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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

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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.”

Core Band:

Additional Musicians:

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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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Postcards From The Edge . . . OF CONNECTICUT!

  • 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

Deep Dive Podcast Network:

Check out our website to find other like-minded shows taking deep dives into individual songs, bands, and albums.

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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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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)

The Latest Batch of Weird Versions:

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

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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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Bustin’ Out The Spreadsheet

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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Episode 306 – Ozzy Osbourne – Speak of the Devil

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Lead up to the Album:

  • Ozzy’s management decided to record this album in February of 1982.
  • Sabbath’s publishing deal had just expired so all the songwriters would not benefit by re-recording these songs with new publishing royalties.
  • Sabbath was planning on releasing a live album (“Live Evil”) at the same time.
  • Geezer: “We couldn’t afford not to release Live Evil and Ozzy was forced into making Speak of the Devil.”
  • Randy Rhoads and Tommy Aldridge refused to do the album feeling that they’d established themselves as something separate from Black Sabbath.
  • While Sarzo wasn’t as upset about it he stood with the other two and told Sharon that they didn’t want to do it.
  • Sharon was not upset but it was reported that Ozzy was very upset and descended into what Rudy Sarzo called one of “the worst drinking binges I had ever witnessed.
  • It was during this binge that Ozzy was famously arrested for peeing on the Alamo.
  • In a drunken stupor he fired everyone in the band but later had no memory that he had done it.
  • It’s reported that Ozzy had confronted Randy on the tour bus telling him that he would replace him with Frank Zappa or Gary Moore for the live album.
  • Rhoads agreed to do this album and one more studio album to fulfill his contractual obligation to Jet Records but would leave the band after the next tour.
  • Originally it was planned to be “the greatest rock spectacle ever” according to Sharon Osbourne.  The show was planned to be video taped as well as recorded.
  • Everything changed a few weeks later when Randy died in a plane crash.
  • Bernie Torme took over guitar duties in the band for a short time until both parties decided to part ways.
  • Vito Bratta was the next guitarist considered as he was playing in a New York Black Sabbath cover band at the time.  However, he and Sharon did not get along.
  • Brad Gillis met with Rudy Sarzo to learn the songs as he was completely unfamiliar with Black Sabbath.  During his audition he nailed Rhoads’ parts and got the job.
  • On April 12, Gillis played his first show ith the band.  It’s said that Torme stayed on during these first few shows to help through the transition in case he was needed.  Gillis had traveled with them and learned the songs by watching Torme.
  • The band got together in September of 1982 to rehearse the songs but Ozzy was not around for the rehearsals.  Sharon had told them that he would not be around much.
  • The record company told Sharon that they planned to include previous live recordings of Rhoads doing “Iron Man,” “Children of the Grave”, and “Paranoid.”  Sharon told the band not to bother with those songs.
  • During this time morale was very poor and Sarzo was secretly recording the Metal Health album with Quiet Riot then finally made the decision to leave Ozzy’s band after this recording.
  • They only really saw Ozzy when he showed up for sound check on September 26, 1982.
  • Ozzy didn’t seem to remember the lyrics and during the shows he put a notebook with a lamp on a chair so he could read them during the concerts.
  • The audience at the was under 1,000 people at The Ritz.  Sarzo described the crowd as “rowdy.”
  • The Ritz had a smaller stage than they were used to and they weren’t able to use the same monitor setup leading to Gillis and Sarzo spending most of the shows directly in front of Aldridge so they could hear.
  • They used a mobile studio parked outside to record the show.
  • They were all dressed casually. Ozzy, showed up bald having shaved his head a few days before the gig.
  • The shows ended with “Iron Man” “Children of the Grave” and “Paranoid” and the band played a little looser, not keeping it as tight as they’d been informed that these performances wouldn’t be used.

