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DTE 82
Original releasedate: 1 November 1982
Original releasedate: 1 November 1982
This is a rough'n'ready translation of the magazine which was original in the Dutch language.
Besides this is only a summary as only the most interesting parts are translated.
Besides this is only a summary as only the most interesting parts are translated.
| FAREWELL From the (Old) Headoffice |
These will be my last words as leader of the Rainbow Fanclan. Three years I was leading the clan. After in 1971 the Dutch Deep Purple Fanclub was grounded by Bart Hekkelman, this was taken over in 1975 by René Veldhoen, who ended the fanclub in 1979 (in 1976 changed into the Dutch Rainbow Fanclub) because of lack of time to run it and he couldn't find the people to continue it.
A few months later I started a new Rainbow Fanclub in Holland. Together with Wim Pas and Hans Nijkamp we started in October 1979. In November the first issue of the magazine, in a limited number. That same month the Rainbow show in Holland was postponed. A few months later in the first weekend of February 1980 Wim and I did a marathon drive by visiting Rainbow concerts in Brussels, Rotterdam and Kerkrade. Over 1500 km. In Brussels we met Ritchie for the first time. We talked with him till four in the morning.The fanclub was doing well, and I've got great memories about 16 August 1980, the Monsters Of Rock Festival in England, it was the final show for Cozy for an audience of 50.000 fans. Four days later I was a guest on a big Rainbow party in a Holiday Inn in London. The day after I had an interview with Graham Bonnet. It was his last Rainbow interview. I loved to run the fanclub but there comes a moment that other things in life get important and you notice there's a lack of time to run a fanclub properly. There's my job, girlfriend and the band Concrete I'm playing in. So it's time to hand over the fanclub, I found the right person for it, Frans van Arkel. I have good faith in him, he's a critical and dedicated fan, and also has got organizational talents. It's impossible that the phenomenon Rainbow is all over now for me, you will see my name popping up in the future now and then. Well, finally: SPECIAL THANKS to Ritchie and all (ex) Rainbow-members, Wim, Hans, Hank, Bart, René, Jacqueline, Concrete, Ellen & Michael (Polydor), Wim Bosman, Euro Records, Amazing Products, Marc Brans, DFF (Hennie & Ina), Brad & Hazel (English fanclub) and all others, I didn't mentioned, but especially YOU, MEMBERS OF THE FANCLAN! Gerrit Tijhof 
WELCOME from the New HeadofficeHello everyone, Like you all know Gerrit Tijhof intended to stop leading the Rainbow Fanclan for some time, with the release of this issue that time has come, but before it was this far, he found us to continue where he was going to leave. We hope to give you, just like before, a great time. We'll continue the clan on a similar way. There might be some slight changes like we plan to release every two months a new issue. That's all about this 'business-announcement'. We hope you all will keep supporting us and we wanna say keep on trying to catch that fantastic RAINBOW!!! Frans van Arkel, René Askes & Remco Kastrop HOW TO PLAY THE GAME We get often questions about Ritchie's guitar, his technique, amplifiers, effect pedals, etc. The data about this is rare. Ritchie don't like to tell much about it. On the backside cover of "ON STAGE" we see a lot of data about all members of the band, except for Blackmore. We still found quite some details, still a warning first for the musicians amongst us: even if you use exactly the same equipment as Ritchie, it won't mean you get a Blackmore sound. 
First some details of what Ritchie used on the British Tour in 1976. Ritchie used three guitars on this tour, all Fender Stratocasters. He mainly used a white coloured one with white scratchplate.Unless he had trouble to get it tuned, then he used a sunburst model which had the neck of his famous blonde coloured on fixed on it. Ritchie stopped playing this one because too many people start using one. His third one was a black coloured one with white scratchplate. This one was used mainly in the encores. He was doing some tricks with it before putting it on the ground and picking up another cheap one for the demolishing act. For this Ritchie bought a load of Stratocasters with a factory-fault (they costed still £ 320 each). These were white coloured with a black scratchplate. During that tour he smashed six of these! Than over to the effects he uses. Firstly there was the Revox tapedeck. Maybe sometimes people were wondering if Blackmore was not playing himself, but that's not the case. The Revox was function as echo-machine. Apart from some minor modifications it's a ordinary tapedeck you can buy in the shops. Ritchie mainly used it in his known intros and at the time in the solo of "Stargazer". On the Revox was also a phaser, Blackmore used it frequently, especially in "Catch the rainbow". 
