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Album Information - with tracks & CD Covers


 Listen & Buy @ Amazon


 Promo & Rare Albums


 Promotional Posters & Photos


Lyrics & Song Info


  Under a Violet Moon Interview 
















Album Information - with tracks & CD Covers

1. Under A Violet Moon

2. Castles And Dreams

3. Past Time With Good Company

4. Morning Star

5. Avalon

6. Possum Goes To Prague

7. Wind In The Willows

8. Gone With The Wind

9. Beyond The Sunset

10. March The Heroes Home

11. Spanish Nights (I Remember It Well)

12. Catherine Howard's Fate

13. Fool's Gold

14. Durch Den Wald Zum Bach Haus

15. Now And Then

16. Self Portrait

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Buy @ Amazon

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Promo & Rare Albums

BLACKMORE'S NIGHT – Under A Violet Moon

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

Manufactured in the UK in 2000.

Condition: The jewel case has some general wear, the disc is excellent.



as seen on ebay

BLACKMORE'S NIGHT Under A Violet Moon - Interview CD (German promo-only interview CD with Ritchie & Candice Night, disc contains additional enhanced CD-Rom interview footage plus biography data, picture sleeve with detailed interview notes inside).

BLACKMORE'S NIGHT Under A Violet Moon (US Luck press pack inc 2-pg press release & 8"x 10" photo of Ritchie in medieval costume).



BLACKMORE'S NIGHT Under A Violet Moon (German 16-trk advance promo CD album, special promo-only custom p/s, 0044732EREP) .



BLACKMORE'S NIGHT Under A Violet Moon (Deleted 1999 Japanese 16-track limited edition PICTURE DISC CD album. Issued in a wide spined jewel case and including three separate booklets - a 16-pg picture/lyric booklet, 22-pg exclusive Japanese liner notes and English lyric booklet plus an exclusive 24-page extra wide picture booklet just for this issue - all this slides into an outer card picture slipcase complete with obi-strip).


BLACKMORE'S NIGHT Under A Violet Moon - Hormuster (1999 German 3-track excerpts promotional only sampler PICTURE CD single - issued in a custom digipak picture sleeve with German text, 0047625EREP).







BLACKMORES NIGHT Under A Violet Moon (Superb 1999 Japanese 16-track promotional sample, and limited edition, picture CD album. Complete with 24-page bonus photo booklet, English lyric booklet and Japanese lyric booklet and housed in it's original outer picture slipcase complete with obi-strip PCCY-01377).




BLACKMORE'S NIGHT Under A Violet Moon (1999 Canyon Intl. Japanese 16-track radio promotional only CD album. Produced in a small handful of numbers as are all Japanese promo CDs, this is housed in a slim line case with a custom picture sleeve, DSP-1452).


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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

Under a Violet Moon


Written by Blackmore / Night


Dancing to the feel of the drum

Leave this world behind

We'll have a drink and toast to ourselves

Under a Violet Moon

Tudor Rose with her hair in curls

Will make you turn and stare

Try to steal a kiss at the bridge

Under a Violet Moon

Raise your hats and your glasses too

We will dance the whole night through

We're going back to a time we knew

Under a Violet Moon

Cheers to the Knights and days of olde

the beggars and the thieves

living in an enchanted wood

Under a Violet Moon

Fortune teller what to you see

Future in a card

Share your secrets, tell them to me

Under a Violet Moon

Close your eyes and lose yourself

In a medieval mood

Taste the treasures and sing the tunes

Under a Violet Moon

Tis my delight on a shiny night

The seasons of a year

To keep the lanterns burning bright

Under a Violet Moon





Castles And Dreams


Written by Blackmore / Night


Solitare with a song in her heart

But what a sad song to sing

Turned her back on all that she knew

In the hopes of a golden ring...

*And the rains come down

And the stars fell from the sky

Oh, how dark the night...

It always seems those Castles and Dreams

Fade with the morning light...

Such a sad story

That time loves to tell

Copper coins shine for the sun

From the floor after wishing well


So the jewel of jeopardy

Shines with each dangerous step

So unsure of what we've become

What we have and what we have left...







Past Time With Good Company


Written Traditional  by Henry VIII, arranged by Blackmore


original version




Blackmore's Night version

Past time with good company

I love, and shall until I die

Grutch who lust, but none deny

So God be pleased, thus live will I

For my pastance

Hunt, sing and dance

My heart is set;

All goodly sport

For my comfort

Who shall me let?

Youth must have some dalliance

Of good or ill some pastance

Company methinks then best

All thoughts and fancies to digest

For idleness is chief mistress

Of vices all; then who can say

But mirth and play

Is best of all?

Past time with good company

I love, and shall until I die

Grutch who lust, but none deny

So God be pleased, thus live will I

For my pastance

Hunt, sing and dance

My heart is set;

All goodly sport

For my comfort

Who shall me let?

Company with honesty

Is virtue, vices to flee;

Company is good and ill

But every man hath his free will

The best ensue

The worst eschew;

My mind shall be

Virtue to use

Vice to refuse

Thus shall I use me...





Morning Star


Written by  Blackmore / Night


There are shadows in the sky

Dancing in the air

Calling to my heart

Saying, "If you dare,

We're running fast

We're running far

Trying to catch the morning star..."

And time and space

Our only shield

Keeping secrets


Falling night

Breathes in the dark

Trying to catch the morning star...

*I can fly through my mind when I see them as they shine

Can it be so hard to try and charm the elusive morning star...

So within the chase

We soon will find

The light of the moon

Those left behind

Try to free the gypsy in their hearts

By trying to catch the morning star...


Now that the time

Has come and gone

Illusion has past

And we're on our own

Know the dream is never far...

When trying to catch the Morning Star...








Written Traditional  Arr. by Blackmore


To the days of Avalon

Where magic rules as king

The moon beneath the castle walls

As the nightingale sings...

The golden bird

He gave to me

What happiness he brings

Like a star on a Christmas tree

As the nightingale sings

*And so we sat, hand in hand and watched the fireflies

And never spoke a single word

But lived to do or die

We lived to do or die

Back to the days of Avalon

Where magic ruled as king

The moon beneath the castle walls

As the nightingale sings...

We read of tales of treason

A soldiers legacy

Blood beneath the crimson sky

Fighting without reason

But the crime of loyalty

A tattered flag left to fly...

Back to the days of Avalon

Where magic ruled as king

The moon beneath the castles walls

As the nightingale sings...

The branches bent

Like an archers bow

As he spread his wings

And flew beneath the gentle snow

As the nightingale sings...

Back to the days of Avalon

Where magic rules as king

The moon beneath the castle walls

As the nightingale sings...

As the nightingale sings...





Possum Goes To Prague


Written by Blackmore








Wind In The Willows


Written by Alan Bell and called Bread and Fishes


This song has been covered by many artists, and is a traditional style folk song.


 As I went a walking

One morning in spring

I met with some travellers

On an old country lane

One was an old man

The second a maid

The third was a young boy who smiled as he said

*"With the wind in the willows

The birds in the sky

There's a bright sun to warm us wherever we lie...

We have bread and fishes and a jug of red wine

To share on our journey with all of mankind."

So I asked them to tell me their name and their race

So I could remember each smile on their face

"Our names, they mean nothing...

