'So this is where all started; Ronnie Dio was invited by Blackmore to join his solo project (and to keep the 'Dio' nickname as part of his name); and this is what we've got. An album influentied by Blackmore's past in Deep Purple and a bit of ol' Rock & Roll thrown here and there to make the album more catchy.
Man on the Silver Mountain is now a classic song, if you are or if you are not a Rainbow fan; you will surely know the riff to it. It is probably, along with Self Portrait, the heaviest song of the album. They are both mid to up-tempo and manage to go catchily easy from one to another one as the starting of the album; and Man On The Silver Mountain is really a way to start the album!
Then Black Sheep of the Family is a rock and roll influenced mid-up (the songs never go into wild up tempo, but the way it flows nicely from down to mid to up and can actually play with it, really works for the album and to keep the listener entertained) tempo, with silly lyrics and very catchy choruses.
Contrasting nicely with this up beat, joyfull song, comes the first ballad Catch The Rainbow, it is a rock and roll ballad and frankly I like it a lot, you can hear it when you want to chill out or just to listen to some beautiful music. But don't let yourself down, when minute 6.40 of this song goes away we have two Rainbow classics! The catchy mid tempo Snake Charmer, in which Blackmore's melody and one of Dio's singing masterpieces, really sets you a spell to go along with the magic of this song.
If you like/know Rainbow, you will probably know the next one, if you don't then shame on you! This is the low tempo Temple Of The King; another classic! In which the mood is well settled to continue with the magic of the previous classic. Again Dio sings like ment to the Gods and the melody is just beautiful, along with the solo.. a very remindable and comendable song, if you like Rock and Roll and it is perfect to chill out a bit...
After that we almost reach the end with the short Bluesy up tempo If You Don't Like Rock And Roll, which really sets my mood into "Happy", I love this song, as silly as it might be, the riffage and the arpeggios are memorable! You have to have a real cold heart if your mood isn't changed by this. One of the weirdest songs I've ever heard, with the piano solo and the clapping; but one of my favourites!
Then the album practically closes with the last lyrics-included song in the album, which is Sixteenth Century Greensleeves, which as you might think, it doesn't feature the melody of the classic piano song. This is, if you ask me, a good way to end the album, mid tempo but still catchy with good guitar works, and, as always, Dio's voice is flowing perfectly with the mood and the sounds. Then the song fades into the instrumental Still I'm Sad, which is an ejoyable performance from Blackmore and drummer (as well as bass player) which I can't, sadly, recall his name.. but this is, I repeat, a very worked out and enjoyable solo performance which shows us a bit of wankery from Blackmore but I actually can really see the capability and talent of each musician here.
Highlights of the album: Man On The Silver Mountain, Black Sheep Of The Family, Snake Charmer, Temple Of The King, If You Don't Like Rock And Roll.'
'Rainbow really knocks you off your feet with their 1976 release, "Rising." The album includes six awesome tracks of pure rock and roll typical of the 1970s. This is also its weakness though, in my opinion. It is too short of an album. By today's standards, this is an EP. This doesn't take away any of the enjoyment though, it just leaves you wishing you had more Rainbow to listen to.
The album kicks off strong with the opening to, "Tarot Woman," a song with a great keyboard intro by Tony Carey. It builds up into a great hard rocker that's up there with some of the bands best. The flow of songs continues with the often-overlooked track, "Run With the Wolf." Blackmore plays a great lead that is totally him in every way. He plays an incredible solo and the drumming of Cozy Powell and the playing of bassist Jimmy Bain keep the song moving in a nice temp.
The material gets familiar with the next track, "Starstruck." The song includes a great Blackmore riff and Dio has a perfect voice for it. Cozy Powell's thunderous drumming plays throughout the song and is incredible. Blackmore pulls out another great solo that is, well, Blackmore. The next track is a track that is often forgotten as well, "Do Your Close Your Eyes?" The song has a fantastic Blackmore riff and Tony Carey really provides fantastic keyboard work and gets a great effect with them. Powell, though slowing down a little on this track, still has that thunderous effect on his drumming. The lyrics are great as well, rather commercial, but the instruments take this feeling away.
