In the grand circus of rock 'n' roll, Rainbow was always the band with the most sequins, the loudest explosions, and the most flamboyant ringmaster in Ritchie Blackmore. By 1986, the band's big top had folded, Blackmore had moved on to resurrect Deep Purple, and fans were left with 'Finyl Vinyl', a double live album cobbled together from various points in the band's tumultuous history. It's a fittingly messy, exhilarating, and occasionally frustrating epitaph for a band that always seemed to be teetering on the edge of brilliance and disaster.
Rainbow emerged in the mid-70s, Blackmore's escape hatch from the increasingly bloated and creatively stagnant Deep Purple. From the start, it was clear that this was Blackmore's show, his vehicle for exploring a wider range of musical ideas, from neo-classical bombast to bluesy hard rock to power ballads dripping with melodrama. The band's lineup was a revolving door of talented musicians, most notably the powerhouse vocalist Ronnie James Dio, whose soaring vocals and fantastical lyrics provided the perfect counterpoint to Blackmore's guitar pyrotechnics.
'Finyl Vinyl' captures Rainbow at various stages of its evolution, from the Dio-era classics like 'Man on the Silver Mountain' and 'Kill the King' to later tracks featuring vocalists Graham Bonnet and Joe Lynn Turner. The album is a testament to the band's sheer musical ambition and Blackmore's restless creativity. The live recordings crackle with energy, showcasing the band's tight musicianship and Blackmore's virtuosity. There are moments of pure rock 'n' roll ecstasy, like the extended guitar solo in 'Mistreated' that builds to a frenzy of wah-wah pedal acrobatics.
But 'Finyl Vinyl' is also a reminder of Rainbow's inherent contradictions. The album's sequencing is haphazard, jumping between different eras and vocalists with little regard for flow or coherence. The production is uneven, with some tracks sounding raw and immediate, while others are marred by muddy mixes and dated studio effects. And while Blackmore's guitar playing is consistently impressive, there are moments where his showboating veers into self-indulgence.
Perhaps the most controversial aspect of 'Finyl Vinyl' is the inclusion of several studio tracks, including the poppy 'Street of Dreams' and the ballad 'Jealous Lover'. These tracks, recorded during the Joe Lynn Turner era, represent a departure from Rainbow's classic sound, and many fans felt they were out of place on a live album. Blackmore's decision to include them was seen as a cynical attempt to promote his latest musical direction, further alienating those who longed for the Dio-era glory days.
'Finyl Vinyl' is a flawed but fascinating document of a band that burned brightly but briefly. It's a reminder of Rainbow's immense talent and potential, as well as its internal struggles and missed opportunities. It's an album that will frustrate purists and delight those who appreciate the band's eclecticism and willingness to take risks. In the end, 'Finyl Vinyl' is like Rainbow itself: messy, unpredictable, and ultimately unforgettable.
