BLACKMORE'S NIGHT

Oh, how the mighty have fallen

Their latest studio effort to date, is one of the lowest points in the long career of the group. As if it wasn't enough with their previous cover of Wish You Were Here by Rednex (a very silly Swedish novelty group who puts Eurotechno beats to folky tunes and were very popular in the high school discos when I was in my early teens!), this album includes a further two covers of very questionable Swedish Pop acts. The album opens with one of these, a cover of a hit song by the Pop group One More Time (who more than once participated in the Eurovision song contest, competing for Sweden)! The other one is Journeyman, originally "Vandraren", by Nordman, another Swedish Folk Pop artist who had a big hit with this song sometime in the 90's. Non-Swedes who haven't heard the original versions on the radio might not appreciate the magnitude of the embarrassment involved in these choices of covers, but for me this is simply unbearable. I want to hide my face in my hands when hearing these commercial ditties performed by the great Ritchie Blackmore of Deep Purple and Rainbow fame.

The rest of Autumn Sky is not embarrassingly bad, but it is very predictable and at times dull. It offers nothing new over and above what they already gave us on their previous handful of albums, just more of the same. The Rock side of the band is almost completely extinguished here and the brief and discrete electric guitar solos are few and far between. Like most earlier efforts, Autumn Sky is filled of overproduced and streamlined Folk Pop and unexciting acoustic ballads. The result is glossy and void of substance.

By all means, avoid!

All The Fun Of The Fayre

A Knight In York is the third live release that I have heard from Blackmore's Night, the other two being Past Times With Good Company (2CD) and Paris Moon (DVD). The differences between these three live recordings are rather small in terms of style and quality, though the set lists differ enough to make this one a worthwhile addition. Which is more than can be said about the band's recent studio efforts! Blackmore's Night is a better band live than in the studio. There is a bit more energy and Rock substance in their live performances than on the often overproduced studio albums.

One difference between A Knight In York and earlier live releases is the total absence of Deep Purple and Rainbow material. This is a shame, but songs like Locked Within The Crystal Ball, The Circle, and Fires At Midnight, keeps some of the Rock spirit alive. Towards the end of the album, they run out of steam somewhat and the focus is firmly on sparse acoustic ballads.

Not as good as the other live releases I have, but it is mostly enjoyable, if unremarkable.

Castles and nightmares

Under A Violet Moon is the second album by Blackmore's Night. It is a very toned down album with a heavy focus on brief, simple, acoustic songs. As such, this is by no means progressive Folk Rock, it is not even non-progressive Folk Rock, but rather something on the borderline between pure acoustic Folk music and (folky) Pop. This is thus further away from Ritchie's past in Deep Purple and Rainbow than even most other releases by Blackmore's Night. Like most others here, I too think that Under A Violet Moon is less interesting and less enjoyable than the two albums that surround it; the 1997 debut Shadow Of The Moon and the subsequent Fires At Midnight released in 2001 (my personal Blackmore's Night studio favourite). Still, even if it was a low point at the time, Under A Violet Moon is not the band's worst. While I do find it simply dull at times, unlike on some of their later albums, there is nothing here that offends me; nothing that makes me cringe.

Some of the tunes from this album were made rockier and more energetic when performed live. This certainly applies to the title track.

This one is for the fans

Tally-Ho!

If you can pinpoint one flaw to this record (and why not the band entirely) is the 1) the need of more of Blackmood's instrumentals and 2) the place that Mrs. Blackmood is given. One too few, the other too often. Too bad but it feels like Ritchie's not the pilot on this plane anymore. Maybe the charm of the co- pilot is too irresistible for him, but the feel is a bit tackier on this album.

While Shadow of the Moon had it's share of marshmallow, this one is surpassing the latter with cornier lyrics, digital instruments (plastic keyboards and programming) and a general malaise, a higher need to justify yourself in front of your friends why you bought this.

