BLACKMORE'S NIGHT: PAST TIMES WITH GOOD COMPANY (2001)
1) Shadow Of The Moon; 2) Play
Minstrel Play; 3) Minstrel Hall; 4) Past Times With Good Company; 5) Fires At
Midnight; 6) Under A Violet Moon; 7) Soldier Of Fortune; 8) 16th Century
Greensleeves; 9) Beyond The Sunset; 10) Morning Star; 11) Home Again; 12)
Renaissance Faire; 13) I Still Remember; 14) Durch Den Wald Zum Bachhaus; 15)
Writing On The Wall.
I do not have much to say about this live
album, recorded at a May 2002 show in Groningen, except this: the only real reason for Blackmore's Night to
exist is in its live incarnation. It's not as if their live performances were
much less stiff than studio ones — it is simply that this particular type of
music, all these medieval dances and feel-good ballads, are «party music» by
definition. This shouldn't even be played in clubs or concert halls: this
should be played in pubs, next to those long wooden tables, creaking and
groaning from the weight of roast pigs, stuffed rabbits, fresh fruit, wine
bottles, and whatever else there can be found on your average Brueghel
painting. And nobody should be listening, of course, leaving it to the minstrel
to command attention by singing it ever so loud, proud, and with boundless
energy...
Somehow this only struck me when listening to
these live renditions of songs from the duo's first three albums — performed
quite faithfully to the originals, but in an even more «pseudo-authentic»
setting, as Blackmore very rarely uses the electric guitar (even the outro solo
on ʽFires At Midnightʼ is replaced with acoustic passages), and the listeners'
attention is frequently focused on violin improvisations from one of the band's
members. There is an implicit (sometimes explicit) call for everyone to join
in — the clapping and stomping starts with the very first performance and is
then renewed on every second or third song. This is not «Folk Music» as a
carrier of the Sacred Heart, or of Sanctified Traditional Wisdom, or even of
Pure Beauty, as folk revivalists sometimes envision it. This is simple, robust,
healthy entertainment to help that mug of ale go down easier and that leg of
lamb digest with extra juice.
All the more respect to the band for really
putting some work in this, especially Candice: she may not be a great singer,
and her stage image may be too forcedly cartoonish, but what she is capable of
doing, she is totally giving out 100% — no bum notes, no trying to sing outside
of her range, and a very hearteningly welcome, unpretentious attitude that
should disarm any criticism. As a side bonus, Ritchie re-arranges two golden
oldies for her, the Deep Purple ballad ʽSoldier Of Fortuneʼ (where she is very
welcome in the place of David Coverdale) and the Rainbow rocker ʽ16th Century
Greensleevesʼ (where nobody can replace Ronnie James Dio, but she does not even
try to compete with him on the song's ferocious "we will dance around the
FIRE!" coda — although it is fun to see her add a little bit of snarl
every now and then, so contrary to her regular image). Additionally, on
ʽGreensleevesʼ Ritchie even agrees to brandish the old axe: the main melody has
been funkified, and its original riff deleted (quoted just once for the song's
coda, to be precise), but at least he can still deliver these maniacal leads
like few others can.
No wonder, then, that it all culminates in
ʽHome Againʼ, performed here with a far greater sense of purpose than in the
studio version — even if you do not like this stylistics in general, it is hard
not to get caught up in the overall merriment, so contagious is the laughter in
Candice's voice. Yes, there is also a small share of «intimate» performances
(ʽI Still Rememberʼ), but usually they function as «breathers» (along with
several instrumentals showcasing The Master), allowing the audience to get some
rest before getting them back up on their feet again. And then the show is over
with a rip-roaring version of ʽWriting On The Wallʼ, stripped of its rather
unsettlingly modernistic production, although the disco bassline is still
naggingly hanging out there.
Bottomline: if you have no interest in a
detailed assessment of the ups and downs of the first stage of Blackmore's
Night, Past Times With Good Company
is your best bet. The setlist contains almost all the relevant highlights, performed
at least as well as in the studio and sometimes better. The band and the
audience connect totally in their little medieval fantasy game. The sound
quality is perfect. And if you enjoy it with a roast leg of wild boar and a keg
of mead on a pleasant European evening, the experience is so complete, you'll
never want to get back to the 21st century again. Thumbs up.
"in an even more «pseudo-authentic» setting"
ReplyDeleteAfaIc the more pseudo-authentic the better. I am happy that the keyboards are pushed to the background (omit them entirely would make me happier). CN's vocals are more expressive than ever.
"This is simple, robust, healthy entertainment"
The irony of course is that as such Blackmore's Night comes closer to the authentic role folk music had in life of 15th and 16th Century people than any revivalist ..... When did peasants back then need music? Not when exploring the depth of their minds. That's what they had confessionals for and there music only distracts. No, at the end of harvest time and at weddings, where they could eat, drink, sing and dance.
"BLACKMORE'S NIGHT: PAST TIMES WITH GOOD COMPANY (2001)"
ReplyDeleteThis should say 2002.