Ritchie uses for years the same amplifiers. Although there are two sets on stage he only uses one of them. It's the tower, that stands a bit slant on stage. The other one, is a back-up, in case the first one won't work. The top is a Marshall 200 Watt, which is no longer manufactured. Ritchie got it customized, he won't tell what different modifications are used.Both the amps are checked in the Marshall factory every year. The four speaker cabinets are all 300 Watt. Each set has four 12 inch Celestion speakers. People, who not only coming for the demolishing act might have wondered how Ritchie gets sound out of a smashed guitar where the pickups are hanging loose. Normally this is not possible. The trick is behind the amps is a reverb-unit that's shaken about by a roadie when Ritchie smashes the guitar to the ground. The guitarcables Ritchie use are not ordinary ones. Ritchie uses a cable that's normally used for movie-lights. These cables are very flexible and lie flat on the ground without curls. Ritchie uses Picato strings for years. I don't know how many sets he's using. The guitar is a Fender Stratocaster, but Ritchie customized it a lot. Unique is the scalloped fretboard, you certainly need an experienced technician to do this. It's a important part of the Blackmore-sound. About his guitar technique I can't tell that much. He uses four fingers, where most guitarplayers only uses three (so not the little finger). When in 1977 Jimmy Bain left, Ritchie bought a Taurus Moog with bass-pedals when shortly before the new tour they still hadn't found a replacement. So he possibly could compensate the lack of a bassplayer. Till now Ritchie still uses those pedals, mainly in parts when he's on his own on stage. SONG TEXT
EYES OF THE WORLD |
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I see the innocent victims Fighting to get to his door No chain of events Can settle him down He's not a man anymore Evil moves, evil ways Without seeing at all You ain't got a lot to say Judging by the things you do If only you could feel the tears and pain In the eyes of the world Dust to dust by the million Broken dreams in the ground Aching heart in the heartbeat of home Where their spirits are gone Evil takes, evil kills With no shame or concern Killing me, killing you Watch the end of the burn Maybe you didn't understand We don't need you anymore If only you could see the tears and pain In the eyes of the world |
And in the name of religion For me gave him our soul The clock with chime Every second in my heart For it's taken it's toll Evil moves, evil ways With his back to the wall Evil man look at him down Without seeing at all Eyes of the world Don't wanna, don't wanna cry no more Eyes of the world In the eyes Eyes of the world You ain't got a lot to say Eyes of the world Got to got to feel this way Eyes of the world Oh Oh Oh Eyes of the world We don't need you anymore Eyes of the world If only you could feel the tears and pain In the eyes of the world |
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BACK TO 1976 RITCHIE GETS IT UP (THAT'S THE RAINBOW) 
We had some article from the past before like the Outlaws 1962-1964, Episode Six and a story about the start of Purple), but a story about the early Rainbow days still is missing. So here's an article from the American magazine Circus from June 1976."We've got The Rash from Stamford, Connecticut" reveals Mr. Ritchie Blackmore, "we've got Cozy Powell, the finest nonprofessional driver in England. Not to mention me, the Bagshot Bullet - we're the World's Top Band Without A Country." Between living in the California Sun, recording in German Studios, being managed by parties in both London and New York, you might say that Blackmore's Rainbow have that "International Feel." As for the new album Rainbow Rising (on MGM) - the first actual record featuring the group as a whole - you will find no split allegiances, lack of singular direction, or other divisive features. What you will find is straight-ahead rock music in the Ritchie Tradition. "Jon Lord loved it when he heard it," says Ritchie, speaking about his old companion from the Deep Purple days. "And Bruce Payne, our manager, thought it was the logical successor to Machine Head. You'll probably like it a lot. After all, it is the best thing I've ever done." "But Ritchie," Circus interjected, "isn't that what you told us last time?"
