Backers Short, So Idaho Fest Becomes a Nightmare
NorthWest Rock Festival, State Line Idaho - June 6, 1976
Concert promoter Randy Hall of nearby Garden Grove says the reason for the cancellation on the second night of a three day rock festival at Stateline, Idaho, was due to lack of funds by the backers, two unidentified men from Idaho and Florida. The June 4-6 event at Northwest Speedway erupted into violence during the show when stagehands and technicians began packing equipment after discovering they were not going to be paid. When the fans found out the festival had been halted, they began burning concession buildings and vehicles.
Police reported 21 arrests, although there were no reports of injuries. The Nor'wester '76 Book Festival had about 7,000 persons on hand when the violence erupted. The festival, which had production costs of $200,000, had advertised such acts as Bachman Turner Overdrive, Blue Oyster Cult, Ritchie Blackmore's Rainbow, Nektar, and a number of other acts. The Friday night show was headlined by Blue Oyster Cult and Nektar.
The backers arrived that day and informed everyone that there was a lack of funds to continue the shows. When the realization came that there would be no money to stage the last two days, the production crews withdrew. Initially there were no groups, no sound and lights, and no security for the Saturday night concert. It was at this point that the spectators took matters into their own hands, causing between $75,000 to $100.000 in damages, according to the sheriff's department.
Frank Barron, Billboard - June 26, 1976
Veterans Memorial Auditorium, Columbus Ohio - June 11, 1976
We never played a single note on that tour because Phil was suffering from hepatitis weeks before we even got to "Ohio" where the tour was to begin.
The day we got to "Ohio" Phil more or less nearly collapsed with exaustion and was taken to the hospital where he was told that he had contracted hepatitis and was to immediately fly back to London. Back in London he was put in the intensive care unit for a couple of weeks. It´s a shame, cause it would have been a great tour for Lizzy.
Scott Gorham [Guitarplayer Thin Lizzy]
One Magical Night
New York Beacon Theatre - June 17, 1976
It was a very memorable night, so memorable that I still talk about it frequently and it's been 27 years since I witnessed this night. It has changed my life forever. The setting was beautiful, a two balcony theater in New York City. With a huge statue on each side of the stage, anyone that was there that night will know what I am leading up to. A guy decided to climb the one statue, as the crowd cheered him on. Then after about twenty minutes there came the announcement, "The show will not start until the man climbs down" well I'm sure you guessed that the crowd turned against this young man.
I was nearly 12 years old that time. My older brother took me to the show. I was the only 12 year old listening to this kind of music. I will always thank God for my brother, if it were not for him I would have missed all this great music. This was my second concert, earlier that year I had witnessed Deep Purple with Tommy Bolin, another memorable night.
We were sitting twenty six rows away when we decided to walk up close to the stage. Next thing we knew, we were standing along the right side of the stage by the sound system. All of a sudden, there was a crowd pushed up against both sides of the stage. To my amazement, no security had told us to leave. Could this be possible? My first Rainbow show and I may stand first row? Yes, it was true. The lights have just went off. The last thing I remember before the lights went off, was a kid in a "Come Taste the Band" T-shirt. I told him I never seen Ritchie Blackmore before, He said wait until you see him, he is a guitar wizard. As the night would prove, he was so right.
Standing there in the pitch black theater, except for the little red lights on Blackmore's Marshall heads, I was shaking. Then I hear Judy Garland tell us we're not in Kansas anymore, we must be over the RAINBOW... Then it happened, the chilling power chords (I didn't make out they were playing over the rainbow until the Onstage LP came out). Then I got my first glimpse of Ritchie Blackmore live, there he stood all dressed in black with red plat form shoes and long hair down to the rose on his shirt. I cried, I am man enough to admit it. I know a lot of people that cried the first few times seeing Ritchie. Kind of like the girls crying when they seen the Beatles.
