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Episode 314 – Ian Gillan – Toolbox (Part 2)

Link to video episode on YouTube: 

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Album Tracks:

All tracks by Ian Gillan and Steve Morris except where noted. Notes from Ian Gillan’s Wordography where available.

  1. Dancing Nylon Shirt (Part 1)
    • https://gillan.com/wordography-20.html
    • One of the first ads on British TV was for ‘Raelbrook Poplin the shirt you don’t iron’ and the picture was of a row of freshly laundered shirts dancing happily whilst pegged to a washing line. These shirts never saw an iron in their entire lives. They went straight from the chorus line to the husband, and so everybody was very, very happy.
    • Of course that’s not really anything to do with the song, other than a symbolic trigger for another journey of lyrical wonderment. Very deep this one.
  2. Bed of Nails
  3. Gassed Up
  4. Everything I Need
  5. Dancing Nylon Shirt (Part 2)
  1. Dancing Nylon Shirt (Part 1)
    • https://gillan.com/wordography-20.html
    • One of the first ads on British TV was for ‘Raelbrook Poplin the shirt you don’t iron’ and the picture was of a row of freshly laundered shirts dancing happily whilst pegged to a washing line. These shirts never saw an iron in their entire lives. They went straight from the chorus line to the husband, and so everybody was very, very happy.
    • Of course that’s not really anything to do with the song, other than a symbolic trigger for another journey of lyrical wonderment. Very deep this one.
  2. Bed of Nails
  3. Gassed Up
  4. Everything I Need
  5. Dancing Nylon Shirt (Part 2)

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • The album was released only in Europe, Brazil, and Japan on the German label EastWest.
  • After the album’s release on October 14, 1991, Ian Gillan embarked on a 10 month tour to promote the album.

Reviews

  • GILLAN. TOOLBOX. East West- : October 14th 1991 : UK LP/CD
  • Eagerly awaited or at least looked forward to with curiosity by many of you, IAN GILLAN’s new album hit the stores just as we were finishing the magazine. I shall be interested to see how people take to it. NAKED THUNDER got a better reaction within the DPAS than I’d expected, and I wonder if I’ll be the only one feeling a little unsure about this new one. The unease stems from the feeling that they’ve concentrated too much on one aspect of Ian’s style and in so doing sacrificed much of what it is most of us love about his work; the humour and unpredictability.
  • Not that they’ve done a bad job you understand, but it lacks (to my ears) something to lift it or mark it out as more than just another competent rock album. And rock album it certainly is; forget the often commercial edges with which Naked Thunder abounded (and made its lack of success even more disappointing), here Ian and the band just go straight down the line from start to finish. That’s not to say he doesn’t hit you in places; most of TOOLBOX is great fun (life is indeed a box of rocks!) but few of the tracks keep it up all the way through. For me the opening track CANDY HORIZON is the best of the “straightforward” rock numbers. The tingle factor is supplied by the start of DON’T HOLD ME BACK, you can forgive him anything for the first few moments of this number. It’s down to the Beastie Boy/Aerosmith influenced DANCING NYLON SHIRT to provide what is still for me the albums real highlight though. Part 1 is good and when Ian launches into his “come here boy”, we’re back on real Gillan form. But it’s the reprise at the end of the album which takes me off – Ian seems to shrug off any restraints and just lays in to the lyrics. It’s imaginative, you can feel the spark and hear the enjoyment. Brilliant.
  • The Collector’s Guide to Heavy Metal: 6/10
  • AllMusic:⅗ (User:⅘)
  • https://www.allmusic.com/album/toolbox-mw0000598982
  • Toolbox Review by Jason Anderson
    • Ian Gillan’s final solo outing before his second comeback with Deep Purple is possibly the singer’s most rocking solo collection. Originally a European release, Toolbox finally appeared in North American record stores in 1997. The disc is hampered by its ’80s production (complete with faux-Van Halen guitar licks and big reverb drum sounds) but Gillan’s personality and dynamic performances preserve Toolbox’s sharp rock & roll edge. Tracks like “Candy Horizon” and “Don’t Hold Me Back” have more than their share of questionable lyrics, but Gillan’s trademark screams easily overshadow any poetic shortcomings. Nothing can compare to the classic recordings Gillan was involved with in the early ’70s, but among his second-tier offerings, Toolbox is definitely one of the best.