The final two pieces of the album are epics. "Stargazer," is exactly that. You can sit there for hours and hours and the song still has you wondering what it's exactly about. Dio's vocal is completely unmatched on this song. He sings the entire piece with a passion, never letting up once. Blackmore's playing is incredible on the track and inspired a whole generation of bands that came after him. The track single-handily created the, "Neo-Classical," style of metal. Blackmore's playing starts off on an easy riff, then explodes into a tremendous solo that includes everything a fan could want. Powell's distinctive drum sound shines throughout the song and is a key element to the feel. Tony Carey plays an incredible keyboard part and plays well with Blackmore. Jimmy Bain keeps the song flowing, and the entire Munich Philharmonic Orchestra strengthens the rest of the playing.
The final song (and the second epic) is entitled, "A Light in the Black." The piece has a great Blackmore riff that plays through the song, giving it fire. Powell's drumming isn't as loud on this track, but sure does keep it going. Dio's vocals are great, but not as powerful and capturing as they are on, "Stargazer." Keyboard can be heard, but on this piece it's lowered to a rather low level. Jimmy Bain continues his awesome bass playing and continues to help the piece flow.
"Rising," is a great album by any expectations. Usually considered Rainbow's greatest album, very little of the album made it into the band's live shows, with only, "Stargazer," and, "Do You Close Your Eyes?" being shown in the bands 1976 world tour. Blackmore's genius shines throughout the entire record and Dio is unmatched. The powerful drumming of Cozy Powell, in my mind, was never captured ever again as it is found on the, "Rising," album. Jimmy Bain and Tony Carey really should have been kept on for at least one more album, but as Blackmore doesn't like to work with the same people all the time, this was changed. The only reason I don’t' give this album a 100 is because it is too short and, of course, left me wanting more.'
'I usually dislike live albums. Why? Because the production is usually worse than on the studio albums, the band plays the same songs the same way, so what you usually get is the same as on the studio albums but worse. There are exceptions of course. This is one of the best live albums ever recorded. The production is very good (mine has the words 'Rainbow remasters' printed on it). Produced by Martin Birch. Sounds familiar? Martin Birch was responsible for much of Maiden's production.
So why should you have this record? The song Catch The Rainbow, Sixteenth Century Greensleeves and Still I'm Sad are better than the versions found on the Ritchie Blackmore's Rainbow. That's one reason. Another is the song Mistreated. That song can't be found on the other albums. Let's take a closer look on the album. While it only has 6 songs it plays for more than one hour.
It begins with a cool intro, a small portion from the movie "Wizard Of Oz" which is merged with the song Kill The King (later released on the 3rd studio album). While it's a great song, it's not better live, I prefer the studio version. Continues an excellent 11:15 long medley with the songs Man On The Silver Mountain and Starstruck, another two classics with other words. Between the songs there's a nice blues section that adds to the feeling, the songs and the blues part is merged in a perfect way, with a short pause between the blues and Starstruck, which by the way is very different from the original, due to some parts with more or less only the vocals. Follows an upgraded version of Catch The Rainbow. The song is 15:36 compared to the originals' 6:36. Some might think that this is just a prolonged version of the same song. Truth is that the live version builds up the atmosphere a lot with long calm guitar parts. I never feel that it would become boring. While it's basically the same song, the original is more compact. Here it feels like the song has the room to become what it was meant to be, an epic masterpiece. Mistreated is the next song in line. A classic heavy ballad with long calm parts building up the atmosphere. Pure excellence for 13:07! I don't think there even exists any release with this song not performed live. Sixteenth Century Greensleeves is almost like another song, if you compare this with the version found on the debut. 3:29 has become 7:37. So, what's the difference? First of all, it has a calm two and a half minute long guitar intro. There's so much more emotions here than in the debut! Still I'm Sad is the last song on the album. It plays for 11:05 compared to the originals' 3:53. More of the great stuff by Blackmore and Dio with other words!
Highlights: Catch The Rainbow, Mistreated, Sixteenth Century Greensleeves and Still I'm Sad'
'The last album featuring the the powerhouse trio of Ronnie James Dio, Ritchie Blackmore, and Cozy Powell is one hell of a way to go out. All three turn in stellar performances and make this a top notch release. What separates this record from the previous two of the Dio era are the more complex, unconventional song structure and guitar parts of Blackmore.
