RAINBOW
Palais des Expositions de la Porte de Versailles - Paris, France 12 February 1980


Contrary to the ticket mention, the show was relocated at : Palais des expositions de la porte de Versailles. I attended the show. Some "anecdotes" and remembering of the show : awful sound : Ritchie shortened the soundcheck because of the technical issues. The opening act consisted of two lads playing acoustic guitars....their show too was shortened because some fans threw coins at them (not to say lot of)!!!

Ritchie was brilliant and he destroyed his fender at the end of the show and wind the remains of his guitar around the spotlights...we faced the drama because the fans at the first rows started to pull the jack and the guitar. I missed by an inch to grab the fretboard...argghhh. Roadies and managers looked the spotlights swing above the band heads with real fear on their faces. Fond memories anyway.

Stephane Muller






RAINBOW
Newcastle City Hall 19 February 1980


It was now 1980, and Rainbow’s line-up had changed yet again. Blackmore had his eye on the commercial rock market, and wanted to move Rainbow’s music in the direction of more commercial straight ahead rock, away from their traditional “swords and sorcery” thematic. Ronnie James Dio was having none of this, so he was off, soon to join Black Sabbath. So the band morphed yet again. In came singer Graham Bonnet, last seen fronting The Marbles who hit the UK charts in the late ’60s with a Bee Gees penned pop classic “Only One Woman”. Bonnet has a great solid rock voice, with an amazing vocal range; although at the time I found it difficult to imagine anyone other than Dio singing Rainbow classics like “Man on the Silver Mountain”. But sing them Graham did, and he made a pretty good fist of it too.

The changing nature of the band didn’t seem to impact upon their popularity. If anything Rainbow were more popular, and once again sold out two nights at the City Hall. I attended the first night’s concert. Support came from NWOBHM band Samson featuring Bruce Dickinson (or Bruce Bruce as he was then). This concert displayed more shades of classic rock than the mystical dark elements on show during the Dio-era. It was a different type of gig, but no less enjoyable, and Blackmore was as on-fire as ever. The new formula had already paid dividends in the form of a massive hit single “Since You Been Gone”, which was followed by the almost as successful “All Night Long”.

Vintagerock's Weblog





Rainbow Rousing

Newcastle City Hall 20 February 1980


Since you've been gone, there's been a fair amount happening, Ritchie. The New Wave changed its spots when the leading contenders decided that rather than change the world they'd like to become rock and roll stars instead. And once people tumbled to the realization that basic punk and basic heavy metal are virtually the same thing a young breed of metallic bands came hurtling out of the closet and were promptly packaged up by increasingly nervous record companies as 'New Wave heavy metal'. Right now, everyone who's old enough to go to the toilet by themselves is bouncing up and down to the 2 Tone sound.

But you've nothing to worry about, Ritchie. You've just had the biggest hit single of your career over here and, in the context of the changes we've been going through, a few new faces at Rainbow aren't going to rock the boat, particularly when one of them is an old friend. Anyway, you didn't really think we'd expect you back with the same line-up twice in a row did you? ...

As Elgar's 'Pomp And Circumstance Overture' glides into 'Land Of Hope And Glory' the lights of the Newcastle City Hall cut out and the massed ranks of denim leap to their feet with a spontaneous roar of acclaim that could be translated as 'Those who are about to have their cake and eat it, salute you.'

A synthesised version of Holst's 'Mars' cuts through the noisy, steamy darkness and as the chugging guitar riff to 'Eyes Of The World' takes over the stage is suddenly bathed in fight Rainbow are strutting it in Britain again. Over on the right, there's Ritchie Blackmore looking exactly the same as he did on the last tour (and the one before that and ... ). And behind that pile of percussion with his head bobbing up and down between his flailing arms like a swimmer doing the butterfly stroke must be Cozy Powell.

Reassured, we can start taking in the new figures in the landscape. Next to Blackmore there's vocalist Graham Bonnet, looking positively suave in heavy metal terms with slicked back hair, dark glasses and a white suit. He's left most of the stock HM vocalist cliches for the so-called 'New Wave heavy metal' bands (ho ho). Instead he goes for the straightforward approach and relies on his powerful but pitch-perfect voice to make its impact. And despite the fact that his throat has turned yellow, as he admitted shortly before the gig, the impact is very impressive.

