Less than a month prior the official release of their new studio record Guardians Of Time – Part II, Kazakhstan-based heavy metal band Holy Dragons have premiered another new track in preview “Time Bomb”. Read more…
Black Doldrums return with a hypnotic and emotionally charged post-punk track in Repetition, built around a dark, dirge-like foundation and a deliberately repetitive central riff. Atmospheric guitars, driving tribal drums, and layered vocals create a brooding sense of tension, while the track’s cyclical structure mirrors its exploration of unconscious patterns and recurring emotional behaviours. Drawing from gothic post-punk, darkwave, and synth-driven alternative music, the production feels cinematic without sacrificing its melodic core. Repetition is immersive, intense, and beautifully shadowed, capturing the darker side of human connection while leaving space for reflection and emotional ambiguity.
Tired and wired, Municipal Waste guitarist Ryan stops by for a chat at Bloodstock Festival.
We discusses the band returning to Bloodstock for a fourth time, trying to reclaim their crowd surfing record, their love of playing the UK, working on an album, and how touring is going two years into sobriety.
You can listen to the interview below, or jump over to any of the usual streaming services!
The 1960s were the decade when blues and rock music collided with enough force to change popular music forever. American blues had already established the foundation, but a younger generation of musicians began turning up the volume, experimenting with distortion and stretching traditional blues structures into something heavier, louder and increasingly unpredictable.
By the second half of the decade, blues rock was becoming a distinct musical force. Cream transformed the power trio into a vehicle for extended improvisation. Jimi Hendrix completely altered expectations for what could be done with an electric guitar. The Rolling Stones continued drawing heavily from the blues, while Led Zeppelin took that influence into dramatically heavier territory as the decade came to a close.
Yet the story of 1960s blues rock extends far beyond the songs that became classic rock radio staples.
Britain’s blues boom produced a remarkable number of bands, guitarists and singers who helped build the bridge between traditional blues and the heavier rock music that would dominate the following decade. At the same time, American musicians were rediscovering their country’s own blues heritage and finding new ways to present it to rock audiences.
Some of those recordings remain familiar more than half a century later. Others have slipped deeper into the catalogs of artists who deserve another listen. From Peter Green’s emotionally charged guitar playing to the early brilliance of Paul Kossoff and Rory Gallagher, these ten songs capture blues rock while the genre was still taking shape.
Savoy Brown – “I’m Tired”
Few bands represent Britain’s late-’60s blues boom better than Savoy Brown. Founded by guitarist Kim Simmonds, the group became particularly successful with American audiences and would ultimately serve as an important stepping stone toward the formation of Foghat.
“I’m Tired” appeared on Savoy Brown’s 1969 album A Step Further, a record that found the band sharpening the heavy blues sound it had developed during the previous several years.
The performance is driven by Chris Youlden’s commanding vocal and a wonderfully restrained arrangement. Rather than burying the song beneath layers of instrumentation, Savoy Brown leaves room for each piece to breathe. Simmonds’ guitar cuts through at exactly the right moments, demonstrating why he became one of the most respected guitarists to emerge from the British blues scene.
Savoy Brown would record plenty of heavier material, but “I’m Tired” captures the group at an important moment when British blues was gradually transforming into blues rock. It is an excellent reminder that the genre’s evolution wasn’t driven exclusively by the household names.
Taste – “Born on the Wrong Side of Time”
Before Rory Gallagher established himself as one of the most beloved guitarists in blues rock, he fronted the Irish power trio Taste.
The band’s self-titled debut arrived in 1969, and “Born on the Wrong Side of Time” immediately demonstrated what made Gallagher such a compelling musician. Taste was built around a straightforward guitar-bass-drums configuration, but Gallagher could make the trio sound considerably larger through sheer intensity.
“Born on the Wrong Side of Time” opens with a tough guitar figure before settling into a hard-driving blues-rock groove. Gallagher’s playing has the rawness that would become a defining element of his solo career. Even at this early stage, his guitar never sounds overly polished. Every bend and phrase feels immediate.
There’s an urgency to the entire recording. Gallagher sounds like a musician unwilling to wait for the rest of the world to catch up. Gallagher would produce an extraordinary body of work during the following decades, but many listeners who know his solo career have never explored Taste in depth. “Born on the Wrong Side of Time” makes a convincing argument that they should.
Fleetwood Mac – “Love That Burns”
Long before Fleetwood Mac became one of the biggest pop-rock bands in the world, it was one of Britain’s finest blues bands.