Still there's some many moments to savour like the ear-worm title song and Pass Time With Good Company (far from your mocking friends) and all the instrumentals but a 'relaxation music' factor much higher. Not enough moustache, too much blonde hair. Nonetheless, this band is filling a crucial spot in your collection with a gentler mood and some old fashioned values that lack so much in our generation.

Smells like strawberries but should smell more like roasted meat.

Pantyhose and Feathered Hat.

With the cast of The Big Bang Theory, Napoleon Dynamite and Glass Hammer, Ritchie Blackmore is now attending Renaissance Fayre..at our advantage I might say.

There is no point describing his talent; he has LOTS and then some. His style is perfect for this kind of art, and it's probably harder than it looks. Medieval music must be catchy not to fall into the 'relaxation cds' bin of the spa. This is not the case here, despite the fact that I would care for more instrumental songs. The songs are melodic to the point of tears, blending mellow moods...to more mellow moods. Not really 'jig', but definitely making out music if you're dressed as a bard.

I do appreciate cup of medieval once in a while, and this one should interest you if you have no idea where to start. Woman (especially fans of Enya or Clannad) will surely appreciate since Gryphon is chick-repellant and Amazing Blondel not deserving it's name that much.

I can't wait to be 50 years old and find a younger woman too! This is how it works right?

I saw Blackmore's Night in May of 2011 perform live for the first time in Tarrytown, NY. It was everything and more than I could have possibly wished for in a live performance. Any music lover's preference is the ability to attend a concert of one of their favorite acts and hear the music duplicated from studio sessions with some variances and a visual experience second to none. With Blackmore's Night, I assure you that if you attend a concert you will not be disappointed. To start you must be fans of this type of music of course however there is such a wide array of styles incorporated with Blackmore's unique sound that it does command a diverse listening base. I have heard it tagged as new age and alternate rock and some other things but rest assured you will never be able to put this music in a box and tuck it away in a corner. It is best described as progressive medieval folk rock.

So now we have another live performance committed to CD and DVD for the fans, A Knight In York, which is the latest release from Blackmore and his band of minstrels. As a special bonus you get an absolutely stunning reproduction in Blu-ray with your choice of 5.1 surround sound. Not only is it heaven for audiophiles, it is a delight to the eyes; it touches all the senses and leaves you with a feeling of completeness. I can convincingly say without question that this performance is what I witnessed last year.

The band adds all the atmosphere and flavors that make it that medieval cauldron of rock and folk that has gained a huge following over the years. It also helps that the lead singer, Candice Night, is your wife, best friend, the mother of your child, and not to mention having the voice of angel. That about covers it all I would think for any legendary rock icon with the stature on one Mr. Ritchie Blackmore. Their worldly sound is rounded out with the help of Squire Malcom of Lumley (drums/percussion), Bard David of Larchmont (keyboards/vocals), Gypsy Rose (violins/background vocals), Earl Grey of Chimay (bass/rhythm guitar), who prances around like a sedated Gene Simmons, and the legendary Minstrel Albert who transported himself through a worm hole from another time and place taking care of the all- important Shawns and Bagpipes.

This is the complete package for Blackmore's Night fans and it also includes a booklet with pictures. Basically the only thing that is missing is the lyrics to the tracks but you don't need them because you can understand Candice Night when she sings. For those of you tired of hearing music with indistinguishable lyrics this is a slice of heaven. The songs covered on this performance are from their last two studio releases Secret Voyage and Autumn Sky including a spontaneous rendition of the Bee Gees "First of May." So there are treats throughout this special edition release and it well worth you hard earned dollars and I would consider getting this version opposed to the single CD.

Some of the highlights, in a performance literally filled with them, are the lead off track "Locked Within The Crystal Ball," "World of Stone," their classic "Fires at Midnight" and "Dance of the Darkness." And don't fret long time Blackmore, Rainbow and Deep Purple fans, besides the mandolin, acoustic guitar and Hurdy-Gurdy, Ritchie pulls out the electric guitar often enough and goes on some runs to restate that he can still rock with all the rest of the six-string slingers young and old alike. If you were a Rainbow fan you knew that he was headed in this direction and now because of that change he has evolved once again and has an entirely new audience following him and his band worldwide. With the exception of longtime fans like myself that have enjoyed the ride with Ritchie right from the beginning to present day, this set is proof positive that one of the kings of rock is still alive and well, he just lives in a different universe now but man can he still play.