RECORD TALK GILLAN "MAGIC" Virgin 204-947-320 (Ariola) 
After the disappointing "Double Trouble" album here's already the new Gillan-vinyl. After listening to it a few times I only can say, unfortunately, there's not much progress so we get a disappointing album once more. The first song, "What's the matter", is a good rocksong with a fine solo of Janick Gers, who sounds a lot better than on the last album, though not enough to make us forget Bernie Torme.The next song, "Bluesy blue Sea", is firm. Ian is singing better than on the first track. Gers gives us a surrogate Blackmore solo. "Caught in a trap" sounds like the "Scarabus" LP while "Long Gone" is a poor song. "Driving me wilde" is the last song on side one and the title is better than the song. On the other side it gets off with the longest track (7;15) of the album: "Demon Driver", one of the better songs with a lot of 'magic' in the lyrics. Then we hear three pretty boring songs: "Living a lie" & "You're so right" and finally a cover of Stevie 'Soulbroter' Wonder' "Living for the city", which is better than the two before. Colin Towns is allowed to end the album with the unnecessarily reprise of "Demon Driver". So we're still waiting for another real rockin' Gillan album like "Mr. Universe", but listening to the last albums it could be a long wait. Frans HUGHES - THRALL Boulevard Records ARZ 38116 (USA Import) About a year ago there were already rumours that ex-Deep Purple bassist-singer Glenn Hughes after years of indistinct problems would make his comeback in the business, and together with no one else than ex-Pat Travers-guitarist Pat Thrall. We had to wait another full year, but in September we finally got the expected Hughes-Thrall debut album. To be honest I didn't had an idea what to expect. 
Glenn's soloalbum "Play me out" didn't do anything for me, it was obvious that Glenn had a serious Stevie Wonder complex and he didn't made a secret of it on that album.But to tell you the truth this album is 100% be better than expected and worth the high import price. On the record we get eight Hughes-Thrall songs and one of Hughes alone. The voice of Hughes reminded me in his Deep Purple days of Gillan a bit. But here his vocals are excellent, sometimes it even gives me goosebumps (and that won't happen too often). Thrall is a brilliant rhythm-guitarplayer with many refreshing ideas: it certainly don't sound predictable. "I got your number" is a swinging opener. In "The look in your eye" we hear Glenn sing very high. In "Beg steal or borrow" is the synthesizer very important. The chorus is weaker. "Where did the time go" is calmly with not too much text and many repeats, with beautiful line "If you could take a look inside my mind, you would see there's so much to find". Still he doesn't show much of it in this song. "Muscle and blood" has depth in both the drums, bass and guitar. The production is very good. "Hold out your life" has got an intro that sounds like Pat his past with Travers. Eye-catching solo of Pat. "Who will you run to" is not that strong, although Glenn sings like hell. "Coast to coast" is the song Glenn wrote on his own. He recorded this song before in 1972 with Trapeze on the "You're the music, we're just the band" album. Then it already was a very emotional song, but this new version is, even more sensitive. To cry one's eyes out. The record ends like it should be: "First step of love". After a restrained start, the song is building up with a strong finale, where we hear Thrall at his best. On this records he plays very solid, but contain himself in the solos, till we get to hear this last song. Hughes en Thrall used for this album keyboardman Peter Schless and no less than three drummers: Gary Ferguson, Gary Mallaber and Frankie Banali. Four producers (Andy Johns, Rob Fraboni plus Hughes and Thrall themselves) and two studios to record it. It's a great product. We have to wait what this means live. We can look to the future, we don't have to worry anymore about Glenn. He had six bad years but these are all gone like we hear in "Beg steal or borrow": "so look at me now, I'm causing a scene, don't figure out where I've been". Gerrit M.S.G. "ASSAULT ATTACK" Chrysalis 205 094-320 