They change throughout time

So come sit beside us and share in our wine"


So I sat down beside them

With flowers all around

We et from a mantle

Spread out on the ground

They told me of prophets

And peoples and kings

And all of the one God that knows everything

"We're travelling to Glaston

Over England's green lanes

To hear of men's troubles

To hear of their pains

We travel the wide world

Over land and the sea

To tell all the people

How they can be free..."


So sadly I left them

On that old country lane

For I knew that I'd never see them again

One was an old man

The second a maid

The third was a young boy who smiled as he said...







Gone With The Wind


Written by Traditional by Knipper, arranged by Blackmore)



Original version  Polyushka Polye by Lev Knipper



BNlackmore's Night Version

Twisting turning

The winds are burning

Leaving me without a name

How will we ever find our way...

Snow was falling

I could hear the frightened calling

Fear taking over every man

Life meaning nothing more than sand...

*Wind will sweep away

The traces I was here

A story in a teardrop

That's all I have to give...

Rage inferno swallowing the life that I know

Strength is the only way to fight

You must look up to see the light...

Gone With The Wind...Gone With The Wind...Gone

With The Wind...

Take all I know

Turn it into darkened shadows

They'll disappear in the sun

When a new story has begun

She survived the nightmare

Began a whole new life here

But I can see behind those eyes

She still sees those fires in the night...

Twisting and turning

Oh, the winds are burning

Leaving me without a name

How will we ever find our way...






Beyond The Sunset


Written by Blackmore








March The Heroes Home


Written by Traditional  / Michael Praetorius Arranged by Blackmore



sing the praise of honoured wars of glory and of kings

The bravery of soldiers, The joy that peace can bring

The captains on their way home, The ribbons on their chests

They've packed away the firearms the trumpets lay to rest...

They've taken in the battlefields with one last weary breath

And set their sights on something new while there's still something left

The poets and the dreamers thank the stars above

For leaving hatred in the dust and bringing back the love...

*Over land and over sea

March The Heroes Home

For the faithful, for the free

March The Heroes Home

We'll be waiting when you

March The Heroes Home

All the night and day through

March The Heroes Home...

The flowers laughing in the fields boast colours bright and new

A hint of freedom in the air, the chimes are ringing true

They're bringing in the New Year and ringing out the old

Beckoning the springtime though winter winds blow cold...





Spanish Nights (I Remember It Well)


Written by Traditional Arranged by Blackmore


Silent she rose

From the cold desert sands

Painted in shadows

A dark caravan...

Quiet as a whisper

With moves like a cat

She ruled like a storm cloud

Her eyes glowing black...

*Oh, and they cried Malaguena

Wait for me Malaguena

I remember it well...

Oh, and they cry Malaguena

Wait for me Malaguena

I remember it well...

Oh, too well...

And so they rode

On the wings of a song

Spinning in silence

The world was their own...

two lovers locked in the arms of the dance

Freedom begins with the game of the dance


And now they rise

Like a wave on the seas

Lost in a rhythm

And ever they'll be...






Catherine Howard's Fate


Written by Blackmore / Night


Oh, to my dearest ruler and lord

Merciful husband

Noblest of kings...

Your heart of gold has long since tarnished

In my champer

What will the morning bring?

What it my heart that doth betray me

Cause I loved more than one man?

Is it true your wear a wounded spirit?

Pray let me mend it and make our love anew...

Allow me to be your humble servant

Once again, as before...

Are you like the others, so quick to judge

And for this the queen must fall

What is my heart that doth betray me

Cause I loved more than one man?

Truth within the writings of a letter

Signed and sealed poor Catherine Howard’s fate...

Truth within the writings of a letter

Signed and sealed poor Catherine Howard’s fate...





Fool's Gold


Written by Blackmore / Night


Somewhere in a market square

The cobblestone still shine

Glassy eyes behold the sight

Through another cup of wine...

The one eyed jester skips and turns

As he makes his way through the crowd

While the tavern’s royalty try not to laugh aloud...

The jester does another spin

And then falls to the floor

A show of hands, a short "Hurrah!"

A plea for him to do more...

The ease of laughter comes so fast when you're not in A jester's shoes

Cause when you've only Fools Gold, you've got nothing more to lose...

Who holds the riches

The jester or the king?

A fortress made from Fools Gold

Or the tears that treasure can bring?

The king he sits upon his throne

The worlds weight on his chest

When your mind begins to race you've got no time to rest

"Where is my clown?

I need him now, to take my troubles away..."

The harlequin rushes in as his work begins for the day...

While somewhere in a market square

The cobblestones still shine...





Durch Den Wald Zum Bach Haus


Written by Blackmore








Now And Then


Written by Night


The past is so familiar

But that's why you couldn't stay

Too many ghosts, too many haunted dreams

Beside you were built to find your own way...

But after all these years, I thought we'd still hold on

But when I reach for you and search your eyes

I see you've already gone...

*That's OK

I'll be fine

I've got myself, I'll heal in time

But when you leave just remember what we had...

There's more to life than just you

I may cry but I'll make it through

And I know that the sun will shine again

Though I may think of you now and then...

Can't do a thing with ashes

But throw them to the wind...

Though this heart may be in pieces now

You know I'll build it up again and

I'll come back stronger than I ever did before

Just don't turn around when you walk out that door...


That's OK

I'll be fine

I've got myself, I'll heal in time

And even though our stories at the end

I still may think of you now and then...





Self Portrait


Written by Blackmore / Dio


original version



Blackmore's Night version

Paint me your picture and hang it on the wall

Colour it darkly, the lines will start to crawl


Spin me around and around...

Draw me away to the night from the day, leave not a trace to be found...


Nothing is real but the way that I feel and I feel like going -

Down, down down, down down, down down,

down down, down, down, down

Paint me a picture of eyes that never see

Flashes of lightning that burn for only me...

Hey, hey, hey - there's only the devil to pay...

I'm ready to go, pull me down from below

Give me a place I can lay

Hey Hey - nothing is real but the way that I feel and I feel like going

Down, down down, down down, down down,

down down, down, down, down...

Nothing is real but the way that I feel and I feel like going -

Nothing is real but the way that I feel and I feel like going

Down, down down, down down, down down,

down down, down, down, down...

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Syndicated Interview Blackmore's Night "Ritchie Blackmore, Candice Night"

1. You just released your latest album "Under A Violet Moon". Do you feel nervous about this or do you feel more relaxed, like "O.K., we've done this before..."?

Ritchie: I'm not really nervous about the record because the record will do whatever it should do. I feel good about the record. It took us quite a while to do it. It took us a year, which is a long time for us. It usually is three months. But it started with, the producer we had in the beginning decided to leave after three months. He couldn't take the pressure. So that's okay. You just get another producer of go somewhere else. We went to another studio. His notes weren't very clear, so all the other producers couldn't understand where the hell any of the tracks were because the track sheets weren't very clear. So we had a bit of a problem in that area. It was quite nerve-wracking every time we went to a new studio to try and find the instruments that we knew were there. I'd say, ' Well I know there's a cello on track 14.' And they'd say, 'I don't think so. It's not there now' And I'm like, 'My God!' 'But we have a trumpet.' And I used to say, 'No, there shouldn't be a trumpet on there at all.'