Then he broke into the fast paced "Kill the King" (an unfamiliar song to us all at that time). Just as the tears stopped, I seen a little man come walking out from the side of the stage. Dressed in purplish top and velvet pants with his hands up in the air. Damn, here come those tears again. Until the "On Stage" LP came out, I always remembered Danger, Danger (the opening line) and some magical melody that I would later find to be "Fly Like the Wind". I guess not knowing this amazing song made it more dramatic for me. It was at this point when I realized the singer in this band, the great Ronnie James Dio was just as big as part of this band as the guitarist. He was what a rock star is supposed to be, he was wicked and so cool. Ritchie's lead in that song on that night was the most amazing thing you can witness. It's a shame kids today can't experience anything like that. His fingers looked as if they weren't touching the neck on the guitar. They sort of glided like he was playing air guitar. It was with out a doubt the heaviest thing I have ever seen, yet crystal clear sound, and loud as hell.
Then Ronnie had announced the second song, the Deep Purple song, "Mistreated" which shocked me. I didn't expect any Deep Purple that night. The way they made it sound more like a Rainbow song then a Deep Purple song was amazing to me. Ritchie's guitar intro blaring through the theater still makes me numb just thinking about it and Ronnie's version of this song was stunning. He sang it so powerful. I remember thinking, I can't believe this. It was so intense. They seemed like they been playing together for years, yet they still had the fresh sound like the new band they were.
The rest of the night was so good, it changed my life forever. Since seeing Deep Purple and Rainbow in 1976, it has made it so hard for me to discuss music with the average listener. Those we special days, to be a little kid shoved up by a stage and see Rainbow perform classics like "Stargazer" and "Light in the Black" it makes it hard to get excited going to see anyone else.
There were moment's during the night, when the band got so low that you could hear a pin drop. While Ritchie would play some beautiful leads and put his index finger over his lips to shush anyone that would scream his name. Never have I seen this in rock and roll, a man to have that much power over the audience. What made this group of musicians so special. Is their ability to take things down to a whisper and then at the drop of a hat, be the loudest (Yet melodic) band you could ever see.
"Man on the Silver Mountain" was a gem. Ronnie's singing solo was beautiful. For years after this show I have heard many recordings of Rainbow, and they did a little bit of a jam to "Lazy" before the song. I never remembered them doing this on my night. I have just received a copy of that show titled "The Beacon Fire" and I was right, they did no "Lazy" that night. If anyone gets this tape, the quality is not that good, but for me, I had to have it. After 27 years my search is over. Thank God for the internet, now I find everything.
"Do You Close Your Eyes" was the Encore as usual and it would be the first ever smashing of the guitar in Rainbow. I just read that somewhere recently. I feel a little special about it too, because I was there to see it.
I went on to see Ritchie many more times in my life, but nothing will ever compare to the magical night I witnessed at the Beacon Theater in New York City. I just wished I was old enough to drive so I could have traveled to see more shows that year. Who knows, maybe I'm better off just seeing that one show in 1976 because it has remained a special memory in my heart.
I'll never forget the way I felt when "Somewhere over the Rainbow" was playing over the PA after the show. I was emotionally drained from the show, and so pumped up... Judy Garland's classic was music that tamed the savage beast.
New York Beacon Theatre - June 17, 1976
It may be a few months before Blackmore's Rainbow appears in Britain for the first time, but even if they have to wait until distant '77, Blackmore freaks, when they finally do see the band live, will no doubt decide that the wait, no matter how long, was damned well worth it. Rainbow, now in its second version, is simply one of the most dynamic and energetic heavy rock outfits in the free world.
Ritchie Blackmore is a happy man again, happy because now that he's left Deep Purple, he's once again free to make the kind of rock 'n' roll he loves best - visceral and explosive, an atomic dose of chordal calamity - and by no coincidence, it's the same sweaty brand of rock thousands of rockers have become addicted to over the last ten years, hooked, mainly, by fixes served up by the Main Man of heavy metal, Ritchie Blackmore.