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Episode 313 – Ritchie Blackmore at 80

Link to video episode on YouTube: https://www.youtube.com/watch?v=Jukp5qhmZK4

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Ritchie Blackmore Moments:

Ritchie Blackmore Trolling

Ritchie Blackmore – Practical jokes and getting back at Cozy Powell!

Deep Purple – Concerto for Group and Orchestra (1969) (Solo at 6:45)

Blackmore’s Night – Ariel (Live in Paris 2006) HD (5:00 mark)

Deep Purple – You Fool No One / The Mule – Live at California Jam 1974 (1080p) (Solo at 5:30)

Deep Purple – Bilzen Jazz Festival 1969 (Solo at 10:00)

Blackmore’s Night – Fires At Midnight (Live in Paris 2006) HD (Solo at 5:00 mark)

The Outlaws – Law & Order (1963) (Ritchie Blackmore, Mick Underwood)

https://www.youtube.com/@DogwithtwoBones/videos

Deep Purple – You Cant Do It Right Guitar LESSON and Breakdown

https://www.rollingstone.com/music/music-news/ritchie-blackmore-shallow-purple-2-226355

Ritchie Blackmore Interview on Melbourne Radio November 21 1976 mp3 (Refuses to do promo at 47:45)

Ritchie Blackmore discussing the California Jam in 1974 (Part 1).

Ritchie Blackmore on Death

Ritchie Blackmore Interview, 2013

Video: Ritchie Blackmore Interviewed by RT — “The Whole World is Kind of Phony” | Guitar World

Ritchie Blackmore Interview (Rainbow) on Countdown 1979

Ritchie Blackmore – We all love ABBA!

Great podcast interview with Ritchie and Candice: https://podcasts.apple.com/us/podcast/whole-lotta-talk-interviews-that-rock/id1352288358?i=1000502367556 (Arrests story from interview around 32:30)

Derek Lawrence provides some insight into Ritchie Blackmore, Deep Purple & the bands management.

Brian May discussing his earliest memories of Ritchie Blackmore

Ritchie Blackmore Studio Session Smoke on the water incredible Solo

Ritche Blackmore recording Smoke On The Water– Rock Aid Armenia

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More Blackmore Moments:

Ritchie Blackmore Talks About His Favourite Three Guitar Players– Beck, Hendrix, Van Halen

Yngwie Malmsteen – on his meeting with Ritchie Blackmore

Gene Simmons from KISS discussing Ritchie Blackmore!

George Lynch on Ritchie Blackmore being a dick to him(eddie)

What Pete Townshend thinks of Ritchie Blackmore and vice versa(narrated)

Joe Satriani discusses his thoughts on Ritchie Blackmore’s guitar playing

Simon McBride Reveals His Comparison Between Ritchie Blackmore And Steve Morse In Deep Purple (narrated)

The Steve Morse Interview: From The Dregs, to Deep Purple and Kansas

https://www.ultimate-guitar.com/news/general_music_news/ritchie-blackmores-wife-opens-up-on-guitarists-health-he-had-a-heart-attack-about-a-year-and-a-half-ago-hes-got-six-stents

Candice Night on new solo album ‘Sea Glass’ featuring Ritchie Blackmore with Dawn Osborne/TotalRock (Update on Ritchie’s health at 33:50)

“As far as flying anywhere right now, Ritchie has actually been told by his cardiologist not to get in a plane. He had a heart attack about a year and a half ago. He’s got six stents.”

“And I can’t believe he’s gonna be 80 on April 14th, which is crazy, but he doesn’t look it, still doesn’t act it, but eventually medical things wind up catching up with you. So we’ve gotta make sure we keep him happy and healthy.”

Night continued:

“And he’s dealing with gout and some arthritic things. And, of course, his back has always been an issue for years. So it’s getting harder for him – it’s tricky – but, hey, I’ve seen people younger than him in wheelchairs on stage doing what they do. So I think he probably doesn’t want people to see him that way.”

