Showing posts with label DEEP PURPLE. Show all posts
Showing posts with label DEEP PURPLE. Show all posts
Monday, November 2, 2009
Tuesday, October 6, 2009
Rainbow - Stranger In Us All CD (album) cover STRANGER IN US ALL
Following the release of "Bent out of shape", Ritchie Blackmore decided to rejoin Deep Purple. The "Perfect strangers" album was Purple's strongest release for years, and it seemed Rainbow had run its course. A final compilation album "Final vinyl" was posthumously released in 1986.
As we have come to realise though, it is wise to expect the unexpected with Ritchie, and when the old battles with his old mates "raged on", Ritchie left Deep Purple one last time. He decided to resurrect the Rainbow name, but the resultant line up was completely new save for the copyright holder himself. Scotsman Dougie White assumed vocal duties and Paul Morris came in on keyboards. Despite his brief tenure in the role, White has subsequently exploited the role to the full on his CV, his "Former Rainbow" tag appearing boldly in publicity for his Rainbow tribute band White Noise. Perhaps the most significant arrival though is of Candice Night, who provides backing vocals and shares the lyric writing credits with White.
The fact that Blackmore chose not to reconvene the line up which had enjoyed commercial success with Rainbow's immediately previous albums was probably not because of any animosity. It seems instead that he wanted to return the band to the style of the original Dio era. Thus, while the songs are still highly accessible, they are much less rooted in the AOR style, the lyrics also occasionally having a fantasy bent.
The opening "Wolf to the moon" makes for a fine link back from the "Bent out of shape" era to "Long love rock and roll", the upbeat rock song having commercial appeal while reminding us of those glory days. "Cold hearted woman" actually has more in common with Graham Bonnet's contribution to Rainbow, sounding more than a little like his "Night games". "Hunting Humans (insatiable)" is quite out of character for Rainbow, the thumping hard blues beat and quasi-monotone melody being highly addictive.
Likewise, "Ariel", which is a successful attempt to revisit the wonderful symphonic sounds of "Stargazer" (and indeed "Kashmir"), is a magnificent, brooding affair which would have suited Dio perfectly. Dougie White though offers a fine vocal performance, counterpointed by the delightful fledgling voice of Candice Night. The song would later assume epic proportions which it became a highpoint of Blackmore's Night gigs in the next century. "Black masquerade" is more upbeat, the resemblance here being to "A light in the black" from the "Rising" album.
The final two tracks are adaptations or covers. "Hall of the mountain king" takes Greig's famous theme (as used by Rick Wakeman on "Journey to the centre of the earth") and adds lyrics by Candice Night. Grieg's "Morning" theme is also sneaked in briefly. Natually, the track builds to a suitable crescendo. The final track sees Ritchie revisiting the Yardbirds' "Still I'm sad", a song which originally appeared in instrumental form on Rainbow's debut album. This time, the lyrics are restored to the performance, emulating the live version form the "On stage" album.
There are one or two prosaic efforts here, most notably the bland "Stand and fight" which has the distinct feel of filler. Despite it's "Close to the edge" lyric, "Too late for tears" also falls into this category. By and large though, the songs are strong throughout.
As with Rainbow's other later albums, there is no epic track here, although most do run for a bit longer than the commercial pop those releases contained. As such, Blackmore's trademark guitar sounds are largely confined to backing the vocal lines and to brief solo bursts. This is though a fine epitaph for one of the major bands of the late 20th century. This really would be the last studio album by Rainbow, Blackmore soon deciding that his future lay in the Renaissance folk rock of Blackmore's Night.
As we have come to realise though, it is wise to expect the unexpected with Ritchie, and when the old battles with his old mates "raged on", Ritchie left Deep Purple one last time. He decided to resurrect the Rainbow name, but the resultant line up was completely new save for the copyright holder himself. Scotsman Dougie White assumed vocal duties and Paul Morris came in on keyboards. Despite his brief tenure in the role, White has subsequently exploited the role to the full on his CV, his "Former Rainbow" tag appearing boldly in publicity for his Rainbow tribute band White Noise. Perhaps the most significant arrival though is of Candice Night, who provides backing vocals and shares the lyric writing credits with White.