Peter Green’s version of Fleetwood Mac could play with tremendous force, but Green’s greatest strength may have been his ability to communicate emotion without overplaying. “Love That Burns,” from the band’s 1968 album Mr. Wonderful, is a perfect example.
The song moves slowly and deliberately, allowing Green’s vocal and guitar playing to establish the mood. Horns add another layer to the arrangement, while Green avoids turning the performance into a showcase for technical excess. His guitar phrases arrive with remarkable patience. That restraint is precisely what makes the song so effective.
Green understood something that the greatest blues musicians have always known: silence can be as important as the notes themselves. Instead of filling every available space, he allows his guitar to answer the vocal. Each phrase feels like part of a conversation.
“Love That Burns” doesn’t have the immediate recognition of “Black Magic Woman,” “Oh Well” or “Albatross,” but it deserves to be mentioned alongside Green’s finest performances. Gary Moore would later record the song for his 1995 Peter Green tribute Blues for Greeny, further demonstrating the lasting influence of Green’s writing and playing.
Free – “I’m a Mover”
Free is usually associated with “All Right Now,” but the band’s 1969 debut Tons of Sobs presented a much rougher version of the group.
Paul Rodgers, Paul Kossoff, Andy Fraser and Simon Kirke were remarkably young when Free came together, yet the band already possessed a musical maturity that separated it from many of its contemporaries. “I’m a Mover” is one of the album’s highlights.
The song isn’t complicated. That’s part of its appeal. Fraser and Kirke establish a relaxed but forceful rhythm, leaving enormous amounts of room for Kossoff’s guitar. Kossoff was never interested in overwhelming listeners with speed. His strength came from vibrato, phrasing and an ability to make individual notes carry enormous emotional weight.
Rodgers was equally distinctive. Even on Free’s first album, his voice had the confidence and authority that would eventually make him one of rock’s most celebrated singers.
“I’m a Mover” contains the essential ingredients that would define Free: space, groove, restraint and an extraordinary relationship between the vocal and guitar.
Interestingly, the song has continued to find admirers decades later. In July 2026, Jack White and Black Crowes singer Chris Robinson performed “I’m a Mover” together during a concert in Chicago, bringing fresh attention to a song that dates back to Free’s earliest days.
“All Right Now” made Free famous. “I’m a Mover” shows that the formula was already there.
Ten Years After – “Hear Me Calling”
Alvin Lee’s reputation has become so closely tied to his lightning-fast performance of “I’m Going Home” at Woodstock that some of Ten Years After’s strongest studio material tends to be overlooked.
“Hear Me Calling” deserves better. Released on the band’s 1969 album Stonedhenge, the song demonstrates that Ten Years After could create a powerful groove without turning every performance into a speed contest. Lee’s guitar still provides plenty of fire, but the track’s greatest strength is its rhythmic drive. The riff establishes itself quickly and refuses to let go. Lee was an exceptionally fast guitarist, but focusing entirely on his speed misses what made him interesting. He had a deep understanding of blues phrasing and rock and roll rhythm, and “Hear Me Calling” gives both qualities room to surface.
Stonedhenge was also more adventurous than a straightforward blues-rock record. The band experimented with different textures and ideas throughout the album, but “Hear Me Calling” provided a direct connection to the muscular sound that would soon make Ten Years After an international attraction.
The band’s Woodstock appearance months later transformed Lee into a guitar hero. “Hear Me Calling” captures Ten Years After just before that explosion in popularity.
Taj Mahal – “Leavin’ Trunk”
Taj Mahal’s self-titled 1968 debut is one of the most important records in the development of modern roots music, yet it doesn’t always receive the same attention in blues-rock discussions as the British albums released during the same period. “Leavin’ Trunk” makes a strong case for its inclusion.
Built from blues tradition but delivered with the attitude of a late-’60s rock band, the recording features Mahal backed by musicians including guitarist Jesse Ed Davis. The result doesn’t sound like an attempt to preserve blues as a museum piece. It sounds alive. The groove is hypnotic, the guitar work is sharp and Mahal’s vocals possess an effortless authority.
What makes “Leavin’ Trunk” particularly significant is how naturally it connects generations. The performance respects the blues that came before it without being trapped by tradition. Mahal understood that the music could evolve while retaining its essential character. That approach would become enormously influential.
“Leavin’ Trunk” has continued to circulate through subsequent generations of roots and blues musicians, including interpretations connected with artists such as The Black Keys and Tedeschi Trucks Band.
