Rainbow - On Stage (Deluxe Edition Reissue)

The third release from Rainbow, “On Stage” could have been argued to have been a courageous move so early in their recorded output. It could also be seen as a confident move, or an endeavour to buy further time before the release of “Long Live Rock ‘n’ Roll”. Whatever the reasons, they are purely academic, and this reissue allows newcomers and enthusiasts the opportunity to revisit the splendour that was Rainbow at this moment in time. Whatever one’s opinion on taped introductions, the dialogue from “The Wizard of Oz” is pure theatrics and is the perfect preamble.

Like many Rainbow performances of the time this set begins with the invigorating ‘Kill the King’. Another brave move as this song was yet to be released on the follow up “Long Live Rock ‘n’ Roll” album. This version will not disappoint with it breathtaking speed and vitality. Dio’s voice is on fine form and appears self-assured and authoritative. The solos burst out of the tune in rapid succession and the stall is set out. ‘Man on the Silver Mountain’ has an urgency that was never evident on the album version, and features an extended ‘Blues Starstruck’ which showcases some intricate guitar and organ based blues and what sounds remarkably like a duck adding a few choice phrases.

Another extended piece augmented by some searing guitar soloing is the ballad ‘Catch the Rainbow’ which, at over fifteen minutes, may for some be outstaying its welcome, but for the Rainbow devotee is a treat for the ears. Testing the patience of the casual listener again ‘Mistreated’, the Deep Purple song, is characterised by lengthy guitar workouts, which symbolize the Rainbow live experience, and should possibly be seen from that perspective. The vocals are, however, overflowing with passion and taken together, the experience of hearing it here is not objectionable.



‘Sixteenth Century Greensleeves’ next, from “Ritchie Blackmore’s Rainbow”, gives an indication as to where Blackmore’s career would in due course be heading. Opening with a dramatic guitar adaptation of ‘Greensleeves’, the piece then moves into overdrive with a plethora of medieval metaphors. Closing the original album release is a version of The Yardbirds‘ ‘Still I’m Sad’ from the first album, which provides a vehicle for each band member to solo to extremity. For the dedicated Rainbow collector, the second disc of this deluxe reissue will be of particular interest. Featuring tracks recorded at a show in Osaka in December 1976, the running order may be truer to the original show, but the music featured is of comparable content to the first disc.‘Mistreated’, ‘Catch the Rainbow’ and ‘Man on the Silver Mountain’ reappear in extended form, with the only addition being ‘Do Close Your Eyes’, another example of the showmanship and theatricality that characterised a Rainbow show of the time....

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Rainbow - Long Live Rock 'n' Roll (Deluxe Edition Reissue)

There could be a whole discussion on the credibility of repeated album reissues with bonus tracks of rough mixes, studio out-takes, interviews and live tracks from the period. For the aficionado of the band in question, reissues such as this are an important historical document giving the consumer insight and context, and, as is often the case, extensive and trustworthy sleeve notes. These factors are very often a major selling point. There is obviously a market for extensive reissue packages (witness the recent gargantuan King Crimson “Larks Tongues in Aspic” box), and readers of this piece could be argued to be the demographic.

“Long Live Rock ‘n’ Roll”, featuring Ronnie James Dio, Ritchie Blackmore and Cozy Powell, will be a familiar body of work to the devoted and this particular release will not disappoint. The opening ‘Long Live Rock ‘n’ Roll’ will be familiar to most anyone who has even a passing interest in music, it is still a joy to hear, and sing along to and is the epitome of the classic album opening track. ‘Lady of the Lake’ features dark and foreboding guitar riffs and restrained soloing from Blackmore, and a intelligent change of mood from moody verse to stirring chorus. Another tune familiar to those involved is ‘L.A. Connection’, riding on unhurried, solemn and imposing percussion cut through with towering guitar lines. For many, the axis of the album is ‘Gates of Babylon’ with its opening Eastern flavoured synthesiser salute, dynamic verse and chorus structure, angular guitar solos and baleful cries of “The devil will take you away!”. Regular concert opener “Kill the King” is as exhilarating now as when it was first heard on the original release, with Blackmore’s soloing doubtless to induce an army of bedroom air guitarists to pick up their axe. The ending few moments of ‘Kill the King’ may inspire a discussion on the most momentous ending to a metal tune in history.



The overall pace of the album meanders gently to an end on the last three tracks, produced in the halcyon days when track sequencing was still a major consideration, it could be argued. ‘The Shed’ still retains the general momentum with hammering percussion and subtly repeating guitar motifs, whilst ‘Sensitive to Light’ loses an element of the heaviness of previous tracks, but gains integrity through being amusing to play and croon along to, “Sensitive to light…ah!”. The sensitive ‘Rainbow Eyes’, augmented with flute and strings and stirring arpeggios, may bring a tear to the eye of even the most unsentimental old music enthusiast....

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