The fact that Blackmore chose not to reconvene the line up which had enjoyed commercial success with Rainbow's immediately previous albums was probably not because of any animosity. It seems instead that he wanted to return the band to the style of the original Dio era. Thus, while the songs are still highly accessible, they are much less rooted in the AOR style, the lyrics also occasionally having a fantasy bent.
The opening "Wolf to the moon" makes for a fine link back from the "Bent out of shape" era to "Long love rock and roll", the upbeat rock song having commercial appeal while reminding us of those glory days. "Cold hearted woman" actually has more in common with Graham Bonnet's contribution to Rainbow, sounding more than a little like his "Night games". "Hunting Humans (insatiable)" is quite out of character for Rainbow, the thumping hard blues beat and quasi-monotone melody being highly addictive.
Likewise, "Ariel", which is a successful attempt to revisit the wonderful symphonic sounds of "Stargazer" (and indeed "Kashmir"), is a magnificent, brooding affair which would have suited Dio perfectly. Dougie White though offers a fine vocal performance, counterpointed by the delightful fledgling voice of Candice Night. The song would later assume epic proportions which it became a highpoint of Blackmore's Night gigs in the next century. "Black masquerade" is more upbeat, the resemblance here being to "A light in the black" from the "Rising" album.
The final two tracks are adaptations or covers. "Hall of the mountain king" takes Greig's famous theme (as used by Rick Wakeman on "Journey to the centre of the earth") and adds lyrics by Candice Night. Grieg's "Morning" theme is also sneaked in briefly. Natually, the track builds to a suitable crescendo. The final track sees Ritchie revisiting the Yardbirds' "Still I'm sad", a song which originally appeared in instrumental form on Rainbow's debut album. This time, the lyrics are restored to the performance, emulating the live version form the "On stage" album.
There are one or two prosaic efforts here, most notably the bland "Stand and fight" which has the distinct feel of filler. Despite it's "Close to the edge" lyric, "Too late for tears" also falls into this category. By and large though, the songs are strong throughout.
As with Rainbow's other later albums, there is no epic track here, although most do run for a bit longer than the commercial pop those releases contained. As such, Blackmore's trademark guitar sounds are largely confined to backing the vocal lines and to brief solo bursts. This is though a fine epitaph for one of the major bands of the late 20th century. This really would be the last studio album by Rainbow, Blackmore soon deciding that his future lay in the Renaissance folk rock of Blackmore's Night.
Tuesday, August 25, 2009
Deep Purple - Burn -California Jam 1974
Deep Purple - Burn
yeahhhh....and the real music like this was BURN the World in that era.....i hope its still BURN in this day........
Glenn Hughes, the bass player and vocalist here, originally sang for Trapeze. The put out some amazing stuff in the early 1970's. Their album Medusa is killer!
Saturday, August 15, 2009
JOE LYNN TURNER: Video Footage Of Florianópolis 'Workshop' Posted
Legendary hard rock vocalist Joe Lynn Turner (RAINBOW, DEEP PURPLE, YNGWIE MALMSTEEN) took part in a special "workshop" performance on August 8, 2009 at Opus Espaço Cultural in Florianópolis, Brazil. Video footage of his appearance can be viewed below.
OVER THE RAINBOW — the new band featuring former RAINBOW musicians Joe Lynn Turner, Paul Morris, Bobby Rondinelli and Greg Smith alongside the son of the iconic RAINBOW founder/guitarist Ritchie Blackmore, Jürgen Blackmore — will embark on a European tour in September/October.
Paul Morris replaced Tony Carey, the original keyboardist for OVER THE RAINBOW, prior to the band's performance in front of 12,000 fans at the Sweden Rock Festival on June 4, 2009 in Sölvesborg, Sweden.
Like all members of OVER THE RAINBOW (with the exception of guitarist Jürgen "J.R." Blackmore), Paul Morris was also a member of RAINBOW. He recorded and toured with them from 1994 through 1997.
In the '70s, '80s and '90s, RAINBOW released over 20 albums (five gold, four silver), seven Billboard Hot 100 and Mainstream Rock tracks, six Top 75 U.K. songs and at least seven MTV frequently played videos. Since 1998, former members of RAINBOW and their respective management offices were overloaded with requests for RAINBOW to reunite. Rondinelli, Smith and Turner agreed that the only legitimate way to accomplish this was to employ a Blackmore on guitar.
