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Album Information - with tracks & CD Cover


Listen & Buy @ Amazon


 Promo & Rare Albums


Promotional Posters & Photos


Lyrics & Song Info


  Shadow of the Moon Interview















Album Information - with tracks & CD Cover



1. Shadow Of The Moon 5:07

2. The Clock Ticks On 5:14

3. Be Mine Tonight 2:51

4. Play Minstrel Play 3:58

5. Ocean Gypsy 6:05

6. Minstrel Hall 2:36

7. Magical World 4:01

8. Writing On The Wall 4:35

9. Renaissance Faire 4:16

10. Memmingen 1:06

11. No Second Chance 5:38

12. Mond Tanz 3:33

13. Spirit Of The Sea 4:50

14. Greensleeves 3:47

15. Wish You Were Here 5:02


Various Bonus tracks on different albums

Minstrel Hall

Possum's Last Dance - Bonus Track

Shadow of the Moon - Asian Version

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Buy @ Amazon

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Promo & Rare Albums

Link to for RARE Sarah Brightman Items

Rare Strictly Official Japanese 3 pages Press Release for The Promotion of Their Japan Tour in 1997.

Includes The Information of Tour Date, Member's Line-Up, Japanese Album Release etc. (Written in Japanese Language)


 as seen on ebay


Hard to find 1 track CD single made for promotion only.

Manufactured in the US in 1998.

Label / catalogue no.: Edel / PR0003EDL.

Condition: As new.


as seen on ebay

CD 1997 promo  cat # edel0098992whe card sleeve special radio-station / DJ-only edition!

Full album

BLACKMORE'S NIGHT Shadow Of The Moon (2002 Japanese promotional 17-track CD album - reissue of Blackmore's Night's [Ritchie Blackmore's post-Deep Purple/Rainbow project] 1997 debut album, featuring the track Possum's Last Dance, exclusive to this edition! The CD is issued with picture sleeve, obi-strip and is still factory sealed!.


1. Shadow Of The Moon 5:07
2. The Clock Ticks On 5:14
3. Be Mine Tonight 2:51
4. Play Minstrel Play 3:58
5. Ocean Gypsy 6:05
6. Minstrel Hall 2:36
7. Magical World 4:01
8. Writing On The Wall 4:35
9. Renaissance Faire 4:16
10. Memmingen 1:06
11. No Second Chance 5:38
12. Mond Tanz 3:33
13. Spirit Of The Sea 4:50
14. Greensleeves 3:47
15. Wish You Were Here 5:02
16. Minstrel Hall
17. Possum's Last Dance - Bonus Track 2:42



BLACKMORE'S NIGHT Shadow Of The Moon (Japanese 3-track NTSC 12" laserdisc includes Renaissance Faire and No Second Chance plus special interview, sealed picture sleeve with obi-strip VVLP-149.




BLACKMORE'S NIGHT Melodies To Dream To... (1997 German 3-track promotional Minimax CD sampler for Shadow Of The Moon, includes: No Second Chance, Wish You Were Here and Shadow Of The Moon. Custom printed black and grey picture CD with clear surround).

BLACKMORE'S NIGHT Shadow Of The Moon (1997 Japanese 16-track promo sample CD including 16-page photo booklet, picture sleeve with lyric booklet, all housed in an outer card picture slipcase with obi-strip! BVCP-6022).

1. Shadow Of The Moon
2. The Clock Ticks On
3. Be Mine Tonight
4. Play Minstrel Play
5. Ocean Gypsy
6. Minstrel Hall
7. Magical World
8. Writing On The Wall
9. Renaissance Faire
10. Memmingen
11. No Second Chance
12. Mond Tanz
13. Spirit Of The Sea
14. Greensleeves
15. Wish You Were Here
16. Minstrel Hall - Bonus Track Version

BLACKMORE'S NIGHT Shadow Of The Moon (Rare German 3-track CD featuring Radio Edit, Album Version & Mond Tanz Instrumental, picture sleeve) .

BLACKMORE'S NIGHT Shadow Of The Moon Interview (Rare German promo-only interview CD with CD-Rom component, custom p/s + Qs) .

BLACKMORE'S NIGHT Shadow Of The Moon (1997 Japanese RCA label limited edition 16-track CD album including a bonus version of Minstrel Hall, picture sleeve with 20-page Japanese text biography/lyric booklet plus original obi-strip! BVCP-6022).