2. Was there something in the production of the album that really annoyed you?
Ritchie: All the preparation was what took a long time. I mean, Candy will be very quick when she does the vocals. She'll take probably two hours at most. I usually take a day to do my part. But it was all the preparation, wasn't it? Buzzes and hums and sinking up things 'cause we did it all on computer and nothing synced up. So that was a mess. Actually one of the songs we sent to Germany for our German friends, this Geiers Schwarzer Haufen. They played on one of the tracks any they couldn't sync the track up with their machine either. So it seemed, it was just bad news.

3. You are known as a very straight worker who does not like to wait but wants to get things finished swiftly. Is that true?
Ritchie: I practice a lot the guitar. I like to go in and to kind of basically go. Just go, play and get on with it. There's no reason why you should just keep going over something, over and over and over. Music is very hard. Music is like, you could tell a joke, and someone says, 'Oh, can you say that again.' It doesn't make any sense. And then when you hear that, and that's my biggest hang-up about recording, to have to repeat myself. I can repeat myself for about three or four times. After that I start to become self-conscious. Then I think, 'What am I doing?' Then I start messing up. Then it's analysis paralysis where you start to look at something too closely. That's why I like playing on stage, 'cause you can make the mistakes, but they're gone. It's just one thing very quickly.

4. I heard you have already written 8 songs for the next album. Are you becoming faster because are a more experienced team?
Candice: The music side of it and the lyrical side of it always comes very easily for Ritchie and I. Like you said we're about eight songs up on the next album already. We usually, he usually comes to me with the melody, the songs, and the way he hears it in his head and then asks me to put the words to it. And then I work out the vocal harmonies around that. So we're pretty much, when we go into the studio we already have set in mind the way that we want it to be done. But we enjoy our writing schemes the way that we do it. It's such a natural experience for the both of us. And because we have a personal relationship as well, we're always around each other. So if he has this incredible musical brainstorm and he says, 'Quick, come in here. I just had this creative flash. What do you think of this?' We can immediately sit down and really work on that. Instead of having to worry about flying somebody over or seeing if they're available or how much it's gonna cost for this person to come in. Luckily we're around each other all the time so the writing process comes very naturally and very easily for us.

5. Isn't it difficult for you to separate your business and private lives?
Ritchie: That is a bit of a problem. The music comes very easily to us and it's very spiritual. And we try to be very spiritual as people. But the business side of it gives us headaches. We have at least one headache a day from some rubbish that comes in about....there's always a crisis.
Candice: It's always on the fax machine [laughs].
Ritchie: Yeah. We have a rule that we don't look at the faxes before we go to bed. Otherwise we'll sit up in bed all night going, 'Can you believe....' And we'll just complain. But everything's fine until we, until the fax machine starts working or the telephone rings. And then all the problems set it.
Candice: Well, the creating music is the fun side of it all. It's the business part of the music business that causes all the pressures and the headache. So when it comes to just the creating of music, that's the thing that we enjoy the most so we don't really have any problems when it comes to that.

6. So you don't really have a private life?
Ritchie: That is one of the problems. When we go out to dinner, we'll often talk about marketing and problems in the business rather than just talking as we did when we first met. We used to talk about séances and ghosts, psychic phenomena, spiritualism. Now we find ourselves talking about demographics. And that's not too clever. And when we're not doing it, Carol Stevens will usually arrive to talk about it.

7. How did you meet first?
Ritchie: We first met on a soccer field. I was playing soccer for, we were called the Soccer Rockers, and it's a team from Connecticut. And they were all rock & rollers, most of them, and they were playing against a radio station, BAB, which is Long Island. And Candice was working for BAB and she was there at the field cheering her team on. Actually we beat them ten to nothing because I pulled in ringers. I pulled in a lot of really good players and they just had DJs playing. So they never even got to touch the ball. So I don't think they liked that too much. Candice was obviously very impressed and I spoke, later on I saw her asking for autographs and I gave her an autograph and I said, 'What are you doing later, would you like to get married?' She said, 'Yes, okay.' And that was it.

8. Are you always this straight if you want something?
Ritchie: No. I was in a hurry. I had to say, 'I'll see you later at this place.' The whole band, the whole Soccer Rockers was going to a bar to just drink after the match to just talk to the radio station. I don't think they wanted to talk to us anymore after that. But that's how we met which is interesting and fresh. It's a change from meeting in a bar or rock & roll club. Meeting on a soccer field is very different.

9. Is it an advantage that you're famous if you want to get to know women?
Ritchie: Not really. You meet all sorts of people but you don't have much time to talk to them because you're always on the go. I think it's the same for anybody in life that's a little bit successful. There are always people hanging around, but those are the people you don't want to talk to, the people that are always hanging on saying, 'Hey, what about me?' And you go, 'I don't want to talk to you.'
Candice: You know what's funny, I think that women deal with that all the time, whether they're well-known or not. If you're an attractive woman, you walk into a bar or a convenience store and you have, right, exactly, you can't walk down the street without getting the comments or whatever else. So I think we both kind of got the same amount of attention whether I was known or not and whether he was known or not.
Ritchie: ....ignoring compliments, you'll just look at the ground, walk on. She's very good, very demure and she doesn't take herself too seriously. She doesn't really think she's very good-looking either, strangely enough.

10. Why?
Candice: The funny thing is I was involved in modelling when I was very, very young which I would never recommend anybody to do with their children. I was five, six, seven years old, as I was growing up, which was really the time where you're trying to find our your identity and who you are and coming to terms with yourself, all through your teenage years. And when you're walking into modelling places and they're telling you, 'Oh your eyebrows are too dark. Are you gonna cut your hair? You're too short.' So constant rejection, constant criticism all the time. It's a very difficult thing to overcome. So instead of actually overcoming it, I think I turned it inward and got very introspective and wrote a lot. Which is where I get a lot of lyrical content from, have journals, poetry and just things I've been writing for years and years and years. And that was my solace and my sanctuary to get away from the physical realm and just really go inside myself and have this outlet of writing, so I didn't have to deal with any more of the rejection and the criticism in that way anymore.

11. How did you start out with music? Was that during your time at school?
Ritchie: Yes, I was not a very good pupil in school. I wasn't very academic. Whenever they were teaching history, maths or English or whatever, I'd be kind of daydreaming. I would just be looking out the window. It wasn't that I didn't have the intelligence, I just couldn't focus on what they were talking about. It didn't seem to mean anything to me. It was meaningless, until, and I thought that the guitar came along when I was 11 or 12 and that was my means of focussing. I could express myself and say something, not by words but with my feeling. And I always felt that I was a little bit of a failure at school because my father was very intellectual and he always kind of looked down at me, when are you going to get down to your studies, and I'm like, just not really interested. I'd rather play the guitar, which he thought was a little bit - not a waste of time - , but he was very suspicious of the guitar. He thought that was just another fad which I'd throw away. He actually said to me when I bought the guitar, when he bought the guitar for me, my mother pestered him, you have to buy this for Richard, buy this guitar for him. And my dad said, 'If he doesn't learn to play it properly, I'll put it across his head. [Laughs]. We've joked about it ever since. And I say, 'You remember that Dad?' And he says, 'No. I don't think I actually used those words.' I said, 'I think you did.'

12. s.a.
Ritchie: But it was self-expression. I could play the guitar and it was me. I didn't have to follow a formula of mathematics, or English, or history. I could just play what I wanted to play and be myself. A friend of mine at school Glen Stoner, he played the guitar too. Victor Hare was the one I should be thankful to. He's the one who brought the guitar to school who had one. He didn't follow through, he didn't play the guitar, he just brought his guitar to school. And it was through him that I started taking up the guitar. So I should thank him, which I never really have done.

