Life is what happens when you are making other plans~ John Lennon
An eye for an eye will make the whole world blind~Gandhi
The time is always right to do what is right~ Martin Luther King Jr.


Saturday, December 15, 2018

Black Knight: Ritchie Blackmore by Jerry Bloom

I just finished reading this. It's a very good book, although I don't know if Ritchie Blackmore is really like that, being labelled a bully by some, an immature prankster by some or a total out and out jerk or the author is making up stories. It's up to the reader to figure it out, I guess. It's interesting. Although, I doubt whoever wrote this did any proofreading on it. There are a few grammar and spelling errors here and there.

I look at him as being a musician who pulls pranks just to kill the boredom of being on tour. I used to think he was arrogant. After seeing a few interviews here and there, I've come to realize, he's not arrogant. He's probably just tired of all the drama that surrounded him during his days in Deep Purple and Rainbow. All the fighting he did with people like Ian Gillan or Ronnie James Dio would be enough to make anyone lose their hair from stress or even bite your tongue to keep you from speaking your mind. He, more or less, has a jaded view on Deep Purple.
This book is very interesting. Everyone pretty much knows about Ritchie Blackmore being a huge prankster. In the early days of some of the bands he was in, he was prone to chucking things out the window, nothing major, mostly bags of flour, trying to hit someone or something with them.

Richard Hugh Blackmore was born on April 14, 1945, in the town of Weston-Super-Mare, England. This is regarded, by some, as a resort town since it's right on the sea. His father gave him his first guitar, an acoustic. He even told young Ritchie "Either you're going to play this guitar properly or I'm going to put it round your head!"


Some of the earliest bands he was in include: Screaming Lord Sutch, Nero & the Gladiators, The Outlaws, Lord Caesar Sutch & the Gladiators, Neil Christian, etc. The list goes on. Almost each band he was in he wore some kind of uniform, whether it be dressed as a Roman gladiator, dressed in country western-type clothes or suits. Almost each person who has seen him play guitar will remark about how fast he can play, how good he can play. They will brag about his talents. He quickly became known as the Man in Black because all he was ever seen wearing was the famous color black. Of course, like most rock musicians, he will have changed relationships quite frequently. In fact, the longest relationship he had was with a girl from his neighborhood in England. In fact, he helped form Mark I lineup of Deep Purple

Mark I Deep Purple
 
Later on, in one of his many bands, they travelled to Germany and Ritchie fell in love with the culture. He fell for a local girl named Margrit. Together they married and had one child, a son named Jurgen. Unfortunately, their relationship did not last and soon Ritchie was falling hard for another German girl, this one a go-go dancer in the Reeperbahn district named Barbel, simply nicknamed Babs. Her wages as a dancer helped keep them afloat during the late 1960s, early 1970s. Bassist Nick Simper and singer Rod Evans were more or less let go because Ritchie wanted a darker sound, a heavier sound for the music of Deep Purple. So out with Simper and Evans and in with Glover and Gillan.

When he had formed the band Deep Purple, the first few albums were a mix and match of sounds. When reporters would do interviews, they would cite Jon Lord, organ player, as being the main songwriter when in reality it was the three other members of Deep Purple-bassist Roger Glover, singer Ian Gillan and of course, Ritchie Blackmore.

Later on, when Ian Gillan came in to the band, things were good, at first. Ian started drinking heavily and getting egotistical, thinking that because he was the singer for a band quickly becoming big that he was this superstar talent. As time went on, Ian and Ritchie were nearly at each others' throats. Between the years of 1971-1973, Ritchie had switched from a Gibson ES335 to a Fender Stratocaster, an instrument that has been linked to him to this very day.



During the years when the band was touring Machine Head, Ritchie was up to his prankster self, as usual. When the band would travel in a car, instead of a tour bus like today, bassist Roger Glover would be stuck sitting next to Ian Gillan. Ian would torture this young man relentlessly, from poking him repeatedly to playing around with him. It even went so far as one time when they were travelling that Ian had managed to get Roger's pants down and was trying to perform oral sex on Roger, coming very close to raping him, all the while Roger is fighting him off, telling him "Get off, Ian". Of course, all the pranks pulled by either Ritchie or Ian had one intended target-Roger. Ritchie would tie up Roger with rope and, because of his very thin frame, would put him inside a Marshall amplifier case and leave him on the Severn Bridge. The band would come back to find the case rocking back and forth and they would realize and know it was Roger trying to wriggle his way out. One common prank they would pull on him dozens of times involved stripping Roger completely naked and shoving him out of the car to walk home and fend for himself. It's things like this that have you wondering why Roger even put up with all of this. All of this would be more than enough to drive someone completely crazy!
Roger Glover, 1969
Roger Glover, current day

Another instance is when they were first recording In Rock, they were staying at a home in Devon, completely away from any distractions. By this time, Ritchie was heavily into doing seances. Ritchie had asked Roger if he had a crucifix with him because he knew Roger was a Christian. Roger said no and as such, Ritchie took an axe and proceeded to bash the door to bits just to get inside. Of course, Roger went ballistic and chased Ritchie down the hall with said axe until he found Ritchie cowering in the corner, saying "Roger, stop. I'm the guitarist".