1. Shadow Of The Moon 5:07
2. The Clock Ticks On 5:14
3. Be Mine Tonight 2:51
4. Play Minstrel Play 3:58
5. Ocean Gypsy 6:05
6. Minstrel Hall 2:36
7. Magical World 4:01
8. Writing On The Wall 4:35
9. Runaissance Faire 4:16
10. Memmingen 1:06
11. No Second Chance 5:38
12. Mond Tanz 3:33
13. Spirit Of The Sea 4:50
14. Greensleeves 3:47
15. Wish You Were Here 5:02
16. Minstrel Hall - Bonus Track Version 2:34


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Promotional Posters & Photos

Please note ALL images are owned by their respective owners and photographers NOT myself.





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Lyrics & Song Info

Shadow Of The Moon


Written by: R. Blackmore & C. Night


There is an ancient oriental philosophy that says that sunlight blocks our creative passage with the universe. The daytime sky gives us false boundaries. Only when you see the night sky do you realize the infinity of the universe and the outer limits of what you are truly capable of... Draw from that power. Breathe it in and keep it in you heart always. This song is about not allowing the material world to come between you and your creativity. Allow your inner gypsy to be free to dance in the "Shadow of The Moon."



In the shadow of the moon,

She danced in the starlight

Whispering a haunting tune

To the night...

Velvet skirts spun 'round and 'round

Fire in her stare

In the woods without a sound

No one cared...

Through the darkened fields entranced,

Music made her poor heart dance,

Thinking of a lost romance...

Long ago...

Feeling lonely, feeling sad,

She cried in the moonlight.

Driven by a world gone mad

She took flight...

"Feel no sorrow, feel no pain,

Feel no hurt, there's nothing gained...

Only love will then remain,"

She would say.

Shadow of the Moon... Shadow of the Moon...

Somewhere just beyond the mist

Spirits were seen flying

As the lightning led her way

Through the dark...





The Clock Ticks On


music written and arranged by Ritchie Blackmore traditional composition by Tielman Susato
lyrics by Candice Night

Past life, reincarnation - maybe. Does time really change us that much? Or just our perception and appearance? The passage of time. When you walk into a place you have never been to before and you feel as if you have lived there your whole life. A calling stronger than remembrance. No matter how quickly time passes, it doesn't dull or change the familiarity.


Original Version



Blackmore's Night Version

As the wind chimes play along the breeze
Singing songs to stir the soul,
Rainbow colours entwined in fairytales
On the maypole...

Sing the song of lands from far away,
Other times and another place,
The wind can carry us all away from here
Charmed in her embrace...

Leaves turn to red, the nights are getting colder,
Seasons will change, the clock ticks on...
Leaves fill the trees as the days are getting warmer,
Days turn to years, the clocks ticks on...

A cloak and dagger, no fear of freedom
When hearts beat in another time,
Ever changing, the clock ticks on,
If only in your mind...

The wind has died and the chimes are still again
The trees stand tall as they cover me in shade
In the mirror a maiden stares at me
As the secret fades...

And though the clock ticks on to the future
It's in the past my heart will stay
In a time so far away from me
I'll return someday...





Be Mine Tonight


Written by R. Blackmore & C. Night


Taking time out to look back over the time spent with your true love. When you meet the person you have shared many lifetimes with... You've been through it all together and have only grown closer. Tend the garden of your relationship with love, care, honesty and respect. You look back and the years seem to fly like minutes, but one look in this person's eyes and you know you are home. This song is for you


Be mine tonight,

We'll travel through all our memories,

In our own little space in time,

You've always been mine...

Through the years,

I feel your love beside me

Through the laughter and the tears,

You've conquered all my fears...

So many stories,

So many treasures,

So much our lives have shared...

We've done it all and we've done it together,

You know I've always cared...

In this heart,

There'll never be another,

You have made my life complete,

Our love is like a dream...

Take my hand,

Nothing can come between us,

We were always meant to be,

Forever, you and me...

In my eyes,

Your face is always before me,

Our souls are now as one...

We've only just begun...





Play Minstrel Play


written by Traditional song by Pierre Attaingnant adapted by R. Blackmore / C. Night


 Special guest appearance by Ian Anderson


The power that a musician has over the people. Music can dictate your emotions. It can make you laugh or cry. It can excite or relax you. And the musician who creates that music is the magician. The story of the Pied Piper of Hamlin - or your favourite musician. You choose...

*Joining Ritchie on "Play Minstrel Play" will be Ian Anderson of Jethro Tull (appearing courtesy of Chrysalis Records).


Original Version



Blackmore's Night Version

Underneath the harvest moon

Where the ancient shadows will play and hide...

With a ghostly tune and the devil's pride...

"Stranger" whispered all the town

Has he come to save us from Satan's hand?

Leading them away to a foreign land...

Play for me, minstrel, play

And take away our sorrows...

Play for me, minstrel, play

And we'll follow...