Ritchie Blackmore is a great guitar player. That was probably the most obvious statement one could make, but the songs "Gates of Babylon", "The Shed (Subtle)", and "Kill the King" separate Blackmore from any othe guitarist. From the unique opening to "Gates of Babylon" to the walking, thumping of "The Shed"; these are cuts that not too many guitarists can emulate or achieve. The man is one of a kind and one of the best and there is no better vocalist to complement the Man in Black than Ronnie James Dio.
Dio does it all on this album. He can do aggressive vocals like in "Kill the King" or melodic, catchy vocals in "Lady of the Lake" or "Long Live Rock 'n' Roll." He can go along with a fast number like "Sensitive to Light" or carry a number like "Rainbow Eyes" with his smooth and mesmerizing voice. The man can nail every note and can sing any kind of a song that Blackmore throws at him. He excels in voice control and perfectly sings off of Blackmore's riffing. This is truly a magnificent performance from Dio.
The other member of the tremendous three of course is the one and only Cozy Powell. The calculated way he attacks the drum kit is remarkable. He found a balance to not do too much and attacks at the most opportune times. The perfect example of this is "Kill the King." The sound is so fierce and accelerating that the head-banging will make your neck sore and that is a fact.
This album would be perfect, but a couple of songs just do not live up to what these three men can do. While "Long Live Rock 'n' Roll" is a good opener and very anthemic, the chrous does become a little repetitive and should have been shortened. "L.A Connection" is a poor, plodding rocker that is an obvious song to get into the mainstream. It is a big disappointment, especially considering the other cuts found here. The last song that falls on its face is the odd closing "Rainbow Eyes." I mentioned before of the remarkable performance Dio gives on the song, but that is all there is...just Dio. There is no guitar or drums throughout the seven minute song. The only instrument is a violin and flute and that is unacceptable!
This release is a shooting star for metal and has many enjoyable moments to take in. It is very unfortunate that this lineup could not stay together because there could have been many more incredible releases from this powerhouse, but then there would have been no Heaven and Hell, so there are some positives out of that breakup. One thing is for certain though and that is: Long Live Rock 'n' 'Roll and Long Live Rainbow!'
'It is 1979. Ronnie James Dio has left Rainbow after 1978's, "Long Live Rock 'n' Roll," a fantastic album in the Rainbow catalogue. Ritchie Blackmore spends three days trying to acquire former Purple singer Ian Gillan to enter the fold, but Gillan declines. So after holding auditions, Blackmore pulls in Graham Bonnet to handle lead vocals.
The album produced by this line-up of the band, "Down to Earth," in my mind, is the greatest album Rainbow ever put out. Each song is carefully planned out and they all have great things about them. The album opener, "All Night Long," is my favorite song of all time. Graham Bonnet was told to sing reminiscent of the old Stone's song, "Out of Time." However, he adds his own style to the track and pounds out every word with passion. Ritchie Blackmore turns out a fantastic solo and the guitar work for the rest of the song, though tuned down a bit, is incredible.
"Eyes of the World," is next on the album and for fans of the Ronnie James Dio era of the group, it will most defiantly give them something to love about this album. Blackmore turns in an awesome solo, as does keyboard player Don Airey. The vocals are fantastic on this track and Bonnet still hands in a terrific performance. "No Time to Lose," the next track, is a straightforward hard rock song typical of the 70's. Blackmore turns in a fantastic riff and his playing holds true throughout the track. The band decides to get a little bluesy on the next track, "Makin' Love," which leads to a great song. The notes the whole band hits gives the song a bluesy feeling to it and in turn makes for a great song.
The radio hit, "Since You Been Gone," is probably my least favorite song on the entire album. Mediocre riff and all right playing by the rest of the band. Bonnet doesn't impress me on this track as much as he does the rest of the album. In my opinion, this is a good filler track and I prefer the other hit off of the album, "All Night Long." The band kicks it into high gear again with another bluesy track, "Love's No Friend of Mine." Great musical structure with Blackmore turning out some great playing as well as Don Airey, who is often forgotten about. The keyboard playing on this whole album is absolutely phenomenal.