One of the better moments of the night is when their 1 year old daughter Autumn comes out on stage walking right over to Mom and getting in her arms as she sings. Ritchie not only has his own family now he keeps adding more to his ever growing fan base spreading the joy of ancient music combined with the new. This one is a real keeper so do not miss it.

As my first experience with Blackmore's Night, it was the cover of Child In Time that piqued my curiosity and led me to purchase The Village Lanterne. I liked the album cover too. It certainly harkens back to the good old days when mischievous pixies flapped their wings and wiggled their tushies in front of men in tights struggling to hide their erections. Ale was tastier too.

The first thing I noticed listening to the album is that it's not really all that traditional as far as the Renaissance Faire scene is concerned. The album starts strong with some tribal drumming to add some power to the familiar folksiness, and the occasional little synthesizer melody pops up to sort of "proggify" the track, or at least spice up the proceedings with a little 70s rock influence. And that's how the band works on this effort. Blending the olden folk melodies and instrumentation with some rockin' grooves and a little new age yoga influence to diversify the potential audience a bit. For the most part, this actually works. It certainly helps when you can play guitar like Ritchie, who hasn't sacrificed his skills to adapt to the changing times...there's plenty of guitar workouts here, both electric and acoustic and skillfully entertaining to boot. Candice can certainly sing, and she captures that 'days of yore' lilt perfectly. She can sound a little awkward or out of place in some of the rockier tracks, like Natalie Merchant donning a brass bra, but she charms her way through them. "I Guess It Doesn't Matter Anymore" is a particularly fun upbeat track, with lyrics concerning Resurrection Mary...not an ancient story at all...but a good tale nonetheless. The band as a whole is quite impeccable regarding their talents, certainly above average for this particular niche.

Child In Time has to be one of the odder covers I've heard by any band...although since Ritchie is involved it can't really be considered one...a reinterpretation would be a more fitting term. I can't say when I first heard the original Child In Time that I immediately pondered how it would sound as a medieval jig, but it didn't wind up sounding atrocious by any means.

I'm not sure if I'll venture too much further into this band's catalogue since from what I gather there isn't too much variation concerning the formulas that Blackmore's Night has established for themselves, so I'll just be content to put this puppy on when the rare but occasional yearning for fine mead, dragons and wenches needs a soundtrack.

I have put off reviewing this recording for quite a bit longer than I thought I would, but in retrospect I am glad that I did. It has allowed me to listen and then digest the entire scope of BN'S work and give me a great appreciation of the progress and maturation of what Ritchie and Candice have accomplished with this band. Now I know folks bemoan the "loss" of Ritchie and his former axe god ways, but lets face it men; if a beautiful, captivating, smart and talented young lady such as Candice Night came along when you were Ritchie's' age and wanted to pursue you and this music also, well I know I would dress up in tights and funny hats too! This is a fact, and young and old men only need to look at and hear Candice to admit it to themselves. In fact, where do I sign up, what color hat do I wear and how many different tights should I try on.

Now to the recording; it starts with an anthem, the truly magical instrumental "God Save the Keg". The song begins with a soft but slowly powerful beginning, and then it builds in volume and then progresses into a full blown hymn in honor of the keg. This song is wonderful, very unique and inspiring. I want to create a following based upon this song itself! I lift my mug in honor and worship, and then listen as the keg melts into a slow chant, and then we move into the rocking, toe tapping "Locked within the Crystal Ball". Ritchie unloads here on his electric and Candice is in fine form, maybe the best vocal performance from her yet; except I think her best is on this recording with the track called "The Circle". "Locked" is a fantastic song, complete with great Ritchie solos and in fact it maybe the best BN song ever.