Hear, listen, can you hear,

The haunting melody surrounding you,

Weaving a magic spell all around you...

Danger hidden in his eyes,

We should have seen it from far away,

Wearing such a thin disguise in the light of day...

He held the answer to our prayers,

Yet it was too good to be...

Proof before our eyes, yet we could not see...






Ocean Gypsy


written by M. Dunford / B. Thatcher


This song was original performed by Renaissance


We first heard this haunting melody when Annie Haslam gave us a tape of the band Renaissance. We fell in love with this song.

Original version



Blackmore's Night Version

Tried to take it all away,

Learn her freedom... just inside a day,

And find her soul to find there fears are laid...

Tried to make her love their own,

They took her love... they left her there,

They gave her nothing back that she would want to own...

Gold and silver rings and stones,

Dances slowly off the moon,

No one else could know, she stands alone...

Sleeping dreams will reach for her,

She can not say the words they need,

She knows she's alone and she is free...

Ocean Gypsy of the moon,

The sun has made a thousand nights for you to hold...

Ocean Gypsy where are you?

The shadows followed by the stars have turned to gold...

Turned to gold...

Then she met a hollow soul,

Filled him with her light and was consoled,

She was the moon and he the sun was gold...

Eyes were blinded with his light...

The sun he gave reflected back the night

The moon was waning, almost out of sight...

Softly Ocean Gypsy calls...

Silence holds the stars a while,

They smile sadly for her where she falls...

Just the time before the dawn,

The sea is hushed the ocean calls her,

Day has taken her and now she's gone...

No one noticed when she died,

Ocean Gypsy shackled to the tide,

The ebbing waves, the turning spreading white...

Something gone within her eyes,

Her fingers, lifeless, stroked the sand,

Her battered soul was lost,

She was abandoned...

Silken threads like wings still shine,

Wind swept pleasures still make patterns in her lovely hair... so dark and fine...

Stands on high beneath the seas, cries no more, her tears have dried...

Ocean weep for her, the ocean sighs.






Minstrel Hall


Written by R. Blackmore


Instrumental piece


This is where we live and recorded this album. The melody is a reflection of stone walls, tapestries, lit torches and occasional friendly spirits passing through...






Magical World


Written by Traditional composition by Wassail adapted by R. Blackmore / C. Night


    A familiar story. Star-crossed lovers in life. Left to be together and enjoy their love only in death. Tragic and timeless.



I called your name out loud in the courtyard,

The crystal I held was like an old friend

The vines crawled the walls

The wind held its breath

But the answer I longed for never came...

Your name, they had said, was cursed beyond measure,

The families at odds fought with poisoned tongues

And yet through the dark,

Of blind, bitter hate,

Broke a glittering light of two lover's fate...

Walls built between us,

Miles separate us,

Yet in our hearts, we share the same dream...

Feelings so strong,

We just must carry on,

On to our Magical World...

Destiny called them like a silver poem

They followed the dance 'till the music died out...

Last time they met was on an earth bed

Both knowing they'd meet again in the light...

Walls built between us,

Miles separate us,

Yet in our hearts, we share the same dream

Feelings so strong

We just must carry on,

On to our Magical World...

In our Magical World... In our Magical World...

Fear not, dear Juliet, your Romeo's calling

He's waiting for you at the end of the song,

This world was too cruel... for lovers like you,

But here in our hearts you'll always live on...






Writing On The Wall


Traditional composition by P. Tchaikovsky adapted by R. Blackmore / C. Night


 Some people call it "sixth sense," "perception," "a feeling." The process of learning that instead of trying to analyze, explain, and understand everything, you should go with what you feel is right. Intuition is the most intense power a human can have. Learn to trust it.

Is it powers of intuition?

Is it insecurity?

You know I can read your mind and

You have been deceiving me...

Which face wears the masque this evening?

When will your true colours show?

Will they be as black as shadows

Hiding 'neath the rainbow...

Had my heart on a silver chain

With the words engraved

"I loved you"...

Like a swan that was lost at sea

I lost all of me

To you...

Now I see the writing on the wall...

Paranoia or perception?

Put your faith in a liar's hands

Wanting to believe his words

But never knowing where he stands...

There's too many misconceptions

In this game of consequence

When you're finding that you hero

Is just who you're up against...






Renaissance Faire


Written by Traditional composition by T. Susato adapted by R. Blackmore / C. Night


  To play with the minstrels, run with the gypsies and fight with the knights. To sip the mead and allow the fortune tellers to predict your future. To sit in the shade of a willow and sing with the madrigals. To run barefoot in long skirts with flowers in your hair - if for only a day. The doorway to the past is left ajar for you to experience... through the Renaissance Faire.