13. During your career you have played with so many musicians. Have you ever counted them?

Ritchie: No . I have a tendency to - which I suppose is good - to look forward. I often have nostalgic memories, but they very seldom have to do with music. I tend to look forward and people say, 'Do you ever listen to your old music?' And I go, 'No, I don't even have, most of my music I don't have.' If I go into a club and someone's playing it, then I'll listen and usually I'll be taken by surprise, it'll take me ten seconds to go, 'Who is that? Oh, it's me.' That's when I can be objective to hear what I've done in the past. I'm not particularly, I don't know if I'm proud of what I've done in the past. I always feel I could have done better, so there's always that niggling thought of 'Well, I can do better. On the next one I'll do better.' I'm very pleased with the way the first "Blackmore's Night" came out and the second one. I'm very pleased with that, although I can't listen to it without being nervous. Even now, Candice will put it on in the car and I'll go, 'No, not now. I can't hear it. Not now.' She's going, 'Why not now? I want to hear it.' It's got nothing to do with I don't like it. I love it. But I have to be centered and ready to hear the music so I can accept the parts that I think aren't quite right. I can't just, I can hear "Shadow of the Moon" now without thinking, it's taken me two years to hear that. We hear that and I can actually talk over it and relax but we put the new one on, it takes me a long time to get used to it. I tense up immediately. It's like seeing a picture of oneself or a video. I don't watch videos of myself. No. That I find hard to take. Cause you see yourself and you think, 'Wow, I look really silly.' And it's, you become self-conscious. I've always been that way, which is good and bad because really in this business you should be a salesman. You should go around selling yourself, being positive like a David Lee Roth but I'm kind of the other end of the scale. I don't usually jump up and down about what I've done.

14. Is this one of the reasons why you have survived in this business?
Ritchie: Maybe I've survived because I'm constantly looking for that other, that record. And people will harp back to, and say, 'Ah, it's okay. Could do better.' A lot of people rest on their laurels and just say, 'Oh, I've done enough. I've done some good records.' And they just stop making records I suppose.

15. Ritchie, you say of yourself that you are a musical vampire who meets new people, sucks them dry, and then moves on. Do you agree with this, Candice?
Candice: He hasn't sucked the blood out of me yet. So I'm still around. Yes, he's very much like that. He feeds off the energy of people but what I noticed about Ritchie is that if somebody doesn't give 100% of that energy, if they're not 100% focussed and giving all of themselves to the project or to the music, that's when he starts to be disinterested in them. And that's probably why you see so many personnel changes go on throughout the stages of Ritchie's career, his musical career. It's not so much that he gets disinterested in them. It's the fact that they maybe get comfortable and don't give as much of themselves as they could. Yes, he does definitely feed off of people's energies, musically in that way. And as long as a person keeps giving 100% of their energy that keeps him going. Over and above. He can fly when he feeds off of that. But if he doesn't get that then he has to supply it for himself and for everybody else too. And that just takes so much out of him that it's not really fair to cover for other people as well. So I agree with your vampire statement.

16. s.a.
Ritchie: Yes. It's always nice to have new blood because I've noticed with....certain musicians have become very secure and they become very safe. And they're very happy to be making money and riding around in limousines and they're not really working for it. There's not that enthusiasm anymore. That's why I've changed the personnel over the years so much, with Rainbow for instance. People just get too comfortable. And you cannot get too comfortable in music. And people dry out too. They have ideas in the beginning. They're fresh. We have one person in Rainbow who's a singer and when we met him he was living on, he was sleeping on a friend's of his floor. He didn't have a bed. He just slept on the floor. We took him in the band, we took him on the road. And within weeks of being on the road I would see him at the reception desk, I'd go, 'What's the matter?' And he'd go, 'My bed's not comfortable.' And I'd be going, 'This is a five-star hotel.' He says, 'I wanna change my room. It's not good enough.' It was unbelievable. The change that happens. So okay, see ya. Cause his ideas would dry up. I don't see the point of going into recording mode unless you have something to say. So many bands go into the studio just because it's the thing to do. We're going into the studio - for what? Do you have any ideas? No. So why are you going into the studio? But they do. They go into the studio because they have a name. I only want to go into the studio if I have some ideas. What is the point? And there was a couple of times when, I think when we did The Battle Rages On in Deep Purple, I didn't want to go in the studio. I was dreading it because I didn't think we had any ideas. We didn't particularly have anything. But it was time. The record company decided we want you to record and it was time. And I'm asking the band, 'Do you have any ideas?' And they're going, 'Not really.' I didn't really have any ideas. What are we doing in the studio? A very expensive studio. We're talking about $3000 a day. And we're sitting there going, what are we going to do? That I think is silly. But a lot of bands do it. I think if you have nothing to say then don't go into the studio. There's too much music around that's good, for people to go into the studio wasting people's time.

17. Björk once said: "Writing a song with a man is a more intimate process than having sex with him." What do you think about this?
Candice: I think it's an intensity on a different level. I think when you're talking about sexual things, it's more animal in lots of ways, and I think the writing thing, it's more of a spiritual realm. It's definitely not a physical thing. Although sex has a certain amount of spirituality too, it's mainly a physical that's going on there. Like I said, the animal instinct. But writing I find is much more spiritually freeing in a way.

18. What does your working process look like?
Ritchie: We were writing a new song today. A very exciting song. And we're using an old title that we were going to use when we first started Shadow. Candice has a way of writing, she's a great writer but sometimes she'll write too many words, so we have to take out words so that she can breathe. She has a bad habit of not breathing when she's singing. And she'll sing a really long sentence, and she'll start looking white and faint and fall over. But that's one of the things we were today taking out words, trying out words, getting rid of the words.
Candice: But for the main ideas usually Ritchie allows me free reign whatever I want to write about. And luckily his songs have, they're so descriptive. They have so much intense passion or emotion or melody that you can tell what song wants to be about what subject. Some of his songs are just so happy, you know they definitely have to be about happy feelings and some of them are so intensely somber that you just have to go in that vein. So most of his songs, if you listen carefully, the songs will tell you what they want to be about.

19. Do you ever argue about the songs?
Ritchie: I'm not gonna come in and go, 'I don't like this, I don't like that.' It's, usually she bowls me over with her lyrics. They're very good, very mystical and exactly what we need for what we're doing. Just every now and again I might pick a hole in something and we'll go over that, but then she'll just come back with something even better. I think there's something to be said about, also if you tell someone that's not very good, then they go away and come back with something really good. That's what they used to do to me on stage because sometimes we'd go on stage and I'd get a bit lazy and I wouldn't play particularly well. One night we played with this band, REO Speedwagon I think it was, one of those bands, and I heard one of them, someone say as we were going up on stage, someone said, 'Oh, he can't play very well. He's not very good.' Being me. So of course I felt that I played the best I'd played in years that night. And the management came in and said, 'My God, you played well tonight.' And I went, 'Well, yeah, they said I couldn't play.' They're like, 'Who?' And I said, 'Well the other band. I heard them say something.' So immediately right there he thought, 'Aha, now I know what to do to get Ritchie to play better. Stir him up.' So they tried it the next night but it didn't work the next night. They said, 'I just heard someone saying you weren't very good.' I said, 'Oh I know what you're doing now.' But there is something to be said about, if you put someone down, they'll come back stronger. It's a bit like soccer. Never underestimate the opposing team. If you go up to the other team and you insinuate that they're not very good players, they're going to put 100% into that, maybe a bit like 1860 Munich playing Bayer Munich. [Laughs].