"The rowdy mob at Rainbow's Beacon Theatre gig were Blackmore Junkies alright. Not a one wouldn't have sawed off a hand for a piece of the Stratocaster Ritchie smashed during the encore of 'Do You Close Your Eyes', and the lucky boys in the front rows who shook the Man's hand as he leaned out into the audience a few times probably still haven't washed their hands. And their throats are probably still raw from all their ecstatic wailing ... and smoking. Blackmore's, ironically, is one of the dopeingest crowds going."
Opening with 'The Temple Of The King' ('Kill The King' was the opener, Ed.), a blues, and then 'Sixteenth Century Greensleeves', Rainbow simply knocked the crowd on their collective tails. People were running around the hall in delirious glee, but before the audience could slip from Rainbow's grasp, they cleverly eased into the moody 'Catch The Rainbow', which featured some soulful, sensitive singing by Ronnie Dio and some of Ritchie Blackmore's tastiest playing ever.
When the guitarist walked to centre stage for his solo, the rest of Rainbow could have been transformed into porcupines, and no one would have noticed, that's how transfixed everyone was, not only by Blackmore's playing but by his overwhelming stage presence.
All the same, I kept my eyes on Cozy Powell a lot too. What a dynamite addition Cozy is to Rainbow, providing that ass-kicking back beat Blackmore's high energy music so desperately requires. On his kit, Cozy's easily Blackmore's match, but they compliment rather than battle each other. Cozy pummeled hell out his drums all night, especially giving 'Man On A Silver Mountain' a drive it sorely lacked on the first Rainbow album. Blackmore himself was amazing during 'Mountain', shaking hands with his right hand while continuing to play with his left.
I have done a little show, at certain gigs", says Ritchie, "like breaking my guitar up. I felt the audience needed that. I haven't done it for a year, but I felt that it was necessary because the audience weren't that musical." "They wanted to see some violence, actually", Cozy agrees.
Rainbow's show is visually powerful as well. At the front of the stage, arching from stage left to stage right, is a mammoth rainbow, operated by a digital computer that sends waves of colours and shapes through the construct. Backdrops, huge blow-ups of rainbow's two album covers, are also used, the first during the first half of the set, and the 'Rainbow Rising' fist during 'Stargazer' and 'A Light In The Dark'.
Add it all up, and it's nirvana for Blackmore's Rainbow fans. Just watch out for Stratocaster fragments when they come to your town.
Peter Crescenti, Circus, June 1976
New York Beacon Theatre - June 17, 1976
Projecting an ample amount of sound to fill a room twice the size of the Beacon, Blackmore's quintet played a blasting, frenzied set underneath an arcing strobe and rainbow scrim. Performing such trademarks as "Up To The Silver Mountain," "Stargazer" and "Catch The Wind," the emphasis was on screeching guitar wails. The tone was one of wildness June 17.
Blackmore got down on some mellow electronics on "Mistreated" while Ronnie James Dio lamented "losing his mind." The rowdy audience, which was generally higher than the second balcony, responded to the madness with its own brand of lunacy. Before Blackmore hit the stage, one exhibitionist literally "climbed the wall" to sit atop one of the ornate 20-foot statues beside the stage. During the set someone chucked a beer can at Dio.
The lead vocalist retaliated by clarifying where the pitcher could shove the remainder of his six-pack. Blackmore's contribution to the craziness came when he smashed his still amplifying guitar into a stack of speaker equipment, beat it on the stage floor and flung the remains to the audience. Members of the crowd in turn rushed the stage only to be dragged off by security guards.
Opening the evening was Duke & the Drivers, filling in for originally scheduled Thin Lizzy, who cancelled due to Phil Lynott's taking ill. Group did well in a short set which featured "Got Love On My Hands" and "I Ain't Particular." Although a bigger attraction in its native Boston, the group's ripe rock sound signals widespread success on a grand scale.
Mark Bego - Billboard Magazine, 10 July 1976
Fairgrounds Agricultural Hall, Allentown PA, USA - July 1, 1976
I saw him with Rainbow say 76ish, Allentown Fairgrounds, Pa. Blackmore tossed up his guitar and it got really stuck in the light rigging. It was so awkward stage hand had to retrieve during the show. He seemed like a real jackass.