Original Version



Blackmore's Night Version

I was told once, by a friend of mine,

She had seen an olden sign,

She said she was not from this time,

And did I feel the same?

So I told her, "Yes", I knew her fear

As I felt the truth draw near

Told her back three hundred years,

Was the time that I held dear...

Gather ye lords and ladies fair,

Come with me to the Renaissance Faire

Hurry now,

We're almost there...

Fa, la, la, la, la, la, la,la, la, la...

Through the shroud of mystery,

Turn a page of history,

Feeling more than you can see,

Down at the Renaissance Faire.

Hear the minstrels play their tunes,

They will play the whole night through,

Special songs for me and you,

And anyone whose heart is true...

There's too many stars for one sky to hold,

Some will fall, others are sold,

As the fields turn to gold

Down at the Renaissance Faire...






Written by R. Blackmore


Instrumental piece


Inspired by visiting this German medieval town and then being invited to join a party of friends who have a musical group called "Des Geyers Schwartzer Haufen." We spent the night with about 2,000 equally anachronistic musical enthusiasts around bonfires playing renaissance music. The moon was bright, the medieval clock tower was illuminated and lots of mead and ale were consumed with good company. My favourite way of spending and evening.






No Second Chance


written by R. Blackmore / C. Night


Self-redemption. Only when the darkness of the storm fades can you feel the warmth of a new day. Only when you decide not to take anymore of a negative situation can you begin anew.  Memories will always be there for you but a new life beings now.



My diamond's clouded over where it used to shine like light,

And the day keeps running faster,

Into the arms of night...

The stitches on the tapestry say,

"Everything in time,

Will find it's way home again,"

But I'm tired of crying...

No Second Chances

Don't knock on my door

There won't be any answer

I won't be here no more...

This house we had together

Might still be in its place

But the rest of this is much too hard to face,

There'll be No Second Chance...

Lovely moonlit hours we spent

Walking on the beach,

We'd gaze up at the stars,

I swear they were in our reach...

But time... it went on,

Minutes... they ran too fast.

Like you they were gone...

Into the past....





Mond Tanz

Written by R. Blackmore


Instrumental piece


German for "Moon Dance." Inspired by observing a group of gypsies that congregate to dance in the field next to my house to drum in the summer solstice when the moon is full.






 Spirit Of The Sea


Written by R. Blackmore / C. Night


A story of sea-faring guardian angel. A tale of a love separated only by realm. Although you may not be able to hold someone that you love in your arms - they are always around you... guiding you, comforting you. And no matter how lost you feel, your guardian will always show you the path - if you allow them.


I took a walk along the share

To clear my mind about the day,

I saw a man I'd seen before

As I approached, he slipped away...

I knew his face from years ago,

His smile stays with me ever more

His eyes, they guide me through the haze

And give me shelter from the storm...

As I walk I can feel him,

Always watching over me...

His voice surrounds me,

My Spirit of the Sea...

He went away so long ago,

On a maiden voyage far away

A young man then I did not know,

His life was taken that same day...

And it was almost like he knew

He wouldn't see me anymore

He looked so deeply in my eyes, and said

"Wait for me along the shore..."

And so I come most every day,

To watch the waves rise and fall,

And as I sit here on the sand,

This ocean makes me feel so small...

But I feel my lover by my side,

And he makes me follow my own heart

We'll be together some sweet day

When that day comes we'll never part...

When that day comes we'll never part...

Wait for me along the shore...






   Traditional composition by Anonymous © R. Blackmore - arrangement 1997


 Rumoured to have been written by Henry VIII - or more likely, one of the minstrels whom he beheaded and took the publishing. The original song has about 24 verses. This is RITCHIE's third version of this song.


Alas my love, ye do me wrong to cast me out discourteously,

And I have loved you for so long delighting in your company...

Greensleeves was all my joy,

Greensleeves was my delight,

Greensleeves was my heart of gold

And who but Lady Greensleeves...






Wish You Were Here


Written by L. Teijo performed by Rednex on their Album sex and Violins.


 Thanks to Rednex for a wonderful song.


original version



Blackmore's Night Version

Wish You Were Here...

Me, oh, my country man,

Wish You Were Here...

I Wish You Were Here...

Don't you know, the snow is getting colder,

And I miss you like hell,

And I'm feeling blue...

I've got feelings for you,

Do you still feel the same?

From the first time I laid my eyes on you,

I felt joy of living,

I saw heaven in your eyes...

In your eyes...

Wish you were here...

Me, oh, my country man,

Wish You Were Here...

I Wish You Were Here...

