RAINBOW

Although they would quickly run out of steam thanks to founding member Ritchie Blackmore's dictatorial style and the subsequent numerous line-up changes that followed, the first two albums from proto-metal exponents Rainbow still count as some of the 1970s most iconic and inlfuential hard rock products. Mixing steel-edged guitar riffs, fantasy-themed lyrics and surprisingly subtle progressive textures, both this 1975 debut and it's richly-drawn follow-up 'Rising' prove just as essential as anything by the likes of Deep Purple, Led Zeppelin, Trapeze or Black Sabbath. Having split from Deep Purple in rather acromonious fashion, Blackmore would quickly set to work on forming his own outfit, absorbing most of the American hard rock group Elf into what would become the very First Rainbow line-up. Elf's membership included the now legendary Ronnie James Dio on vocals, and the singers collaborations with Blackmore would prove the lifeblood of the group, the duo concocting a slick and powerful rock sound that took the Deep Purple heavy blues style one step further, adding an expansive prog-rock veneer that allowed Blackmore in particular to stretch out and experiment in a fashion previously denied him by his old employers. The resulting album would prove a substantial hit record, selling well throughout both North American and Europe, the group taking up the mantle vacated by the now temporarily defunct Deep Purple. Highlights include the fearsome-yet-catchy opener 'Man On The Silver Mountain', the bluesy Quatermass cover 'Black Sheep Of The Family'(the only track here not penned by either Blackmore or Dio) and the mellow, Floyd- tinged and rather beautiful 'Catch The Rainbow'. 1976's 'Rising', in which only Blackmore and Dio would return backed by drummer Cozy Powell, would both continue and expand upon the formula drawn up here on 'Ritchie Blackmore's Rainbow', and both albums showcase one of the heavy rock genre's more creative acts at their impressive albeit rather brief career apex. An important album then, both in the development of heavy metal and in the grand sphere of 1970s rock, this 1975 effort truly deserves its classic status. STEFAN TURNER, STOKE NEWINGTON, 2012

This was my first Rainbow album. An odd choice but with my very limited resources at the time (1994, early 95) I thought it was a good opportunity to know the "other" band of my dear Mr. Blackmore.

For a newbie the disaster was more related to the multitude of changes in the sound than the just ok sound quality of the album. What was the real Rainbow, the Miss Mistreated one, the Spotlight Kid or the heavier Man on the Silver Mountain? Of course in my next Rainbow acquisition I discovered the right answer but by then it was real confusing the almost contradictory mix of music produced by this single (?) band.

No comments on the track list since it was clearly based on the Turner era. If Rainbow was that of course the two opening tracks are the best of the pack. Both are far better than their original versions. I even like the use of backing singers since they help poor little Joe Lynn to keep on course. The other Turner tracks rate from mediocre versions (Can't happen here) to weak ones (Stone Cold). Since that was the vynil edition I had no Bent out of shape tracks on this record to coment (and had no idea that things could become worst).

I really liked the Jealous Lover song, don't know why so side 2 of the vynil was played a lot. But after that only the Since you been gone live version - even with their awful sound - was worth mentioning.

Then came the real "treat": the live Difficult to cure. My late and beloved father liked it so much that almost every day we had to listen to it what make the whole family avoid it like the plague. From this point of time I just can say how kitsch the orchestra playing was, adding little if any value to an interpretation of dubious valour per se. Roll over on your grave, Beethoven.

Finally side four show what this band was all about: the Dio tracks are clean air in a mud atmosphere. From now on I knew what Rainbow I needed to know and even if I have by now all their studio albums and a good pack of live recordings this is most to my completionist syndrome than to any real admiration of their late output. I do believe that the best tracks of the three Turner albums could make a very good hard rock album worth of the Blackmore name (even if inferior to any of Dio's individually) and Down to Earth really could grow with a better singer. All in all I must put the blame on Roger Glover since it was after his arrival that things became disintregated, saving Blackmore's reputation. It's a false assumption, I know, but who cares?

Two stars for the Dio tracks and the firts two songs in side 1.

I HATE YOU SO MUCH Mr. BONNET!