“I see the other perspective – from a fan’s perspective, I would think people would just be happy to be under the same roof with him and listen to him play whatever he comes up with. So, we kind of have this discussion, or argument – I’ll say discussion – all the time.”

“But he was just recently at his cardiologist and they said, ‘Let’s put traveling by plane on hold.’ So, hopefully, we’ll get that all straightened out and that’ll change. But I’ll let you guys know if it does.”

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Episode 312 – Deep Purple – Live in Paris (1975)

Link to video episode on YouTube (AUDIO ONLY THIS WEEK): https://www.youtube.com/watch?v=yxIn_rWmTSg

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Postcards From The Edge . . . OF CONNECTICUT!

  • Two stragglers from months ago!

Lead up to the Album:

  • Made in Europe was recorded at 3 live shows:
    • 4 April 1975 in Graz, Austria,
    • 5 April 1975 in Saarbrücken, Germany and
    • 7 April 1975 in Paris, France
  • The album is said to have been made up primarily with material recorded at the show in Saarbrucken, Germany.
  • The full shows in both Graz and Paris were released in their entirety in an official and unofficial capacity.
  • There is one potential bootleg of the partial show from Saarbrucken that features Burn, Lady Double Dealer, Mistreated, and Burn. No complete show has ever surfaced. This was released in 1985 in The Netherlands.
  • The Paris show was later released in 2001 by Deep Purple Overseas as well as the Graz show and many others.
  • In 2012 expanded 2 CD versions of these shows were released.

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palais des sports

The Venue:

Setlist

  1. Burn
  2. Stormbringer
  3. The Gypsy
    • This is the last live performance of the song by Deep Purple.
  4. Lady Double Dealer
    • This is the last live performance of the song by Deep Purple.
    • Whitesnake would perform this song live early on in the band’s run.
  5. Mistreated
    • This is the last live performance of the song by Deep Purple.
    • Both Whitesnake and Rainbow would go on to perform this song live.
  6. Smoke On The Water
  7. You Fool No One
    • This is the last live performance of the song by Deep Purple.
  8. Space Truckin’
  9. Going Down (Don Nix)
  10. Highway Star

The CD release also features an interview with David Coverdale, Glenn Hughes, and Ian Paice.

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Episode 311 – Ian Gillan – Toolbox (Part 1)

Link to video episode on YouTube:  https://www.youtube.com/watch?v=Aj2jWGiSbHY

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Lead up to the Album:

  • Before setting about recording, Ian debuted his new live band in Russia, arriving in Moscow on June 27th. Just a handful of gigs to warm them up, done as a four piece. Ian, Steve Morris, plus new bassist Brett Bloomfield (from Starship), and drummer Leonard Haze from Y&T. In Augist, Gillan, as they now seem to be calling themselves, played a long standing engagement in Denmark; festivals in Odense on the 10th and Skanderborg the next day.
  • Rasmus Heide was at the shows – “It was a beautiful day, with the sun shining. Ian loved it but Steve wasn’t fond of playing outdoors in the daylight. Out of a set just over an hour long, they only did four old numbers, including ‘Maybe I’m A Leo’. While they were a little rough after just one rehearsal they sounded good. The bass player was a real livewire and Steve has grown immensely since the last tour, without keyboards or rhythm guitar he is working really hard and it sounds much better. At the second show Ian sensed the crowd were largely unresponsive, so they opened with ‘Smoke On The Water’ to get them going. ‘Black Night’ was also added.”
  • “Toolbox”was recorded in 1991 in Battery Studios in Willesden, with production by Grammy-nominated
  • Album released October 14, 1991

Core Band:

Technical:

Album Art & Booklet Review

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Album Tracks:

All tracks by Ian Gillan and Steve Morris except where noted. Notes from Ian Gillan’s Wordography where available.