The band continues its outrage of material on the next track, "Danger Zone." When I first heard this track, I felt greatly tricked by it. Some of the vocals that I expected that Bonnet would sing in a certain way did not turn out that way. They turn out better than what I had thought of and though some parts could be hit higher, the low octave gives this song a chilling feeling to it and is a straightforward rocker. Blackmore pulls out a great solo and his riff in the song is astonishing. Cozy Powell plays a great drum track on this song as well as the final track, "Lost in Hollywood." Cozy gets a thunderous sound on this track and Blackmore continues to pour out great riffs. Probably one of the best tracks on the album, the solo is great and the entire song is deeply rooted in a classical style.
As you can probably tell, "Down to Earth," is my favorite Rainbow album. It has everything a good hard rock album requires. Great riffs, stunning solos, thunderous drum beats, quality bass work, amazing keyboards, and a great voice. It angers me when people put this album down cause if you really care about the music and it all, you wouldn't judge it on just the vocal work. It doesn't really matter with me though, because I enjoy Bonnet's singing and I think it's a real shame that this line-up of Rainbow didn't stay together for at least one more album. An album with Graham Bonnet, a man who can give an emotion to these songs, is better than any with Joe Lyn Turner, a man who's voice is entirely commercial.'
'The first Joe Lynn Turner album. I remember When I first heard I Surrender, I was like oh man why did Dio have to leave? And its funny how I love that song now. I guess its just a shock when you first hear their stuff without Dio. Its good, but it takes a little time to get used to. The biggest thing for me is that there is no Cozy Powell! I know Bobby Rodinelli is a sick drummer. Its just that in my eyes Cozy Powell is Rainbow's drummer. Rodinelli does an amazing job though. So no real problems about the drumming just a little mental thing. I Surrender has a pop feel to it, but dear god its catchy, and the singer.... I just can't describe Turner's voice. Then Spotlight Kid is a nod to their heavier days. Oh man this is the shining star of the album. No Release is OK I guess. I don't think there is a Rainbow song I full on dislike. Magic is better than the last track, it has a cool beat to it. A little bit on the pop side. Vielleicht Nachster Zeit(Maybe Next Time) is a mellow instrumental. Can’t Happen Here is awesome! It’s a hard rocker, a bit on the commercial side though, heavily enjoyable! Freedom Fighter is another great heavy track with a cool chorus. Midtown Tunnel Vision is a song that you skip past. Difficult To Cure is a sick version of Beethoven’s 9th. Although the synthesizer makes it a bit cheezy. So Joe Lynn Turner’s first album with Rainbow is rather good. Although not as good as the album to follow it. Although it’s a lot different from their 70s stuff. Down To Earth foreshadowed what was to come. I prefer the Dio days, but this a good album.'
'"Difficult To Cure" was definitely Rainbow's hand at radio-friendly pop rock, adding more fluff to the mix and also seeing crooner Joe Lynn Turner join the fold, to replace Graham Bonnett. This meant that the blazing guitar work of axe master Ritchie Blackmore would be shoved into the background. NEVER a good move, and it proved to be just that.
Enter "Straight Between The Eyes", a harder rocking, more guitar based album, just like the good ol' days. Yes, it still has some of those commercial elements, but it now has some extra kick to it, thanks to Ritchie's riffs. Joe Lynn Turner is still here, to keep the accessible edge, but he does a good enough job here, without sounding too out of place. Drummer Bobby Rondinelli shows off his skill quite well here, finding a balance between aggression and groove. Roger Glover shows once again that he's an awesome bassist that can hold down the rock solid foundation like very few can. Keyboardist David Rosenthal is kept in the background for most of this album, staying mostly with an atmospheric approach, which works quite well. And Ritchie Blackmore on guitars, well what else can i say?........It's Ritchie. Of course he rules!