This album was far from good when compared to the ones that came before but I managed to like it a little through the years. Of course the main fault must be put on the back of the right man, that is Sir Blackmore. So why all this hatred to this secondary-player Graham Bonnet.

I was listening last night to a very good quality boot from this era, a show somewhere in Scandinavia. Almost the full DtE album is played (only Making Love and Danger Zone are missing from the set list) and the classic Dio era tunes are there too. The band was really on fire, even Don Airey did a great job. Everything was good and tender til Mr. Bonnet opened his mouth... JC, he can ruin even his own songs! With the exception of Since you been gone he mistreated my ears all the time he screamed and "sung".

The majority of the DtE tracks played that night showed that the album could grow alive (minus Love's no friend - a Mistreated rip-off). The problem was really the singer. As someone above said even the irritating JLTurner would fill better the post of singer. If he was at DtE at the time the poppier stuff he sang lately could be different. Or not.

The hard-rock classics All night long and Since you been gone are good compositions even if they don't match with the image we had for this band. Eyes of the world is the best composition but I must add that Lost in Hollywood grow a lot played live - with the solo from A light in the black inserted in the middle of the song. The rest is mediocre or just plain bad.

Shame on you, Ritchie. I hope you had earned your well-deserved multimillion dollars with this album and the rest but I know - and you know too - that you'd have to wait a lot of time until something really good could be out of your hands again. Money wins, art loses again.

two stars.

Rainbow single release from 1975. "Man on the Silver Mountain" with the flip side being "Snake Charmer". Both songs clock in at around 4 and 1/2 minutes. This is with the classic duo of Ronnie James Dio on vocals and Ritchie Blackmore on guitar. So you can expect good things! And there is no doubt of them fulfilling the challenge. Both songs are good rock tunes although calling them prog might not be totally accurate but close enough, I guess. I prefer the A side "Man on the Silver Mountain", but both are decent nonetheless. Most people would probably prefer them with the album, though.

This landmark Rainbow proved to be a turning point in the careers of all involved, but most particularly of Ritchie Blackmore and Dio; it not only established Rainbow as a credible band rather than a mere vanity project of Blackmore's, but it also saw Dio join the front rank of metal frontmen from the era. It would not be too much of an exaggeration to say that most of Dio's subsequent career would be based around refining and perfecting the fantasy metal blueprint provided by this album, both in terms of his Dungeons & Dragons lyrics and the driving proto- NWOBHM sound on display.

I do not say that to denigrate Dio - quite the opposite. The fact that he was able to base so much of his future career on what was accomplished with this album just goes to show the rich creative vein tapped by it. As well as Dio's stalwart vocal performance and Blackmore's usual virtuoso guitar playing, major kudos has to go to the rhythm section of Jimmy Bain and Cozy Powell, whose driving fast-paced playing provides a rock-solid base for Blackmore and keyboardist Tony Carey's solos and Dio's quasi-operatic proclamations.

Although it's of obvious historical interest, on a purely musical level I wouldn't count the album as an unadulterated classic. Tony Carey's keyboard playing, aside from the intro to Tarot Woman, is usually upstaged by the rest of the band and doesn't seem to add much to the compositions beyond the odd bit of texture here and there, to the point where it feels as though he's present solely because artsy rock bands in the 1970s were supposed to have a keyboardist. In addition, the songwriting flags a bit after the first half of the album, with Stargazer getting repetitive to the point where I never want to hear Dio yelling "Whips and chaaaaaiiins" ever again. In addition to this, fans of more brutal and aggressive metal styles - or even harder and heavier Rainbow-influenced variants of NWOBHM, traditional metal and power metal - may find it to be rather tame. But still, when I'm in just the right mood for a Dio fix and I don't want something as heavy as his Sabbath material or as quintessentially 80s as his best solo work, Rising hits the spot.

I owned this on vinyl and did not play it that much as I was disappointed with the content after hearing the excellent "Rising" album among others. The vocals are thin and whispy with high register but nowhere near the power and passion of Ronnie James Dio. Blackmore is here in presence only, but his shredding style is rather flat and absent.