During the Machine Head tour, Ritchie had his first full blown emotional breakdown. A roadie, wondering why he was not at sound check, had gone up to Ritchie's room to find that he had his head in his hands, crying hysterically. When he asked the man what was wrong, Ritchie said, with tears still streaming "I'm done with being pushed from one hotel to another. I didn't get into music to get pushed around like this. I got into music because I enjoyed playing". Ritchie had sought professional help, but when the doctor asked what was wrong, all Ritchie could or would do was cry. So it seemed the professional option to load up the Man in Black with as much tranquilizers as his body could take. It seems almost unusual to try and picture someone as strong and outgoing on stage as Ritchie Blackmore having a full blown emotional breakdown. But it does seem like the author wants to impress upon people that Ritchie is only outgoing on stage. In real life, he's a shy, private, very introverted person. That's the feeling I'm getting.





At the same time, his relationship with German girlfriend Barbel "Babs" Blackmore was disintegrating fast. She had moved to California after hearing of Ritchie's infidelity. She had heard that he had a certain way with women and it seemed like he was trying to fill some kind of void with women. Some rock stars did drugs. Some did booze. For Ritchie, his drug of choice was the female gender. When the band had been recording "Smoke on the Water", there was an incident where a roadie had caught Ritchie taking a woman somewhere for a little privacy, most likely to have a little adult time. So it could be said that Ritchie was almost caught with his pants down. He had wanted to go to California to try and repair the relationship.


Ritchie Blackmore and Barbel "Babs" Blackmore on the left. She was a German go-go dancer who kept the two going with her dancing wages. She's also the mother of their child, a son named Jurgen
Of course, at the same time, things with Ian Gillan were going south fast. Ritchie not only wanted Ian out, Roger Glover was given the choice to quit or be fired. This is odd because Roger is probably the nicest, most humble man in the world. Would never say a cross word about anyone. Didn't do anything to deserve getting the choice of fire or quit. He quit with a proper resignation like Ian Gillan did. And with them, sadly, out of the picture, in came two newbies. Ritchie had brought in former Finders Keepers and Trapeze bassist/front man Glenn Hughes to play bass and virtual unknown David Coverdale. These two would only go on to record three albums with Deep Purple-Burn, Stormbringer, Come Taste the Band. Glenn would sadly be fired for his massive drug habit while David would go on to form a band of his own, called Whitesnake. It was during the Stormbringer tours that Ritchie noticed Glenn and David, who were both big soul and funk fans, were trying to imprint their love of black American music onto the music of Deep Purple. Suddenly, it wasn't thundering organs and guitars. It was what Ritchie called "shoeshine music". The music had suddenly taken a turn for the odd. Ritchie had seriously considered leaving because he thought "No. This isn't me. This isn't the kind of music I like."





David Coverdale

Glenn Hughes
Everyone, of course, remembers California Jam '74 or simply CalJam '74. When Ritchie put his guitar through the camera because it had gotten too close to him. Things had been going wrong for him all day. Apparently, because of the giant rainbow behind the stage, Ritchie wanted to take the stage at sunset. It didn't go that way. ELO (Electric Light Orchestra for those who may not know) were supposedly the band who would close out the show. Everything was running ahead of schedule, which is almost unheard of in music festival situations. Ritchie wanted to take the stage at sunset and sure enough, he waited around until sunset and then took the stage. Of course, he would ensure something was set ablaze on stage. Stage destruction seems to be his forte. Sure enough, a stack of amps blew because of gun powder being inside. From then on, Ritchie refused to do music festivals because things never went according to plan. They either ran ahead of time or behind time or things never worked.





It was during his time in America that Ritchie had discovered a young band touring and opening for Purple called Elf. Fronted by young powerhouse vocalist Ronnie James Dio, the young singer impressed Blackmore with his vocals. By this point, Ritchie was done with Deep Purple. He was tired of doing music that he didn't care for or was impressed by. It was during the Stormbringer sessions that Ritchie seriously considered leaving. After chatting with Ronnie for a bit, he discovered that both he and Ronnie both had the same love of Medieval, 15th and 16th century culture as each other. They both also had what some would call a "British sense of humor". Despite Ronnie being an American, almost everyone who knows him describes him as being a total and complete Anglophile (someone fond of the culture of Great Britain). Suddenly, a light bulb clicked. He proposed to Ronnie the idea of forming a band with lyrics that force the listener to use their imagination. Ronnie liked the idea and suddenly the band Rainbow was born. The debut album was titled Ritchie Blackmore's Rainbow only to give an idea of what the music was like. All other albums would have the band name Rainbow on it.