The albums gets kickstarted with the damn near SPEED METAL of "Death Alley Driver". You can see this is as Rainbow's version of "Highway Star". It even has a similar structure, but nonetheless, it's still a very solid track. Fast riffs, fast solo, it's all good. "Stone Cold" is the commercial, radio-friendly ballad here, and it pays off, as this is one of the band's biggest hits and one of the better songs here. It's a pretty moody ballad, infectious and well-exacuted, nothing really more to say. We then get into "Bring On The Night(Dream Chaser)". A hard rocker, with a catchy, poppy chorus. Nice guitar work, it's a typical commercial hard rocker, but it works. Now here's a song that kinda hit me out of left field, and it being an album cut, it's not very well known and therefore under-appreciated..."Tite Squeeze". It's kinda slow paced, got a cool groove throughout and the chorus and pre-chorus is just cool. Everything works well here. A highlight, for sure. "Tearin' Out My Heart" is another ballad, and not as interesting as "Stone Cold", kind of boring."Power" is another hard rocker, that also got some radioplay for the band, and rightfully so, it has enough kick for the hard rockers, yet accessible for others to get into it. "Miss Mistreated" to me at least, sounds like a lost Foreigner song! Not quite a bad thing, as this track isn't bad, but it's not the best. It kind of gets old after awhile, and eventually you'll find yourself skipping it, even though it's not that bad. And for the record...i kind of like Foreigner.
We get to the energetic "Rock Fever" now. A straight forward rocker, for the most part, that contains a chorus that'll stay with you for days, maybe weeks, depending on how much you listen to the song. And finally, we get to the heavily atmospheric "Eyes Of Fire". This song sounds like a Dio-era Rainbow epic, with Joe Lynn Turner on vocals. Not as interesting or exciting as, say, "Stargazer" or "Gates Of Babylon", but it's still worth a listen, and it's good to hear that style again.
So, we see Rainow flex their hard rock muscle again, without sacrificing too much of the accessibility of "Difficult To Cure", but it's definitely less fluffy and more exciting. This is the best album of the Joe Lynn Turner era, and is worth looking into.'
More guitar this time around=smart move! - 80%
Written byDead_As_A_Door_Nail www.metal-archives.com
'Excellent last studio release until “Stranger In Us All”, twelve years later. This album features an eficient and profesional line-up, with Chuck Burgi, instead of Rondinelli, David Rosenthal on keyboards, Joe Lynn Turner still on vocals and Glover and Blackmore. Ritchie has always been accompanied by great musicians, there is no doubt, and the band of “Bent Out Of Shape” is unquestionably great.
The album’s sound can’t be compared with the Dio era metal masterpieces (of course), but it’s probably a return to the “Difficult To Cure” more influenced, a bit, by the NWOBHM sound (that also benefited the Purple family bands, including Whitesnake and Gillan). Tracks like “Street Of Dreams”, “Desperate Heart” or “Can’t Let You Go” show the melodic sound Rainbow used to play in the Turner era, but although those songs are good and deserve to be included in every band’s compilation, there are some others that really show a more metal sound. I mean “Fool For The Night”, “Drinking With The Devil” (a very underrated song which I really like) or “Fire Dance”. Those songs have got speed, power and show an aggressive sound that only few tracks of the precedent album have. Also I highlight the instrumental “Anybody There”, a piece that reminds me of Malmsteen and company stuff. “Snowman”, in my opinion, is the only one that fails on “Bent Out Of Shape”, specially because those electrical drums, but it’s not really bad at all. “Make Your Move” and “Stranded” also sound awesome, but unfortunately, Blackmore seems to forget this album’s stuff.
In conclusion, this is probably the best Turner era Rainbow album and I think a band fan must have it because on it, they went back to the metal they forgot a bit on “Straight Between The Eyes” and also the production is better. So I don’t think nobody would feel deceived after listening to this great release.'
'Released in 1986, "Finyl Vinyl" was at the time considered to be a posthumous release. Ritchie Blackmore had decided to rejoin Deep Purple (the fine "Perfect strangers" album would be the result), and thus Rainbow was wound up. History records however that Blackmore would resurrect the name with a brand new line up in the 1990's, but we should consider this album without the benefit of hindsight.