'Bring on the Night' is okay for a soft metal type song, with a good lead break and sing along anthemic chorus.

'Power' is not too bad with nice shimmering Hammond and jumpy guitar riff. It really is a commercial rock sound though.

I always liked the killer opener 'Death Alley Driver' but apart from that this one left me 'Stone Cold'.

A real waste from a legendary band. Mention has to be made too of that awful cover art which just looks ridiculous.

Rainbow rising over 70s metal.

One of the great Rainbow albums with fantastic musicianship throughout. Dio is in wonderful form along with the incredible drumming of Cozy Powell and the definitive fret melting lead work of Blackmore. He is fantastic on songs such as 'Tarot Woman' and 'Stargazer'. He uses a slide on the mid tempo 'Run With the Wolf' to great effect.

There are so many highlights including the brilliant 'Starstruck' with great classic lyrics such as "it used to be a game now I can't repeat my name at all, She seems to believe that I never can refuse her call, She wants a souvenir, To everyone it's clear, She's hooked, one look She wants a photograph, And everybody laughs But not me, 'cause I see She's creeping like a hungry cat, Seen it before and I know it can mean that the ladie's starstruck..."

'Stargazer' is a symphonic classic including a terrific drum intro and killer riff, awesome lead break and a melody that stays with you; "We built a tower of stone, With our flesh and bone, Just to see him fly Don't know why, Now where do we go".

Another treasure is the rocking fast paced 'A Light in the Black', "I'm coming home...", with amazing synth solo, and there is so much more on this album. This is one to buy if you see it, especially on vinyl with that iconic cover.

I rarely succeed to find rock music with such convincing fantasy feel as it was Rainbow with Dio! Each of three albums are simply close to perfection to me. This album can offer some really memorable highlights. "Man on the silver mountain" is quite catchy and simplistic but the simplicity makes the perfection in this case. "Catch the rainbow" has got one of the most beautiful guitar solos in hard rock and proves Blackmore to be one of the greatest its masters. "Temple Of The King" is another piece which has everything that a rock classic must have. "Self portrait" always was one of the most forceful songs by "Rainbow" to me - could anybody create a better perspective of going down? :) One of very few drawbacks which makes me give 4 stars is "If you don't like rock'n'roll", it somehow reminds me more of Dio's former band "Elf" and falls out of musical context here. And the instrumental "Still I'm sad" becomes a bit too repetitive at the very end while you expect something which could kill you in a good sense. So here are my 4 stars... 4,5 really. It's the highest kind of fantasy rock.

This is the album that single handedly prised me from the clutches of punk rock when I was MUCH younger. Together with Deep Purple Made in Japan that is. 'Tarot Woman' is one of those tracks that simply stays with you forever, a monster of a track that I still remember hearing tfor the very first time and being totally captivated by Ronnie Dio's huge voice. Run with the wolf, Starstruck and Do you close your eyes are three absolute classic rock tracks of our time. Brilliant brilliant brilliant. Then we reach 'Stargazer', epic, huge and awsome. Symphonic, orchestral and, well, progressive. Blackmore shine's through on this album like on no other, but not as over indulgent as on DP albums. He really seems to be playing for the song, not for the ego. Ronnie James Dio, from start to finish is amazing. A voice like no other that will be sorely missed. The album closes with 'A light in the black', another chunk of classic hard rock. This album is as close to perfect as I think I will ever hear, so for the first and probably last time I'm going to award 5/5. A wonderful album.

Rainbow's Rising is the epitomy of traditional heavy metal. Dio's stylized, dramatic tone of voice is ideal for the genre. Cozy Powell's unambiguously thundering drumming style anchors each track perfectly. Guitar virtuoso Ritchie Blackmore's neo-classical riffs and extended melodic solos are class. Jimmy Bain's bass provides the consummate level of heaviness to proceedings. Tony Carey's keyboard playing beautifully enhances the fullness and symphony of the band's sound, and provides some great solos of his own. In particular Carey sets the mood with a solo at the start of the album. The tracks are full of the requisite epic melodies and themes reinforced by the Munich Philharmonic Orchestra in the case of Stargazer where the album rises to its summit.