I was too premature with writing in the last issue in the short news that MSG made their debut live on the Reading Festival with Graham Bonnet. Who could expect this. During the try-out show just before Reading Bonnet obviously drunk a bit too much and did a few tricks Schenker didn't liked at all.So Bonnet was sacked the day before the Reading Festival and Gary Barden came back (for a large amount of money the story goes). Problem: the new album was already recorded and the tour was hitting off. The recordcompany insisted on releasing the album once they went on the road. So there was no time to let do Barden the vocals again. So here's an album of a group who only did one live gig. I think this is the best Schenker album ever. Perhaps not everyone would have this opinion but: 1. The sound (producer is Martin Birch) is optimal. 2. The album has everything a good hardrock LP should have: melody, fine solos, heavy drumwork, attractive backgrounds in the quiet parts, dynamics in loud-soft and fast-slow. 3. A musician who for the first time in his life put his creative ideas on record, by means of his lyrics and melody, that's Bonnet. Who's not getting mad by now, can read on.  This album has two minuses, the single "Dancer" and the unnecessarily instrumental "Ulcer", that looses, by miles from "Into the arena". But for the rest this album is one highlight. Schenker never got this level before in the studio. New drummer Ted McKenna makes forget Powell within the minute. "Rock you to the ground" is the best hardrock-blues since "Mistreated". "Desert song" could have been expected of Blackmore, it's marvellous, like he's playing on top of the clouds. CONCLUSION: ALBUM OF THE YEAR!!! It's a pity we can't witness this live on stage. Bonnet is already gone. Why? Graham always had problems with his stage-personality. Most of his enemies judge him by his pose, not for his vocal qualities. Did Schenker knew what he was doing, when he gave Bonnet the job? Before he sang a single note, the MSG fans started rare debates in the musicpapers. Why did Powell left? It looks like Schenker is even a more difficult person than Blackmore. It seems he also can't keep a line-up for very long. He's a genius musician, but has the known problems with himself. I guess this will be the last MSG review in this magazine. Unless other ex-Rainbow members will join him. Gerrit DEEP PURPLE "LIVE IN 1974" Harvest C064-64877 In the last issue we already announced this release, but here's a review of this album. In many reviews of new Purple albums you can read an undertone of how long these releases of Purple albums will go on. I think it's absolute not necessary to re-release any studio-material, that's on the normal albums as all the Purple albums are still for sale at the local recordshops. 
I mean an album like "Deepest Purple" is absolute nonsense. Sensible, at least for the real fans, is the release of unknown studio-material and live-recordings. But they must not overdo it. This new "Live in London" has it's value. Disadvantage: we get three live tracks we already know by this line-up (Coverdale - Blackmore - Lord - Hughes - Paice), i.e. "Burn", "Mistreated" and "You fool no one". All these are also on "Made In Europe". So not really necessary. They don't differ that much.The fact Blackmore was playing more enthusiastic in 1974, may not be decisive. Left us with three songs that were not available with this line-up. "Might just take your life" is not a song that's good for improvisation, so this performance sounds just like the studio-version. "Lay down stay down" gets introduced by an intro of Lord, while Ritchie does a great solo. Purple at it's finest. Finally we get "Smoke on the water". It's striking the last verse isn't sung again and the first is repeated. In the intro we get an excerpt of "Lazy" and the introduction of the band by Lord we didn't got before on record. The fact this album we hear a Purple which gives it all, in contrast with records like "Made In Europe" and we don't get the merciless screams by Coverdale and Hughes like we heard on "Last Concert In Japan" makes this album worth to buy. The only missing track that we won't find back in a live-version of this line-up is "Space Truckin'". That's a pity because they did some interesting things in the long improvisation of the song. I preferred they had included that track on this album. Gerrit The live album of Black Sabbath, titled "EVIL-LIVE", is postponed. Release isn't expected before Christmas now. Reason: difficulties inside group and with the management. The same story goes for the solo-album of Ronnie James Dio. TAPE TALK RAINBOW - LONDON 1981 Line-up: Blackmore-Glover-Airey-Rondinelli-Turner Recorded: 27 July 1981 Hammersmith Odeon, London (UK) This 100 minutes lasting tape is taken from the triple Japanese bootleg "Can't happen here". This was the last concert of the UK tour 1981. The show starts with the "Pump and Circumstance March" (full version) tape and "Over the rainbow", after which the band start with "Spotlight Kid", in which we hear surprisingly the female backingvocals. Then we get a good performance of "Love's no Friend" followed by the usual commercial for the "Difficult to cure" album by Joey as an introduction of "I surrender", at the end a good solo by Ritchie. 