As an attempt to close the book on the Rainbow story, "Finyl Vinyl" is not a bad effort. It draws together live versions of songs from across the band's catalogue, and adds three otherwise hard to find studio tracks. The running order is pretty haphazard, indeed if anything it generally takes us from new to old.
The live recordings cover the period 1978 to 1984, during which time Blackmore hired and fired at a faster rate than the English Premier League. Thus we have three different lead vocalists; Ronnie James Dio, Joe Lynn Turner and Graham Bonnet, plus a host of keyboard players etc. The one constant of course is the lead guitar of Ritchie Blackmore. One of the strengths of this album is that it gives us the opportunity to admire Blackmore's skills in a live environment, and to ponder the truth of Ian Gillan's recent assertion that Ritchie cannot improvise.
Turner dominates the first part of the album, singing on no less than nine of the first twelve tracks. These cover Rainbow's most commercial period, including the huge Russ Ballard (of Argent) penned hits "I surrender" and "Since you've been gone" plus the equally familiar "Can't happen here". Naturally, these renditions lack the finesse of their studio counterparts, both in terms of production and performance, but this is more than offset by the way they capture the mighty sound of the band live. The first half dozen tracks are pretty faithful recreations of the studio originals, but thereafter things get more interesting.
"Tearing out my heart", a blues ballad from the "Straight between the eyes" album, becomes an 8 minute affair, the track moving from its brooding original form into a full on belter with a rip roaring, feedback laden solo by Ritchie. Those who missed out on this track due to its omission from certain versions of the album should track it down without delay.
The longest track here is the 11+ minute version of "Difficult to cure", a piece loosely based on Beethoven's 9th. This rendition sees Ritchie at his exhibitionist best, teasing the audience with his noodling and astounding them with his virtuosity. The real meat though is the appearance of a full orchestra! The recording is taken from one of the band's last gigs, which took place in Tokyo Japan in 1984. It's all wonderfully over the top and a true prog lover's paradise.
"Man on the silver mountain" and "Long love rock'n'roll" are also much longer than the originals, the former through some great improvisation and a blues interlude, the latter through the obligatory clap and sing audience session.
The three rare studio tracks include the unimaginatively named "Bad girl" with equally bland lyrics. The song features the voice of Graham Bonnet (who sang "Night games") and is an unreleased (with good reason) track from the "Down to earth" sessions. "Jealous lover" is a B side from 1981, while "Weiss heim" ("White house", the name of Ritchie's US home at the time), a B side from 1978, is a fine instrumental. The melancholy guitar on the track is backed by atmospheric piano, the piece being criminally hidden away prior to this release.
While probably correctly listed here as a live album despite the three studio songs, this should not be considered a conventional live album. It does not capture a single concert, but is a compilation of live tracks from across the years. If you want to here the band at their live best at a single point in time, the "On stage" album is the one to go for. While many of the songs do not vary enough from the originals to make them essential listening, the ones which do certainly make this a worthwhile acquisition for anyone who enjoys the music of this fine band. '
Written byEasy Livin www.progarchives.com
Rainbow - The Polydor Years 1975-1986 (2007) [Japanese 10 Mini-LP Limited Box Set] [HQ]