20. Is there a central theme to the album?
Candice: I think the constant theme that I've noticed that shows up is, it's one about freedom and escapism and getting back to nature. That always, it seems to be the theme that crops up in a lot of the songs. Whether I start off singing about that or writing about that or not, somehow it always winds up there. And I think it's just so much because of the love we have for nature and we always rely on nature to escape from the pressures of today. And just basically flying into a sky filled with stars or just getting out to the beach and feeling the wind on your face or standing in the middle of a field and just feeling the power of the sun. Anything that can just get you away from this physical realm of pressure and competition and stress and things that we have to deal with every day.

21. s.o.
Ritchie: I agree. We live in a, slightly fairytale existence. We try to keep it that way as much as possible. And I think that escapism is the key word with our music. I'm trying to stay away from Marshall amplifications and electric guitars. We're into castles and moons and fields and more of a spiritual awareness I suppose. It's much more organic. I think the word for our music, when we record, like when we did Under a Violet Moon, I try to keep it organic as far as like keeping in the acoustic guitars without going into electric guitars. And whatever sounds natural, within reason, without becoming boring.

22. What song comes to your mind spontaneously when you think of the new record?
Ritchie: I would think that "Past Time With Good Company". Because it's so uncommercial. It's something written by Henry XIII, some people doubt that but he was a very accomplished musician in the 1500s. And he was a very good poet too. And they traced the words back to him, 'past time with good company', and I think the music too. Because I think he wrote "Greensleeves" or somebody in his court wrote "Greensleeves" and then they were beheaded and he took the publishing. A bit like today.


23. Do you sometimes dream music?
Ritchie: That's a good point. Sometimes we have certain melodies that drive us nuts. I'll sit up in bed humming a melody that's something that we've done. If you've been in the studio and you've done something that's a bit repetitious, it's very difficult to go to sleep without waking up humming that tune, whether it's good, bad or indifferent, you still keep repeating that tune. That can be annoying.

24. Being in this business for such a long time most people have a certain picture of you and your sound. How do they get along adjusting to your musical development?
Ritchie: We have a certain fan, kind of club, that follows the heavy rock, Deep Purple, Rainbow stuff. But I think they've accepted what I'm doing very well. And I'm very pleased about that. There probably are a couple that have gone, 'Well.....' I think I heard the other day, 'Ritchie can't rock & roll anymore.' Which I thought was quite funny. To rock & roll all you gotta do is get drunk and turn up your amplifiers and you've got it made. This stuff what we're doing now is much more precise, much more articulate, a lot more disciplined and you have to.... It's a challenge. You have to really think when you're playing because you don't have the notes from the guitar sustaining like you would if you were playing heavy rock. So for me, I find it a big, fresh challenge.

25. s.o.
Candice: The difference between rock & roll and what we're doing now is that he can't hide behind the effects anymore. So what you're seeing is a very stripped down version of what's coming directly out from his heart.

26. s.o.
Ritchie: Yes, I totally agree, this music that we've been doing the last couple of years is I would say, straight from the heart. We're trying to keep it, again, very organic and unhomogenized. The way I think of our music is I would love to be around a campfire, which we often are, near a castle, we're the peasants, we've been thrown out by the noble people 'cause they wouldn't have anything to do with us, they're playing disco in the castle, or hip hop or whatever you like to call it, rap. We're kind of the peasants. We're in the field below the castle. We see the moon which they don't see 'cause they're enclosed. We see the moon coming up, going down, and we're playing this music around the fire, the bonfire, and playing these songs, because you have to have that simple element, something that pulls it all together. A lot of rock & roll songs are not very melodic and that bothers me. I love the fact that our music is, you can pick up the acoustic guitar and you can play ''shadow of the moon.....' [sings] or 'under a violet moon....' It's just simple, straightforward stuff. That's what I'm trying to inject. We're trying to sell that music to the people, 'cause I think it's time to take a step back and go back to the simpler times, the nobler times, fairytale existence and get into the woodiness and the earthiness of what's around us, instead of being so superficial and into computers, faxes, competition. You know, it's very stressful. We're trying to stay in the woods. We're in the woods with Robin Hood making our music, and we're trying to keep it simple.


27. How has your audience changed compared to the hard rock times?
Candice: The good thing is that Ritchie used to tell me when he went on the road with Purple and with Rainbow, especially in Europe, that 90% of the audience were male. There were a lot of men out there with the leather jackets and maybe a couple of the obligatory girlfriends that were dragged along saying, 'Come on, you have to come with me and see the show' that weren't really enjoying it. And I notice that now with what we're doing, most of the audience is women and they also bring their children along as well. So not only are there Ritchie's fans, the diehard fans, but there are his fans wives and their parents. They're about 70 those people. So we're getting a completely new generation there. And also the children that are like seven to ten years old. It's incredible. We see all these little kids all dressed up in little princess outfits and things. So it's wonderful bridging this gender gap and generation gap. And I've had people tell me that it's so rare to find music or a CD that a whole family can enjoy. Usually it's the male that likes it, or the woman likes maybe the softer songs or the ballads or the disco songs and the men usually like the rock & roll. But they really seem to have bonded with this kind of music.

28. How do the old fans react?
Ritchie: We had a lot of fanmail saying things like, 'Well I was a fan of yours in Rainbow and Purple but I'm getting older now so I really kind of forgot about your music. But ever since you've done Blackmore's Night thing, I've become really interested.' And they'll be people in their 40s and 50s. And that to me is a big compliment. I don't think it's, I don't like to use the word sophisticated, maybe more grounded. People have become more grounded as they get older. I think we may have a hard time with the age group of 16, 15 to 20, 'cause they want to live. Naturally. They want to get crazy and loud, maybe a bit aggressive. Didn't we all? But the older you get, you mellow out. You look for other things, a little more deeper meaning. What we're trying to do is to inject a little more deeper meaning without becoming boring, without becoming, what's the word, we don't want to take our music into a seminar feel, we don't want to become purists. The music we take from the 1500s, we borrow that music and we interpret it. We try to interpret the passion of the day. We're not regurgitating just the historically correct notes of that time. Anybody can do that that reads. We're trying to inject a little bit of now into then.


29. Would you agree that you discovered your feminine side with this music? Or don't you have that side at all?
Ritchie: Yes, I have a feminine side to me. That sensitive. Over here, in America especially, most men have big hats. Like the Western hats or baseball hats, they drink their Bud and they're very aggressive. So if you walk into a, I tend to walk into a place with a top hat on or a long coat, medieval, they look at me like 'Who the hell is this guy?! What's his problem?' Sometimes, there's certain places you just don't go 'cause they're going to give you hell. As much as, I'm sure that if you walked into Hamburg, into a bar with a kind of medieval dress on or something they would look at you like, 'What the hell is this?' Yeah. You'll have your chimney-sweeps, that have the top hats, I was explaining that to Candice. I said, 'Look, that's a chimney-sweep.' And she's going, 'What do you mean that's a chimney-sweep?' I go, 'Look at him.' The top hats. That's the way they are. And you don't think twice about that. And over here they would laugh at you. They would go, 'Why is he dressed up with a top hat on?'