"Man on the silver mountain" follows right away, and Joey thanks the audience for showing up because otherwise they should play an empty hall. In "Catch the rainbow" the backing vocals, we hear in almost every song, fill up Joe's vocals very well. This song is one of the highlights of the concert.After we got "Can't happen here", it's time for the solo of Don Airey, with not only "Close Encounters" but also a part of "Eyes of the world". Bobby gets us then into "Lost in Hollywood" that goes via a solo of Ritchie into "Difficult to cure". After this song it's time for Rondinelli's drumsolo. When he has done his solo Joey tells that it's Bobby's birthday that day, which is good for an extra applause. "Long live rock'n'roll" end the set. Ritchie start the first encore with the "Lazy" theme and brings us to "All night long", where we hear the backgroundvocals clearly. The second encore is again introduced by Ritchie. This time he plays together with Bobby "Rule Britannia", and then we get the bluesy Jimi Hendrix-track "Fire". Then it looks like the party is over, we hear a tape of "Vielleicht das nachster Zeit", but the audience keep begging for more. Then Ritchie is back on stage and starts playing along with the tape. It goes over in "Since you been gone", Turner sings together with the background vocals part of the lyrics. The group returns one more time on stage and we hear the "Kill the king" theme, you can hear Ritchie smashing his guitar. After the usual reprise "Long live rock'n'roll" it's all finished by the full "Over the rainbow" tape. Conclusion: excellent recordings. Frans RAINBOW - CHICAGO 1979 Line-up: Blackmore-Glover-Powell-Bonnet-Airey Recorded: 12 October 1979 International Amphitheatre, Chicago (USA) 
This performance was as support-act for the American hardrockgroup Blue Oyster Cult. The shows lasted 60 minutes and was aired by an American radiostation. The soundquality of this tape is because of that excellent. We hear Blackmore and Airey tuning their instruments before we get the countdown and the "0ver the rainbow" tape. Then the band gets off with "Eyes of the world" with in the middle a different wild solo of Ritchie. The background vocals of Glover and Airey are very good.Before "Love's no friend" starts, Graham Bonnet apologize for his bad voice that night because 'he always catch a cold in America' and according to Graham, Ritchie has the same problem. After the well played "Love's no friend" there's an organ-guitar duel with "Fur Elise" and "Over the rainbow",followedd by "All night long", Graham entertains the public the way only he can do it. Airey then get us in "Lost in Hollywood", after the song it's Ritchie's turn for a solo. All breaks are loose and Blackmore a great solo in stereo. The sound moves from left to right and vice versa. Via "Beethoven's ninth" and again a keyboardsolo we get to Cozy's drumsolo, which is not ended with the reprise of "Lost in Hollywood" but this time we get right away "Long live rock'n'roll". Ritchie then does a short solo with the "Kill the king" theme and smashes again a guitar. A reprise of "Long live rock'n'roll" ends this concert. Frans RAINBOW ACROSS THE OCEAN There's a joke along the Rainbow members that says: the band always first searching the "Musicians wanted" ads in the musicpapers to see if they already are replaced. It's a joke although there is some truth hidden somewhere in it, if we take a look at all the changes. After the stability on the last two albums (only Airey has been replaced) Rainbow finally is going to be a top-act in Northern America. And for the first time Rainbow is no longer Blackmore's backingband. We're sitting with Glover and Turner in Toronto's Harbour Hilton, in the coffeebar. 
"The problem is that rock and roll so easy gets to you, so we're giving ourselves with every line-up change on a new album a disability" thinks Roger. "It all goes back to the first rainbow album, which was meant to be Ritchie's solo-album. Ritchie didn't wanna play live with those people, so that was the start for the many changes.Rainbow lost a few years through this to get real success." This only happened after Roger joined in 1979. He came in when a huge clean-up was going on. David Stone was pushed aside by Airey and Dio left after he had words with Ritchie. When also Daisley got the sack, Glover returned to the spotlight. "I never thought about joining another band when I left Purple. When I first joined Rainbow I was thinking: Jesus, I'm not going to try it again! But when I saw Ritchie playing I was gone." The group was close to it's end. "Although Rainbow proved to be a strong live-act, the album sales were disappointing. At the recordcompany and the management they had the thought Rainbow was Ritchie's solotrip, it sold a nice number of records but not enough to justify it to live any longer. My task was to save the band with a more commercial approach, more melody, a streamlined production, a less agressive sound, less lyrics about demons, dragons, witches and what have you. That was the reason to call that album "Down to earth". It's more about contemporary things like sex.... and more sex. "Difficult to cure" was the sign to change the destiny of the group. "Difficult to cure" and "Straight between the eyes" are continuations of the new course." Still Powell and Bonnet gone away and Rondinelli en Turner came back. "I never was a big Rainbow fan," Turner explains. "I grew up as a Purple-fan, but when the first Rainbow-LP came out I was interested in different things. I also thought Rainbow was a shouting hardrock band, but I was surprised to find so much melody in it." On "Straight between the eyes" Turner could put his mark. "I wanted to put my teeth in something mine and not copying something that belongs to somebody else." The British press blamed me I was not be able to handle the Rainbow audience. But I proved my place in the band on the last album." The commercial American sound gave mixed feelings by the die-hard fans, although it opened doors for many new fans in the States, but the dedicated English Blackmore-fans forswear the commercial Yankee-sound. Roger: "I expected that to happen. The real fans will buy the album and give us a chance. 