Jürgen Blackmore is a critically acclaimed guitarist in his own right and agreed to join this endeavor after realizing how intense the demand was for a RAINBOW "reunion." OVER THE RAINBOW marks the first time that four members from three different eras of RAINBOW have taken the stage together along with J.R. Blackmore.
OVER THE RAINBOW — the new band featuring former RAINBOW musicians Joe Lynn Turner, Paul Morris, Bobby Rondinelli and Greg Smith alongside the son of the iconic RAINBOW founder/guitarist Ritchie Blackmore, Jürgen Blackmore — will embark on a European tour in September/October.
Paul Morris replaced Tony Carey, the original keyboardist for OVER THE RAINBOW, prior to the band's performance in front of 12,000 fans at the Sweden Rock Festival on June 4, 2009 in Sölvesborg, Sweden.
Like all members of OVER THE RAINBOW (with the exception of guitarist Jürgen "J.R." Blackmore), Paul Morris was also a member of RAINBOW. He recorded and toured with them from 1994 through 1997.
In the '70s, '80s and '90s, RAINBOW released over 20 albums (five gold, four silver), seven Billboard Hot 100 and Mainstream Rock tracks, six Top 75 U.K. songs and at least seven MTV frequently played videos. Since 1998, former members of RAINBOW and their respective management offices were overloaded with requests for RAINBOW to reunite. Rondinelli, Smith and Turner agreed that the only legitimate way to accomplish this was to employ a Blackmore on guitar.
Jürgen Blackmore is a critically acclaimed guitarist in his own right and agreed to join this endeavor after realizing how intense the demand was for a RAINBOW "reunion." OVER THE RAINBOW marks the first time that four members from three different eras of RAINBOW have taken the stage together along with J.R. Blackmore.
Wednesday, August 12, 2009
Ritchie Blackmore's Rainbow [Remaster] by Rainbow
After years of strife, Ritchie Blackmore finally left the band he helped found and consecrate, DEEP PURPLE.
It was 1975. Blackmore then had been responsible for the departures of Rod Evans, Nick Simper, Ian Gillan and Roger Glover. Now it was his time. Becoming friends with PURPLE's opening act ELF (fronted by an unknown Ronald Padavona, a singer and composer who matched Blackmore's grandiose ancient wet dreams), disenchanted with PURPLE's Funk and Soul incursions, the man in black left acrimoniously after an European tour promoting the uneven Stormbringer. Hiring ELF as his studio band (minus the guitar dude, David Feinstein) RITCHIE BLACKMORE'S RAINBOW was born. Ritchie Blackmore, guitars and compositions. Ronald "Ronnie James Dio" Padavona, vocals and compositions. Craig Gruber, bass. Gary Driscoll, drums. Mickey Soule, keyboards. It is interesting to notice ELF had a song named Rainbow in their 1974 sophomore record, Carolina County Ball (a soft Honky Tonk number!).
ELF presented a Folk-Hard Rock hybrid that provided RAINBOW a working framework. The band never strayed enough from Folk ballads to rival PURPLE in decibels - but it played hard, earnest and abrasive. This is not CROSBY, STILLS AND NASH. Definitely, there is no Funk and Soul here, whereas medieval and renaissance mini-epics abound. It sounds closer to what JUDAS PRIEST and BLACK SABBATH were doing by mid-1970s - songs with a dark bent, built on guitar (electric/ acoustic) licks, but growing to coalesce into ambitious mini suites with commanding vocals (what becomes a little more interesting in the wake of remastering).
The song that marked BLACKMORE's split with PURPLE - Black Sheep of the Family - belonged to FAT MATRESS, Progressive band lead by JIMI HENDRIX EXPERIENCE's Noel Redding. Following Redding's lead - who broke bonds with Funk, Soul and R&B in favor of Psychedelic Progressive Rock - Blackmore re-recorded the song with RAINBOW. Hendrix himself proved another huge influence in RAINBOW's debut, with virtuoso Bluesy showmanship providing the foundations for many tracks here, Little Wing in particular for Catch the Rainbow (a virtual follow-up, or at least a paraphrase).
The eponymous album is not that varied. It fuses Blackmores' main sources - late 1960's Rock N'Roll infused with medieval mystique. But it is a startling fusion. One that would spark a handful of Heavy Rock subgenres in the 1980s and 1990s, especially Melodic Metal.