This recording shows Candice to clearly have the skills and talent to sing with emotion, write great lyrics and match her critics once and for all with some real talent here. Listen to "Locked within the Crystal Ball" and you will see the maturation of her range and singing skill. The other tracks here are clearly some of the best of any of this bands work, with a full range of great musicianship from Ritchie as well as the full arsenal of the mid-evil themed backing band. "Toast to tomorrow" is another wonderful old dance type celebration song not unlike their earlier " Down at the Olde Mill Inn" song complete with hand claps, backing chants and superior violin riffs. If you are not singing along with this one; then perhaps you are dead or just not capable of any heart felt joy with music at all.

The acoustic solos by Ritchie are present on this record as they were in past recordings and they succeed in displaying why he is still one of the worlds greatest players; no question at all about it. In fact, I think Ritchie has approached Steve Howe with his level of acoustic work with Blackmore's Night. I now enjoy Ritchie's solos as much as I enjoyed the Howe "Mood for a Day" type interludes with Yes. Please listen to his rework on this recording of "Rainbow Eyes" and you will lament no more about Ritchie, he has just shifted gears and it is obvious he is living his dream music here with this band and his wife...

The other outstanding track here is "The Circle" as I think it is as good a vocal performance by Candice or even better than "Locked within the Crystal Ball". "The Circle" like LWTCB is very progressive in nature. The song builds through an opening containing a very slow tempo change, some strong horns and drum beats, and then some cord progressions into a full blown romp. There is a driving Bass bottom beat going on here that assists with the tempo and mood of the entire piece. Candice sings her heart out on this one and she has written great lyrics around a super melody. Ritchie finishes this song out with a slick and heated solo and it all ends in a bang. Ritchie can really write them and "The Circle" is a dark, mood filled track that is to me and my collection an unforgettable track that I listen to often.

The rest of the album is excellent and I would give it a full five stars except for one trouble spot. I do like the rework of the Elvis song "Can't Help Falling In Love" that is on this recording, but it spoils the mood and it would have been better off recorded and placed on another record where it would fit a little better. The selection and placement of this song on "Secret Voyage" disturbs the cohesive mood of the recording. All the other tracks are high quality and unlike other Blackmores' Night recordings there are no weak filler tracks on this one. This one is very highly recommended for mood, vocals, song writing and outstanding musicianship.

I very much remember the day I first saw this CD, without the benefit of any music magazine or other reviews to guide me. Not long after its release in 1998, I was browsing in a wonderful record shop in Wrexham, North Wales, near to where I used to live, when I just saw the magic word Blackmore.

Ritchie Blackmore was easily my earliest idol. I had got into Deep Purple & Rainbow before I was introduced to prog as a quite young lad by neighbours. I loved them both, and then, as now, I regarded Blackmore as a genius, incapable of doing much wrong. I, of course, bought the CD and spent what seemed an age trying to get my head around the fact that he had joined with a female vocalist and gone all Olde Worlde.

However, once I began to appreciate what I was listening to, I fell in love, and have got every release since. Moreover, I recognised in this album some very important points. Candice Night has a fantastically sensual voice, and is almost a female version of Dio in his more mellow moments. Blackmore was still an incredible guitarist. The songwriting and arrangements were exceptionally strong. And, perhaps more to the point, the music was exceptionally warm and drew me in until I was hooked. I have seen countless reviews and articles bemoaning the fact that Blackmore had "abandoned" his true rock roots, Geoff Barton being the chief culprit.

Ignore them. What we have here, and in subsequent releases, none of which are any less than three stars (good), is about the perfect fusion of traditional English folk with prog and rock sensibilities. The musicianship is never less than excellent, the production is lush, and, for those of you who love their folk prog in the shape of a certain Beastie, it features about the finest ever Ian Anderson flute solo put to record in the exciting and boundless energy of Play Minstrel Play.