For listeners tracing the evolution of blues rock in the 1960s, Taj Mahal belongs in the conversation.
Steamhammer – “Junior’s Wailing”
Steamhammer never achieved the widespread recognition of Cream, Fleetwood Mac or Ten Years After, but the British band was part of the same late-1960s blues boom that helped establish blues rock as a distinct genre. One of the best examples of the band’s overlooked work is “Junior’s Wailing,” from its 1969 self-titled debut album.
Written by guitarist Martin Pugh and vocalist Kieran White, “Junior’s Wailing” has a harder edge than much of the British blues being recorded at the time. Pugh’s recurring guitar riff gives the song its backbone, while White delivers a gritty vocal over a driving rhythm section. The performance remains grounded in the blues, but there are clear signs of the heavier rock sound that would become increasingly prominent as the 1970s began.
Pugh is particularly impressive throughout the track. Rather than relying on excessive speed, his playing combines blues phrasing with a thick, aggressive guitar sound. The riff does much of the heavy lifting, creating the kind of straightforward hook that makes “Junior’s Wailing” immediately memorable despite Steamhammer’s relative obscurity.
Steamhammer continued recording into the early 1970s and developed a more progressive and experimental approach, but “Junior’s Wailing” captures the band at its blues-rock core. More than five decades later, its muscular riff and raw production still sound remarkably effective. For listeners digging beneath the biggest names of Britain’s blues-rock explosion, this is exactly the type of song worth rediscovering.
Keef Hartley Band – “Sinnin’ for You”
The Keef Hartley Band occupies one of the strangest positions in late-’60s rock history. They actually performed at Woodstock, yet remain considerably less famous than nearly every other artist associated with the festival.
Hartley had previously played drums with John Mayall’s Bluesbreakers before forming his own band, bringing some of the British blues scene’s pedigree with him.
“Sinnin’ for You,” from the group’s 1969 debut Halfbreed, demonstrates how expansive British blues rock was becoming by the end of the decade. Rather than simply copying American electric blues, the Keef Hartley Band incorporated elements of jazz and soul into a much broader sound. The song has a loose, muscular feel.
The band performed “Sinnin’ for You” as part of its Woodstock set. Yet the Keef Hartley Band’s Woodstock appearance didn’t receive the historical boost enjoyed by many of the festival’s other performers. The group wasn’t included in the original film or soundtrack, helping turn what should have been a career-defining appearance into something closer to rock trivia.
“Sinnin’ for You” shows why that obscurity is undeserved.
Canned Heat – “Evil Woman”
“Evil Woman,” from the group’s 1968 sophomore album, captures that early incarnation of Canned Heat particularly well. It doesn’t get the attention that “On the Road Again” gets from the album but is definitely a standout track.
The song was written by Larry Weiss. Bob Hite’s booming vocals immediately give the recording a larger-than-life presence, while the band surrounds him with a gritty arrangement that feels much closer to a smoky blues club than the psychedelic imagery that would later become associated with Canned Heat.
Guitarists Henry Vestine and Alan Wilson were essential to the band’s sound. Both were serious students of the blues, but they approached the instrument differently. Wilson favored subtlety and feel, while Vestine could bring a much more aggressive edge. That combination helped give early Canned Heat recordings their distinctive character.
“Evil Woman” also illustrates why Canned Heat was such an important American counterpart to the British blues boom. While bands such as Cream, Fleetwood Mac and John Mayall’s Bluesbreakers were introducing British audiences to electrified interpretations of American blues, Canned Heat was helping bring the music back to young American rock listeners.
Chicken Shack – “The Letter”
Chicken Shack was another important product of the British blues boom that never achieved the lasting mainstream recognition of Fleetwood Mac or Cream. Led by guitarist Stan Webb, the group also provided an early showcase for Christine Perfect, who would later become Christine McVie and enjoy enormous success as a member of Fleetwood Mac.
“The Letter” appeared on Chicken Shack’s 1968 debut album, 40 Blue Fingers, Freshly Packed and Ready to Serve. Written by Jules Taub and B.B. King, the song highlights the band’s ability to take its traditional blues foundation and give it the harder edge that was beginning to define British blues rock.
Webb’s guitar is the centerpiece of the performance. His playing is expressive without becoming excessive, moving between sharp lead phrases and more restrained passages that allow the rhythm section to establish the groove. Webb never became as famous as contemporaries such as Eric Clapton or Peter Green, but recordings such as “The Letter” demonstrate why he deserves a place in discussions of Britain’s influential blues guitarists.
