#i did previously but i hated their designs so i kinda reworked them

[le-agent-egg]

decided to do some traditional doodles of mondus and cheerio in my ocverse…

they live in the southern most city out of all the nations, it’s super mountainous and has really dense forests so no one really wants to live there LMAO these two are so sad they need a hug IMMEDIATELY!!!

ignore how shitty the lighting in my room is

[hmel78]

In conversation with Doogie White ...

Circa 1994, when it was announced that guitarist Ritchie Blackmore was reforming Rainbow, rumours flooded the music community regarding who might feature in the line-up, but ultimately it was a collective of relative unknowns who made it onto the new record, and the tour bus ...

The album, “Stranger In Us All”, was issued under the name “Ritchie Blackmore’s Rainbow” in August 1995, and features Paul Morris on keyboards, Greg Smith on bass, John O’Reilly on drums, Blackmore’s Night’s Candice Night on background vocals, and fronted by Doogie White, the singer was an inspired choice; a huge fan of Ritchie’s career in both Purple and Rainbow, the singer formed a strong writing partnership with the guitarist. The album includes a reworking of The Yardbirds’ ‘Still I’m Sad’, which had been recorded for Rainbow’s debut, 20 years earlier ; Ritchie’s classical flights of fancy are truly achieved on his arrangement of Edvard Grieg’s ‘Hall Of The Mountain King’, and tracks such as ‘Wolf To the Moon’, ‘Hunting Humans (Insatiable)’ and ‘Ariel’ proved themselves to be worthy additions to the Rainbow catalogue. When it came to playing live, songs from both Rainbow and Purple were revisited, and fans are lucky enough - on the re-issue of “Stranger In Us All” -  to be presented with a unique live recording from a 1995 Swedish concert, of ‘The Temple Of The King’ - it also features a radio edit of the single ‘Ariel’, plus the song ‘Emotional Crime’ that has previously only been released in Japan.

Accompanying the extensive liner notes is a personal account from singer Doogie White, plus plenty of artwork and memorabilia from Doogie’s own Rainbow collection.

Doogie White has had a pretty extensive career as a singer / songwriter since his days with Rainbow - We caught up with him whilst on a train to Mannheim to find out more ...

HR : Having been a fan of Rainbow prior to joining them in 1994, how did it feel to suddenly have such a prominent role in the band?

Doogie White : It was a huge moment for me in every way.   There I was, a cheeky upstart who had long admired all that Ritchie did, being personally asked by him to come to America and join his band. He knew nothing about me and I thought I knew all about him. We hit it off straight away from the first notes we played together. We played old Purple and Rainbow songs and some bar band standards and jammed a few ideas just for him to see what I could do on the improvisation front.

I was only supposed to be there 4 days but he asked me to stay for a week. We discussed what kind of album we wanted to make. We played football. He did some magic tricks and we jammed for hours.

We had a good and healthy working relationship and a fine friendship. I knew my place and was happy to be part of his new adventure. He shared his hopes and fears. He trusted me.

I think we made a fine album with some good songs and a couple of real Rainbow classics. There were a couple we compromised on and we did have better ideas but we never finished them so that they could not be released as “bonus” tracks at a later date. I know how much he hated the re released Purple stuff with alternate takes.

I have hours of material but it’s in the Loft ...

HR : Despite the sudden nature of the break-up in 1997, was the overall experience of those 3 years a positive one?

DW : Yes!  Even at the very end when I decided it was here and no further,  it was all good and positive. It was sad of course as I felt there was more work to do and I had given him a tape with 6 song ideas for the next album. Some ended up on Cornerstone’s HUMAN STAIN and another on a TANK album. I treated my time in Rainbow like Ali treated the Heavyweight Crown.   It was the wrong time for the kind of music we were doing but we did it anyway.

Despite what Ritchie says, or in most cases does not say, we got on well until we did not.  His choice not mine. HR : To me it has always seemed strange that it literally ended over night - like a political coup d’etat! - Especially as You seemed to fit Ritchies criteria perfectly ; with what you contributed as both performer and writer. There are many citations which suggest that through Your input, there was a wider range of material that could be performed live, and also Ritchie stated [at the time] that Stranger In Us All was the best thing he had recorded to date - does  that reflect how You felt whilst working with him and Rainbow?  

DW : I don’t think Stranger In Us All is the best thing he did. I don’t even think it’s the best thing I have done. That’s just him promoting the album. It has its place and that is for others to judge. It was a good album though!

I just followed his lead. If he wanted to go off and jam some blues of folk or silly songs I was there as were the rest of the band (Greg Smith, John O’Reilly or Chuck Burgi, Paul Morris, and others) to back him up. He knew that we knew what was required, and also knew what I could bring to the party - he exploited that to the max some nights! He has said he does not like fun and that music is a serious business, but for anyone who saw that ‘95 tour you know that there was some serious music and some serious fun on stage! We were enjoying each other and pushing each other. He’s quite talented like that.