Things with Rainbow were going good. A lot less stress than Purple, but that ugly in-band fighting would soon rear its ugly head. Ronnie James Dio's then girlfriend Wendy seemed to be whispering things into Ronnie's ear, things like he was bigger than the band, he was better than the band and so on. Of course, Ritchie overheard this and started getting angry and almost everyone around Ritchie Blackmore knows he can have an explosive temper. It had started with a rumor that Ritchie Blackmore had been featured on the front of Circus Magazine without any other members of the band. When Ronnie confronted Ritchie about it, things went downhill. Ritchie just basically figured "I can't work with someone who gets so petty about something so trivial". Ritchie didn't want to be on the magazine without the band members and he even told Ronnie that wasn't his choice. Ronnie didn't want to listen
Why is it that Ritchie always looks as though he's in a bad mood?

Things with Ronnie then started going downhill simply because Ronnie had started developing a big ego, no thanks to his girlfriend. From the first album to Difficult to Cure, the band had a hard rock, neoclassical metal sound. But when it came time to record Difficult to Cure, the lineup had changed once more. Keyboard player Tony Carey had left due to stress of being the victim of constant pranks. Tony was in the lobby of the hotel he was staying in and he didn't realize that Ritchie was behind him while he mouthed off about the Man in Black. He was saying things like "He's just jealous that I can play faster than him" and other things. Of course, Ritchie heard every word and slapped him hard across the back of the head. He essentially told Carey "You are nothing" or something to that effect. With him leaving, in came Don Airey, who ironically, now plays keyboard for Deep Purple. Airey, however, took the jokes and pranks with good spirit.

Ronnie James Dio and Wendy Dio
Tony Carey
Don Airey

It was during the Long Live Rock 'n' Roll tour that Ritchie first noticed he was starting to lose his hair, his hairline was thinning. Either out of complete vanity or issues with self-confidence, he sought treatment for this in the form of hair transplants. Of course, all the band members didn't hold back in cracking jokes and general making fun of him, probably derailing his confidence a bit. With each album, you could expect lyrics about dungeons and dragons, fair maidens, fantasy-based lyrics. You could expect hard rock and neoclassical metal from about the debut album, Ritchie Blackmore's Rainbow, Rising, Down to Earth up until Difficult to Cure, which, by that point, had changed over to a more commercial pop rock sound. With each album, the music got better and better, each album attaining success, which was good for all involved. After that, the albums they released, like Straight Between the Eyes, Bent Out of Shape had a more commercial pop rock sound. Of course, the band changed lineups too. They had Graham Bonnet for one album and for a good majority of the albums they made, they had American vocalist Joe Lynn Turner. When Joe Lynn Turner quit the band later on, he went on to join Deep Purple as vocalist for the album Slaves and Masters.

Graham Bonnet

Joe Lynn Turner

By early 1984, at age 39, Ritchie Blackmore had finally attained his drivers' license. Mostly out of irritation from others having to ferry him around. During his time in Rainbow, Ritchie had, once again, fallen in love and gotten married. This time it was to the daughter of a prominent Long Island, New York doctor. This woman's name was Amy Rothman. For some reason, the band resented her from the word go. But, not shockingly, they would divorce on the ironic grounds of adultery. She would be accused of adultery and want the world handed to her on a silver platter while the man she was divorcing could also be accused of adultery. Some would say that Ritchie is an old school man. The man is allowed to cheat on his significant other as much as he wants to, but when the woman does it, it's all hands on deck, she's in trouble. So, once again, Ritchie was single, but not for long. He would, once again, fall for another woman. This woman being named Tammy Williams, who worked for a hotel in Chattanooga, Tennessee. Of course, when his then wife Amy was messing around, Ritchie was messing around on her with a singer named Shoshana Feinstein, a singer trying to get  a pop-rock career going. Things with Tammy fell through, of course.

Ritchie Blackmore and 3rd wife Amy Rothman












 
 
 
 
 
 
 
During his time in Rainbow, the band had made nine albums- 1975 Ritchie Blackmore's Rainbow, 1976 Rising, 1978 Long Live Rock 'n' Roll, 1979 Down to Earth, 1981 Difficult to Cure, 1982 Straight Between the Eyes, 1983 Bent Out of Shape and a live album from 1977 called On Stage.











Of course, journalists were constantly trying to get stories about Rainbow, drum up publicity for the band. Unfortunately, one journalist had nicknamed the Man in Black "Bitchy Ritchie" after learning and discovering for herself that he was not too fond of doing interviews. Of course, the story made headlines, probably with the headline including "Bitchy Ritchie". Management for Rainbow was not happy. They were trying to drum up good publicity for the band and yet Ritchie, with all his moody glory, gave short, clipped answers, almost in a guarded tone, as if he was trying to filter what to say during the interview. During one of the last albums Rainbow made, Roger Glover had come to produce and was asked to take up the role of bassist. This was most likely Ritchie's attempt at making amends for giving Roger the choice of quit or fire years earlier. The band, some how, had come under fire for explicitly and overtly sexist lyrics in the track "All Night Long". To cause some laughs and take some of the seriousness out of the situation, Ritchie had appeared on the front of a magazine wearing stockings and a garter belt, claiming he "could be one of the girls". Obviously, he has a sense of humor.