1. Man on the Silver Mountain (04:37) 2. Self Portrait (03:12) 3. Black Sheep of the Family (Quatermass cover) (03:19) 4. Catch the Rainbow (06:36) 5. Snake Charmer (04:30) 6. The Temple of the King (04:42) 7. If You Don't Like Rock 'n' Roll (02:36) 8. Sixteenth Century Greensleeves (03:29) 9. Still I'm Sad (Yardbirds cover) (03:53)
Ronnie James Dio - Vocals Ritchie Blackmore - Guitars Craig Gruber - Bass Gary Driscoll - Drums Mickey Lee Soule - Piano, Keyboards
1. Intro: Over the Rainbow / Kill the King (05:31) 2. Man on the Silver Mountain / Blues / Starstruck (11:15) 3. Catch the Rainbow (15:36) 4. Mistreated (13:07) 5. Sixteenth Century Greensleeves (07:37) 6. Still I'm Sad (11:05)
Ronnie James Dio - Vocals Ritchie Blackmore - Guitars Jimmy Bain - Bass Cozy Powell - Drums Tony Carey - Keyboards
1. Long Live Rock & Roll (04:19) 2. Lady of the Lake (03:37) 3. L.A. Connection (04:58) 4. Gates of Babylon (06:46) 5. Kill the King (04:28) 6. The Shed (Subtle) (04:45) 7. Sensitive to Light (03:04) 8. Rainbow Eyes (07:11)
Ronnie James Dio - Vocals Ritchie Blackmore - Guitars Bob Daisley - Bass Cozy Powell - Drums David Stone - Keyboards
1. All Night Long (03:49) 2. Eyes of the World (06:36) 3. No Time to Lose (03:41) 4. Makin' Love (04:36) 5. Since You Been Gone (03:10) 6. Love's No Friend (04:52) 7. Danger Zone (04:30) 8. Lost in Hollywood (04:51)
Graham Bonnet - Vocals Ritchie Blackmore - Guitars Roger Glover - Bass Cozy Powell - Drums Don Airey - Keyboards
1. Death Alley Driver (04:36) 2. Stone Cold (05:15) 3. Bring On the Night (Dream Chaser) (04:02) 4. Tite Squeeze (03:15) 5. Tearing Out My Heart (04:00) 6. Power (04:23) 7. Miss Mistreated (04:25) 8. Rock Fever (03:40) 9. Eyes of Fire (06:41)
Joe Lynn Turner - Vocals Ritchie Blackmore - Guitars Roger Glover - Bass Bob Rondinelli - Drums David Rosenthal - Keyboards
1. Stranded (04:26) 2. Can't Let You Go (04:21) 3. Fool for the Night (04:04) 4. Fire Dance (04:29) 5. Anybody There (02:37) 6. Desperate Heart (04:03) 7. Street of Dreams (04:26) 8. Drinking With the Devil (03:43) 9. Snowman (04:32) 10. Make Your Move (03:56)
Joe Lynn Turner - Vocals Ritchie Blackmore - Guitars Roger Glover - Bass Chuck Burgi - Drums David Rosenthal - Keyboards
1. Intro: Over the Rainbow / Spotlight Kid (06:03) 2. I Surrender (05:45) 3. Miss Mistreated (04:21) 4. Street of Dreams (04:54) 5. Jealous Lover (03:10) 6. Can't Happen Here (04:15) 7. Tearing Out My Heart (08:04) 8. Since You Been Gone (03:40) 9. Bad Girl (04:48)
10. Difficult to Cure (11:15) 11. Stone Cold (04:30) 12. Power (04:22) 13. Man on the Silver Mountain (08:20) 14. Long Live Rock'n'Roll (07:12) 15. Weiss Heim (05:10)
CD I total: 43:40 | CD II total: 40:09 ----------------------------------------------------------------- Track 9 previously unreleased. All other tracks are new versions on previously released songs.
Tracks 1-4, 10 recorded at the Tyko Budokan, 1984 Track 5 studio recording 1985 Track 6 recorded at the Nassau Coliserum, NY, 1981 Track 7, 11-12 recorded at the Convention Centre, San Antonio, TX, 1982 Track 8 recorded at the Monsters of Rock, Donington, England, 1980 Track 9 studio recording, 1979 Tracks 13-14 recorded at The Omni, Atlanta, GA, 1978 Track 15 studio recording, 1981
Ronnie James Dio - Vocals on 13-14 Joe Lynn Turner - Vocals on 1-7, 11-12 Graham Bonnet - Vocals on 8-9 Ritchie Blackmore - Guitars on all tracks Roger Glover - Bass on 1-12, 15 Bob Daisley - Bass on 13-14 Chuck Burgi - Drums on 1-4, 10 Bobby Rondinelli - Drums on 5-7, 11-12 Cozy Powell - Drums on 8-9, 13-15 David Rosenthal - Keyboards on 1-7, 10, 13 Don Airey - Keyboards on 8-9, 15 David Stone - Keyboards on 13-14 Lin Robinson - Backing vocals on 1-7, 11-12 Dee Beale - Backing vocals on 5-7, 11-12 Orchestra on 10 conducted by Takashi Hiroi