Don't you know the snow is getting colder,

And I miss you like hell...

And I'm feeling blue...

I miss your laugh, I miss your smile,

I miss everything about you...

Every second's like a minute,

Every minute's like a day

When you're far away...

The snow is getting colder, baby,

I Wish You Were Here...

A battlefield of love and fear,

And I Wish You Were Here...

I've got feelings for you,

From the first time I laid my eyes on you...



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Shadow of the Moon Interview


1. You named it ĎBlackmoreís Nightí, and your name has to do with black, itís not only black, itís more than black, itís Blackmore. You prefer the colour black. Whatís so fascinating about black?


RITCHIE BLACKMORE: Black - you canít say black in America any more, Ďcause you get into trouble. You know that?


CANDICE NIGHT: Answer the question!


RITCHIE BLACKMORE: Black, yes, is a very dark, moody kind of colour. I do tend to like dark rooms like weíre in at the moment. I donít like light too much although I believe in light. But I do like dark moody atmosphere.Thatís about it.



2. Why donít you like the light?


RITCHIE BLACKMORE: I like the light. I like the normal daylight. But I donít like lights as in a place, a bar or wherever, I prefer it to be darker. I feel that once the sun has gone down we shouldnít be lighting things up, we should just light a candle maybe, and thatís it, and then wait for the sun to rise the next day. We have enough sun all day. But in America sometimes everything is lit up so much, so, you go into a store and itís like going on stage. Thereís a million lights on, just being wasted when one would be sufficient.



3. Do you believe you are a man born at the wrong time with the right aches?


RITCHIE BLACKMORE: Yes Iíd like to think that, because I love to complain. So there would be yet one more thing I could complain about. I could alway plead: Well, nobody understands me, so Iím living in the wrong time.

Although, seriously, I refer back to the, the sixteen hundreds is my favourite time. Obviously I wouldnít like to have caught some of the diseases they had then, but I do, I absolutely adore that period of time. You might have noticed Iím dressed up at the moment for some strange reason. And I just love the music from that period, the sixteen hundreds are my favourite time.

Althoug of course they didnít have the electrical guitar then, so they tell us, but you never know, that might be a political thing.



4. Why just the 16th century, the Middle Ages. Why is it so fascinating, that period? They didnít even have a bath tub or something like that!


RITCHIE BLACKMORE: I think itís more or less the music. As soon as the fifteen hundreds came around, the Reformation time. Iím not too keen on the music from the fourteen hundreds, the Gregorian chants, Ambrosian chants, itís okay, but it doesnít stir anything up. But as soon as I hear a Krummhorn, thatís it, my life is full. I think I would probably have lived in the woods or something, I can relate to just being very simple, living in the woods, chopping wood for a living.



5. But you couldnít afford to live with such a beautiful lady.You had to become a landlord or something like that.


CANDICE NIGHT: I relate to being a peasant girl at that same time period. Not, if somebody was to ask me I wouldnít think automatically of living back in a castle dressed in incredible, elegant robes. I would automatically think of being dressed in a peasant gown, living outside, sleeping on straw and probably singing for him playing the lute.


RITCHIE BLACKMORE: Iím getting excited.



6. Do you believe that you maybe are reincarnated?


RITCHIE BLACKMORE: Could be. Or maybe there was something that was not finished or - I donít know. It would be very easy for me to say yes, Iíve been reincarnated. But there again, why would I be the same thing in this life as I was in that. Maybe I wasnít, maybe I truly want to live that life but I never did live it, maybe there is a reverse psychology involved. I really donít know. I donít know the answer to that.



7. Whatís the reason for the LP ĄBLACKMOREís NIGHTí? Because the last thing you did was, and the beautiful lady she sang the background, was on your Rainbow-Tour, and then turning that tremendously away from your heavy metal field.


RITCHIE BLACKMORE: It was always my intention. For the last 20 years people would say to me, please do an acoustic thing, and I went why, everybody is doing the acoustic thing. Especially the last ten years everything was unplugged. That got a little bit too fashionable to me, the unplugged stuff. And now that it is not fashionable to be unplugged Iím unplugged. But Iíve wanted it for the last 20 years, and I have been playing this at home for 20 years, 25 years.

And I think Candy is the one that brought it out in me to actually put it on record. I would never have actually done this record, had it not been for her singing along at home and bringing some of these ideas to fruition with her interpretation. Right, Candy?


CANDICE NIGHT: That was nice.