“The Letter” represents Chicken Shack at a point when the line separating traditional British blues from blues rock was becoming increasingly blurred. The band’s roots remained unmistakable, but Webb’s electric guitar and the group’s muscular approach pointed toward the louder music that would become increasingly common in the 1970s.
For listeners exploring beyond the biggest names of the British blues boom, Chicken Shack is an essential stop, and “The Letter” provides an excellent introduction.
Lionsgate will release Rob Zombie’s Firefly Trilogy as an eight-disc collector’s set on 4K Ultra HD, Blu-ray and digital on October 13, 2026. House Of 1000 Corpses, The Devil’s Rejects and 3 From Hell in one box — and for House Of 1000 Corpses, it’s the first time the film has ever been available in 4K. Twenty-three years after it finally clawed its way into cinemas.
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Scott Penfold runs through the Firefly Trilogy box on today’s Metal Breakdown Daily — what’s in it, what’s finally getting the 4K treatment, and why The Devil’s Rejects still hits harder than almost anything else in modern horror. Download the free Loaded Radio App on Apple iOS and Google Play and get it every weekday morning.
What’s actually in the box
Eight discs. Three films. Both 4K and Blu-ray, plus digital.
The physical extras are where Lionsgate has clearly aimed at collectors rather than casual buyers: an exclusive collectible poster, a photography book curated by Zombie himself, artwork by Zombie, a set of art cards, and additional artwork by Vance Kelly.
On the disc side, the making-of material is substantial. You get 30 Days In Hell: The Making Of The Devil’s Rejects — the feature-length documentary, which is genuinely one of the better behind-the-scenes films about a low-budget shoot ever made — plus the four-part To Hell And Back: The Making Of 3 From Hell. There’s additional behind-the-scenes footage and feature-length audio commentaries from Zombie across the set.
And the picture: the 4K presentations of House Of 1000 Corpses and The Devil’s Rejects both carry Dolby Vision.
That last detail is the one that matters most, and it’s the reason this isn’t just another repackage.
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Why House Of 1000 Corpses in 4K is a big deal
House Of 1000 Corpses has always been the ugly one. Deliberately.
Zombie shot it in 2000. Universal, who financed it, took one look and refused to release it — sat on it for three years over the content. MGM passed. Lionsgate eventually picked it up and put it out in 2003, and it became a cult object almost immediately.
The film looks like a found artefact. Grain, blown-out video inserts, that scrapbook-of-a-lunatic texture. It’s a movie assembled out of grindhouse detritus and 1970s TV static, and a huge part of its identity is that it looks like something you shouldn’t be watching.
Which makes a 4K restoration a real question rather than an automatic win. Done badly, you scrub the filth off and lose the thing entirely. Done well — and Dolby Vision on a film this deliberately murky suggests somebody’s thought about the shadow detail — you get the grain rendered properly for the first time instead of smeared into digital soup.
Either way, this is the first time anyone’s tried. That alone makes it the headline of the set.
And then there’s The Devil’s Rejects
I’ll declare my bias here: The Devil’s Rejects is one of my favorite films of all time. Full stop. Not one of my favorite horror films. One of my favorite films.
Here’s why it works when it has no business working.
Zombie made a sequel that isn’t a sequel. He took the cartoon carnival monsters from House Of 1000 Corpses, dragged them out into blinding daylight, stripped away the haunted-house theatrics, and shot the whole thing like a 1970s road movie — Peckinpah, not William Castle. Same characters. Completely different film language.
And then he did the thing almost nobody has the nerve to do: he made you care about them anyway, without ever once letting them off the hook. There’s no redemption arc. They don’t get better. Sheriff Wydell — William Forsythe, giving the performance of his career — is nominally the good guy, and he becomes the most frightening person on screen by the third act because vengeance eats him alive. The film refuses to hand you a side.
Sid Haig as Captain Spaulding is a genuine screen creation, a clown mask over something bottomlessly mean. Bill Moseley’s Otis is terrifying because he’s articulate. Sheri Moon Zombie’s Baby is the id running loose.
And the ending. That freeze-frame drive into the roadblock scored by “Free Bird,” in slow motion, the whole thing playing as tragedy and triumph simultaneously — that’s one of the best final sequences in American film, and I’ll take that argument from anyone.
The Devil’s Rejects in 4K with Dolby Vision, given how much of it lives in sun-bleached exteriors and blown highlights, could be extraordinary.