Kevin Neal Fishel [on Facebook]
Fairgrounds Agricultural Hall, Allentown PA, USA - July 1, 1976
Hard rock was the menu last night at the Allentown Fairgrounds grandstand, and nearly 4.000 fans sampled the smorgasbord. From Angel's white satin to Richie Blackmore's Rainbow 30-foot neon arch, five bands catered to every rock powerful lead vocalist. When Angel lit rainbow, which colorfully pulsates to taste. The six-hour marathon was the first danced on the track in front of the outdoor grandstand concert sponsored by the Council of Youth for the 1976 summer season. Judging from enthusiastic crowd reaction. Angel was the band many came to see. The five-man band from Washington was discovered by Kiss, another top group which has played the Lehigh Valley. Garbed in flowing and feathered white costumes. Angel. members immediately took command of their audience with their classic rock sound and their stage theatrics. Greg Giffria was outstanding on the keyboard, and Frank Dimino was a powerful lead vocalist. When Angel lit into hard rock and roll, dozens of fans danced on the track in front of the grandstand stage. Guitarist Punky Meadows was spotlighted during a jam. At the close of the hourlong performance, the crowd applauded Angel back for a lively rock and roll encore climaxed by a wild percussion solo featuring Barry Brandt, Mickey Jones was on electric bass.
Richie Blackmore's Rainbow was the second favorite band, Blackmore split the heavy metal Deep Purple and formed Rainbow with the members of the Southern group Elf. Rainbow is into heavy metal and performs inside the arc of a huge neon degree rainbow, which colorfully pulsates to their music. The arc took six months to design and build, and crews spent the entire day erecting it at the front of the stage. "Mistreated." a powerful driving rock number, was well-received by the enthusiastic crowd. Chumbi, a local group, opened the concert.
Jonna Bartges - The Morning Call (Allentown, Pennsylvania) - Fri, Jul 2, 1976
Broadwalk Casino Arena, Asbury Park NJ - July 3, 1976
This was a general admission show so I drove down to Asbury Park first thing that morning and camped out on the boardwalk all day so I could get a good "seat". It was a long wait out in the hot sun but it turned out to be worth it since I wound up right in front of the stage in between Blackmore and Dio [my arms were resting on the stage floor monitors]. Thin Lizzy had been advertised as the opening act when I had bought the tickets but then I heard they had to cancel out of the tour.
I was also supposed to see them at the Beacon on 17th June but unfortunately my high school graduation was that night and by the time it was over it would have been too late to trek into the city to catch the show [although I later heard they came on late so I probably wouldn't have missed too much if I had gone].
The opening act at Asbury Park was Henry Gross [who had a big hit at the time with "Shannon"]. Then Rainbow came on with "Kill the King" and blew everyone away. Blackmore was in a good mood so that ensured it was going to be a great show and it was! Easily the best show I ever saw them do [I saw them a total of five times between '75 and '78]. Too bad there isn't a recording of this show floating around!
At the end Blackmore decided he was going to use the stage monitors as the target for his guitar smash-up so I had to push back against the crowd so I wouldn't be hit by the guitar. I was actually pulling pieces of the guitar out of my hair after the show. The Casino wasn't the biggest venue in the world - a little smaller than the Convention Hall which was just down the boardwalk [Purple had actually played at Convention Hall before] - so it was real loud in there. My ears rang for five days after that one.
Municipal Auditorium, San Antonio TX - July 9, 1976
The opening act was Starz and I remember the big hair, glam suits and the song Cherry Baby which was getting a lot of air play on Kiss FM. Oh, and I remember laughing my ass off when the lead singer was crooning on the edge of the stage and got hit the face by a hot dog. He flips the crowd off and everyone busts out laughing.
Then Ritchie Blackmore's Rainbow takes the stage and we're sure it can't get any better than Ritchie and his little red wagon full of white guitars. But we were wrong my friends, because nothing prepared us for the spectacle of BOC and the amazing light and sound to follow.