By 1984, Rainbow was coming to a close because it was being suggested that the Mark II lineup of Deep Purple would reunite. They would reunite to make 1984's Perfect Strangers, an album considered by some to be pretty good, despite the odd lyrics in "Knocking At Your Back Door".

Unfortunately, Perfect Strangers, while it had some good tracks, proved to be not as successful as everyone in the band thought. Old tensions between Ian Gillan and Ritchie Blackmore had resurfaced. Ritchie describes it as a situation with two alphas-Ian wanted to control the band since he was the singer and Ritchie wanted to control the band because he was the guitarist. The album that followed, The House of Blue Light, was a complete disaster. The tensions between Gillan and Blackmore became even more intense, mostly because Ian's voice was starting to go on a downward slide.

Towards the end of the 1980s, around 1989, a few members of Deep Purple, mostly Roger Glover and Ritchie Blackmore and a few other guys, had played in a soccer game against a Long Island, New York-based radio station. It was Deep Purple versus the radio station. While there, a young blonde intern named Candice Isralow, who adopted the stage name Candice Night, seemed particularly interested in the raven-haired guitarist. Candice was modelling but also had attended school for communications, which is how she ended up at the radio station. She said that he had walked up to her and said in his very formal, classy British accent "You're a very beautiful girl." She mentions that his way of asking her out was the old schoolboy method-having a friend tell her that a friend thinks you're pretty. She says, with a laugh, that he had taken off his cleats and threw one of his sweaty, muddy socks right in her face and from then on, she never worried about being girly and worrying about her nails or whatever. She felt an instant attraction to him; this was her own personal fairy tale.



She and Ritchie had gone to a local pub later on. She says it took about six months for the romance to set in. They both share a love of Medieval and Renaissance culture, even forming a band called Blackmore's Night to cover this type of music. They will often dress in period clothing and perform the music. My whole opinion on him and her together is that as long as they are both happy with each other, that is all that matters. And besides, they look like a really cute couple.

But at the same point in time, around the early 1990s, Deep Purple had reunited and recorded The Battle Rages On. This was a disaster of epic proportions because, once again, the tensions between Blackmore and Gillan had resurfaced. As for Blackmore's side band Rainbow, they would go on to record one final album Stranger in Us All, with singer Doogie White. Out of all the songs that Rainbow had recorded, Ritchie often cites "Street of Dreams" from Bent Out of Shape as his top favorite. Simply because it's rock but it's melodic. He does not usually care for intense rock. He likes rock music, but it has to have a melody to it. So once again, Ian was out and Joe was back. He did one final album with Purple, Slaves and Masters before he quit for good without looking back.


Slaves and Masters














With Candice Night, the two would form a band called Blackmore's Night and they would cover Renaissance and Medieval-type music with an occasional rock track. One song that always makes it into the live gigs is the song "Sixteenth Century Greensleeves". You probably would know this song if you heard it. This is one of those songs that immediately conjures up images of Renaissance or Medieval culture. To date, they have released 12 albums. They are: 1997 Shadow of the Moon, 1999 Under a Violet Moon, 2001 Fires at Midnight, 2003 Ghost of a Rose, 2006 The Village Lanterne, 2006 Winter Carols, 2007 Paris Moon, 2008 Secret Voyage, 2010 Autumn Sky, 2012 A Knight in York, 2013 Dancer and the Moon, 2015 All Our Yesterdays.




 







Monday, December 10, 2018

Heavy Duty: Nights and Days in Judas Priest by K.K. Downing and Mark Eglington

As if the title wasn't obvious, this is a sort-of autobiography by former Judas Priest guitarist Kenneth Kevin Downing, aka "K.K. Downing". The reason I say sort-of is because he wrote it along with the help of a biographer named Mark Eglington.
This book was very interesting. It was very eye opening, however. One thing that stood out to me is that KK did not seem to care for Glenn Tipton. Sure, they got along, but then again, they had to-they both played guitar in the same band. He seemed to regard Glenn as an outsider who seemed to bully his way into deciding what went down with in the band. He seemed to think of Glenn as a pretty boy showoff who always tried to top KK, as if he was trying to outdo him. Later on, when a woman named Jane offered to help manage the band, KK seems to think that when Glenn hooked up with her and eventually married her, they both seemed to run the band with an iron fist. And in interviews later on, when KK left the band, they would avoid at all costs, answering questions about where KK was, what he was up to, etc.
You'll find out all sorts of stuff that went on with not only KK as he grew up, but how he came to help define the band known today as Judas Priest, his relationships both inside and outside the band and more. He will often put his own little random thoughts and comments on different situations, so it becomes a little funny and you can imagine him saying it while laughing or smiling

Kenneth Kevin Downing was born on Oct. 27, 1951, in West Bromwich, England. This is part of the area of England known as The Midlands. This whole area just seems to be steeped in metal history, not only because of all the steel mills and foundries, but because one other major metal band was born here-Black Sabbath. He talks about his siblings growing up, how his father was a heavy gambling addict who would spend any money he got on the local horse tracks. He describes his childhood as abusive, watching as his father would often beat his mother nearly to death sometimes. He often thought that when he got older, he would really clock his father. He jokingly said something to the effect of "when you get older and you start seeing hair on your chest, you think you're mature and can give someone a beating. I thought about doing that to my dad for all the times he hit my mother." The thing that inspired him to take up music was hearing the Rolling Stones. Whereas other teens might have been influenced to take up music because of the Beatles, KK was more in to the edgier Rolling Stones.





