famed session lady Sue Glover, Sunny Wheatman of 6ts female duo act Sue & Sunny, Kay Gardner of The Ladybirds and the wonder-larynx of Claire Torry whose vocals blew everyone away on Pink Floyd's "The Great Gig In The Sky" from 1973's "The Dark Side Of The Moon".

Sandy's dreadful cover of "Candle In The Wind" is an undoubted and much-derided clunker – and one can only wonder what Island was thinking releasing it as a 7" single to represent the album (four years after Elton's original nailed it in 1973). I've only ever seen 'DJ Promo' copies of WIP 6391 (and they're rare) – so I guess it was withdrawn and never made the stock copy stage. Far better is her self-penned non-album B-side "Still Waters Run Deep" (Track 10 in the Bonuses) – a jaunty tune with great female backing vocals that would surely have fitted better on the LP rather than the mawkish "Candle...”. The slow but wonderfully Soulful "Take Me Away" (credited as "Take Me Away The Load" in the booklet for some reason) is one of my poisons – a masterpiece that showcases her warm voice, songwriting talent and yet still manages to modernise her sound (I'd love to know who plays that great lead guitar - doesn’t sound like Richard Thompson). "One Way Donkey Ride" is cited by fans as another nugget and rightly so.

It's not surprising that the lushly-orchestrated "I'm A Dreamer" was chosen as the album's representative track on the 2009 "Meet On The Ledge" 3CD Box Set celebrating the Folk-Rock of Island Records – it's a highlight on here. "All Our Days" has a touch of the Kate Bush in its ambitious orchestration – a forgotten gem. "Silver Threads And Golden Needles" was a minor hit for The Springfields (with Dusty Springfield) way back in September 1962 (No. 20 in the US charts) while Linda Ronstadt covered it too on her April 1969 debut solo LP "Hand Sown...Home Grown". Sandy's own UK folk band Fotheringay would release a version of it on the belated album project "Fotheringay 2" in 2008 – the supposed 2nd LP from 1970 that never was. That 2008 version is similar to the languid feel of the "Rendezvous" take just minus the colliery band backing (some prefer it). The "Rendezvous" LP ends on "No More Sad Refrains" – a sophisticated love song that is perhaps too loaded down with syrupy strings.

When you hear how good both "Still Waters Run Deep" and the gorgeous ballad "Full Moon" are ("...tonight is like the fist night we met...") – it's pretty damn clear that mistakes were made in choosing "Gold Dust" or "Candle In The Wind" as LP tracks instead. It's arguable that had "Full Moon" been released as a UK 7" single – surely radio would have picked up on its beauty? Her 'Demo' of "I'm A Dreamer" is hissy for sure but that's more than wiped away by the delicacy of the performance – her and a piano – gorgeous. The final two bonuses are cover versions – Little Feat's "Easy To Slip" (from 1973's "Sailin Shoes") and Bryn Haworth's "Moments" (from 1978's "Grand Arrival"). The Little Feat cover just doesn't really work (they had such a unique sound) but the beauty of Haworth's "Moments" makes for a more satisfying listen – a sweet little melody with great guitar-work (I wish someone would pair Haworth's A&M albums "Grand Arrival" from 1978 with 1979's "Keep The Ball Rolling" onto 1CD).

After 1975's "Rising For The Moon" and 1977's "Rendezvous" failed commercially – both her former muckers Fairport Convention and Sandy Denny herself were dropped by Island Records – out in the wilderness so to speak. After a freak accident in a friend's home in the spring of the following year (she fell down some stairs) - Sandy went into a coma and horribly - a brain haemorrhage took her not long after.

Alexandra Elene MacLean Denny passed 21 April 1978 – gone too soon – a voice many considered too beautiful for words. This last stab at commerciality might have offended purists at the time with its cod Reggae and overdone productions in places. But over time – the beauty-moments on "Rendezvous" have revealed themselves to be more than the whole. And it's a cheap too as a Remaster.

"...Miss you more than I can say..." - Sandy sang on the beautiful love song "Full Moon". Set up a meeting with this underrated and forgotten album...because I reckon the good bits are going to improve your listening world big time...

PS: see reviews for the CD reissues of "Fotheringay" (1970), her 1972 debut on Island Records "Sandy" and the 2016 2CD compilation "I've Always Kept A Unicorn: The Acoustic Sandy Denny"
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A few years ago I was introduced to a group called Fairport Convention by a friend. The song she played was Matty Groves, and instantly I was entranced by two things, Dave Swarbrick's fiddle, and Sandy Denny's voice. Since then I have built up a collection of Sandy Denny's albums, both solo and in groups, and these stand as some of my favourites in my collection.

She had a voice that was controlled and full of technical skill, but with a real throbbing intense passion lurking just beneath that threatened to burst free at any moment. She started out as a folk vocalist, but through her work with groups such s Fairport and her later solo albums she expanded to become so much more. Rooted in folk certainly, but overlaid with many other layers that made her unique.

