Ritchie Blackmore is beyond doubt one of the all-time great guitar players. From his pop roots with The Outlaws and his many session recordings in the sixties, through defining hard rock with Deep Purple and Rainbow in the seventies and eighties and on to the renaissance rock of Blackmore s Night, Ritchie has proved that he is a master of the guitar across a multitude of styles…
English guitar virtuoso, multi-instrumentalist, and songwriter Ritchie Blackmore is a principal architect of the early hard rock and heavy metal sound. A scholar of blues, heavy metal, progressive rock, folk, and classical, he is a longtime member of Deep Purple, the founder of Rainbow and Blackmore's Night, and is responsible for one of the most enduring riffs of all time, Deep Purple's "Smoke on the Water." With the latter group, he has recorded dozens of albums, including the classics Fireball (1971) and Machine Head (1972), and with the supergroup Rainbow (which also featured Ronnie James Dio for a time), he issued eight studio LPs and landed chart hits with "Since You've Been Gone" and "Stone Cold." In the late 1990s, he formed the Baroque, Celtic, and Renaissance music-inspired progressive folk group Blackmore's Night, and went on to release ten albums, with highlights arriving via 2001's Fires at Midnight and 2013's Dancer and the Moon. In 2016, Blackmore was inducted into the Rock & Roll Hall of Fame alongside his Deep Purple bandmates.
In the far future water is the most valuable substance. Two space pirates are captured, sold to a princess, and recruited to help her find her father who disappeared when he found information dangerous to the rulers. A real Space Opera with sword fights, explosions, fighting robots, monsters, bar fights and time warps.
When Gretchen Wilson released One of the Boys in 2007, she took a left turn and offered as many ballads as she did straight contemporary country-rockers. The album didn’t sell as well as its two predecessors. Wilson went into the studio and cut I Got Your Country Right Here two years later – producing it with Blake Chancey and two tracks with John Rich. She felt it reflected her live shows better than her previous recordings did and would connect better with her audience.