Further along to the left, wearing a sinister-looking Mafia hat, is Roger Glover, Ritchie's old Deep Purple mate and a much-needed source of detached inspiration to the band as his production job on 'Down To Earth' shows. His playing needs no introduction and he, like Ritchie, puts accuracy before flash.

And finally, there's Don Airey playing in front of his hometown crowd (well he's from Sunderland actually). Easily the most proficient keyboard player to have graced the Rainbow ranks, he's not quite as distinctive in the sound mix as he should be, but what's coming through sounds meaty enough.

By now we're roaring through 'Love's No Friend', also from the latest album, and Ritchie is beginning to get into his stride, performing various sleights of hand on his fretboard and scarcely bothering to strike the strings with his right hand - the actions of his left hand are setting up sufficient vibrations. Bonnet then dedicates the next song, 'Since You Been Gone' to the small cluster of journalists who've come up for the gig, telling us where the exit doors are if we're getting bored. As I consider calling up the Porton Down Germ Warfare Research Establishment to check out what other throat viruses they're working on Blackmore broods a while on 'Greensleeves' (have you noticed how there are more classical titles than rock titles in this set) before striking up the riff of their 'Big Hit Single'. And I'm forced to admit that it shows the band to be as sharp, tight and alert as I've ever witnessed.

From there Blackmore leads the brand into a trio of classic Rainbow songs 'Over The Rainbow', the grandiose, ponderous 'Man On A Silver Mountain' and the long drawn-out 'Catch The Rainbow' which is the launching pad for Blackmore's most potent guitar work of the evening. Over two solos separated by a brief burst from Cozy he works himself into a fair old lather until by the end the notes are pouring out of his guitar in an uninterrupted stream. "It always works," says Bonnet with evident satisfaction after the searing, climatic end.

The power spills over onto 'Lost In Hollywood' and Blackmore seizes another solo, this time much harsher with the feedback zipping back and forth between the PA stacks. He gives way to Don Airey who indulges in some pomp craziness as Bach's Toccata and Fugue jostles with snatches of 'Smoke On The Water' (teasing the audience dangerously) and 'Green Onions'. Cozy Powell follows up with his tour de force that is as outrageously over the top as ever, '1812 Overture' pyrotechnics and all.

The encores bring out another track from the new album, 'All Night Long', together with 'Long Live Rock 'N' Roll' which incorporated Blackmore's ritual guitar sacrifice (the lucky recipient of the remains was escorted out of the hall by security staff for his own protection) and a pulverizing finish.

As one who believes that Rainbow have not yet made a 'great' album (although they're getting closer every time) I found the new material more invigorating than the older songs because it reflects the current make-up of the band more aptly and offers a positive direction for them to move in.

Having said that, the more 'traditional' part of the Rainbow set with its extravagant solos was noisily appreciated by the crowd and would obviously be missed. But if Rainbow are to expand their following - which even Ritchie would probably admit is the name of the game - then they should start capitalising on Bonnet's arrival because he transforms the emphasis from the past to the future.

As to Ritchie Blackmore himself, he couldn't have failed any of his admirers and he remains a curiously charismatic figure on stage. Beyond what you actually see and hear on stage he is quite impenetrable. Towards the end of the show I waded down the front to see if there was some flicker or twitch close up that might provide a few clues.

I didn't get much; just an intuition that his love/hate relationship with his guitar is not unlike that of Pete Townshend and that the discrepancies in such a relationship are not easy for him to solve.

In the dressing room afterwards a shattered Cozy Powell (he'd spent the couple of days between the European tour and the British dates driving back from Germany, breaking down in Dover, catching a taxi straight to Heathrow (!) and hiring another car which was left looking somewhat the worse for wear by fans after the previous night's gig) said that the first night in Newcastle had been diabolical but they'd changed the set around for tonight's gig.

"Tonight was better. About a seven. But we've been doing a lot of nines on this tour. I'd have done a better solo too but I was exhausted and my hands just wouldn't obey some of the orders." He also felt that the band was having to adjust to playing smaller British halls from those they are normally used to. "We sound better in the bigger halls because we have room to move and we can control the sound levels more easily."

Later on back at the hotel the legendary, moody, unfathomable, unpredictable, etc. etc. etc. Ritchie Blackmore is feeling happy enough with the evening's proceedings to socialise a little. When I mention my feelings about the set he replies that he prefers a format that gives him room to manoeuvre. "I don't want to play a set of short songs because it doesn't give me the framework to take off as and when I want. I need that freedom because I want that challenge. I have a fear of getting stale on stage and I'm always looking for ways to avoid that."

