Paul Morris

Exclusive Interview with Strangers [Part 4]

From Classical to Jazz, and then suddenly to German Metal...?

The mystery behind a peculiar career that sets him apart from previous keyboard players


Even though keyboards play an incredibly vital role in RAINBOW's music, when news of RITCHIE BLACKMORE'S RAINBOW first arrived, there was no keyboard player's name listed, which caused some worry. However, it turns out that Paul Morris is actually the longest-standing member among the current lineup. While his playing on Stranger In Us All is somewhat restrained, he will surely prove his true worth on tour. The Paul Morris who appeared before us was wearing a WARLOCK T-shirt, making it hard not to wonder if he might be a bit of an odd fit compared to the historical line of keyboardists who have been in RAINBOW. But what kind of person is he really?.

First, please tell us about your background and how you came to join RAINBOW.

That's a big question. As for what kind of bands I've been in before... I've been in just about every kind of band in Manhattan. Playing in clubs... do you know a girl named Doro Pesch?

Yes, she was the singer for WARLOCK...

Right. In '89, I took on the role of "playing off-stage".

Off-stage?

Yeah. Bobby Rondinelli was playing drums for WARLOCK at the time, and when the band broke up in '89, I stuck with Doro. When Gene Simmons produced her album Doro (1990), I played on it too, and that was the first time I was actually allowed on-stage (laughs). I went through two European tours, but left the band (Doro) due to differences in opinion. After that, I played with a heavy metal violinist named Mark Wood. I think we did about two tours across Canada and the West Coast. But it didn't really take off. After that, I was playing piano in hotel lounges. There's a bit of history with Ritchie. Back in '81, Bobby was in RAINBOW, and I came very close to joining RAINBOW myself around that time. My hair was short and I looked a bit punk back then, but Ritchie liked me, and it got to the point where he was choosing between David Rosenthal and me. Ultimately, David became the member. The funny thing is, 13 years later, I crossed paths with Ritchie again, and when he told me to make a demo tape, I sent him a tape that was pretty much identical to the one he had liked 13 years ago. He liked the tape, which led to an audition, and while I was setting up my gear, Ritchie said, "I remember you, but you've changed your music. That's the same as 13 years ago, isn't it?" I replied, "Yeah, it's the music I always play." Then he said, "Let's do something with this song," and I thought, "Hey, I've been waiting 13 years for this moment! Time has come full circle and brought me back!" And that's how I ended up joining this band. A friend of a friend is a friend, after all.

Did you know Dave Rosenthal personally?

No. We know each other now and we're friends, but back then I didn't know him at all.

Do you know him now through Greg Smith?

No, I actually met him while playing with Mark Wood. About three years ago, at the NAMM Show in California, Dave came to watch us play and liked my performance, so we introduced ourselves. He told me that if he ever got a gig and had to turn down another one, he'd recommend me. I thought, "What a great guy..." It's a small world.

What are Mark Wood's live shows like?

They're crazy (laughs). It's a massive sound, and while it was fun, I never participated in any albums. I played with him for two years, but things just naturally fizzled out before we made a record.

Were you born in New York?

I was born in California and raised in New York.

Did you study piano at school?

I studied classical music under a private teacher, and then transitioned into jazz. I got deeply into jazz in my late teens. Rick Wakeman, Keith Emerson, and Edgar Winter were my favorites around that time. I studied jazz a lot. I went to college for about two years, but I didn't graduate. After that, I just kept looking for private teachers. Nowadays, I mostly just practice Chopin and Beethoven at home.

Going from classical to jazz, why the sudden shift to WARLOCK?

I moved into a field where I could actually make money. Even if you study classical, very few people can make a living off it. If you want to put food on the table with a piano, becoming a wedding pianist is your best bet. I played at weddings and receptions for years. The pay is probably higher than what you get playing rock 'n' roll. If you play two or three weddings over a weekend, you can make $1,000... at the very least, it kept me playing music, so I was happy. I played jazz and all sorts of songs. However, I didn't want to do that for the rest of my life. Bobby Rondinelli knew me, and one day he called me up and asked, "Do you want to play keyboards in Doro's band?" I just joined because I was invited. I didn't even know who Doro was.

I remember watching Ritchie play at the "California Jam" when I was a kid, where he smashed his guitar, so it feels surreal to suddenly be playing with the man himself. You never know how things will turn out. You just have to go with the flow. It doesn't make a difference what genre you're playing. I can play any genre. As long as I can make a living as a musician, I'm happy.

What did you think of RAINBOW's past music?

I love the old RAINBOW. I prefer the early era of RAINBOW over the Joe Lynn Turner era. That said, Bent Out Of Shape is my favorite album, and "Jealous Lover" is my favorite Joe Lynn Turner track. But I love "Kill The King," and I generally love the Ronnie James Dio era. Cozy Powell was great, and the combination of Jimmy Bain on bass and Tony Carey on keyboards was the absolute best. Of course, I also love "Since You Been Gone" and "All Night Long" from the Graham Bonnet era. I absolutely hate whatever music is playing in the studio, so I listen to old RAINBOW tapes in my car. Because of that, I've already memorized all the sheet music in my head (laughs).

What do you think about the rumors that this new RAINBOW sounds similar to the Joe Lynn Turner era?

That's a ridiculous rumor. Just look at the current music scene. If we put out a sound like the Joe Lynn Turner era, it definitely wouldn't sell. Just look at when Jimmy Page teamed up with David Coverdale and put out a record. It didn't sell well at all! He wasn't looking for songs with that particular style of singing. He wants to hear a more powerful, aggressive voice. Personally, I like Joe's voice. But it just doesn't sell. Doing it with a voice that has more edge is a better fit for the times. Oh well, rumors are just rumors.