  1. Hang Me Out to Dry (Gillan, Leslie West)
    • Leslie West
    • https://en.wikipedia.org/wiki/Leslie_West
    • I’d always admired the sound Leslie West got from his guitar; witness ‘Mississippi Queen’ by Mountain. So I invited him over to stay with me and do some work. This was the result. Another bout of lyrical introspection; however I feel comfortable with the words, even though I can’t remember exactly what inspired them (and it would be unfair to guess).
    • We recorded the tracks in London before Leslie had to go home. For some reason (technical if I remember rightly) there was a problem with the solo. Consequently it was replaced by a Steve Morris solo, and everyone was happy with the result. Everybody except Leslie that is, who went bonkers when I next saw him in Sweden and accidentally made my nose bleed when he gave me a friendly hug whilst screaming at the top of his voice….’what happened to my f…..g solo?’
    • It’s still a cool track in my book.
  2. Toolbox
  3. Dirty Dog
  4. Candy Horizon
  5. Don’t Hold Me Back
  6. Pictures of Hell

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Episode 310 – Deep Purple – Gemini Suite

Link to video episode on YouTube: 

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Postcards From The Edge . . . OF CONNECTICUT!

  • The Mystery of Ralphie from Nashville

Our Episode on Jon Lord’s Studio Album of “Gemini Suite”:

Lead up to the Album:

  • Performed and recorded on September 17, 1970 at 
  • Jon Lord had been obsessed with performing rock music with an orchestra starting in the mid 60s in his previous band, The Artwoods.
  • The Artwoods had almost used the New Jazz Orchestra on their 1966 debut album then later planned on working with a German conductor but neither materialized, the latter falling apart as The Artwoods broke up before it could happen.
  • On “The Book of Taliesyn” Deep Purple brought in a string section for the song “Anthem.”
  • In 1969 on their self-titled album Jon Lord got as close to his goal as he had yet gotten when they composed “April.”  But “April” was broken up into band and string quartet parts, the two were not combined.
  • In June of 1969 it was decided that they would book The Royal Albert Hall that September and put on a Concerto with the Royal Philharmonic.  The only thing needed at that point was for Jon Lord to actually write it.
  • As discussed on previous episodes the rest of the band were not 100% on board for this project but the performance went over very well.
  • Lord: “It got us labelled as a group who’d jumped on the classical/rock bandwagon. It drew attention to us at a time when we needed it, but we weren’t expecting to be labelled as a group that plays with an orchestra.  It caused a rift in the group. What they were afraid of, and what I hadn’t seen was happening, was that people weren’t sure what we were all about. They got frightened we’d get railroaded into playing hundred of Concertos. They thought I didn’t want to play rock & roll.
  • At this point Jon Lord was largely seen as the leader of Deep Purple and this caused some resentment.
  • This almost lead to Lord leaving the band but in the end management smoothed things out and Lord assured the others he was committed to Deep Purple.
  • After the Concerto they did have to fulfill one last Concerto date in America at The Hollywood Bowl where the score was lost.
  • Lord was also commissioned to write another rock and orchestral collaboration.  The band reluctantly agreed but only if it was downplayed and that it would be the last time they would do any such thing.
  • Lord got to work writing what would have a piece dedicated to each of the five members of Deep Purple, each focusing on the abilities of the individuals.
  • The writing process happened very quickly while on tour with The Faces in America.
  • They performed it once on September 17, 1970 with the Orchestra of the Light Music Society conducted by Malcolm Arnold.
  • This time they were in a much better position than a year before with “Deep Purple In Rock” gaining traction and “Black Night” having some chart success.
  • There was no publicity for this performance.  The show was reviewed by two music magazines and it aired on British and Danish Radio shortly after the performance.
  • The feeling by Lord was that this had taken The Concerto to the next level, bridging the gap a little more seamlessly than he’d done the previous year.
  • The recording was shelved and not released until 1993.  We’ll review that on a future episode.
  • Jon Lord did say in interviews following the concert, that he would like to record it but for now was focused on Deep Purple.  Sometime was only six months later.
  • In Ian Gillan’s Biography “Child in Time” he describes Blackmore as going “berzerk” when he saw promotional posters for the concert. Blackmore said that the Concerto had become a “millstone around their necks.”