30. s.o.
Ritchie: But it's a form of punishment, you come over here, but there's some great things over here. There's a lot of freedom. There's more freedom here than there is in say Germany. I lived in Germany for a little bit, in Hamburg. I love the German ground. I love the castles. I love everything about Germany. Sometimes I'm a little upset about some of the German people, the way they think, from the point of view that strict, you must do this, you must do that. Alles in Ordnung. That kind of thing. Ordnung muss sein. That bothers me a little bit. And I think it bothers a lot of young people. Of the old school in Germany, they're a little bit too straight. Yeah, look what came from Germany, my God, Bach, you had all the music, even Mozart even though it's Austria. You have Beethoven and it goes on and on. You have Tielman Susato, who's my biggest idol. Now he came from, in those days you didn't have the borders, in the 1500s it was Belgium and Germany were kind of like one. Tielman Susato and you had people that wrote, all the music came from Germany. That's why a lot of people say to us, 'Well do you play Irish music, Celtic?' And we say, 'No, we play more Teutonic, Germanic music.' Our music comes from right in the middle of Germany, right from Nürnberg and it spreads out to Hungary down to wherever. And through England. Although I'm English I do tend to go on about Germany. I should be an ambassador for Germany I think.

31. "Gone With The Wind" is a very personal song. Can you tell us a bit more about it, Candice?
Candice: My grandmother was born in Prussia which used to be Poland and Russia before the borders were there. And what happened was that she used to live in a pogrom and the Russian Cossacks came and burned her house to the ground. She escaped with just the clothes on her back and we hear this story all over the place. We hear it, obviously living in America, everybody came through to Ellis Island and everybody had the same problems and they all had to escape and start anew. And now we notice that it's going on with the refugees in Kosovo. So it just seems to be replaying itself throughout history, going on and on. But this story that I wrote, because it was more of a personal level, just remembering the stories that my grandmother has told me about her escape to come to a country, and how horrible it was to have nothing, to have to start all over again. Everything that you had known and everything you'd been familiar with, they had to pick a new birthday for her. They had to pick a new name for her. She completely had no identity when she came here and she had to completely start anew. So that's what Gone with the Wind is about.

32. s.o.
Ritchie: I love that song. It came out really well. At first when we did it we thought we'd keep it very natural, keep it to acoustic guitars, but then I thought, I threw on the electric guitar and I thought, oh that sounds okay. It doesn't sound out of place. So we kept it on. And I think that's the only one where I have and electric solo really.
Candice: I think it's from a traditional Russian piece.
Ritchie: Yeah. It's a traditional, written actually, written in the 1920s I think buy a guy called Nipper. Funnily enough, one of my best friends calls me Nipper [Laughs]. That was a coincidence.

33. This song reminds a bit of Ennio Morricone and of the song "Final Countdown"...
Ritchie: Yes, I love that song by Europe. I always liked that band very much. What it is, is it's those beginning chords, d minor, b flat, c, a major. As soon as you put in those three chords, you have to be very careful what notes you hit because anything will sound like The Final Countdown. We actually changed the intro because it sounded too much like Final Countdown. So if you're still hearing that it's interesting. But sometimes when you're writing music it's hard not to be, one of my favorite records is The Final Countdown. Let's say a top 20 records, Final Countdown would have been one of them. And it's hard to....maybe another one of them would be Whiter Shade of Pale which was almost Spirits of the Sea. It had that same Bach descending bass line. So you can't help but be kind of....I don't listen to much music. I tend to want to make music rather than listen to it. But you can't help but be involved in it and take from it in certain things.

34. When you're talking about going back to the woods it sounds esoteric/ religious like. What's your opinion about religion?
Ritchie: Any sort of religion to me I find a little bit phony. Usually surrounding religion is bloodshed which we have in Yugoslavia. I can't believe that these people are fighting each other over religious beliefs basically. It's caused so much bloodshed in history. There's obviously something wrong with it. We should think about something else. Spiritualism is the name of the game I think. Go back, let's all go back to the woods and kind of regroup and go: what are we doing. Let's forget about the dogma that goes down in history. A lot of stuff gets passed down to us. Parents say, well you must do this, you must do that. I think it's just dogma. It's superstition.

35. Do you think people will start reflecting these things?
Ritchie: Yes definitely. They have to. Because we're not going anywhere with religion so we have to bypass it and go, let's start again. Let's all be harmonious with each other, forget religion. You're not catholic and this and that. Let's do something different. At the moment we're treading, this is dangerous ground. I think it 20 or 30 years things will change a lot. If we're still here. According to Nostradamus we won't be here anyway, but that's another problem. [Laughs]
Candice: I think it's a coming of a new age though. I noticed a lot of people that are doing a lot more soul searching than probably I've ever noticed before. People, whether they're getting back into fixing things through herbalism, you know taking herbs instead of going to the doctor and taking prescribed medications, or color therapy, massage therapy to heal things, as opposed to going right under the knife and surgery. Or just basically sitting by themselves and getting very introspective and doing their own soul searching instead of just being dictated to, to listen to what other people are telling them to believe and to listen to. I think that's going to begin the start of the new age, this self realization that you don't have to listen to what everybody tells you to do or to dress or to listen or to be. You're basically responsible for yourself and your own actions. And once people realize that, then it's going to be a completely brand new beginning.

36. Wie sieht Eure Religion oder Lebensphilosophie aus? How does your religion or philosophy look like?
Ritchie: My religion is hugging a tree in the wood that hasn't been distorted by man. And looking at the moon which hasn't been distorted by man yet. I'm sure they'll put some advertising on there shortly. That's the type of thing we try to evoke when we're playing our music. It's that natural feel to exude the naturalness of things because everything's become so corrupt. Everything is so corrupt, especially the music business. It's now just business. It's disgusting. Marketing, demographics. My God where is this going to end? It's great because the people are starting to rebel. It's basically, over here in America the record label will dictate, put a lot of money behind a certain artist, tell the radio station they have to play it and they will pay them. And the record store will stock that record. It's a form of communism, force-feeding to the public. And the people are tired of it. It's worked for ten year and people want to stop it. They go, 'No, we don't like this.' Now the record companies are blowing up. They're all splitting up. People are being fired all over the place. They can't understand why all the independent labels are starting to sell records. This I think is very refreshing. I think something's happening in the business where people in the street want to hear good music. They don't want to be force-fed.

37. Do you think you have a certain responsibility towards your fans?
Ritchie: I have a responsibility as far as playing for the fans. I have to play my best which I don't often do. That's why I become moody and very angry on stage. If I'm not playing my best I want to leave the stage and start again maybe in two hours or the next day, which you can't do if you're doing a tour you have to grin and professionally bear it. I find it very difficult to be professional. If I'm not playing very well I'm pissed off and I want to do something about it. I just don't want to keep playing and going, 'My God, I'm playing like shit.' So that's the responsibility I think we have to the audience. As far as religion or anything else, that's up to them to sort it out. We all have our own channel in life. We all have our own way. I think we're all going to end up at the same place. Some of us have to go in a circle a few times.

38. You believe in reincarnation. Are you convinced that you have lived before?
Ritchie: Well, Candice and I do a lot of seances. Seance really means gathering. That's all it means. But we communicate. I've actually spoken to entities out there. That is overwhelming. That is, I've played the biggest places in the world. They say, 'What is it like to play Madison Square Garden?' It is nothing compared to breaking through that communication on a board. You just talk to someone who's not there, yet they are there. But we don't recognize it. It's another spiritual realm. We break through to the other realm. That is the most fantastic thing for me ever.