This is her fourth, and sadly final, solo album. It's a delicious set of folk /folk rock tracks, with some light blues and jazz tinges around the edges. Front and centre is Denny's amazing voice as she gently leads us through a series of tales of life, love and loss. It's a gentle, almost mournful. Her singing is just magnetic, full of charm and beauty. It's an album to just put on and get lost in.

This remastered version is a pure joy. The remastering is superb, and allows you to hear the colour and dynamics in Denny's voice. There is a host of extra tracks at the end that really add to the album.

There is a pile of extra tracks on the second disc, but as with the Northstar Grassman deluxe edition I have to say that if you already own the 2005 release then there is no real reason to upgrade unless you are a serious Denny-head.

In all this is a special album. Really beautiful music to entrance you. 5 stars.
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on 23 October 2014
The demos, outtakes are a revelation and show what might have been had this album had better production and song selection. These are powerful songs.Full Moon, left off the original album, is one of my favourites and the version with Swarbrick is superb. Now that the de luxe version is available at very reasonable price, it is recommended to anyone put off by the syrupy strings of the original album. Disk 2 is the real deal even if the great voice is not quite what it was.
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on 7 June 2012
This is a re-release of Sandy Denny's 1977 album re-packaged in a gatefold sleeve with enclosed booklet and accompanying notes by Patrick Humphries. By the time she recorded "Rendezvous", Denny had (more or less) deserted her `folk' roots and even though it was produced by husband Trevor Lucas, another `folk music' stalwart, a majority of the tracks are definitely a little heavy handed. At this time I'm sure she was probably under pressure by her record label to produce a commercially viable piece of vinyl but if that was the intended trajectory it failed quite spectacularly in my opinion. OK, so there are some good moments notably her cover of "Candle In The Wind" and on a more positive note for 2012 and in keeping with disks of this nature it's the unearthed gems on the second CD that pay dividends for the hard-core fan. The bonus tracks (all fifteen of them) featuring interesting takes on some of the original album's material make for not only a pleasant diversion but `must have' if you are a complete-ist like me. Therefore we have "Full Moon" with its Swarbrick fiddle solo and a disconcerting but somehow hypnotic choral version of "All Our Days" and a paired-down piano arrangement of "Candle In The Wind" so, for me this 2-disk set proved a bit of a Marmite moment but possibly worth purchasing for the booklet and `out-takes' alone.

PETE FYFE
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on 11 April 2015
This really is desperate stuff when you compare it to, say, 'The North Star Grassman and The Ravens' from 6 years before. Everything about it, from the 'pop star' cover to the horrible over-production, reeks of a desperate final attempt to secure commercial success. Although Denny had written a couple of perfectly passable songs for the album ('One Way Donkey Ride' is one of her best, although 'Gold Dust' is one of her worst), and her choice of covers isn't bad (except for the misduged 'Candle In The Wind'), Trevor Lucas' production just swamps everything. He might have been trying to compensate for a voice that was truly fading owing to his wife's 'rock 'n' roll lifestyle', but, as can be seen from the alternate takes on the bonus material, he should have allowed the stripped down versions to stand, for, although the voice was cracking, it was still a powerful instrument. He should have also persuaded her to stick to folk material - she might not have liked the 'folk' tag, but that's what she always did best.

The versions on Disk Two makes this a worthwhile purchase - but only just.
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on 5 December 2008
Sandy Denny's final album, like a lot of her solo efforts, suffers from the lavish use of strings and other "sweeteners", and it's hard not to compare her solo recordings with the far better suited Fairport recordings, at least in terms of overall sound. Who would not prefer "Fotheringay" to, say, "Candle in the wind"?
That said, "Rendezvous" has some great moments and should be in any Sandy Denny fan's record collection. I would like to add that, in disagreement with some reviewers, I'm particularly fond of the almost classical-sounding "All our days", which hints at ways Sandy Denny could have changed the approach to recording her songs, from marring syrupiness to a more mature and enhancing setting.
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A few years ago I was introduced to a group called Fairport Convention by a friend. The song she played was Matty Groves, and instantly I was entranced by two things, Dave Swarbrick's fiddle, and Sandy Denny's voice. Since then I have built up a collection of Sandy Denny's albums, both solo and in groups, and these stand as some of my favourites in my collection.

She had a voice that was controlled and full of technical skill, but with a real throbbing intense passion lurking just beneath that threatened to burst free at any moment. She started out as a folk vocalist, but through her work with groups such s Fairport and her later solo albums she expanded to become so much more. Rooted in folk certainly, but overlaid with many other layers that made her unique.

This is her fourth, and sadly final, solo album. It's a delicious set of folk /folk rock tracks, with some light blues and jazz tinges around the edges. Front and centre is Denny's amazing voice as she gently leads us through a series of tales of life, love and loss. It's a gentle, almost mournful. Her singing is just magnetic, full of charm and beauty. It's an album to just put on and get lost in.

This remastered version is a pure joy. The remastering is superb, and allows you to hear the colour and dynamics in Denny's voice. There is a host of extra tracks at the end that really add to the album.

In all this is a special album. Really beautiful music to entrance you. 5 stars.
0Comment|2 people found this helpful. Was this review helpful to you?YesNoReport abuse

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