Ritchie Blackmore Albums (8)
What The Critics Say
Ever wonder what Christmas carols sounded like back in time when the finest form of transportation was by horse and wearing armor was a hip fashion statement? Well then, the second release of 2006 by Blackmore's Night, Winter Carols, may offer some insight. As with their previous efforts, the music on Winter Carols is of the Renaissance-inspired folk variety. And while the majority of the songs are traditional compositions, there are also a few originals, including "Winter (Basse Dance)," which includes some simply gorgeous acoustic guitar doodling by once Fender Strat/Marshall amp abuser Blackmore. Elsewhere, songs such as "Hark the Herald Angels Sing/Come All Ye Faithful" and "We Wish You a Merry Christmas" would sound splendid sung around the campfire -- if it were still the 15th century. Unfortunately, a rendition of the Chipmunks' "The Chipmunk Song (Christmas Don't Be Late)" is not included. ~ Greg Prato, All Music Guide
What The Critics Say
It appears that Ritchie Blackmore, legendary Brit guitar god, axe king of the glorious Deep Purple and Rainbow, is persisting in his attempt to reinvent himself as a Medieval folkie. The fifth outing by Blackmore's Night is another bag of originals, plus a cover of Joan Baez's classic "Diamonds and Rust." The issue with Ghost of a Rose is not whether Blackmore and vocalist Candice Night have the chops. They clearly do. That they insist on using the recording studio to virtually sterilize all that made the music they hold so dear, so vital and dangerous is the real problem. These songs, with their glossed-over edges and Night's completely rounded vocals, don't help to reveal all of the dark passions embedded in the songs themselves. One listen to the early Steeleye Span recordings, or the Watersons "Frost and Fire," reveals just what Blackmore should have been aiming for. ~ Thom Jurek, All Music Guide
'Past Times with Good Company'
Release Date 10/28/2002
Tracks 17
Label SPV
See Album Tracklist and Review
What The Critics Say
For those fans still incapable (or unwilling) to accept Deep Purple guitar legend Ritchie Blackmore's defection from heavy metal glory into the acoustic renaissance music of Blackmore's Night, perhaps this double live album will finally drive the reality home. Recorded in May 2002, Past Times with Good Company (named after a traditional folk song written by none other than King Henry VIII) finds the obdurate guitarist and his conversely charming sparring partner and wife, vocalist Candice Night, performing before a few hundred friends in the Netherlands, dressed in suitably medieval garb -- of course! And after listening to the Baroque arrangements, minor-chord voicings, and even some of the lyrics to the likes of "Shadow of the Moon," "Under a Violet Moon," and "Morning Star," the leap from atop the Rainbow to the bowels of a musky, Middle Ages pub may no longer seem as far-fetched. To some extent, this is the result of a fuller musical backdrop provided by the duo's well-rounded supporting cast (highlighted by violinist Chris Devine), as compared to their at times rather spare studio efforts. But also easing what could be a difficult transition are occasional glimpses into Blackmore's past by way of Purple's "Soldier of Fortune" and Rainbow's surprisingly apropos (and electrified) "16th Century Greensleeves." See, it really isn't that big a stretch! Another plus for pure Blackmore disciples is hearing the master shred his acoustic guitar during the beautiful "Beyond the Sunset." And to earlier converts who may have yet to experience Blackmore's Night in a live setting, Past Times with Good Company will of course provide a perfect showcase. ~ Eduardo Rivadavia, All Music Guide
'Minstrels and Ballads'
Release Date 11/27/2001
Tracks 14
Label Pony Canyon
See Album Tracklist and Review
What The Critics Say
A very well-packaged and superbly compiled Japanese album highlighting some of the best material from each of Blackmore's Night's first three albums, Minstrels and Ballads emphasizes the gentler side of the project. That it offers little of interest to the dyed-in-the-wool Deep Purple/Rainbow fanatic is no surprise -- even absolute neophytes will glance at the cover and digest the title, and know Blackmore's Night delves deep into what modern marketing calls Celtic and new age pastures. However, Blackmore's long-renowned abilities are by no means dormant as he sacrifices volume and electricity for intricacy and warmth and, if Candice Night's vocals (not to mention her sometimes second-hand Stevie Nicks imagery) can grow a little cloying when listened to protractedly, still there's enough dexterity on display to take your mind off her harsher extremes. Song-wise, the album breaks down via five songs from the duo's debut album, four from its sophomore effort, and five from 2001's Fires at Midnight -- including that genre-bending reworking of Dylan's "The Times They Are a Changin'." There's also (perhaps inevitably) an airing of "Greensleeves," a number that Blackmore has had his eye on since at least the early days of Rainbow, and which says as much about Blackmore's Night's versatility as any of the original songs -- maybe even more. Those other tracks, after all, are the sound of Blackmore realigning old musical traditions to the capabilities of his own band. "Greensleeves" is the genuine article, but loses nothing in its updating. If you already own (and love) any of the original Blackmore's Night albums, Minstrels and Ballads is an extravagance that you really don't require -- just run out and buy the rest of the catalog. Anybody wishing to venture for the first time into the duo's captivating land of castles and cauldrons, however, could find no better guide than this. ~ Dave Thompson, All Music Guide