39. s.o.
Candice: Yes, it's truly incredible to break through on that spiritual side, to be able to talk to something that's not physically there. I mean we create it all the time. If somebody says to you, 'Can you....' - a lot of the disbelievers or the sceptics say, 'Well how do you know it's there. You don't, you can't touch it, you can't grab it.' And our argument is: Well can you touch music? Can you touch love? Can you actually reach out and grab it? How can you explain love to somebody? You can't put certain things into words. And I think us as human being, mortal human beings, we're so limited, we're limited to five senses and each of those senses is so incredibly limited and they say if you could perceive everything to the extent of using your whole entire brain, it would probably drive you mad because your senses would go on overload you wouldn't be able to handle all the information that's coming in from every area all at once. And the interesting thing about those spirits that we've contacted is that they don't have those physical displacements, they don't have the physical being. We actually have to rethink our questions when we speak to them because you can't speak to them in the spiritual realm. You can't say what time is it, or what do you see. They don't see. They don't have eyes. They feel. And they feel directly through what we would consider our hearts. They feel in such an intense way. They feel music. We've asked them specifically about music. Instead of it being siphoned through your ears and then going through nerve systems and then going to your heart, and we think that we feel music incredibly powerfully, these entities don't have ears and don't have a brain. They just directly have a power line into basically whatever their heart system is. So their emotion is just incredible.

Ritchie: Their stereos are plugged straight into their heart. It must be an amazing sound.
Candice: It's all energy.
Ritchie: Yeah.

40. Have you ever tried getting in contact with friends that don't live anymore?
Ritchie: No I haven't. It's not as cut and dry as that because right now, this very place that we're in is haunted and we've spoken to the spirit of this house. It's not as cut and dry. They don't just come, you can't just pick out these people. You kind of have to talk to whoever has anything to say that's around you at the time. Sometimes we've done seances and people said, 'Oh, I want to talk to Jimi Hendrix.' It doesn't work like that. That's like a little game. Whoever has something to say. There's a lot of people. When you pass over, everybody is the same. Nobody has the ego anymore. Nobody's a rich corporate or a rock star. Everybody's a soul. Everybody's soul is exactly the same. And you can feel it. We get in touch with people's soul.
Candice: And we just feel so privileged to have that door of communication open that I don't think even if we wanted to would we sit there and say, well we want to talk to this person. Whoever comes through, we're just so pleased that something's coming through and that that energy is just strong enough for us to get some kind of coherent communication going. It's just an incredible feeling.

41. What's your idea of reincarnation?
Ritchie: As I said before a romantic theory. And I'm trying to be neutral. My personal observation is I'm not so sure whether it's that simple. Whether reincarnation exists. I think we could be leading other lives right now. I'm not so sure that it's in the past. I have a feeling that we might be living other lives reincarnated at this moment or when we sleep we're in other places at the same time. But then it becomes so complex, I couldn't even start to explain it cause I don't begin to understand it. But when you play a musical instrument, I don't understand the guitar. I know how to make people happy in certain areas, and myself. But if someone said to me, 'Explain the guitar.' I think I would be lost for words. I would say I don't really know. What is the guitar? It's a means to emote something but I couldn't even get close to explaining what the guitar is about. That would be too arrogant of me to even start. And with that kind of line of thought, then you're talking about reincarnation. I know something is going on and I think I know what is going on. But I couldn't even start to explain it.

42. You have a manner of naming your instrumentals in German. Where does that come from?
Ritchie: I have a big hang-up about Germanic way of life. I want to give back to Germany what it's given to me and inspired me in my music. I want to give back in my music to Germany. Not even so much the German people as the German land. What happened was whenever I had an instrumental in Deep Purple days, and it was my instrumental, I found myself saying, 'Oh, I wonder what I should call this?' And I was so taken by Germanic way of life I thought, 'Maybe I should say it in German. Why should it have to be in English?' The Germans are always so understanding with English, they're always speaking English. No one ever speaks German when they go to Germany because they're too arrogant. Well how come you don't understand me when I'm talking? Well why don't you speak German? And I wanted to give something back. I wanted something to be in another language. And of course Germany is very close to me through a reincarnation thing. I think it is that. And I started calling my instrumentals German titles, although I always got the spelling slightly wrong, or the phrasing. Just a little bit wrong. I was often told by The Scorpions, 'We will tell you that weiß Heim is not weiß Heim, it's weißes Heim.' And I'm like, 'Okay, well what about ein Stein. If you call it weiß Heim, that's okay.' 'Well yes.' 'Well what is the problem?' And I'd always have one letter wrong because of my German. In the end it almost became a little trademark. Ritchie's speaking German but there's a slight mistake. [Laughs] And even to this day with the "Durch den Wald zum Bachhaus", that one, I had trouble with that because Bachhaus is one word. I thought it was two words. It was Bach's house. No it's Bachhaus. And it was interesting how that went down. I had to change that. I had weiß Heim, I have vielleicht das nächste Mal, vielleicht die nächste Seit and all that business. And it almost became that trademark.

43. s.o.
Ritchie: And there was a time, I had this instrumental and Roger Glover out of Deep Purple, he was usually the producer, and he said to me, 'What are you calling this instrumental?' And I can't remember the title, it was some instrumental I called a German title. He said, 'Why is it in German?' And he was almost like a little bit annoyed. 'Why does it have to be in German?' And I went, 'It has to be in German just to annoy you Roger. Every instrumental I do will be in German from now on just to annoy you.' It was I felt such a presumptuous, arrogant statement, 'Why does it have to be in German?' I was really annoyed. Not that every one of my instrumentals will be in German, but I felt that was, I didn't like that. Why not? Why does it always have to be in English?

44. Do you still like going on tour after all these years?
Ritchie: One of the reasons I left Deep Purple was I didn't want to tour very much. They want to tour for the rest of their lives every day of the week. I'm not saying they have bad home lives even though that was rumoured. These guys want to be on the road all the time. When I was with them, I said I just don't want to be on the road that much. I want time to think, time to feel, feel a tree or something. I don't want to be on a plane going somewhere all the time.

45. s.o.
Ritchie: But with Blackmore's Night we tour 3 to 4 months a year at the most. And that way we can play the best dates and be at our best. We're not too tired. I was always too tired in Purple. Within two or three weeks on the road I was completely exhausted. It was like a matter of survival. The music did not matter anymore. It was can I get through another night? I'm absolutely exhausted. So with this band it's, we choose our times, and we're playing castles, we're playing all the places we want to play. Much more relaxed. So we can give 100%. That I think is very important.

46. So are you planning to get married?
Ritchie: Yes, I would like to get married to Candice when her mother gives the okay. But, have you ever met her mother? A little bit shaky, yes. Her mother's very puritanical, of the old school. We'll see how that goes.

47. The sound of Blackmore's Night is very unusual. What inspired you?
Ritchie: This is my music. This is something I've been wanting to do for 25 years. I was in a castle called Schloss Gotzenburg. I met a band called Des Geyers Schwarzer Haufen. They were minstrels that seemed to come out of the woods. They came to this castle and just played with so much inspiration. To me I thought that's what I want to do. These are real musicians. They believe in what they're doing. There's no light show. There's no big PA system. Just four guys and they're playing their hearts out. And they weren't making much money, but there was this unanimous kind of harmony that they had, which today still I'm very inspired by them. Excellent band. And that's what gave me a kick up the behind. I went, 'I have to do that. I want to go around playing castles.' I want to be in the environment where I want to be. I want to be playing the music I want to play. I don't want to play the music the management or the promoter tells me will make money. I want to be doing what I want to do. And this is why I'm playing castles.