8. You always played the Stratocaster. Iím not sure if you ever played a Gibson, but you do now...


RITCHIE BLACKMORE: the Strat(ocaster) had more of a cut for rock and roll, the Gibson is more of a jazzy guitar, is a very mellow sound, full sound, great sound. But I wanted, when I heard Hendrix, I liked the way he cut through the notes, so I wanted to try and reach that more. I first got my Strat indirectly through Eric Clapton. He gave his roady, who was my friend, a guitar, a Strat that he didnít want, and he gave it to me, and thatís when I started playing with Strat, so thanks to Eric Clapton.



9. Whatís so fascinating to turn towards a more acoustic sound?


RITCHIE BLACKMORE: I always thought playing the acoustic was kind of easy, was just a case of strumming a few chords, and I really didnít see the point. But in the last five years I have seen some amazing guitar players like Gordon Guiltrap, Leo Kottke, and they make the acoustic guitar sing, and that really fascinated me, that they could play with that much dexterity on something like an acoustic. So now Iím kind of trying to follow them by trying to play something, trying to get something out of an acoustic, which is not easy in the beginning. Because obviously the size of strings, and you canít bend the strings, Iím used to doing that. So consequently Iím suffering a little bit of arthritis in one of my fingers because Iím trying to play these heavy strings. But the acoustic has opened up a whole new avenue of thought that I didnít think was there. Iím very happy to just play the acoustic because the acoustic is  a reflection of someoneís soul, itís a woddy feeling.You could be in a room and the most natural thing to do is play a wooden instrument thatís not plugged in. Once you plug the instrument in to an amplifier then youíre getting into the electrics, then youíre getting into the business, then youíre getting into demographics and marketing, and hit parades, and radio play and radio interviews which really has nothing to do with music.



10. Candice, do you feel as his muse for guitar player or for the creative human being, the man.


CANDICE NIGHT: The creative human being, definitely. More so than the player. Iím a fan of Ritchieís as a person inside.


RITCHIE BLACKMORE: What is the first thing I do in morning?


CANDICE NIGHT: Bring me coffee in bed?




CANDICE NIGHT: What do you do first thing in the morning? I donít know. Is there something you wanted to say?


RITCHIE BLACKMORE: No, no, itís what you complain about.


CANDICE NIGHT: Iím not a fan of that. Iím a fan of Ritchieís as a person. I like the way he has a different stance on things, he sees things in a different way, he explains something differently, heís very honest, very open and very sensitive. And there is a lot of people out there who arenít, theyíll tell you what you want to hear. And thatís not what being a real person is all about. And I think he is very real and very honest about things and Iím a big fan of that. Just all this is pretty impressive. But of course Iím in love with the way he plays the guitar as well.



11. And what about Ritichie playing RockíníRoll?


CANDICE NIGHT: I love that too. Itís different sides of me. I love rock and roll and I love acoustic. And it depends on how I feel at that time of day. What Iím in the mood for, if I want to get out there and drive my car really fast or if I want to sit outside and watch the sun go down. Itís all different sides of me.



12. Whoís the ĎOcean Gipsyí?


RITCHIE BLACKMORE: We did not write that song. Thatís a song that was written back in 1975 by another group called Renaissance. Weíve always loved that track. We used to play it around the house just for fun. Most of these songs that are on this LP, CD, we played in the beginning for fun which is the best way I think of approaching music. It wasnít hard work. It was very easy to make this CD. Because we knew these songs we played them to our friends, we had good fun playing them. And ĎOcean Gipsyí was one of our favourite songs. As well as, there was another one, is it ĎWish You Were Hereí we did, we did ĎWish You Were Hereí, too, that was a song that we liked very much. We also do things like ĎMister Tambourine Maní which are not on the LP. However, notwithstanding, speaking for myself by and large personally,


CANDICE NIGHT: ĎOcean Gipsyí was a song that was given to us on a tape by Annie Haslam who used to sing for Renaissance, and Ritchie went to see her with a friend of his one night in a club and she was performing. And he brought home all these little tapes that she had given him and we played them when we were living in Connecticut, we donít live there anymore. We were sitting outside one day just listening to the tapes, and Ocean Gipsy was one song that stuck in my mind. And then we moved and we packed the tapes and we didnít see those tapes for years. And I always remembered, Ocean Gipsy was always in my head. And then one day I just started humming it around the kitchen and Ritchie picked up playing it and we had to go and find the tape and rampage through all our tapes so that we could find out what the words were and what the rest of the chords were. But that was just one of those haunting melodies that sticks in your head.



13. What could someone expect if entering your castle the ĎMinstrel Hallí?


RITCHIE BLACKMORE: I like to play practical jokes on people. So the first thing they do is when they knock on my door they will get an electric shock. But thatís my way of saying, hello, youíre welcome, come on in. Of course we have, if they sit down, they are glued to the seat. We play a lot of tricks on people, we have lots of ghosts in the house. We do lots of sťances. We are very serious about the paranormal side of life, too.