The third film is the difficult one, and it isn’t really about the filmmaking.
Sid Haig was seriously ill during production. Captain Spaulding, the character that anchored both previous films, appears only briefly, and Richard Brake was written in as Winslow Foxworth Coltrane to carry the load. Haig died in September 2019, weeks before the film’s release.
Watching it now is a strange experience — a trilogy capper that’s also, unavoidably, a goodbye. It doesn’t reach the previous film. Almost nothing does. But it’s the last time that family is on screen together, and the four-part making-of doc included here becomes a document rather than a bonus feature.
Karen Black, so memorable as Mother Firefly in the first film, died in 2013.
The rest of the cast across the three: Bill Moseley, Sheri Moon Zombie, Ken Foree, William Forsythe, Richard Brake, Jeff Daniel Phillips, Dee Wallace, Emilio Rivera and Danny Trejo.
There’s a quote of his worth pulling up here, given he’s spent an entire career being asked when he’ll make something else.
He told The Pulse Of Radio that trying to break out of something can be a big mistake, and that you have to transition your way out gradually — you can’t simply announce you’re not a comedian anymore and demand to be taken seriously as an actor. It never works, because it’s too much to ask of an audience. He called it egotistical to assume they’d follow.
That’s a more self-aware read on career management than most people give him credit for. He’s directed eight features, all of them squarely horror and exploitation, including the 2007 Halloween and its sequel, The Lords Of Salem and 31.
What it is: an eight-disc Firefly Trilogy collector’s set from Lionsgate on 4K Ultra HD, Blu-ray and digital.
Release date: October 13, 2026.
The films: House Of 1000 Corpses, The Devil’s Rejects and 3 From Hell.
The big one: House Of 1000 Corpses gets its first-ever 4K release. Both it and The Devil’s Rejects include Dolby Vision.
Physical extras: collectible poster, Zombie-curated photography book, artwork by Zombie, art cards, and artwork by Vance Kelly.
Disc extras: 30 Days In Hell (The Devil’s Rejects), the four-part To Hell And Back (3 From Hell), behind-the-scenes footage and feature-length Zombie commentaries.
Price: not yet announced.
FAQ
When is the Rob Zombie Firefly Trilogy 4K box set released?
October 13, 2026, via Lionsgate. It arrives simultaneously on 4K Ultra HD, Blu-ray and digital as an eight-disc collector’s set.
Which films are in the Firefly Trilogy?
Three, all written and directed by Rob Zombie: House Of 1000 Corpses (2003), The Devil’s Rejects (2005) and 3 From Hell (2019). All three follow the Firefly family.
Is House Of 1000 Corpses available in 4K?
It will be for the first time in this set. House Of 1000 Corpses has never previously been released in 4K, and the new presentation includes Dolby Vision, as does the 4K version of The Devil’s Rejects.
What extras are included in the Firefly Trilogy box set?
An exclusive collectible poster, a photography book curated by Rob Zombie, artwork by Zombie, art cards and artwork by Vance Kelly. On disc there’s the feature-length documentary 30 Days In Hell: The Making Of The Devil’s Rejects, the four-part To Hell And Back: The Making Of 3 From Hell, additional behind-the-scenes footage and feature-length audio commentaries from Zombie.
Who stars in the Firefly Trilogy?
Across the three films the cast includes Sid Haig, Bill Moseley, Sheri Moon Zombie, Karen Black, Ken Foree, William Forsythe, Richard Brake, Jeff Daniel Phillips, Dee Wallace, Emilio Rivera and Danny Trejo.
Twenty-three years on and House Of 1000 Corpses is finally getting the treatment. Where does The Devil’s Rejects rank for you — best horror sequel ever made, or are we overrating it? Settle it in the comments, and keep it locked on the Loaded Radio stream — follow Loaded Radio for daily rock and metal news.
Based in Gothenburg, SYNVILLA treats music and moving images as organs within the same unruly body. Heavy experimental rock, psychedelia, post-punk, and noise meet video art that is seductive, threatening, and frequently difficult to separate from the performance itself. Riffs drag and buckle, rhythms take crooked routes, and warped melodies push through distortion with a streak of playful menace.
During their live performances, SYNVILLA uses projected video as part of the stage presentation. While the band plays, footage of bodies and faces repeats, divides, and distorts across the screen, changing in step with the music. The projections give the audience a visual extension of the songs and place video art at the center of the concert experience.
SYNVILLA return with their latest single, Milky Breath, released through Beans on Toast Records. The song accompanies the announcement of the forthcoming GRINDMOTHER EP.