He was friends with future Priest bassist Ian Hill. In fact, their friendship didn't start off rosy. In fact, Ian Hill and a friend had committed a crime and KK and one of his friends ended up being the ones accused of it. Growing up, he had helped to form the band known today as Judas Priest. He said it was more or less interesting working with all the personalities within in the band. Later on, when Rob Halford came out as homosexual, KK was not shocked. He knew right from the get go that Rob was gay and he thought it was the worst kept secret in music. When KK suggested that the band get some kind of uniform look, he thought of leather and studs. And he said that the hardest part would be getting everyone in the band to agree to it. Rob seemed to go for the leather and studs look the easiest because of his then secret homosexuality.
 
One thing that seemed to really irritate KK is in 1990 when the band was hauled into court to hear for the deaths of two young men. Two young men had gotten intoxicated and high on marijuana and had formed a suicide pact, claiming that there were backwards messages in the songs of Judas Priest, specifically the song "Better by You, Better Than Me". This was not even the band's original song. The band who originally did this was an art rock band called Spooky Tooth.


One thing that surprises me is that KK does not have kids. He's been in a multitude of relationships, but no kids. He said he always wanted kids, but with his work as a musician and being on the road so much for so long, that put a strain on a lot of the relationships he was in. As the 1980s gave birth to the 1990s, he seen that the times were changing and so was the music. No one seemed interested in bands like Priest. They all wanted a more flashy, more aggressive sound, like something you could get from bands like Anthrax, Pantera, Slayer, Megadeth, Metallica and new up-and-comers like Fear Factory, Type O Negative, Sepultura, etc.


One major and I mean EXTREMELY MAJOR bone of contention he has is with the band Iron Maiden. Almost everyone knows how extremely bad things had started off between then newcomers Iron Maiden and then-still-getting-big Judas Priest. Maiden vocalist Paul Di'Anno had said, very cocky, that he and the rest of Maiden would blow Priest off the stage. During a sound check that Judas Priest was doing one night, they had seen a group of young kids in the audience. Not knowing who they were, KK asked around and found out from someone that those "young kids" were in fact Iron Maiden. No one had told Priest's management that the band were coming down to see them, to learn from the masters. KK took an offense to this. He thought the band was being snotty for showing up after saying they would blow Priest off the stage. He even talked to the guys in Priest and the band was smiling as Paul Di'Anno still told them they would blow Priest off.

Later on, when Bruce Dickinson entered the picture, KK still remembers the band as having a very cocky, very arrogant air to them, as if the world owed them a favor and owed them a chance at being something. Despite the fact that now the two veteran bands are good friends with each other, it's sad that two great bands had to have a rocky start to their friendship only because management of both parties failed to communicate with each other. One thing related to this is that when he would look at pictures of Iron Maiden, specifically guitarist Dave Murray, he would have to do a double take. Early Iron Maiden had adopted the leather and studs look. And with Dave Murray having long, flowing blonde hair, people often mistook him for KK Downing. Even KK himself had to do a double take to see if pictures in magazines were of him or Dave Murray. He said he didn't understand why Iron Maiden were wearing leather and studs when it was Judas Priest who introduced that look into the band. In fact, it was KK Downing's idea to introduce the leather and studs look.

Dave Murray, Iron Maiden

KK Downing, Judas Priest. As you can tell, it would not be hard for some to think these two men resemble each other because of the blue eyes and light blonde hair

Sunday, December 9, 2018

"I Have a Dream"

I have always loved this speech. It's so simple in its words, but conveys a meaning that seems to have been lost among the years. Essentially, the speech refers to Dr. Martin Luther King Jr. wanting nothing more than a world where everyone is seeing everyone the same, no matter the race, skin color, religious beliefs, sexual orientations, etc. But, in years past, with groups like the Black Panthers, Black Lives Matter and others, whose sole purpose to only earn rights for certain race groups, his speech and dream has not only not been accomplished, it has been taken and thrown to the ground, stomped on, spit on and finally set ablaze, as if it were not important. This man wanted nothing more than a world where everyone is seen as equals under the watchful eyes of God. Why can't this world just get along? Why must we have people saying that certain people are racist when they really aren't? Why do we have to have people who hate each other because of skin color, ethnicity, race, religious beliefs, sexuality and more?
If it's one thing I truly hate, and I know hate is a strong word, but I truly hate when people have to hate someone for something as simple as skin color, religious beliefs, sexual orientation, nationality or other factors. It makes me want to cry to know that the few white people that are racist make people think that because I am white that I am racist. I am not. I love everyone for who they are. Someone would really have to annoy me or do something extremely bad to me to make me hate them. And if that's the case, I dislike you because you did something wrong, not because of your skin color, not because of your race or ethnicity or any other factors.