Then others got his ear and were feeding him negative stuff, whispering’s, designed to disrupt him, for his ears only and that was unhelpful - but it suited their agenda and just made him more suspicious, which he had never been with me before.

No one in the band was doing anything other than enjoying being in the band and RAWKin on stage every night. There were no egos just a happy band doing the best they could every night,  and those who saw it knew it was good. I did say if he had a problem with me, for him to come to me and we could sort it out - But that is not his nature and he never did. So when it came down to it he was prepared to believe what he wanted and what he was being told and have things done in his name that were quite frankly beneath the man. When his management were being obstructive I wrote directly to him and he honoured all his commitments to me and made sure that his management paid what was due at the time. That’s how it should be.

HR : And that’s where it stopped  - until now ... “Stranger In Us All” has just been re-released and given a new lease of life?

DW : Yes they have pumped out the frequencies and it really sounds lot better than the flat linear sound of the original.

We should have added some of the extra tracks I have of the demos. But there are far too many hoops to jump through and it would mean new agreements between him and I. That’s not a path he wants to walk. HR : No, understood - but going back to when the original album was released - Obviously you were unaware of the fact that it would be the only recording that Rainbow would make at the time (possibly the last ever one?)  - does it change the way that you feel about it? Do you ever listen to it?

DW : I don’t listen to it at all. I don’t listen to anything I have done other than a couple of times when I get it. Occasionally something will pop up randomly on my iTunes and and a wee nostalgic smile passes my lips. But actually with SIUA - I remember every ounce of effort ; every change of lyric, key, tempo - So it has a different flavour for me than for others. I am proud of it, yet I know that we could have done better. But I was new to the big spotlight and while I stood my ground for a bit every now and again, it was Ritchie’s band and he got to do what he wanted.  Pat [Regan] was producing it and had his instructions on how to guide me.   I was just happy to be waking up every day knowing that today was going to be a new adventure.

I had so much fun all the time. Even when the dark clouds were hovering as they kinda did for the last while. His management did go out of their way to make band, and on the road, life a little less inclusive or welcoming ... But It was that 90 mins on stage that made anything worthwhile.

From what people have told me it’s a shame he now has such a distorted view of our time together. But it’s not my business and I don’t care what he thinks about it or how he feels about me.  I have seen some of the comments attributed to him that people send me. He really does re write his own history and I always have a good giggle at some of the nonsense he comes out with.   He loved it at the time, but to be fair it was a long long time ago and perhaps NOT the most important endeavour he has done musically. I look back at it slightly differently because it was VERY important to me. It was the best of times and will never be repeated for him, or for me.

HR : Well thankfully it didn’t deter you from carrying on! You have been involved with many great artists and projects during your career - have you any particular favourite memories?

DW : My memory palace is overflowing with errr memories from my times with LA PAZ  and CORNERSTONE, YNGWIE and SCHENKER, through TANK and beyond. I have a wonderful life and I am having a wonderful career - And if I am honest, really honest, my career would have been very different had it not been for that one tape I passed to Colin Hart who passed it to Ritchie Blackmore,  who made that fateful call one Saturday night in April 1994. I am forever in his debt and do you know what? He will get no joy at all from me saying that, and that is kind of pleasing!

HR : [laughs] Now I don’t mean to offend you by comparing you to a musical nomad, but you do seem to have moved around quite a bit -  If you could have settled for any greater length of time, or even permanently with one of those bands, who would it have been?

DW : I always have plenty to do recording and writing and performing. There is no dirt on the back of my shoes.

I was with Ritchie for 3 years, Yngwie for 6, Schenker now for 5. I would have been happy to do another album with Ritchie but he had a time machine and went away to his beloved middle ages with all the comforts of the 21Century.

With Yngwie we had run our course but remain friends, if not in touch much.

With Michael I hope to continue our successful partnership. We needed time away to do other things after the 4 years of intense touring/recording - Just to get some fresh experiences and know what side the bread is buttered.

HR : That’s always a bonus! What about future plans? Any more solo work or new collaborations in the pipeline?

DW : I am doing an album with a Bulgarian metal band called John Steel. (Blaze did their first) I will be finishing it when I am back from my short run of solos shows with my band WHITE NOISE (Italian Chapter).

I am always working. Sometimes under the radar sometime soaring like an eagle. Its all good and its all fun.

HR : You always look content to be on stage, and just take it all in your rock stride! Ha! What’s the strangest gig you’ve ever played?

DW : With La Paz in the 80’s at a place called ‘Roots of Cleghorn’ run by a lad called “Chicken George”. It was farming country and George was the only black guy for 100 miles. We played to a farmer in a bunnet and his sheep dog,  and George was the door man collecting the money! HR : Haha! No way!? Well from ‘Roots Of Cleghorn’ to Stockholm Circus -  If you could take a ‘dream’ band on the road, who would be your line-up, and what songs would make it to the setlist?

DW : I would just want to be backing singer for David Bowie, and cover  anything from “Love you til Tuesday” to “Blackstar”.