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The Venue:

Setlist

  1. The First Movement: Guitar, Organ
    • Simon Robinson:
      1. “Blackmore’s movement came first. According to people at the show, he turned his volume control down, bowed his head and got on with business. On one of the last live recordings to feature his Gibson [ES-]335, he proceeded to put together guitar passages of stunning beauty, echoed by quiet and sympathetic orchestral backing. With a natural ear for these things, Jon had recalled some of the quieter moments which actually accompanied the ending of “Child In Time” on stage and written these into the movement.”
      2. “Next up was Ian Gillan. Both he and Blackmore had been the most vocal in their opposition to this kind of work, yet like Blackmore, Gillan turned in a breathtaking performance. The story is that he was still writing the words backstage during the preceding performance (the Orchestra did Gershwin’s Rhapsody in Blue).”
      3. Vincent Budd writes that the first movement appears to pay homage to the opening of “Galliard of the Sons of the Morning” from “Job” by Vaughn Williams.
        1. Job: Scene VIII: Galliard of the Sons of Morning. Altar Dance and Heavenly Pavane
  2. The Second Movement: Voice, Bass
    • Simon Robinson:
      1. “Ian Paice’s movement turned into something of a drum battle between the orchestra’s percussion players, and proved popular with the crowd. In contrast, Lord’s own solo lost its way in places, maybe through nerves, though elsewhere he was in fine form. Glover too adopted a rather casual approach for his break, though maybe his idea was to inject a little humour into the proceedings.
      2. Vincent Budd writes that this section brings in bits of “The Miraculous Mandarin” as well as some of the worlds of Virgil Williams. This podcast host is not familiar enough with either to say what they are.
      3. Vincent Budd compares the vocal movement to be reminiscent of Elgar’s “Sospiri for Strings.”
        1. Edward Elgar – Sospiri, for cello, harp and strings | Amsterdam Sinfonietta
  3. Third Movement: Drums, Finale
    • Simon Robinson:
      1. Budd compares Ian’s drumming in this section to that of Gene Krupa.

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Bustin’ Out The Spreadsheet

Reception and Charts:

  • The Jon Lord album would not be released until the following year.  See our episode on that album here: Episode #112 – Jon Lord – Gemini Suite
  • There was no rush to release the recording. Jon Lord, when questioned about it, said that he would like to record it at some point. He would go on to do that with the studio version that was released the following year.

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Episode 309 – Zzebra

Link to video episode on YouTube:  https://www.youtube.com/watch?v=iYg7t4tgmLw

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  • A postcard mystery is brewing.

Lead up to the Album:

  • Zzebra was formed from members of the bands If an Obisaba.
  • Gus Yeadon was brought into the band but was not happy with the lineup. Producer Ken Burgess had a friend and partner named Tommy Eyre who had returned from the US where he was recording with Mark-Almond.  He went to see the band at the Marquee and ended up joining to complete the album.

Nate reached out to John McCoy to ask him about Zzebra and this album in particular. Here’s what he had to say:

Hi Nathan…..ZZEBRA! I loved that band and the musical freedom we had.

Myself and drummer Liam Genockey had been working together for a couple of years in folk rockers Curtiss Maldoon  with tours of USA support to Badfinger and an album “Maldoon” on Purple Records, followed by a stint with American folk legend Julie Felix touring UK,far east and after that became popular as  bass/drums session players in very varied musical genres. We shared an appreciation of many styles

One such session was for a low budget film score….also booked for the session was Dave Quincy and Terry Smith from a very successful jazz rock band IF and an African percussionist, /sax/ flute player Loughty Amao from the band Osibisa.

When the session work was finished we kept on jamming into the early hours, loving each others playing and we all agreed it was something special and different and soon ZZEBRA was born ,through Daves jazz connections we were soon playing London jazz  circuit even securing multiple shows at the prestigious Ronnie Scott’s club. Through Loughty’s success with Osibisa we crossed over into the rock circuit playing The Marquee and touring with  Soft Machine and Chick Corea’s “Return to Forever”

To continue…we recorded the first album at a rural residential studio in Kent called Escape studios where we were able to immerse our selves in exploring this unusual mix of musical styles. By this time we had been joined by singer /keyboards player Gus Eden from pop rock group Love Affair. Under the magical production work of Ken Burgess and engineer Tony Taverner. 