Part of the influence arrives from the mature playing and overall high level of compositions (some of them, versions). "Borrowing" ELF's sonority and inspired by his PURPLE split, it is not that hard to understand why RAINBOW gelled so quick. Arriving at a new place coming from well-known starting points, veterans Blackmore and Dio compose and play as if their lives depended on it. Supported by PURPLE engineer Martin Birch, the compressed sound placed urgency on vocals and above all, the mesmerizing guitar. Dio and Blackmore companions' excelled in reliability - so much that proceedings become increasingly predictable, convincing Blackmore to find a more challenging (virtuoso) set of players for 1976' Rising.
Coaxing a perennial riff, Blackmore opened the proceedings with back-to-basics Man on the Silver Mountain. Dio's pedestrian lyric was less important than his confident, broad vocals. Bass, drums and keyboards remain humble. The song is a huge riff boosting another memorable Blackmore soloing. A Hard Rock classic, maybe - but differing substantially from DEEP PURPLE dynamics, that is.
Narcissistic Self-Portrait was another inescapable RAINBOW number, this time heavier and more percussive. Another showcase for Dio clear-dark vocals (he would keep this sullen Folk approach in his solo career). But more than anything else, another excuse for a tormented Blackmore soloing. He would recap the number for his BLACKMORE'S NIGHT era with beloved Candice Night. Here it goes down, too deep down to qualify as a classic. But it is a satisfying downer, more earnest than PURPLE attempts.
Black Sheep of the Family changed a little bit since its inception as a British late 1960s-Progressive-Psychedelic chestnut. Here with ELF Blackmore brings the track to boogie territory. It is the most straightforward approach displayed in RAINBOW's debut as well as the least interesting alchemy from the man in black's book of tricks. But it is relevant for this band's inception, as well as the sole proof that this band had been assembled all in a hurry.
On the other hand, Blackmore displays his virtuoso craftsmanship as brief, alluring HENDRIX's Little Wing is turned into an earnest, slightly depressed Catch the Rainbow. The level of trans-creation which Blackmore arrives at is fascinating, reinventing the beautiful acoustic lick in a different setting without sounding rip-off or parody. Few guitarists could work this out; Blackmore proves to be in Hendrix's league. Somewhere between HENDRIX and David Gilmour's harmonies, Blackmore builds a landscape for Dio melancholy (sounding positively Bluesy). Somber keyboards compliment the mood. Even guitar solos (no less than 2) get restrained - as in PURPLE's Soldier of Fortune. Seaside rumination.
Snake Charmer is a more in-your-face affair, a shaky Hard Rock number with Bluesy tones, a streamlined DEEP PURPLE maybe (but some lead breaks remind you, bizarrely enough, of AC/DC). Dio sings too straightforward, as if he was a hired gun. Keyboards remain important, but here they don't remind you of Jon Lord. Not destined to classic status, but a display of Blackmore hard credentials.
The Temple of the King is the acoustic rapture Blackmore tried a handful of times with PURPLE but never quite got at, once Gillan and Coverdale didn't delve in medieval imagery enough for Blackmore's and song's taste. Dio provides a perfect tone for this melancholic delight in imaginary golden ages. He seems even playful in his Tolkien-esque narrator role. But the most noticeable feature is Blackmore's mandolin riff - astounding for the setting and quickly mirrored by a weeping guitar solo. RAINBOW somehow manages to avoid over-the-topness with this serene number. The remaining members are just supporting roles - really.
If You Don't Like Rock N'Roll - just that. A 1950s Rock N'Roll with all the clichés and none of the grit - much like uncountable ELF numbers. It becomes evident why Dio had no success back in late 1950s and 1960s - he is too earnest, as if Rock N'Roll parties were a growing pain. Blackmore (a studio musician across the 1960s) plays professionally. But the only noticeable thing here is Mickey Soule's boogie piano.
JEFF BECK GROUP's version of Greensleeves (1968) provides the blueprint for Sixteen Century Greensleeves. A folk song (says the legend) penned by King Henry VIII of England, here Blackmore (boosting an ego twice that of the king) does his Catch the Rainbow trick again - he elongates the original composition (which he has played uncountable times, including in his PURPLE days) and fuses the original folk licks with Paganini arpeggios and the likes YINGWE MALMSTEEN loved to death. What could have been a, say, Jazzy impromptu here assumes earnest contours, as if Blackmore was a 16th minstrel. Then the remaining RAINBOW members arrive and turn the song into gloomy Hard Rock. Too pretentious and maybe too accommodated next to BECK's revealing take. Blackmore would go on with unusual takes, including a BEETHOVEN's 9th symphony with gurgling synths in his decadence days with Joe Lynn Turner. Only BLACKMORE'S NIGHT would find a more interesting way of showing Blackmore's affiliations.