None of the tracks are anything less than gorgeous. There are, though, some outstanding moments. The opener, the title track, announces itself in rip roaring fashion, and draws you in. Renaissance Faire will have you dancing a sixteenth century jig with your partner, that is, unless you are both tone and rhythm deaf.

The aforementioned Play Minstrel Play is simply incredible. I love the narrative that Night so sensuously provides, Blackmore has never sounded better on an acoustic guitar, and Anderson blows away as if his very life depended upon it.

Ocean Gypsy is a copy of a track by those other English prog folk giants, Renaissance. If anything, this version is better, and that is stated without any disrespect whatsoever to a band I have admired for many years. Candice Night's vocals are enough to send shivers down your spine, and she is backed by perhaps the finest pastoral music it has been my pleasure to hear. A track with which to fall in love with with your loved one by your side.

Lastly, Greensleeves is a stunning reworking of a traditional English folk tune, something that Blackmore had tried in a different fashion, very well, with Sixteenth Century Greensleeves on Rainbow's original. This is quite different and far better, simply because the arrangement is closer to the spirit of the traditional work. You also marvel at Blackmore's dexterity on his guitar.

Elsewhere, it is simply excellent folk rock, combined with a couple of poppier tracks and also fusions of pop/rock and classical music such as Writing On The Wall, which is fun without being in any way essential.

I would highly recommend this album to anyone wishing to explore the latter career of a true rock God. I would certainly recommend it to anyone wishing to take themselves out of a tiny little stereotypical box and who wish to explore something a little bit different from a man who had the guts to reinvent himself, without care for the consequences.

Four stars for this. An excellent addition to any prog rock music collection which only just falls short of being a true masterpiece - not by much, though.

Kinky

"Autumn sky" is Blackmore's Night's eighth studio album, coming two years after the excellent "Secret voyage". In the interim, Candice Night gave birth to a baby girl, yet still found time to write the lyrics throughout, with Ritchie writing the melodies. Given that the first album by the band was released in 1998, the productivity rate for Blackmore's Night is on a par with the halcyon days of Deep Purple or Rainbow. With so many fine albums behind them, it was perhaps inevitable that there would be a dip a some stage, and "Autumn sky" is that dip.

Do not get me wrong, this is still a highly enjoyable album, with excellent performances all round. There is though a sense of going through the motions here. The songs are written to the Blackmore's Night template, but for me they lack the spark of the band's best material. There is no feature track (like the epic "God Save The Keg/Locked Within The Crystal Ball" on "Secret voyage" and no Deep Purple/Rainbow cover. What we have then is a set of Blackmore's night by the numbers songs, which if this were the band's first album would be highly impressive.

Such a preamble probably suggests this album is not worth listening to, but that is certainly not my intention; there remains much of value here. "Journeyman" is a superb piece, the highlight being some of Ritchie's most dexterous guitar work for some time. The following "Believe in me" is a beautiful soft ballad, but even here Ritchie slips in some excellent lead guitar. The feature cover song this time is of the Kinks "Celluloid Heroes", one of Ray Davies best compositions. Candice Night offers a fine interpretation of the song, bringing out the sensitivity of the lyrics.

On the other hand, songs such as "Sake of the song" have a strong air of familiarity to them. Even here through, when paired with the following "Song And Dance", which exploits the same melody as an instrumental, the two part piece will surely become a live favourite. "Darkness" and "Dance Of The Darkness" are structured in the same way, the latter once again featuring some great sleight of hand by Ritchie.

The album closes with a traditional folk song and Child Ballad "Barbara Allen". This tragic love song is given a sympathetic treatment which retains its simple folk beauty while gradually increasing the dramatic effect.

Ritchie seems to keep in the background more on this album. Yes we have the fine acoustic guitar piece "Night At Eggersberg" and a couple of others, and yes he does add some great lead guitar from time to time, but this is by and large an album which focuses on the (admittedly excellent) vocals of Candice Night. In summary, not the best Blackmore's night album, but a worthy addition to their fine discography.