In the past Ritchie has staved off boredom by keeping everyone else on edge. Hence the line-up changes which have held the band back. Thus hand already looks settled and Roger Glover is Ritchie's best songwriting partner yet. They've got a lot going for them if they want.

Hugh Fielder, Sounds, February 1980





All Night Long? You must be joking...

RAINBOW UPRISING AS BLACKMORE THROWS A MOODY (again)

Wembley 29 February 1980




LONG LIVE ROCK AND ROLL (but only for 70 minutes): the aftermath of the Rainbow gig at Wembley


RAINBOW's Wembley Arena concert last Friday ended in a near-riot when the band refused to come back for an encore.

The band played their current set, which lasted a mere 70 minutes, but despite the clamour of the full house they failed to return for an encore. After a few moments the house lights were put on and it was announced that the show was over. At this point the crowd began throwing scarves, programmes and chairs towards the stage and the Arena had to be cleared by police who made a total of ten arrests - some for drunk and disorderly, one threatening behaviour, three for criminal damage, two for assault and one for assault and criminal damage.

The damage amounted to about £10,000 and included damage to doors and fittings as well as seats. There were no serious injuries reported, however.

Rainbow publicist Jennie Halsall told Sounds this week: "There was no reason at all for what happened. If you want one you can say that Ritchie went off for a pee and when he came back the audience had gone."

Blackmore's habit of 'throwing a moody' is well known in heavy metal circles and it would appear that he didn't want to play an encore. This is backed up by a quote made to a source the following night in which he said: "I played brilliantly but the audience didn't appreciate it." However, several Sounds correspondents maintained that the crowd reaction on Friday night was "everything the band could have hoped for" and it's believed that the rest of the band were keen to play an encore.

It had been rumoured that the encore might consist of a Deep Purple reunion with fan Gillan joining in on vocals but there was no sign of any ex-Purple members apart from Blackmore and bassist Roger Glover.

Saturday night's gig passed off without a hitch and with an encore after security men had spent the night repairing the damage to the hall.

Another casualty from Friday night was new wave HM band Samson, who supported Rainbow and played an encore themselves. But when they arrived at Leicester on Sunday night they found another band, Katchis (a European band who've supported Rainbow on the Continent), setting up and they were told they were no longer required on the tour.

Samson's manager told Sounds: "We were given no reason for this. Graham Bonnet had even given us a round of applause during our Wembley set on Friday." When asked if the reason might have been Samson's good reception at Wembley he replied: "You'd better draw your own conclusions."

Rainbow's management claimed that there was no permanent support band for the tour and that Samson were only confirmed up until Wembley. Samson's manager flatly denied this and said they were confirmed to play both Leicester and the Rainbow Theatre date this week.

Sounds March 1980





RAINBOW's 'No Encore' Riot

Wembley 29 February 1980


A chair gets airborne during the fracas [photo: © George Bodnar]


Rainbow's opening concert at the massive Wembley Arena on Friday ended with a front-page riot resulting in £10,000 worth of damage and a backstage battle between petulant Ritchie Blackmore and the rest of the band.

It was Blackmore's decision not to respond to the audience's demands for an encore that seems to have sparked off the violence, which ended in ten arrests and the massive bill for around 500 seats and other fittings damaged when the fans' enthusiasm turned to trouble. They ripped up seats and threw them at the stage, and, as the trouble grew, started throwing fire extinguishers and other fittings.

It is understood that as the fans at the front row demonstrating their displeasure, Blackmore was facing the anger of the other four members of Rainbow who were anxious to go back on stage to play an encore, and the confrontation ended in acrimonious exchanges as Blackmore refused to change his mind.

Wembley Police arrested ten fans, three of them under 17, for offences including assault on police, threatening behaviour, criminal damage. One policeman was slightly injured. The following night Rainbow played a full set including an encore, and there was no trouble.


Melody Maker - March 8, 1980





RAINBOW

Wembley Arena 29 February 1980



The law of show business has always been: "the show must go on." And on long enough to make the fan who has spent £4.50 for a ticket, bought souvenirs, and possibly travelled some distance, feel that it was worthwhile. No entertainer, no matter how great his talent, should ever forget this. I'm talking specifically about what happened at Wembley last Friday when Ritchie Blackmore gave his public the cold shoulder.