Duane Starr - Hotrails (Blue Oyster Cult History Project)
No gold at end of Rainbow concert
Bay Front Center, St Petersburg FL, USA - July 16, 1976
"I'd say 1,462."
"Looks like 1,342 to me."
"I'd just put down an even 1,500."
Midway through Friday night's heavy-metal rock concert at the Bayfront Center Arena, three Bayfront staffers were trying to outguess each other as to the exact attendance. The Bayfront Arena holds 8,400 spectators.
THE RAINBOW/Savoy Brawn/Roy Buchanan show was a box office bomb. The music — with the exception of show-opener Buchanan — was loud and coarse. Relatively few fans were on hand — the average age seemed to be in the late teens. Scarcely a wince was visible when Savoy Brown inflicted a decibel count that challenged the pain threshold of a 12-year hard-core rock-concert veteran. The mood backstage in promoter territory was dark and ugly.
Within a five-minute span, Gulf Artists chief Marjorie Sexton shrieked full volume at two unauthorized visitors, one hapless security guard and a reporter who had written something that displeased Mrs. Sexton three weeks ago.
HAPPILY FOX the $6-a-toss ticket-buyers, the atmosphere on the fun side of the stage was dismetrically opposite the backstage unpleasantness. The youthful audience was bewildered temporarily by Roy Buchanan. "Look at that old dude," said one observer. "That shirt even has a penguin on it."
INDEED, BUCHANAN'S blue knit shirt did have the squaresville signal penguin. His strew hat covered thinning hair. The full-bearded cat with the incredibly beat-up old guitar looked his 36 years. But he made that shoddy-looking axe sing, shout, cry and croon. Roy Buchanan long has been hailed as one of the world's finest electric lead players, and his first major Bay area appearance showed why. One is entitled to wonder why such wizards as Eric Clapton, Jimmy Page and Keith Richard (all white British guitar superstars) would express intense public admiration for a shy, serene American picker who spent most of his career playing small bars near Washington, D.C.
Buchanan was simply amazing. He smiled a bit when the appreciative guitar-lovers cheered his superb catalog of sounds. Flamenco, blues, country, old-style acid-rock and unclassifiable original noises came in six mangy-looking strings.
WHOOP, BEG AND holler as they might, the few connoisseurs in the crowd could not get an encore from Buchanan. He finished a knock-out set with his quasi-religious 'Messiah" composition, and then made way for Savoy Brown.
Savoy Brown, the loudest, moat tenacious second-rate band in rock history (a title they won when Brownsville Station folded) actually is the creation of one person — Kim Simmonda. Simmonds is a British long-timer who has made at least 16 American tours with bands named Savoy Brown. The members of the band have all changed many times over, except for Simmonds. Savoy Brown never has risen higher that second-billed, and probably never will. Their forte is obnoxious volume and long, long, silky hair that they shake in unison when the beat gets heavy. That is all the time.
Show closer Ritchie Blackmore obvioualy is not headline draw in St. Petersburg. Being the former lead guitarist for Deep Purple does not make one a $6 attraction. His heavy-metal version was not or offensive as Savoy Brown's pulsating migraine thump, but another dose of Roy Buchanan would have been far preferable from a musical standpoint.
Bob Ross - Tampa Bay Times St Petersburg Times - July 17, 1976
Heavy rockers hype local fans
St. Denis Theater, Montreal QC, Canada - July 20, 1976
Ritchie Blackmore's Rainbow inaugurated a series of concerts at the Cinema St. Denis last night, before an audience clearly in the mood to revive the intimate Fillmore like rock hall. The promise of Blackmore, the British heavy rock guitarist formerly with Deep Purple, and his Rainbow (figuratively, as well as a stage-wide fluorescent rainbow) attracted a young crowd stoked up and rarin' to get blasted.