Core Band:

Technical:

  • Producer, Engineer – Max Norman
  • Technician [Live Sound] – Chuck Weisner
    • Only other credit on Discogs is Van Halen’s “Live Without a Net.”
  • Mastered By – Joe Brescio

Album Art & Booklet Review

  • Design [Cover], Artwork – Steve Joule
    • https://krusher.co.uk/
    • Designed the cover for Diary of a Madman, Bark at the Moon and Black Sabbath’s Born Again.
    • Was art director for Kerrang!
  • Photography By – Neal Preston
  • The gatefold features a picture of John Edward Allen, Ozzy’s crew member who provided entertainment and comic relief on stage, as well as getting Ozzy drinks. Allen was also an actor appearing in Buck Rodgers and the film Bladerunner among many other stage performances. John also played one of the seven dwarves at the White House for President Jimmy Carter.
  • UK release was called “Talk of the Devil” as that is the more common phrase there.
  • There was also a Laserdisc release in Japan called “Speak of the Devil” which was a video of this band performing during the Diary of a Madman tour in June of 1982.

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The Venue:

Setlist

  1. Symptom of the Universe
  2. Snowblind
  3. Black Sabbath
  4. Fairies Wear Boots
  5. War Pigs
  6. The Wizard
  7. N.I.B.
  8. Sweet Leaf
    • This song was not included on the original CD release but was added back to the 1995 re-release.
  9. Never Say Die
  10. Sabbath Bloody Sabbath
    • Confirmed by Max Norman to be one of potentially three songs performed the afternoon prior to one of the shows in an empty venue. Crowd noise would have been added in post production.
  11. Iron Man / Children of the Grave
  12. Paranoid

Japanese Release Featured Two Bonus Tracks recorded at Irvine Meadows Amphitheatre on June 12, 1982 with the same lineup. Released as “Speak of the Devil” in Japan on Laserdisc.

Full video here: https://www.youtube.com/watch?v=TDy0B8sbVNc

Bonus tracks included on the Japanese release:

  1. Mr. Crowley
  2. I Don’t Know

Bootlegs of Shows Pre-Production:

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Speak of the Devil Laserdisc release from later in the 1982 tour.

Reception and Charts:

  • Sarzo and Gillis departed shortly after these recordings with Sarzo returning to Quiet Riot and Gillis returning to Night Ranger.
  • Ozzy was very upset with Sarzo and even assaulted him backstage at the US Festival in 1983.
  • Producer Max Norman said in an interview that due to budget constraints  the band had performed an entire extra show with no audience before the show on either the 26th or the 27th.  This was recorded as a safety.
  • Norman said that the final album contains three songs from that performance but does not remember which three.
  • Sabbath Bloody Sabbath was believed to have been from this performance as it isn’t listed on the set list of either show at The Ritz.
  • The live versions of the three songs with Rhoads eventually found their release on the 1987 album Tribute.
  • Osbourne was critical of the album. It filled a contractual obligation but he was not a big fan of the project.

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Episode 305 – Blackmore’s Night – Under a Violet Moon (Part 1)

Link to video episode on YouTube: https://www.youtube.com/watch?v=MVAvSnCHB8E

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Core Band:

  • Band [Blackmore’s Night Is], Guitar, Mandolin, Bass, Drum [Renaissance Drum], Tambourine – Ritchie Blackmore
  • Band [Blackmore’s Night Is], Vocals, Tin Whistle [Pennywhistle] – Candice Night

Additional Musicians:

Technical:

Album Art & Booklet Review

  • Artwork – Peter Pracownik
    • In the band “Mouse & Twink: Fairies”
    • Also did album art for Hawkwind
  • Photography By – Michael Keel
    • https://www.keelphoto.com/
    • New York photographer who does a lot of photo work
    • In music Keel has worked on photography primarily for Blackmore’s Night and Candice Night
Street in Rothenburg ob der Tauber (Bavaria, Germany) that the album cover is based on.

