Chords for Ritchie Blackmore talks about his history #2

And [F] they were touring with us, supporting [G] us, and Ronnie was playing on stage and I
would watch him, and he'd be so good.
And I thought, well, he'll be a good singer to [C] take into the studio just to do [G] this one song.
It's funny, the [F] Black Sheep of the Family [C] was the first song we did together, and [G] basically
that was how I felt when I was in deep love.
I was always the black sheep.
_ [F] I would be kept, [C] I'd keep myself to myself [Gm] very much.
I wouldn't really socialize with the rest of the band.
_ So, me and the rest of the band, [G] we just, we just always were the black sheep.
[C] So it's very [G] appropriate that it's the first song we did.
[F] Um, he doesn't show it.
[F]
Because Ronnie, [C] he's a strong person.
[G] He's very intelligent, so he doesn't really show how he feels.
So it didn't show to me that he was [Db] intelligent.
[G] _ Um, _ [Gm] _ _ not really.
[F] We just, we [Dm] wanted to _ [C] play more, [Eb] _
_ I wanted [Gm] to play more commercially.
[G] I wasn't too, [G] I felt that Ronnie really [Eb] wasn't interested in [C] playing anymore.
[G] He was giving an [C] impression that he just [G] couldn't be bothered.
And if I came to him [Bb] with an idea, he'd go, okay.
[G] So he wasn't really inspired.
So then I [F] wasn't inspired.
So [Gm] I started looking for another singer.
[Bb] _
That's right, [G] I was, I went round this house once and got [C] drunk.
And [G] asked him, which one he got.
And [C] he said no.
And [F] the next day I was very happy, he said no.
[C] _ _ _ _ [Ab]
Yeah, I always regret most of the singers I have.
_ [B] Um, yeah, we were, we were in France and we didn't have a singer.
And we heard about Graham Bonnet, how good he was.
[A] And he came [B] over and [E] he sang that, he sang that Since You've Been Gone [A] and all the others.
And he was a strange singer too.
[B] Because he didn't, he wasn't really interested in the blues.
[A] _ [B] And you'd have to tell him, [E] _
this is quoting Roger Glover.
[G] Roger Glover used to say that [A] God gave him this incredible voice.
And said that you're not going to have anything else.
[Db] _
_ [E] _ That was Roger Glover.
[D] _ _ [A] _
_ _ That's true.
I don't know. _
_ _ _ _ State.
The point was, I was going to do just the one record with Deep Purple and keep Rainbow going. _
But I never did go back to Rainbow.
Being in Deep Purple is like, you can be incredibly lazy.
_ I felt like being lazy.
When I was in Rainbow, if you're heading a band, you have to work harder. _
And with Deep Purple, you have five people equally sharing everything.
So I can just follow along.
Being herded around like sheep.
So I became lazy for about four years. _ _ _
Started, and I only came again.
_ But I, [Am] in retrospect, I don't think I should have left.
[A] Although Perfect Strangers was a good LP.
I liked that.
The one after that was just rubbish.
Because we were very perplexing.
[G] _ _ The house would be right next door.
But not like that.
[E] But [A] it's true what you say.
Rainbow was just at that peak of greatness in the band.
But that's typical.
The way I move, I tend to shy away from being too popular. _ _
I do all the right things until just that last moment.
Because_
_ It's probably in my system. _ _ _
There's that kind of rebel.
_ I don't want to do everything.
I just want to [G] do _ something [Gm]
different.
[G] I think I was always like that [A] at school.
I could never follow it.
I always wanted to be the odd one.
If we were doing history or maths, I would wonder,
why are we doing history?
I don't want to know about the [Dm] past.
I only want to know about the future.
[A] And maths, when they were teaching, things like [Gm] logarithms,
equations, I would never use it.
I don't want to do it.
[A] So I was always [E] very_
I wanted to be my own [D] man.
I didn't want [G] to be a sheep. _
_ _ [D] _ _ [A] _ _ _ [C] _
I think it started_
I was getting more and more fed up with playing rock and roll.
Every time I go in the studio,
_ not so much with Rainbow, but to go in the studio [A] and play
hard rock was really getting on my nerves.
Because [D] I played it so much that I needed a [Em] rest.
I [Bm] found I was not excited.
To be in the studio [A] doing hard rock was [D] a chore.
It was something I had to [Em] do,
but [D] I wasn't enjoying it.
[A] And then on the [D] side, I would always be playing
_ with Candice, this [Em] other music.
And I noticed that [D] I would always be very [G] excited by that.
Then I would go back [D] into the studio to carry on the Rainbow stuff.
[Em] I thought that was a bizarre [D] situation to be in.
I'm recording [A] music I don't particularly [D] like,
yet I'm writing music which is not being recorded,
which [Em] I like,
until this [D] last LP,
[G] and I've changed it now.
[D] But the rock and roll thing,
I've been playing it for 30 years,
[Em] and I think I needed a break.
_ There's nothing fresh [D] coming up.
It's _ all been done.
_ [E] _ _ _
Hard rock to me is something that's enjoyable to the ear,
that's palatable to _ the creative mind.
I don't think, _ personally,
too many records have been made
that are that creative in the last 10, 15 years,
in a hard rock sense.
I find a lot of bands today are just regurgitating what's been done.
_ And hard rock is something that can be very exciting,
_ but it has to be_
Hard rock is invariably not very commercial.
So the two don't go together.
I mean, if you make a good hard rock record,
it probably won't be played on the radio,
which could be a problem to the record companies,
and they won't back it.
So sometimes there's a lot of confusion.
_ _ As opposed to in the early days,
say, between 66 and 75,
if you were good,
for instance, Jethro Tull,
great musician, great music,
it's a hit.
Today, it doesn't work that way.
If you have good music, it's invariably not a hit,
but if you have bad music, it'll be a hit,
depending on what fashionable statement you're making.
_ And, uh,