The band continued on to record two further albums with various changes in personally until like many 70s bands we were hit by the onslaught of Punk! That’s enough for now isn’t it?! Cheers and enjoy listening to the soundtrack of a lost World! Cheers John

Core Band:

  • lto Saxophone, Tenor Saxophone, Soprano Saxophone, Piano, Clavinet – Dave Quincy
  • Bass – John McCoy
  • Congas, Baritone Saxophone, Tenor Saxophone, Flute, Percussion [African], Vocals – Loughty Amao
    • With the band Osibisa before forming Zzebra.
    • Played on Uriah Heep’s “Look at Yourself” album
    • Sadly passed away in 1988
  • Drums, Percussion, Vocals – Liam Genockey
  • Guitar – Terry Smith
  • Piano, Flute, Guitar, Lead Vocals – Gus Yeadon*
    • Welsh singer predominantly known for his work with Zzebra. He left during the recording of the first album.
  • Piano, Keyboards [Guest] – Tommy Eyre
    • Joined the band to finish up the first album. Worked with Ainsley Dunbar and Mark-Almond.
    • Worked with Alex Harvey, Joe Cocker, Michael Schenker, Gary Moore, B.B. King, John Mayall, Tracy Chapman, Wham, and Greg Lake. Played on and arranged the music for Joe Cocker’s cover of “With a Little Help From My Friends.” Also played on the song “Baker Street.”
    • Also worked with the band Riff Raff.
    • Sadly he passed away in 2001.

Technical:

Album Art & Booklet Review

  • Photography By – Keith Silva/Picturepoint*
    • Only a few other credits.
  • Art Direction – Paul Welch
    • Worked with Ella Fitzgerald, Pat Travers, Mungo Jerry, Marsha Hunt, Graham Bonnet, Bernie Torme, and Vangelis.
  • Photography By [Group Photographs] – Charles Marriot
  • Design – Wade Wood Associates
    • Designed album covers for artists such as Slade, Widowmaker, Ludwig van Beethoven

Recorded at Escape Studios, Kent, UK, October 1974.

Mixed at Advision Studios, London, November 1974.

Originally released in 1974.

Made under license from Tommy Eyre.

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Album Tracks:

Side One:

  1. Cobra Woman
  2. Mr. J.
  3. Mah Jong
  4. Ife

Side Two:

  1. Spanish Fly
  2. Amuso Fi
  3. Rainbow Train
  4. Hungry Horse
    • Written-By – D. Quincey*, G. Yeadon*, L. Amao*, T. Smith*
    • Tommy Eyre said that when he went to see them at the Marquee while they were playing this song, “Terry . . . attempted an incredibly speedy rising line that ended up in a mis-fretting. He grunted and tried again. Still missed the last couple of notes. As hot as the Marquee club was, Terry was wearing a thick heavy woolen overcoat. He took a huge slug from it, layed it on the ground and then played the line perfectly and at double the speed! That’s when I knew I wanted to play with that band.!”

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Bustin’ Out The Spreadsheet

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Posted on

Episode 308 – Weird Versions of “Smoke on the Water” (Part 3)

This week’s episode is BANNED on YouTube. Please see below for a link to one of superior audio feeds. You can check out the Youtube videos down below or in the audio show notes.

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  • A mysterious pair of postcards arrive indicating that there is one missing from the collection. More to come!

Episode 45 from March of 2020

Episode #45 – Weird Versions of “Smoke on the Water” (Part 1)

Episode 147 from February of 2022

Episode #147 – Weird Versions of Smoke on the Water (Part 2)

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Emil Ernebro demonstrates fingerstyle guitar by playing “Smoke on the Water” (sent by Jonatan Hedlin)

Sent by Raff Kaff
Sent by Nate’s Father-in-Law

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Drinkone – Smokon De What’A

Bradley Hall Plays Smoke On The WA’ER but it’s REALLY Bri’ish

Ukranian Pensioners play Deep Purple Medley in Donetsk

Sent by Art Smith after hearing at a local coffee shop

Ringo and Steve Lukather from Instagram

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Episode 307 – Blackmore’s Night – Under a Violet Moon (Part 2)

Link to video episode on YouTube: https://www.youtube.com/watch?v=c3TFZKqHRJ4

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  • Using the Way Back Machine I got a snapshot of Blackmore’s Night’s website from mid 2000, shortly after their third album was released and just after the website launched.
Extremely 1999 animated GIF from the archived Blackmore’s Night website.