'Fires at Midnight'
Release Date 6/20/2001
Tracks 16
Label Pony Canyon
See Album Tracklist and Review
What The Critics Say
One of hard rock's most influential guitarists has opted for the cultural upheaval and regality of the Renaissance era, as Ritchie Blackmore and vocalist Candice Night spearhead a band who abides by a hearty cross-pollination of English folk, 16th century melodies, and progressive rock. Here, Blackmore injects tasteful electric lead lines into a mix consisting of buoyantly executed rhythmic structures and Ms. Knight's whispery, and at times, satiny vocalizations. Thus, Blackmore's Night proclaims a festive atmosphere throughout these 16 pieces, while the band's charming rendition of Bob Dylan's "The Times They Are a Changin'" might represent the lone deviation from the grand scheme of things to coincide with this ensemble's altogether cheery demeanor and novel approach. Moreover, for those expecting to hear Blackmore ravage his electric with his now-infamous high-octane, blues-drenched power chords and doomsday chops, forget it. With this release, subtly, finesse, and nuance reign supreme amid a series of persuasive works that cover quite a bit of fertile terrain. ~ Glenn Astarita, All Music Guide
'Under a Violet Moon'
Release Date 5/10/1999
Tracks 16
Label Pony Canyon
See Album Tracklist and Review
What The Critics Say
Under a Violet Moon is the second album by Blackmore's Night, and guitarist Ritchie Blackmore had a very clear idea of what he wanted for the sophomore release by the Renaissance-oriented world and new age music outfit. The former Deep Purple and Rainbow six-stringer and vocalist Candice Night wanted to take Blackmore's Night on an extensive tour, so they made a conscious effort to record a more up-tempo album, making the music more conducive to live performance than much of the relaxed material on their debut, Shadow of the Moon. Countless guest musicians contribute to this album, which was co-produced by Blackmore, Jeff Glixman (best known for his work with Kansas), and Roy McDonald. A variety of sonic textures are found on the album, but the faster numbers do dominate the proceedings and therefore fulfill Blackmore and Night's musical desires. "Under a Violet Moon" is propelled by Blackmore's darkly rich acoustic guitar lines, Night's urgent vocals, and the driving handclaps and tambourine. "Past Time With Good Company," a traditional melody attributed to Henry VIII, utilizes appropriately regal-sounding horns. Rolling rhythms and swirling melodies illuminate the superb "Morning Star." Bassist John Ford shares singing duties with Night on "Wind in the Willows." Blackmore breaks out the electric guitar for some soloing on "Gone With the Wind." The cosmic instrumental "Beyond the Sunset" has a soothing, new age dreaminess to it. "March the Heroes Home" has a sparse arrangement at first, but as each instrument comes in the dramatic feel is heightened. Blackmore's lightning-fast acoustic guitar runs are matched by the violin on "Spanish Nights (I Remember it Well)." The guitarist dips into his past for a rearranged version of "Self Portrait," which first appeared on 1975's Ritchie Blackmore's Rainbow. ~ Bret Adams, All Music Guide
What The Critics Say
Shadow of the Moon is the first album by Ritchie Blackmore's beloved Blackmore's Night project. The former Deep Purple and Rainbow guitarist and his fiancée, vocalist Candice Night, created a Renaissance-inspired work with elements of folk, new age, and occasional bits of electric guitar. Blackmore even plays bass, mandolin, drum (yes, singular), and tambourine. Night's voice isn't powerful, but it's bright and sweet, making it perfect for this style of music. Other musicians include co-producer Pat Regan on keyboards and the Minstrel Hall Consort; Gerald Flashman on recorder, trumpet, and French horn; Tom Brown on cello; and Lady Green on violin and viola. Most songs are original compositions but some are based on traditional melodies. "Shadow of the Moon" is a marvelous opener; it's catchy, haunting, and propulsive. Blackmore shreds on acoustic guitar and lets the electric guitar slip into the background for faint power chords. Regal, majestic horns lend an elegance to "The Clock Ticks On," which addresses the passage of time and a yearning to live in the past. "Play Minstrel Play" features Jethro Tull's Ian Anderson, one of Blackmore's favorite musicians. The song moves along pleasantly until about halfway through when it explodes into a frantic, handclaps-led pace with Anderson's wild flute solo. The warmth of "Ocean Gypsy" makes it the song most easily classified as new age here; Blackmore plays a gentle but swift acoustic guitar melody under Night's softly yearning vocals. "Writing on the Wall" is quite fast and has a danceable beat, and there's even a blowout jam at the end. Blackmore's electric guitar work is the most prominent on "No Second Chance" and "Wish You Were Here." The instrumental "Possum's Last Dance" is a U.S.-only bonus track. ~ Bret Adams, All Music Guide