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  • The $6.65 “Almost Evil” Tier
    • Kenny Wymore
    • Richie Sucksmith
  • The 70 NOK Tier
    • Kai Rune “Yes, I’m Norwegian” Olsen –  🇳🇴
  • $5.99 The “Nice Price” Tier
    • Robert Smith
    • Karl Hellberg
  • The 60 Kroner “Scandinavian Nights” Tier
    • Knut Morten Johansen –  🇳🇴
  • $5 “Money Lender” Tier
    • John Convery
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    • Adrian Hernandez
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    • Cynthia Dube
    • Raff Kaff
    • Coyote Bongwater
    • John Miceli
    • Sarah Sanders
    • Jellybean
    • Evan Robison
    • Richard Fusey
    • Purple Swede

Album Tracks:

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

  1. Under a Violet Moon
    • Backing Vocals – John Ford (2)
    • Bass – Peter Rooth
      • Credited on 4 Yngwie albums as his guitar tech
    • Merlijn writes: Ritchie did write some lyrics for this tune. And the melody is based on an tune from the Renaissance by Franco Flemish composer Ivo di Vento. 
  2. Castles and Dreams
  3. Past Time with Good Company
    • Arranged By – Blackmore*
    • Drums [Military] – Mike “Metal” Goldberg*
      • In 2015 won a grammy for best blues album for his album “Step Back” at the 57th Grammy Awards.
      • Engineer on the Baha Men album “Doong Spank” two albums before their breakout hit “Who Let The Dogs Out”:
    • Written-By – Traditional by Henry VIII*
    • Producer – Jeff Glixman
  4. Morning Star
  5. Avalon
    • Arranged By – Blackmore*
    • Written-By – Traditional
    • Producer – Ritchie Blackmore, Roy McDonald
    • Merlijn writes: Avalon: The Hunt is Up – English Hunting Song Main melody is copied. “The Hunt is Up” originally titled “The Huntes upp” is a 16th century ballad attributed to William Gray. The hunt is up was commonly associated to any song that would be sung in the morning. Shakespeare employs it as such in Romeo and Juliet (act iii, sc. 5).
  6. Possum Goes to Prague (Instrumental)
  7. Wind in the Willows
    • Drum Programming – Peter Rooth
    • Vocals, Bass – John Ford (2)
    • Producer – Jeff Glixman
    • Merlijn writes: The Wind in The Willows is originally called: Bread And Fishes, by Graham Bell. Ritchie heard it being perfomed by The Strawbs and liked it:Bread And Fishes
  8. Gone with the Wind

Thanks To Our Foundation Level Patrons:

  • £3.50 “Deep Purple NY” Tier
    • Lord Longford
  • The £3 “The Aromatic Feed” Tier
    • Simon Ford
    • Richard Breese
  • The 293 Pence Tier
    • Blackmore’s Tights
  • The $3.33 Half Way to Evil Tier
    • Stephen Sharpe
    • Duncan Leask
  • $3 “Nobody’s Perfect” Tier
    • Peter Gardow
    • Ian Desrosiers
    • Mark Roback
    • Stuart McCord
    • Flight of the Rat Bat Blue Light
    • Øyvind Fjeldbu – 🇳🇴
    • Runar Simonsen – 🇳🇴
    • Ruinous Inadequacies
    • Corey Morrissette
    • Ashely { Still I hear, “Burn” } Rose
    • Weston-super-Mare pilgrim
    • Joe “Dopefish” Siegler
    • Adam Corke
    • Tim Wood
      • Steve “Down to Earth” Koeller
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    • Carsten Lau
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    • The “Gravesite Goes To Prague” Leaky Mausoleum
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    • Hank the Tank
    • Private Eyes
    • Ashen Lionel
    • Zwopper The Electric Alchemist
    • Anders Engstrom
    • I see DC
    • Durple Purple
    • David Hattam
    • Graham Bonnet’s Disco Pants and Haircuts
    • Eddie Lion
    • Sicktone

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