48. Have you found a balance in life through Blackmore's Night?
Ritchie: Yes. I'm never very balanced. I'm very unfocussed sometimes. I'm always groping my way. I really don't know where I'm going. I just know that this pleases me very much. And I feel that I'm heading towards the right direction. All of a sudden I've seen a light in the distance. A lantern, a candlelight, something. It just so happens that Candy's name is Candlelight when we're at home and we have a record label coming out in England called Candlelight Records.

49. Do you want to have children?
Ritchie: Candice loves children. I love silence. That's very important to me. I love silence. I get into my car or wherever and I just soak up the ambience of silence. I want to hear the wind, or the tree creaking, or an owl hooting. A little bit like this: [hoots]. I just want to go back to nature. I'm longing to go back to nature. And silence is very important. We will have children, but we will tape their mouths up with gaffer tape or something.

50. If silence is so important, how and where do you live?
Candice: It's really a beautiful area. I'm really glad that we moved there. But, then there's a few trees and then beyond the trees up on a hill, almost like a cliff, there's a field. And every time there's a full moon, there's a bunch of pagans and they go out and they play these bongo drums and congas and all you hear, it's like these tribal drums being played to the full moon. So it's great because we're used to hearing the bass drums and the techno stuff or rap music that's kind of coming out from all over the place whenever somebody drives by in their car and it's on volume ten. But every night when there's a full moon you get to hear these incredible, kind of like ethnic kind of drumming. That's drums that we like. That's okay.
Ritchie: When we first moved into this house we were next to this gigantic wood. And I said to Candy, can you believe it? Someone's hitting a bass drum, making noise, it was about one in the morning. I said, 'What the hell do they think they're doing over there? Should I get the police in?' Because they're like bum dida bum dida bum. Something was going on. She said, 'No, just leave them. You know it's nice to hear some drums. ' And I'm like, 'You're right, it's a bit like us.' So with that we were like wait a minute. We shouldn't complain; we should go over and join them. So we hopped over the fence...
Candice: ...put on our cloaks and our big hats...
Ritchie: ...and we joined them. We are now very friendly with them. They're like a pagan organization.

51. You lived in Germany for some time. What do you prefer to remember from those days?
Ritchie: I used to play in a band in Hamburg in 1964 called Die drei Musketiere and that was my favorite time as far as the band. We used to sort of fence on stage and the band play. There was only three of us. We played all these very fast songs. And that to me was very organic too. That was before I got involved with the Deep Purple and the big time. I had a very good time playing Starpalast in Kiel or in Bochum the Star Club. And we'd play all the Top Ten or the Star Club in Hamburg. Or the Tanzclub party which is what is was called in ???. And , I'll always remember, my best memories are of those times and that was '64, '65, when people didn't quite understand what a three-piece was all about. They only saw that with Jimi Hendrix in '67. But that was one of my favorite times.

52. How did you get that name - Die drei Musketiere?
Ritchie: The way we got our name was we looked at the beer mat. You have beer with the three musketeers crossing swords. I don't know if you've seen that. We saw that and we went, 'We'll be the three musketeers. We didn't work that often but when we did, we had a good, real hardcore, because everything we did was so fast. Every song was [sings]. Nobody could dance to it. So the people were like, the promoters used to get complaints like, well the band is too fast. But we loved it. Every song we did, Flight of the Bumble Bee. We advertised it, I think it was in the Hamburger Abendblatt. The only time that the Flight of the Bumble Bee will be played on the guitar, and I used to play, [sings]. It was hilarious watching the people trying to dance to this. That was one of my favorite times. I'm still looking for the drummer 'cause I want to put us, those three guys back together, just for like a party of drinking maybe or just whatever. But we can't find the drummer. He's disappeared. I will find him. Jimmy Evans. We will find him.

53. Can you imagine that one day there'll be Deep Purple shares or bonds being sold in Wall Street? Other musician's did that.
Ritchie: A very interesting theory. I wish, I'm only the musician that wrote the music, thought up the music and promoted it and went around playing it. Of course I shouldn't own it. Somebody else owns it. So I have no idea what will happen with that. It's only fair that I should not own it. Why should I own it? I only wrote it. And the rest of the band is the same way. The rest of the band don't have it either. Managers have it, record companies. They own all that stuff. And they keep putting out the 25th anniversary of Deep Purple and Rock, the 25th anniversary of....and the list goes on and on and on. The very, very, very, very Best Of. Although I earn money from it, I tell people, really don't buy it. You're just buying the same old thing in a different package.

54. s.o.
Ritchie: One of the things that made me crazy, a fan of mine spoke to me, he said, 'I really don't like the new solo on Highway Star.' And I said, 'The new solo on Highway Star? What are you talking about?' He said, 'Well I just bought this 25th anniversary the very, very, very, very Best Of remastered Deep Purple, and you have a different solo on Highway Star.' And I went, 'That's impossible.' I looked into it and it was very possible. My solo had been changed to another solo. I was very angry. Roger had changed the solo. I'm not speaking to Roger. I'm very pissed off. He should not meddle with anything like that. I couldn't do anything about it. I spoke to my lawyer and he says you can't really touch it. You don't own the rights to that song. I said there's nothing? I can't stop these people messing? No. So I just basically told Roger I was not impressed. I was not amused.

55. There's a new version of "Self Portrait" on the album. Why this song?
Candice: It was, actually we do a few Rainbow songs. Quite a few rainbow songs. When we're on tour playing live, we do 16th century "Greensleeves". We were doing Temple of the King. We do "Street of Dreams", "Still I'm Sad". There's a number of songs and we try doing "Self Portrait" and it got such an overwhelming response from the fans. They asked us why we didn't record it. So we took the clue from the fans and put it out. We were actually going to use it just as a bonus track but we got such a good response from people that heard it, 'cause it's a completely different interpretation than what it was originally.

56. s.o.
Ritchie: A lot of our fans came to our rehearsals and we always run through "Self Portrait" as a song. And they go, 'Are you gonna do that?' And I went, 'O.k. maybe we will.' Because we do listen to the fans. One of the things that instigated me to do this was a fan wrote in and said, 'Ritchie, I'm a big fan of yours but, you know, on "Battle Rages On" you play a riff, and you play eight bars of a solo and that's it. I really want to hear more.' He hit that nerve. I went, 'You're damn right.' That's why we did this. I thought I have to do more. I can't just hide behind playing in a band, I'll do a solo, then I'll sit back . And that's why we came up with this, well that's one of the reasons.

57. What are your future plans?
Ritchie: There's no master plan. I think most musicians don't have a clue where they're going. People say well what is your direction in life? Nobody knows. You'd be arrogant to say, 'Well my direction, we plan to tour and we do this....' It's bullshit. Nobody knows where the hell they're going. It's the blind leading the blind. We're all totally lost. But let's keep our fingers crossed that we're going in the right direction. I feel to me, it's wonderful music. That's all I can do. I don't have a clue where I'm going and I'm pretty sure nobody else does.


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