An instrumental, mysterious take on THE YARDBIRDS' Still I'm Sad closes the record in satisfying fashion. Blackmore would use the song again in his 1995 reformation - this time as a frantic Melodic Metal motif. Here the man in black unleashed another magnificent riff, keyboards provide exquisite droning, and finally you notice there are a bass player and a drummer in the forefront. But there was no need - Blackmore alone equals what THE YARDBIRDS had achieved previously, with tone and taste, and prowess, engendering curvaceous melodies where the original was all Gregorian monophonic linearity. Another impressive showing of credentials. See ya.
It was 1975. Blackmore then had been responsible for the departures of Rod Evans, Nick Simper, Ian Gillan and Roger Glover. Now it was his time. Becoming friends with PURPLE's opening act ELF (fronted by an unknown Ronald Padavona, a singer and composer who matched Blackmore's grandiose ancient wet dreams), disenchanted with PURPLE's Funk and Soul incursions, the man in black left acrimoniously after an European tour promoting the uneven Stormbringer. Hiring ELF as his studio band (minus the guitar dude, David Feinstein) RITCHIE BLACKMORE'S RAINBOW was born. Ritchie Blackmore, guitars and compositions. Ronald "Ronnie James Dio" Padavona, vocals and compositions. Craig Gruber, bass. Gary Driscoll, drums. Mickey Soule, keyboards. It is interesting to notice ELF had a song named Rainbow in their 1974 sophomore record, Carolina County Ball (a soft Honky Tonk number!).
ELF presented a Folk-Hard Rock hybrid that provided RAINBOW a working framework. The band never strayed enough from Folk ballads to rival PURPLE in decibels - but it played hard, earnest and abrasive. This is not CROSBY, STILLS AND NASH. Definitely, there is no Funk and Soul here, whereas medieval and renaissance mini-epics abound. It sounds closer to what JUDAS PRIEST and BLACK SABBATH were doing by mid-1970s - songs with a dark bent, built on guitar (electric/ acoustic) licks, but growing to coalesce into ambitious mini suites with commanding vocals (what becomes a little more interesting in the wake of remastering).
The song that marked BLACKMORE's split with PURPLE - Black Sheep of the Family - belonged to FAT MATRESS, Progressive band lead by JIMI HENDRIX EXPERIENCE's Noel Redding. Following Redding's lead - who broke bonds with Funk, Soul and R&B in favor of Psychedelic Progressive Rock - Blackmore re-recorded the song with RAINBOW. Hendrix himself proved another huge influence in RAINBOW's debut, with virtuoso Bluesy showmanship providing the foundations for many tracks here, Little Wing in particular for Catch the Rainbow (a virtual follow-up, or at least a paraphrase).
The eponymous album is not that varied. It fuses Blackmores' main sources - late 1960's Rock N'Roll infused with medieval mystique. But it is a startling fusion. One that would spark a handful of Heavy Rock subgenres in the 1980s and 1990s, especially Melodic Metal.
Part of the influence arrives from the mature playing and overall high level of compositions (some of them, versions). "Borrowing" ELF's sonority and inspired by his PURPLE split, it is not that hard to understand why RAINBOW gelled so quick. Arriving at a new place coming from well-known starting points, veterans Blackmore and Dio compose and play as if their lives depended on it. Supported by PURPLE engineer Martin Birch, the compressed sound placed urgency on vocals and above all, the mesmerizing guitar. Dio and Blackmore companions' excelled in reliability - so much that proceedings become increasingly predictable, convincing Blackmore to find a more challenging (virtuoso) set of players for 1976' Rising.
Coaxing a perennial riff, Blackmore opened the proceedings with back-to-basics Man on the Silver Mountain. Dio's pedestrian lyric was less important than his confident, broad vocals. Bass, drums and keyboards remain humble. The song is a huge riff boosting another memorable Blackmore soloing. A Hard Rock classic, maybe - but differing substantially from DEEP PURPLE dynamics, that is.