The 70-minute set had been completed and Rainbow left the stage. The ecstatic crowd clamoured for an encore. Rainbow, however, didn't come back, the houselights were switched on, and promoter Paul Loasby informed the fans that it was time to go home. There was more than simply a feeling of disappointment and the audience displayed their anger by hurling chairs at the stage. Equally irate were the rest of the band who had been keen to play an encore. But nothing could be done to ease the situation - Ritchie had refused to play, and that was that.

Ritchie Blackmore is without a shadow of doubt one of rock's most mercurial characters who delights in doing precisely what is unexpected of him, but his behaviour last Friday night left much to be desired. Why had Ritchie decided to act in such a fashion? He will come out of the incident unscathed - this time at least, while fans will continue to buy the records and come to the shows, overlooking his rough treatment. In a way, Blackmore has to be credited for the manner in which he can pull such a stunt - and get away with it!

Ironically enough, before this incident the gig had been a total success. From the moment Rainbow launched into "Eyes of the World" the audience erupted into frenzy. They cheered non-stop as the band delivered an electric performance centred around the "Down To Earth" album.

"Since You've Been Gone" drew a tremendous response, and equally enthusiastic were the reactions to "Man On The Silver Mountain" and "Catch The Rainbow" - two classics from the past. Don Airey provided a grand keyboard intro to "Lost In Hollywood" which also featured further solo spots from Ritchie, Cozy and, again, Don. "Animal" Powell's drumsolo was magical.

Blackmore may still feel that his final action was justifiable but his fans have stood by him in recent years and certainly deserved better treatment than they received.

Steve Gett, Melody Maker - March 8, 1980






RAINBOW

Castle Donington 16 August 1980

Storming The Castle


A watershed in festival history? Undoubtedly. Seven acts appealing to the same kind of audience and Number One finally finding the switch that turns on the endless light. The promoters had done their homework, too. Apart from the sound being as near perfect as dammit on this great wilderness of a race-track, vision was enhanced by a gradual incline towards the stage.

Of course, they weren't to know that He'd be taking a long and leisure shower for several days beforehand. So not only was there mud, there was a great deal of mud, particularly upfront, courtesy of the slope. So the more you wanted to see the bands, and the closer you got to the stage, the muddier you got!!

I got well muddy and not just on the ground around my knees. See, there were those that might have wanted to see but preferred not to stand up to avail themselves of the opportunity. They delighted in bunging large clods of stinking earth at those unsociable enough not to bask in it themselves.

A water-bed in festival history? Indubitably, and one from which Touch were unable to rouse the silent majority. Sharing the same manager as Rainbow obviously assisted their UK debut, but apart from some plodding pomp pieces were generally worth the opening slot. Marshalled by singer / song-writer / guitarist / keyboard player Mark Mangold, they knocked out 30 minutes' worth of restrained metallic grandeur notwithstanding a surfeit of castrato vocals.

Due to the somewhat unorthodox Press arrangements, these ears were denied the pleasure (?) of Riot. All, er, facilities were situated half a mile from the site with a shuttle service promised back and forth between acts. Indeed, there was a six - seater van laid on for the 200 - odd members of the ligging fraternity, but more pertinently. ALL THE GROUPS WENT ON ON TIME!!!

Now since when has sticking the schedules had anything to do with rock festivals, eh? Actually Blackmore, not unpredictably, broke this short-lived tradition by an hour but if it's of any consolation to Riot fans, they got an encore, which is more than can be said for the third and fortunately last of tyhe Transatlantic participants, April Wine.

Their hopelessly unoriginal catalogue of hard rock cliches climaxed - with a drum solo which put a whole new complexion on the wortd "dull". As if they weren't bad enough in their own right, the accumulating crowd suffered the indignity of watching them follow local boys (give or take the odd 30 miles) Saxon, the first band of the day to generate an appreciable amount of headbanging.

A late addition to the bill, they still secured what they deserved. Igniting with 'Motorcycle Man' and the usual roar of engines, they blitzkrieged their way through the truncated support set which until recently they've been obliged to play.

'Somewhere To Boogie' featured a champion solo from Graham Oliver whose box of tricks included some dervish axe rotation and engaging in some bizarre stage antics with Biff, the purpose of which was to show he could play just as well blindfold. He's barely let down by the rest of the gang, each of who do their deed ruthlessly. Drummer Pete Gill provides an aural blueprint for how soloes ought to sound while Biff has got the range to match his gargantuan appetite for volume.