Album Tracks:

All tracks written by Blackmore, Night unless noted. Instrumentals written by Blackmore.

  1. Beyond the Sunset (Instrumental)
  2. March the Heroes Home
  3. Spanish Nights (I Remember it Well)
  4. Catherine Howard’s Fate
  5. Fool’s Gold
  6. Durch den Wald zum Bach Haus (Instrumental)
    • Producer – Jeff Glixman
    • Merlijn: Durch Den Wald Zum Bach Haus is based on one of Bachs Fuga’s. It tells the story of Ritchie visiting Bachs house in Eisenach and being chased by a dog! As told many times on stage as introduction to this song (also by RB himself!)
  7. Now and Then
  8. Self Portrait (Blackmore, Dio)

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Reviews

Under A Violet Moon – Album Review
BLACKMORE’S NIGHT UNDER A VIOLET MOON Cold Harbour Recording Co PCCY 01377 : UK : June 1999Few people seemed prepared to venture out on this one, but one of our members who listens to recordings of a lot of early tudor music decided to try and elaborate on the music for us.”Following the usual appalled silence when friends find out that I have quite a collection of early Renaissance music, I quickly deploy my standard defence, i.e. I use it when I teach my ‘A’ Level class about Henry VIII. This usually satisfies them, and hides darker secret – I actually like the stuff. So it was with an interested ear that I sat down to listen to the new Blackmore’s Night offering. I thought it was a very brave decision by Blackmore to try and put across a style of music that in it’s original form is far different to modern sounds. Renaissance music tends to follow very different pathways tonally and is also quite formal. A lot of the music was originally written to facilitate structured courtly dances, incorporating rhythms and tempo changes which seem very awkward to modern ears. I guess that Blackmore had to choose between two routes, either recreate the sound as well as he could – as his been done by ensembles like Red Byrd, a group of modern musicians who aim to present original early music as it was written – or he could modernise the sound of the music. This approach has been well worn by groups like Clannad, Fairport Convention and even Jethro Tull. Unfortunately Blackmore also chose to go this way, laying himself open to the inherent dangers of both cliche and Blackadder style parody (the title song from the second Blackadder series is actually a clever parody of the lute songs of Thomas Campion, who lived from 1567 – 1620).In the end much of “Violet Moon” tips its hat toward the Galliards of the Tudor court, albeit far more up tempo, and also to Irish folk music. Some of the songs, particularly “Catherine Howard’s Fate”, “Fools Gold” and the title track itself would be so much better without any vocals. Not because of any weaknesses in Candice’s voice (which I actually like), but because most early music in that style didn’t have vocals. For myself these tracks were really going somewhere before the vocals came in. The one really convincing Renaissance song “Beyond The Sunset” is actually a Tudor keyboard piece converted to the guitar. The album is overall very frustrating to listen to for me because of the modernisation of the sound. The title track ends up sounding like Clannad during their “Robin Of Sherwood” phase, while “Castles And Dreams” is pure Stevie Nicks and Fleetwood Mac. Other songs conjure up entirely inappropriate images. “Gone With The Wind” starts off like “The Final Countdown” by Europe, and “Wind In The Willows” sounds like an entry for the Eurovision song contest. When Blackmore looks elsewhere for inspiration, he sadly ends up in “Riverdances” rather large foot-print. “Morning Star” and “Spanish Nights” suffer most from this, even with the Beethoven steal in the latter. My favourite tracks are those which suffer least from this attempt at modernisation. “Possum Goes To Prague”, “Beyond The Sunset” and “Durch…”, as well as the very pretty “Now And Then”.I really wish Blackmore had been brave enough to take the music back to something more like its original state, right down to using Tudor vocal inflections, and made the majority of the songs instrumental, taking something like the Red Byrd approach but writing his own material. As it currently stands I’m afraid the album is largely a weak pastiche of early music and other bands working in this area, most noticably Clannad. The lyrics themselves are absolutely banal when sung in modern English, but might have been acceptable using the vocal approach of the Tudor times. For all the faults though, the road Blackmore has chosen is a brave one given that most rock fans are pretty unforgiving of other musical genres.” Roy Watson Davies

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