The atmosphere was just what Max Webster, the opening act, needed and the Toronto band didn't miss a trick in winning over the ripened fans in their first local appearance. Webster, a singer and guitarist backed by three strategic sidemen, has obviously researched the rock market before designing his act. He has adopted numerous popular styles - from the jigsaw structures of Queen to the pop boogie of the Doobie Bros to the Bowie-Jagger syndrome of stage presence, and even a little Frank Zappa kitchen sink measures thrown in for effect.
Unlike many Toronto bands that play Montreal, Max Webster performed with the kind of confidence that strikes straight at the hearts of the local buzzed-out rock cognoscenti. He was careful to include several "Merci's in his patter, and the bass player added a few bon mots himself. Lo and behold, Max Webster won over the Montreal crowd - perhaps the day is not far off when he joins Shawn Phillips and Genesis in the affections of the local audience.
Meanwhile, Blackmore took a long time getting his electronic equipment and his head together, just as he did at the Forum last year. He's a moody fellow - you can tell by the way he rolls his head limply on the axis of his neck. One gets the impression that his "wasted genius" stage looks (the stringly bedraggled hair, the black cycle jacket) are more convoluted than his guitar playing: he makes you wait for his solos, and that's how he wins over his eager audiences.
It's all a big act - Blackmore rarely shows he can cut the mustard with Jeff Beck, Eric Clapton, B.B. King et al.
Juan Rodriguez, The Gazette - July 21, 1976
[Thanks to: Tonny Steenhagen for the scan]
Jethro Tull up to par, but Rainbow dull
Civic Arena, Pittsburgh PA - July 26, 1976
Jethro Tull rolled into Pittsburgh Monday for their sixth appearance at the Civic Arena. I've seen them every time they were in town and was only disappointed once. Monday's show was definitely a crowd-pleaser. Ian Anderson and the band started the show with "Thick as a Brick", and from then on it was a very enjoyable show.
I didn't get as excited as usual -this was my sixth time seeing them after all- but I notice the rest of the crowd was just as enthusiastic as every other Tull show I've seen. Of course, I knew Ian would play the devil out of his flute, but I think this was the best I've ever seen him play. As for the material they played, the show included all of Tull's favorites with a few new numbers which also went over well. It was quite noticeable that the "Aqualung" material is still the favorite of Tull fans.
Naturally, Ian is the focal point of Tull's shows, but during times he left the stage, the band carried on very well. I could have been satisfied with an entire evening of just the band playing. As far as Ian is concerned, he is still the king of the prancers on the stage. He's just as great to watch now as he ever was. The show, for both old and new fans, was a complete success. Even though Tull's albums are going downhill, they maintain a good position on top of the hill in live shows.
Ritchie Blackmore's Rainbow opened the concert, and that was about their only accomplishment of the evening. Their show was too loud, and Ritchie's usual fine playing was just jammed into a total sound mess.
I kept waiting for this band to get cooking, but it just didn't happen. Everytime they got near the point of good kicking music, they lost their shoes. The high point of their show was Cozy Powell's drum solo. It started out to be just another standard solo, but halfway through he was accompanied by taped symphonic music and he began to murder his drums. He received a rousing standing ovation for one of the best drum solos ever.
Basically though, I was bored by Ritchie and his Rainbow. The good songs from their second album didn't come across well, just as "Mistreated", a Deep Purple number, failed to do much. Witch such a vast amount of good Purple music to play, he picked a real dud for the only Purple number of the evening.
Keep trying, Ritchie, because you need it. Blackmore fans, stick to the albums until the rest of Rainbow catches up to Ritchie. When that time comes, they'll put on a good show.
Tom Doyle, Beaver County Times - July 28, 1976
[Thanks to: Tonny Steenhagen for the scan]
Jacksonville, Florida - July 1976
Rainbow's performance was excellent. Ritchie Blackmore stunned the crowd with a multitude of brilliant lead guitar solos throughout their entire set. Through his association with Deep Purple, Blackmore long ago established himself as one of the top "heavy metal" guitarists in the world.