Though you'd expect hit single 'Wheels of Steel' to be saved for dessert, there are enough strong songs where that came from for it to be despatched early on, leaving t'other guitarist, Paul Quinn, plenty of scope to demonstrate his skills. His Flying 'V' was the first of many to appear, a fashion -for-the-day pioneered jointly with that of the stage -managed encore- leaving stage 10 minutes before their allotted time so the kids could get the "more" they'd inevitably demand.

So following the enticing '747 (Strangers in the Night)' and the groans that accompanied the announcement that 'Stallions of the Highway' would be the last, back they came for a mighty "Machine Gun' which emphasised more than anything that however much the term heavy metal is disliked, to deny that this is what Saxon play is missing the point entirely.

Hard as they tried to eclipse all memory of the Wakefield wonders, The Scorpions damn near scuppered themselves with their ineffectual prancing and ludicrous guidebook shape throwing that was enough to put anyone off their beer, let alone the music. The latter began with the rasping 'Don't Make No Promises', Klause's vocals booming loud and clear and Rudolf Schenker - possessor of two Flying Vs - showing that what he lacks in technique is made up for in ostentation. 'The Zoo' is another rocker, highlighting the thump as opposed to metallically OTT side of the Germans' style, whilst the repertoire also includes some almost tasteful ballads.

During the latter stages they were unable to resist the temptation to play some extraordinaryly drab boogie and resorting to stock HM cliches, some of which, to be fair, they probably invented themselves, since they have been around since '71.

Between acts the surrogate Peel tones of guru Neal Kaye patronised us with gems like "uh - if there's one thing today proves it's that rock people stick together." To be honest it was the mud which did most of the sticking, though by the time Judas Priest took the boards, much of it had been champed down until there was none left to throw.

Whatever, it was a good distraction to be without since the arch fetishists were bang on form. Halford's discarding of biker accoutrements following the swift exit of the machine itself illustrated that however infamous Priest are for the image, it takes a strict back seat to the music.

Rob is too nervous an individual to indulge in excessive showmanship but his voice and blood - curdling screams are magnifique. The set will have been familiar to fans, combining favourites like 'The Ripper', 'The Sinner', 'Running Wild' and their stage-managed encore, 'Tyrant', with most of the 'British Steel'album.

Though the set faltered before the end, as a band they were the best of the day, not to mention the perfect foil for the headliners. Whereas Priest manage to fuse each of their skills into impressive team-work, Rainbow are very much an amalgam of seperate soloists with scarcely any common sensibility either musically of visually.

True, the band is essentially a vehicle for Blackmore's ego, but since this extends to him laying on a sensurround PA and simultaneous split - screen live footage, a certain amount of acceptability does attach itself to this factor. The ugly side of it is the haphazard self-indulgence of much of his guitar-work.

Always one to rely on his tremelo arm, its a wonder the bloody thing didn't drop off. This particular grievance was most manifest on 'Lost in Hollywood', the 20 minute version of which also took in Cozy Powell's much-published last drum solo plus individual bouts of tedium from the others. Don Airey proved he has the same undisciplined affinity for classical music as Blackmore and out of all of them, Graham Bonnet alone showed that he can be trusted to let rip.

There are those who consider him to have rock's best-ever voice and if quality and soulfulness are the criteria, I'm inclined to agree. Simply, he held much of the set together, both in the early stages - 'Love's No Friend Of Mine', a brilliant 'Since You've Been Gone' and 'Catch The Rainbow' - and later when he graciously met Ritchie's request for an unaccompanied version of Golfin - King's 'Will You Love Me Tomorrow'.

Apart from his total vocal control, his humour and personality counterpoint Blackmore's terminal moroseness. Its odd how this quality should delfy the guitarist even more in the eyes of his fans, but at least the devotion is mutual. How else can one account for the bewildering firework extravaganza that accompanied the, gasp, second encore. 'Long Live Rock 'n'Roll' where Blackmore finally got round to immolating his guitar.

Incidentally, the "Long Live Rainbow" announcement at the end had a definite air of "Rainbow - Are - Dead - Long - Live - Rainbow" about it which fanned a;ready flaming rumours that it's not just Cozy who's leaving the group.

Bearing in mind the guitarist's speculated future plans, it would be fair to say that if this gig was Rainbow's final curtain, the band wouldn't be missed as much as the unlikely non-appearance of this festival next year. It would take more than a stick-in-the-mud to deny it's success.

Mike Nicholls, Record Mirror - August 23, 1980