CANDICE NIGHT: Our house is very dark also. It is lit up by very very dim lights. When you come in, we have a big tapestry room, a medieval room where we usually have our singalongs in.


RITCHIE BLACKMORE: So weíre either playing with the cats, doing sťances or playing music - or out of the house playing soccer.



14. Whatís so fascinating about occultism and spirituality?


RITCHIE BLACKMORE: Well, itís just all that really means is hidden, itís not done on an everyday basis and of course religion, Iím not a religious man, Iím a spiritual man but not religious, because religion usually revolves around money. And why weíre involved in the so-called occult, is because itís just a hidden, traditional, itís something that, back in the pagan times people would appreciate nature. Of course today it has changed a lot. But I also see changing today. I think weíre all going back to appreciating nature and more the pagan style of worship. We get involved in sťances, for instance, we communicate with other entities, other realms, that to me is absolutely fascinating, itís a way of explaining life to me, because I canít sometimes, like everybody else I would hope, I sit there sometimes and think, what is this all about, why are we here, and this communication to me helps me over that why we are here. Iím still searching. And I havenít found the answer in books. I donít think the answer lies in books which a lot of people think it does, personally I donít. I like first-hand experience, I want to find out for myself. I donít want to read a book that someone else has written a long time ago and say oh, this is whatís going on. Thereís something wrong with that. Personally. And that we have communication, we have had phantastic communication. I have written lots of books about it actually. I havenít published them. Itís all locked. One day maybe weíll publish and take it from there. What would you think?


CANDICE NIGHT: I donít think weíre so much into occultism as we are into


RITCHIE BLACKMORE: but all that means is something that is not done every day


CANDICE NIGHT: Yes, but as much as into nature appreciation and into supernatural fascination, really, paranormal, other realms of searching, constantly searching, always searching, and trying to, almost like escapism, this sort of realm and this sort of world where everything is so physical. Everything is about how good you look, or how fast you can play or how much money youíre making. And down deep inside none of that matters at all. And I think thatís why people like us or a lot of people that weíve met are telling to get back to nature and realizing there is so much more out there than just going to the office and see if you can beat what the other person is doing. And thatís very important for spiritual growth.




15. What do you think about the today world?


RITCHIE BLACKMORE: Itís got totally out of hand, there is so much stress in this world, from the competitive side. Everybody is working for money.


CANDICE NIGHT: Right, but I think doing that searching also lends itself to creativity. And I think if we were so wrapped up in the physical run we wouldnít be able to create anything, he wouldnít be able to write songs or play as well as he could and I wouldnít be, if I was doing business all the time I know I wouldnít be able to think of lyrics Ďcause Iíd be thinking of money or thinking of how to get ahead in the world.



 16. But creating something, such things together, I mean you as a guitar player, the moment you touch your strings, the moment you open your mouth and start singing, is it like entering a state of meditation?


RITCHIE BLACKMORE: Yes, it is. In a way, yes, you do, it is. It is the same as a sťance, you do. Itís like astral projection. You do. You leave the body slightly. And - itís not always great, but we try to make it good. But you do leave your body in a way.




17. Ritchie, what was the reason for leaving Deep Purple during the last tour?


RITCHIE BLACKMORE: Well, I have two sides of me. One is, yes, Iím very sensitive and I can be very quiet and polite. There is another side of me. If Iím put under stress, if Iím put in a bad situation, I will fight, and certain people in bands donít like that when you talk back to managements and record companies and say, I will not do this. Then youíre labelled Ďdifficultí. Because you donít do what they want you to do. The Purple situation was I was coerced into going back with Ian in the same band. I really donít get along with Ian. But the record company thought it was good for business. Okay, so we tried it. And about three weeks into the tour I said no, I canít do this, this is not for me. And itís not so much a personal thing. Itís more that I donít like his singing. And I said well, Iíll finish the tour and then maybe weíll find another guitar player. Weíll carry on. Iím not gonna stop the show here. And it was not for me to say Iím leaving, so the whole thing is over. I think they thought that when I first said, Iím leaving. But after a while they got another guitar player, Joe Satriani, and everything was great. I left and I really felt good. I felt very good that I was out. It really didnít have much to do with music. Although theyíre very good musicians. It was more of an armchair kind of band, with Deep Purple we can make an excellent amount of money, go round just playing and weíll all have big cars and wonderful. That only last for me for a while. There has to be a reason why Iím playing the guitar. Itís not just for money. Itís got to be that inner fulfilment. I had no fulfilment in that band whatsoever other than just  money.