Narcissistic Self-Portrait was another inescapable RAINBOW number, this time heavier and more percussive. Another showcase for Dio clear-dark vocals (he would keep this sullen Folk approach in his solo career). But more than anything else, another excuse for a tormented Blackmore soloing. He would recap the number for his BLACKMORE'S NIGHT era with beloved Candice Night. Here it goes down, too deep down to qualify as a classic. But it is a satisfying downer, more earnest than PURPLE attempts.
Black Sheep of the Family changed a little bit since its inception as a British late 1960s-Progressive-Psychedelic chestnut. Here with ELF Blackmore brings the track to boogie territory. It is the most straightforward approach displayed in RAINBOW's debut as well as the least interesting alchemy from the man in black's book of tricks. But it is relevant for this band's inception, as well as the sole proof that this band had been assembled all in a hurry.
On the other hand, Blackmore displays his virtuoso craftsmanship as brief, alluring HENDRIX's Little Wing is turned into an earnest, slightly depressed Catch the Rainbow. The level of trans-creation which Blackmore arrives at is fascinating, reinventing the beautiful acoustic lick in a different setting without sounding rip-off or parody. Few guitarists could work this out; Blackmore proves to be in Hendrix's league. Somewhere between HENDRIX and David Gilmour's harmonies, Blackmore builds a landscape for Dio melancholy (sounding positively Bluesy). Somber keyboards compliment the mood. Even guitar solos (no less than 2) get restrained - as in PURPLE's Soldier of Fortune. Seaside rumination.
Snake Charmer is a more in-your-face affair, a shaky Hard Rock number with Bluesy tones, a streamlined DEEP PURPLE maybe (but some lead breaks remind you, bizarrely enough, of AC/DC). Dio sings too straightforward, as if he was a hired gun. Keyboards remain important, but here they don't remind you of Jon Lord. Not destined to classic status, but a display of Blackmore hard credentials.
The Temple of the King is the acoustic rapture Blackmore tried a handful of times with PURPLE but never quite got at, once Gillan and Coverdale didn't delve in medieval imagery enough for Blackmore's and song's taste. Dio provides a perfect tone for this melancholic delight in imaginary golden ages. He seems even playful in his Tolkien-esque narrator role. But the most noticeable feature is Blackmore's mandolin riff - astounding for the setting and quickly mirrored by a weeping guitar solo. RAINBOW somehow manages to avoid over-the-topness with this serene number. The remaining members are just supporting roles - really.
If You Don't Like Rock N'Roll - just that. A 1950s Rock N'Roll with all the clichés and none of the grit - much like uncountable ELF numbers. It becomes evident why Dio had no success back in late 1950s and 1960s - he is too earnest, as if Rock N'Roll parties were a growing pain. Blackmore (a studio musician across the 1960s) plays professionally. But the only noticeable thing here is Mickey Soule's boogie piano.
JEFF BECK GROUP's version of Greensleeves (1968) provides the blueprint for Sixteen Century Greensleeves. A folk song (says the legend) penned by King Henry VIII of England, here Blackmore (boosting an ego twice that of the king) does his Catch the Rainbow trick again - he elongates the original composition (which he has played uncountable times, including in his PURPLE days) and fuses the original folk licks with Paganini arpeggios and the likes YINGWE MALMSTEEN loved to death. What could have been a, say, Jazzy impromptu here assumes earnest contours, as if Blackmore was a 16th minstrel. Then the remaining RAINBOW members arrive and turn the song into gloomy Hard Rock. Too pretentious and maybe too accommodated next to BECK's revealing take. Blackmore would go on with unusual takes, including a BEETHOVEN's 9th symphony with gurgling synths in his decadence days with Joe Lynn Turner. Only BLACKMORE'S NIGHT would find a more interesting way of showing Blackmore's affiliations.
An instrumental, mysterious take on THE YARDBIRDS' Still I'm Sad closes the record in satisfying fashion. Blackmore would use the song again in his 1995 reformation - this time as a frantic Melodic Metal motif. Here the man in black unleashed another magnificent riff, keyboards provide exquisite droning, and finally you notice there are a bass player and a drummer in the forefront. But there was no need - Blackmore alone equals what THE YARDBIRDS had achieved previously, with tone and taste, and prowess, engendering curvaceous melodies where the original was all Gregorian monophonic linearity. Another impressive showing of credentials. See ya.
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