What I have always believed is that in every race or ethnicity, there are those very few people who are racially biased that gives everyone a bad name. Something I have always believed is that you should not blame the whole for the actions of a few. Which means that do not blame a whole group of people simply on the actions of just a few.

"I Have a Dream"
I am happy to join with you today in what will go down in history as the greatest demonstration for freedom in the history of our nation.

Five score years ago, a great American, in whose symbolic shadow we stand today, signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of their captivity.

But one hundred years later, the Negro still is not free; one hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination; one hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity; one hundred years later, the Negro is still languished in the corners of American society and finds himself in exile in his own land.

So we’ve come here today to dramatize a shameful condition. In a sense we’ve come to our nation’s capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was the promise that all men, yes, black men as well as white men, would be guaranteed the unalienable rights of life, liberty, and the pursuit of happiness.
It is obvious today that America has defaulted on this promissory note in so far as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check, a check which has come back marked “insufficient funds.”

But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. And so we have come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice.

We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy; now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice; now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood; now is the time to make justice a reality for all of God’s children. It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of the Negro’s legitimate discontent will not pass until there is an invigorating autumn of freedom and equality.

Nineteen sixty-three is not an end, but a beginning. And those who hope that the Negro needed to blow off steam and will now be content, will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.

But there is something that I must say to my people, who stand on the worn threshold which leads into the palace of justice. In the process of gaining our rightful place, we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred. We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protests to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy, which has engulfed the Negro community, must not lead us to a distrust of all white people. For many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny. And they have come to realize that their freedom is inextricably bound to our freedom. We cannot walk alone. And as we walk, we must make the pledge that we shall always march ahead. We cannot turn back.

There are those who are asking the devotees of Civil Rights, “When will you be satisfied?” We can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police brutality; we can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities; we cannot be satisfied as long as the Negro’s basic mobility is from a smaller ghetto to a larger one; we can never be satisfied as long as our children are stripped of their selfhood and robbed of their dignity by signs stating “For Whites Only”; we cannot be satisfied as long as the Negro in Mississippi cannot vote, and the Negro in New York believes he has nothing for which to vote. No! no, we are not satisfied, and we will not be satisfied until “justice rolls down like waters and righteousness like a mighty stream.”

I am not unmindful that some of you have come here out of great trials and tribulations.  Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality.

You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive. Go back to Mississippi. Go back to Alabama. Go back to South Carolina. Go back to Georgia. Go back to Louisiana. Go back to the slums and ghettos of our Northern cities, knowing that somehow this situation can and will be changed.  Let us not wallow in the valley of despair.

I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I still have a dream. It is a dream deeply rooted in the American dream. I have a dream that one day this nation will rise up and live out the true meaning of its creed, “We hold these truths to be self-evident, that all men are created equal.” I have a dream that one day on the red hills of Georgia, sons of former slaves and the sons of former slaveowners will be able to sit down together at the table of brotherhood. I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

I HAVE A DREAM TODAY!

I have a dream that one day down in Alabama — with its vicious racists, with its Governor having his lips dripping with the words of interposition and nullification — one day right there in Alabama, little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.

I HAVE A DREAM TODAY!

I have a dream that one day every valley shall be exalted, and every hill and mountain shall be made low. The rough places will be plain and the crooked places will be made straight, “and the glory of the Lord shall be revealed, and all flesh shall see it together.”

This is our hope. This is the faith that I go back to the South with. With this faith we will be able to hew out of the mountain of despair a stone of hope.  With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brother-hood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.  And this will be the day. This will be the day when all of God’s children will be able to sing with new meaning, “My country ’tis of thee, sweet land of liberty, of thee I sing. Land where my father died, land of the pilgrim’s pride, from every mountainside, let freedom ring.”

And if America is to be a great nation, this must become true.
So let freedom ring from the prodigious hilltops of New Hampshire; let freedom ring from the mighty mountains of New York; let freedom ring from the heightening Alleghenies of Pennsylvania; let freedom ring from the snow-capped Rockies of Colorado; let freedom ring from the curvaceous slopes of California. But not only that. Let freedom ring from Stone Mountain of Georgia; let freedom ring from Lookout Mountain of Tennessee; let freedom ring from every hill and mole hill of Mississippi. “From every mountainside, let freedom ring.”

And when this happens, and when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual: “Free at last. Free at last. Thank God Almighty, we are free at last.”

Wednesday, December 5, 2018

Black Sabbath Albums-Worst to Best

As much as I like Black Sabbath, I even have to admit some of their albums were a bit on the questionable side. Here are the Black Sabbath Albums-Worst to Best, according to Ultimate Classic Rock.
20
Forbidden (1995)
-This was the last of the original lineup. The man behind the production was Ernie C, known mostly for his work with gangsta rap out fit Body Count. Unfortunately, it was thought that someone with a hip hop background would be good enough to produce an album for the legendary doom metallers. But the work is said to be dismal

-My opinion: I simply didn't care for it
19
Tyr (1990)
-Once again, a total letdown. Tony Martin was on vocals this time and former Rainbow drummer Cozy Powell was behind the skins. This album seemed as though it were trying to capitalize on the recent comeback of creative energy.