On this album, the sound highlights the guitar while the keyboards are kept somewhat restrained. What are your thoughts on that?

No comment.

Why is that?

Look, I'm a keyboard player, so naturally I'd want the keyboards to be heard more. But everyone has a different idea of the sound they want to create. There are also people who push to make the album sell, and those people might be right sometimes. If I were the producer making the album, I think I'd let the keyboards be heard to the absolute fullest. If that ended up going in the wrong direction, then the people around could just offer advice. Isn't that why everyone is there? Anyway, as far as I'm concerned, I wanted to make the keyboards stand out more. Of course I did. I'm the one who played them. But if you want to sell an album in today's market, maybe this sound is the right way to go. So, it's not my place to step in. I'm just a keyboard player, not the one making the decisions.

You've recorded "Still I'm Sad" this time, and this song used to include a keyboard solo during past live shows, didn't it? If you were to do it, do you have any ideas on what kind of solo you would play?

Well, I don't even know if there's going to be a keyboard solo in "Still I'm Sad" on this tour... I really like the vibe of "Still I'm Sad" that you can hear on Rainbow On Stage. I love what Tony Carey did with it. Anyway, it all depends on what kind of arrangement Ritchie wants.

Could you tell us what you think about each of the past keyboard players who used to be in RAINBOW?

I liked Tony Carey because he really let you hear the keyboards to the fullest, like in his solos. He had a certain wildness to him... David Rosenthal brought a really nice flavor. I liked his cool style. I think it would be amazing if I could showcase a style that mixes the two of them live someday. I liked all the keyboard players, but especially those two. Well, Don Airey also did some nice playing on things like "I Surrender." Keyboards used to be a difficult instrument to mix into the sound back in the day. But even now, it's a bit of a strange timing for keyboards. I wish keyboards would get more appreciation again, but it's just different from what's currently trending in popular music.

But keyboards are essential to Ritchie Blackmore's music, and they occupy an important position particularly in concerts... so I think the Japanese fans will all be keeping a close eye on your solo.

Yeah, well, I am working on some concepts. Ritchie is thinking of an arrangement where the other members temporarily leave the stage, leaving just me out there to do a keyboard solo. Figuring out how to make that look cool... Japanese fans have a high level of musical knowledge, so I'll solidify my ideas to make sure everyone is satisfied. After all, I get to do a keyboard solo that we couldn't include on the album, so I'm going to make sure I shine at my absolute best! (laughs)

As someone who has studied classical music, what do you think of "Hall Of The Mountain King" (composed by Grieg) being featured on this album?

For something Ritchie wanted to do, I think it was an interesting choice. It was a really fun song to play. It gets faster and faster... I'm sure Ritchie will be able to go crazy playing it live, so it'll sound even better than on the album. Even so, it really is an interesting choice. Well, it's bound to be a massive hit in Norway for sure (laughs). Regardless of other countries, we absolutely have to play it in Norway. (Note: The original piece this track is based on is "In the Hall of the Mountain King," from the incidental music composed by Norwegian composer Edvard Grieg for the verse-drama Peer Gynt by the same country's literary giant Henrik Ibsen, and it also incorporates "Prelude to Act IV (Morning Mood)" midway through).

What did you think of the old track "Difficult To Cure"?

The Beethoven piece? I think it's great. The video version (Note: The version performed with an orchestra during the March 1984 concerts in Japan) is especially good. But for me, I think it would be tough. Having to do all of that by myself. There's so much to do, I'd probably run out of hands. Keyboards are definitely crucial for Ritchie, so I'd be busy tracking all over the place. It sounds like fun, though.

DEEP PURPLE did "Difficult To Cure" too. That means you'll be compared to what Jon Lord used to do, right?

Well, people love to compare things no matter what. If anyone should be getting nervous, our singer Doogie White has it way harder! He gets compared to far more singers than I ever will. And we're talking about guys like Ian Gillan, David Coverdale, Ronnie James Dio, Graham Bonnet, Joe Lynn Turner, Glenn Hughes... I'm just glad I'm not in his shoes (laughs).

True enough (laughs).

As long as my fingers keep moving, I can manage somehow, but that guy has to stand out front and sing every single night! I'm perfectly happy to be compared to Jon Lord. Bring on the comparisons all you want, I don't mind.

Have you ever been to Japan?

No. I've visited Japan in my imagination, but never in reality. I've loved Japanese things since I was a kid, I took karate for years, and I love Japanese movies too. I love sushi, too. When it comes to movie actors, I really like Toshiro Mifune and Tatsuya Nakadai. Yojimbo, Seven Samurai, and Throne of Blood...

You're quite well-versed.

I know even more. The one with Toshiro Mifune... Musashi... ah right, Miyamoto Musashi.

In that case, you must be really looking forward to going to Japan?

Absolutely, it feels like I'm going to heaven. I can't wait.

The Japanese fans are also really looking forward to this reborn RAINBOW.

That's fantastic. It means everyone gets to see us live, and I get to eat authentic Japanese food right at the source, so we'll all be having a wonderful time (laughs). Alright, I'm going to eat sushi until I'm absolutely stuffed! To the point where I'll want to say "No more sushi!" the next day (laughs). At any rate, this new RITCHIE BLACKMORE'S RAINBOW is an incredibly amazing band, so I'm certain everyone will be satisfied. From Doogie's vocals, to my keyboards, and of course Ritchie's playing... this band has everything you fans could ever want from RAINBOW. You'll get to hear all the songs you want to hear, plus the new ones. Anyway, see you in Japan!


© BURRN Magazine no 10 - October 1995