18. Where do you see the difference between a skillful player and a very innovative guitar player?


RITCHIE BLACKMORE: To me, listen to Joe Satriani, he is a brilliant player. But I never see him, I never really hear him searching for notes. I never hear him playing maybe a wrong note. Jimi Hendrix used to play lots of wrong notes. ĎCause he was searching all the time. Where the hell is that correct note. And when he did find that right note, well, that was incredible. But if youíre always playing the correct notes, there is something wrong. You are not searching, you are not reaching for anything. But that is not to say that - he is a very brilliant player, say Steve Morse, phantastic player. Iím just glad they found a guitar player to carry on. Because I thought I was going to be ordered to be with this band for the rest of my life. That was like a ball and chain thing. And luckily they said oh, weíve found someone. And I said, thank God, I can get out.



19. There are different kinds of Guitarplayers, some are technically perfect, some are very emotional. Are there some around, you find fascinating? 


RITCHIE BLACKMORE: I think that I donít really listen much. I just know that Joe Satriani and Steve Morse are brilliant players that they play phantastic. I think what you mean is, maybe, some people play from the heart and other people play from the head. I prefer a heart player. I prefer someone like a blues player with the guy who plays, Jeff Healey, I think, is tremendous. I think the John Mayall-guy is great, too. People like that I prefer. If I hear someone really technical running up and down the fingerboard I can hear that for a couple of minutes, then I start to get bored and Iím thinking of other things like playing football or something. But I do like to hear someone reaching for something. Not quite making it, sometimes they do make it. They are very polished, like Joe Satriani, he is a very polished player, almost too polished. Thatís what worries me sometimes. But itís a different strokes with different folks as an enemy of mine used to say. Which is such a corny saying. Some people are into the head music, the head technique, some people are into the heart technique,  some people are into the blues technique. I personally am into the minstrel technique. If I hear someone playing a lute or playing a Krummhorn it just moves me, I donít know why. Guitar players I find kind of boring. And thatís not meant as a dig. If Iím myself boring then I have to go and lock myself away. Itís the guitar is a wonderful instrument in certain ways of life, if you are listening to someone like John Williams play, then you know the man can play. And he will play a fast piece, a slow piece, he will emote, he has a doubt, Thatís just all inspiring to hear someone like that. I think the main objective is to move, make people think in the heart. I personally, Iím not interested in appealing to other musicians. To me itís more inspiring to move someone who doesnít know anything about music but has a feeling. They can say, I donít know what youíre doing but I just feel thatís something there. That to me is an incredible compliment. As opposed to, well, you just run up and down the fingerboard, itís wonderful, very fast, really what that means is Iíve just practised the hell out of the guitar. Iím not really saying anything. Iím going from A to B but not seeing anything on the way. Like that train I can hear.



20. If being asked which solo you prefer out of your Deep Purple time, maybe that on ĎFlight of the Redí or ĎChild in Timeí?


RITCHIE BLACKMORE: I donít like either one of them particularly. ĎChild in Timeí is a bit of boyís job, I was fooling over myself there, and that wasnít particularly good so. It was okay at the time. ĎFlight of the Redí I canít even remember. I havenít heard that in 25 years. Although I like the LP. ĎDeep Purple In Rockí was great. ĎMachine Headí, I thought Gillan was singing great.

And the band was playing great. Two great LPs. I think ĎIn Rockí was underestimated, especially in America. They only know ĎMachine Headí. And I think ĎIn Rockí had the edge on ĎMachine Headí. And I think we did it very quickly, very naturally. And that was fun to make those two LPs.


21. Candice, how did it become that you, a background singer, turned into a lead singer?


CANDICE NIGHT: At the very beginning Ritchie and I we were not pulled together because of music, as a matter of fact we met on a soccer field and had nothing to do with music at all. It was all about soccer, always. But weíve been together for about eight years now, and in the first couple of years of our relationship Ritchie has never even heard me sing the first couple of years. And a friend of his kept saying, yes, sheís a good singer, and he never really took any notice until we maybe started singing Christmas songs at a parties that we were having at Christmas time. But I really started singing with Deep Purple on the 1993 tour and he had me doing ahhhs over the Beethoven part when he did the guitar solo and then he brought me into the Rainbow project when he was having a hard time having to sing the lyrics that he liked, and he would call me up on the phone and play the song to me over the phone and say, put something to it, see what you can do. And so then he turned up and he liked my writing technique, and then he asked me to go to the studio and sing, and than it just took of from now. And here we are.


RITCHIE BLACKMORE: Thatís right. She has a great identity to her voice. She has a sound to it hat you can always identify with. And your interpretations are excellent.