-My opinion: I simply didn't care for it
18
Cross Purposes (1994)
-This album was a mix and match of members. With Bobby Rondinelli filling in on drums and being the done in the wake of Ronnie James Dio's second album with the band, there are just not enough good songs here to even give a listen to

-My opinion: I simply didn't care for it
17
Seventh Star (1986)
-Originally intended to be a solo album for Tony Iommi, the label it was recorded through wanted to capitalize on the name "Black Sabbath". This album featured former Deep Purple bassist/backing vocalist Glenn Hughes. Unfortunately, Glenn was in the thrall of a devastating drug addiction and this, in turn, affected his voice

-My opinion: I like it. I love all the songs. It has that classic 80s Sabbath sound. The songs are not doomy, so who cares? It's good to do something unexpected. Overall, all the songs are good
16
Dehumanizer (1992)
-This is round two with Vinny Appice on drums and Ronnie James Dio on vocals. Unfortunately, some Sabbath fans didn't care for it.

-My opinion: I simply didn't care for it.
15
Born Again (1983)
-The first (and last) album with Ian Gillan of Deep Purple. This album was a one time thing for Gillan. The band had tried to mold Gillan in to something more along the lines of Sabbath, with things like getting him to darken down, in color, his clothes. He tried to adapt the black and leather look. His vocals are sure impressive here.

-My opinion: I like it. Sure, a lot of people say this album stinks. I like it, though. There are a lot of good songs here. "Hot Line" is one of my favorites
14
13 (2013)
-This album was meant to revisit the classic Sabbath sound. The only bump in the road was Bill Ward leaving for good and only to be replaced by Zac Clufetos

-My opinion: I simply didn't care for it.
13
The Devil You Know (2009)
-The last album to be made with Ronnie James Dio before his tragic 2010 death from stomach cancer, this album was made under the band moniker Heaven & Hell, which stemmed from the 1980-era lineup that made the album of the same name.

-My opinion: Too intense. Almost industrial metal
12
Never Say Die! (1978)
-This was the final album of the original lineup. Things were coming to a head, between rampant drug use, in band fighting and more, the album seems to drag its way through the production work, making for a simply poor effort

-My opinion: I like it. I think it has its good parts. "Hard Road" is a good song. And "Swinging the Chain" is a good effort on Bill Ward's part because he is a pretty good singer. He has a slightly raspy quality to his voice that kind of puts you in mind of Rod Stewart
11
Headless Cross (1989)
-Most fans think this album was pathetic. By the mid 80s, Black Sabbath had been pushed aside in favor of more aggressive groups like Slayer, Pantera, Anthrax, Megadeth, Metallica, etc. This album was made when they were going down in terms of success and that's not in a good way

-My opinion: I like it. "Devil & Daughter" and "Headless Cross" are two of the great tracks. The others are good as well, but I definitely like the above mentioned tracks
10
Technical Ecstasy (1976)
-Despite the fact that most Sabbath fans would look at this album as being like Sabbath Bloody Sabbath Mach II, you have to give the guys credit for trying to explore other avenues in music. It did come out with two songs that seem to be popular- "Back Street Kids" and "Dirty Women"

-My opinion: I simply didn't care for it
9
The Eternal Idol (1987)
-There was a revolving door of members on this album. Tony Martin had to come in and do vocals after short term singer Ray Gillen quit in the middle. This is one of the few, maybe only Sabbath albums not vocalized by Ronnie James Dio or Ozzy Osbourne
-My opinion: I like it. "The Shining" is an interesting song. Most of the songs are interesting. But they're good, overall. The artwork is interesting as well. I can't even begin to imagine how hazardous it was to the health of the models who had to be painted for the cover 
8
Mob Rules (1981)
-This would be the last album Dio would make with Sabbath for a while. The songs are great, but that didn't mean things were all cheery behind the scenes. Tony Iommi and Geezer Butler often butted heads with Ronnie James Dio and it was because Ronnie was a.) writing his own lyrics, essentially taking away work from Geezer and b.) being generally bossy and trying to take over the whole thing. Tony and Ronnie butted heads bad, essentially mirroring the same issues Ronnie had with Ritchie Blackmore in the band Rainbow. Ronnie had been overly bossy in that band and Ritchie was done with him and wanted him out!

-My opinion: It's kind of weird
7
Sabotage (1975)
-This was one of the last albums that had the power of a true Sabbath record. The band was getting sued left, right and center throughout the whole process. Most likely it was because they had changed management and former management wanted to sue for breach of contract

-My opinion: It's kind of weird. But you can hear the overall stress the band was going through in the songs
6
Sabbath Bloody Sabbath (1973)
-This was a hard nut to crack. Tony had taken up writing lyrics as well as riffs and everyone was suffering from writer's block. To ease that, the band relocated to Clearwell Castle. In addition to playing pranks on each other, the eerie vibe of the castle helped everyone move on and write some good songs

-My opinion: It's okay
5
Heaven and Hell (1980)
-This was Ronnie James Dio's first album with the band. This album managed to not only be successful, but it also helped keep the band in the vein of what they were known for best-hard hitting metal.