Thick drums give Milky Breath a heavy, deliberate gait. Psychedelic guitars slither around them in warped curves, while a buzzing low register carries the chest-deep vibration of a didgeridoo. Above this mass, the vocals quiver with witchy poise, stretching each phrase somewhere between a warning, an invitation, and an involuntary exhalation. The arrangement gains force through repetition as its parts return slightly damaged, bend out of shape, and eventually break into a physical act of release.
SYNVILLA describes the song as a surrender of conscious control, with social masks falling away as bodily impulse assumes command. The title intensifies that tension: milk suggests nourishment and breath signals life, yet the two words together feel thick, close, and almost claustrophobic. Resistance registers as muscle memory, the body shaking loose the instructions it has learned to obey.
Few smiles in recent memory have looked as hungry as the one occupying the Milky Breath video. A black-clad figure appears beneath two enormous horn-like forms while its mouth stretches into a crowded, impossible crescent, recalling the Mouth of Sauron in Peter Jackson’s The Return of the King. The eyes vanish, the head divides, and the grin remains fixed, as though it has taken possession of the person wearing it.
Victor Cornelius turns that premise into five and a half minutes of analog-video mutation. Solarized pinks, acidic orange, and cyan pass over faces and anatomical forms. The central figure is duplicated into contact sheets, folded into bilateral symmetry, pressed behind mesh, and expanded into a featureless white oval. Banks of lidless eyes crowd the frame while faces swim beneath watery tracking errors, hands skitter across a doubled torso, and human figures collapse into stark silhouettes.
Throughout these transformations, the enormous grin functions as a gruesome visual refrain. It survives every attempt to erase the face around it, repeatedly returning with its wet rows of teeth intact. By the final passage, the video resembles a late-night television transmission seized by an intelligence that has only recently learned the mechanics of a human smile.
Watch the video for Milky Breath below:
With two albums behind them, SYNVILLA celebrated their latest release, Feberfoster, with a sold-out concert at Skeppet GBG. The collective has shared stages with Hällas, Skraeckoedlan, and MaidaVale, while appearing at festivals including Fuzztival, Muskelrock, and Sonic Ritual.
Milky Breath is out now through Beans on Toast Records. The forthcoming GRINDMOTHER EP will follow, with its release date to be announced.
Stampin’ Ground vocalist Adam stops by for a chat at Bloodstock Festival.
He discusses the opportunity to play the festival for the first time, how Gavin of Damnation Fest twisted their arm into reforming, how Malevolence have helped the hardcore resurgence, the highlights of the Bloodstock 2027 announcement and expanding the bands reach into Europe.
You can listen to the interview below, or jump over to any of the usual streaming services!
The guitarist, who last played with the band on November 17, 1993 in Helsinki, Finland, touring the The Battle Rages On… album, revealed during an Instagram Live appearance last night (August 11) that he’ll perform with the group tonight (August 12) at the Northwell at Jones Beach Theater in Wantagh, New York.
According to Blabbermouth, Blackmore said, “I sent my A.I. pigeon to Ian Gillan in Portugal, where he lives at the moment. And I said, How would you feel about if I got up just for an encore? Just one of the songs. I don’t want to intrude. And I said, No pressure – just kind of [for] old times’ sake.’ I’m 81 now. So he seemed to love the idea, put it to the band, got a thumbs up, and it looks like we might be doing that.
“I have my roadie there kind of now, setting up my amplifier,” Blackmore continued. “I’ll be using a small amplifier, but it’s very loud. It’s what I use when I record. I hope I can compete with the [current] guitar player [Simon McBride], ’cause I can see that he has very big amplifiers behind him. So, it’d probably just be the one number, as it’s been a while. I changed my strings on my Strat, which I haven’t done in over 25 years… I hope the guy out in the front can turn me up.”
Blackmore went on to say that he hasn’t played rock music in 25 years, which isn’t strictly true, as he played shows with Ritchie Blackmore’s Rainbow from 2016 to 2019.
“It’ll be good to see the old guys again,” he added. “I just thought it might be an idea to let a few people know ’cause I think a lot of people would like to see that. So hopefully my guitar stays in tune, and I can play whatever song is going to be played. It’s just the one song, I think.”
Blackmore co-founded Deep Purple in 1968, but left in 1975 to form Rainbow. In 1984, he rejoined the group to reform their legendary Mark II line-up, and exited for the final time in 1993, to relaunch Rainbow once more.
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