A monstrous electronic rainbow, arching high above the stage, had remained dark, but not unseen by the crowd. As Rainbow took to the stage it became a dazzling array of colors dancing across the sky. "Kill The King", a yet to be released tune, presented the people with a faultless example of what to expect from the band. The sound was heavy and laden with power chords, but never once bogged down.
Loud applause came from the audience as the group broke into "I've Been Mistreated", originally done by Blackmore's former cohorts, Deep Purple. The guitarist appeared comfortable with this one and proceeded to show the rapid spit-fire guitar work that has gained him international respect.
Introduced as a nice medieval-renaissance tune, "Greensleeves" turned out to be a high point of Rainbow's performance. The show continued to follow the same power-packed course. Songs such as "Catch The Rainbow" and "Stargazer" brought the fans to their feet.
Though Blackmore continued to be in the spotlight, drummer Cozy Powell, keyboardist Tony Carey, and bassist Jimmy Bain never let the audience forget their presence. They attacked each song with unyielding determination, so necessary for a young group.
When the group got into "Man On A Silver Mountain", off their first LP, the crowd jumped to its feet and seemed to feel this would be Rainbow at their heaviest. This was without a doubt their hottest, most rockin' number of the night. Blackmore's fingers became a blur on his guitar as the rest of the band came thundering behind.
Rainbow put on a satisfying show, both audibly and visibly. Words could not do the awesome stage rainbow justice. It has to be seen to be appreciated.
Roy Simpson, The Florida Times Union - July 1976 (published in UK 1976 Tour Programme)
Starlight KO's Rock
Starlight Amphitheater, Burbank CA, USA - August 3, 1976
Proposed concerts by Average White Band and Blackmore's Rainbow at 6,000 capacity Starlight Bowl in the San Fernando Valley community of Burbank have been vetoed by the Burbank City Council. The council has the right to turn down individual concerts under its five year exclusive summer booking deal on the facility with Jack Berwick's Cinevision Productions. Councilmen apparently were miffed at Berwick for scheduling only hard rock concerts instead of the pop ballet drama season they were expecting.
Genesis sold out the Starlight earlier this summer. Berwick's first concert there last October, with country-pop acts Hoyt Axton and Emmylou Harris, drew 2,500. Like the Greek Theatre in Griffith Park, the Starlight Bowl is a municipally owned venue which can be reached only by driving through a high income residential district. Nearby residents have been complaining about Starlight traffic jams, noise and litter due to the concerts.
Billboard - August 7, 1976
No Veto Of Rock Events In Burbank
Ritchie Blackmore's Rainbow successfully went on at Starlight Bowl in Burbank here Friday (3), despite a report received and printed in Billboard last week that the Burbank City Council had vetoed the show because promoter Jack Berwick was presenting only hard rock at the 6,000 seat facility instead of balancing the schedule with cultural shows. Berwick explained that the Blackmore date had simply been switched in order to accommodate a free municipal festival.
An Average White Band date, also reported by Billboard as vetoed by the City Council, was never finalized due to commitments by the group to another local facility. All the shows this season at the Starlight have been profitmakers, with sellouts by Genesis, Jeff Beck and J. Geils. Other successful headliners were Grover Washington Jr., Todd Rundgren and Kingfish. Coming up this month for the Starlight are a CTI Jazz package Saturday (14) and Marshall Tucker Band with the Outlaws Aug. 20. Pacific Presentations put on the Blackmore show in conjuncition with Berwick's Cinevision Productions.
Billboard - August 14, 1976
Civic Auditorium, San Jose CA - August 6, 1976
I did see Rainbow in 1976 on the Rising tour in San Jose California. They headlined or were the only band playing I can't remember which. If you look it up its never listed it was a show before the Berkeley show.
I know cause I took pictures which I still have. Plus someone emailed me saying he went to both shows. My sister and I went together. It was an excellent show in a small hall probably half full (1000 people at most). This was the show that truly made me a fan for life. I was 19 years old at the time. They played Stargazer back to back with Light in the Black. Great concert with everyone sounding superb, before Ritchie decided to go commercial.