-My opinion: I like it. A lot of good songs. I have respect for Ronnie as a singer, but as a person, I think he's arrogant
4
Vol. 4 (1972)
-This was a mixed bag of songs. They had a romantic-type song with "Changes", a sort of love song about their drummer Bill Ward and his then wife. "Snowblind" explores the band's heavy cocaine use while the song "Laguna Sunrise" is an acoustic track written while watching the sun rise in Laguna, California.

-My opinion: It's interesting
3
Black Sabbath (1970)
-This was the world's introduction to the name Black Sabbath. Full of slow, trudging doom metallers, this album showed the world what the name Black Sabbath had to offer. Even to this day, this album is referred to as a landmark because it was recorded on a shoestring budget but managed to be successful in every way

-My opinion: Some of the songs are a little too intense for me
2
Master of Reality (1971)
-This is doom metal all the way. With songs like the marijuana-inspired "Sweet Leaf" (BTW, that coughing you hear at the beginning is Tony Iommi coughing on the smoke of a joint Ozzy had handed him), the sheer eerie vibe of "Children of the Grave", to the absolutely emotional yet beautiful "Solitude", this album is good

-My opinion: I love it. "Solitude" is so beautiful.
1
Paranoid (1970)
-The title track came about when the band was told they had a certain amount of time left on the record and that one more song was needed. Tony started with a riff and the song built from there. This tends to be one of those Sabbath albums that introduces a lot of fans to the music. And like most fans, they will work their way ahead to modern day and then work their way back through the back catalog.

-My opinion: I like it. This one is special to me because it was the album that first got me into Sabbath. Two of my high school classmates had thought that I needed to listen to what they considered "real metal". So they decided to, in their words, "start me off easily". They played this album and instantly from the second the title track ended, I loved it!

Sunday, December 2, 2018

December Birthdays

Since it's December, time to Say Happy Birthday!!!

Lucy Liu
-Birth name: Lucy Alexis Liu
-DOB: 12/2/1968
-Where: Queens, New York
-She became the first woman of Asian descent to host Saturday Night Live in 2000
Ozzy Osbourne
-Birth name: John Michael Osbourne
-DOB: 12/3/1948
-Where: Aston, Birmingham, England
-He wrote the song "Suicide Solution" as a tribute to former AC/DC front man Bon Scott
Marisa Tomei
-DOB: 12/4/1964
-Where: Brooklyn, New York
-Is of full blooded Italian descent. Her family hails from Tuscany, Sicily, Campania and Calabria
Phil Collen
-Birth name: Phillip Kenneth Collen
-DOB: 12/8/1957
-Where: London, England
-After replacing original Def Leppard guitarist Pete Willis in 1982, he and fellow guitarist Steve Clark became good friends until Clark's tragic death in 1991. Since then, with Vivian Campbell in the band, Collen has emerged as one of the main songwriters for the band
Simon Helberg
-Birth name: Simon Maxwell Helberg
-DOB: 12/9/1980
-Where: Los Angeles, California
-He's the only male cast member of The Big Bang Theory who is a father in real life
Denzel Washington
-Birth name: Denzel Hayes Washington Jr.
-DOB: 12/28/1954
-Where: Mount Vernon, New York
-He named his son Malcolm in honor of Malcolm X
Richard Hammond
-Birth name: Richard Mark Hammond
-DOB: 12/19/1969
-Where: Solihull, West Midlands, England
-Often referred to as "The Hamster" because of his short height
Cliff Williams
-Birth name: Clifford Williams
-DOB: 12/14/1949
-Where: Romford, England
-Has been the bassist for AC/DC from 1977-2016
Rick Savage
-Birth name: Richard Savage
-DOB: 12/2/1960
-Where: Sheffield, England
-In January 1994, he suffered from a bout with Bell's Palsy, but has managed to regain feeling in most of the right side of his face
Dave Murray
-Birth name: David Michael Murray
-DOB: 12/23/1956
-Where: Edmunton, London, England
-He is considered to be the shyest, quietest member of Iron Maiden and yet will come up with bursts of wisdom out of nowhere, as Nicko McBrain will usually put it
Stevie Young
-Birth name: Stephen Crawford Young
-DOB: 12/11/1956
-Where: Glasgow, Scotland
-Nephew of AC/DC founding members Angus and Malcolm Young
Lemmy Kilmister
-Birth name: Ian Fraser Kilmister
-DOB: 12/24/1945
-Where: Stoke-on-Trent, Staffordshire, England
-DOD: 12/28/2015 (hard to believe he died four days after his birthday)
-Where: Los Angeles, California (prostate cancer, congestive heart failure, cardiac arrhythmia)
-He was a huge fan of Janet Jackson and said that his dream was to record a song with her
I might not be a Motorhead fan, but for some reason, I like this photo of him. It's a handsome-looking photo.