Some people will not be up to such a big change of direction, but hopefully our popularity in England won't be decreased too much if we return next year. For Glover it's just the right moment for timing, the return to the days that rock was a hot item. "People talk about the return of heavy metal, but rock has never been away. Trends like punk, disco and new wave maybe dominated the charts, but it always was heavy metal that attracted many people. The only thing that's changed is that rockgroups are more melodic now and finally get the air-play on AM-channels they deserve."Turner calls Rainbow the "sound of the eighties" and points on the many women in the crowd. Quite a difference with the denim & leather-following. "It gives me a kick to see all those girls heading for the stage. I think it's only healthy to have a large variety of fans instead of only headbangers." About the according to many moody, closed for the outside world, but forever brilliant Blackmore: "Everyone has the wrong perception of him, he's a nice guy. People are afraid of him because he's got a very strong personality. He don't care what others think. He won't respect people before they deserve it. That's why people are beware of him which gives him this reputation. Roger think "Straight between the eyes" is the LP Rainbow needed. "I can tell I'm very happy with this album. After the top, I reached with Purple, I ended up into an abyss, but with Rainbow I'm back at the top again. I enjoy of it what I thought only happened once in a lifetime. Touring is again fun, I really enjoy it and it's satisfying to have something in reserve, producing, if I'll have to stop with this." Subsequently Glover warns that intensive touring can lead to new changes. "We have to see if the next album will be with this line-up. I would love to, but knowing Ritchie it won't be the first time. It's the strength of Rainbow." But this still means that Turner and Co will continue with the quick check of the "Musicians Wanted" ads. Just in case that..... Source: New Musical Express (Canada) JUST IN TIME THE NEW WHITESNAKE 
LINE-UP Finally, after many rumours, the new Whitesnake is known. Not Jimmy Page on guitar. But (it's him again) Cozy Powell, David Coverdale and Jon Lord. After a failed adventure, Mick Moody. From Trapeze there the second guitarist Mel Galley. On bass there's now Colin Hodgkinson. Ian Paice & Neil Murray stay with Gary Moore. ALBUM According to a reliable source, the last line-up will play on this. With the release of this issue the album will most likely also be in the shops. Title: (like we know for months) "Saints an' Sinners". CONCERT 31 January 1983 in Muziekcentrum Vredenburg, Utrecht. Support-act is Ozzy Osbourne. GILLAN Ian Gillan was last year not satisfied with "Double Trouble", especially the production-technical side of the case. Steve Smith returned to the States and now it was Mick Glossop behind the knobs. His first reaction: "When I heard the mix, I phoned Mick straight away and told him: This is the best vocalsound I ever had." This is because Glossop went through the preparation intensively. 
About Janick Gers, who on stage is influenced (according to some too much) by Ritchie Blackmore: "I think more of a combination between Ritchie and Jimmy Page." Ian thinks 90 minutes is the optimal concert length."I've been thinking. If it's lesser than it's not enough and if you do too much, like Springsteen, who seems to play four hours long.... well, rock is for me so strenuous that I can't do that. I mean not the jumping around, but let go of all the energy. That's what you supposed to give as a rock-artist. If I'm not wasted after a show, then something must went wrong." NEW RAINBOW SINGLE 
To my amazement, bewilderment, surprise there was a release in the week the last issue came out of a new Rainbow single. This one was not announced. On the a-side we get "Death alley driver", with "Tite squeeze" on the other side. The reason for this single is not clear. It was even not released in England (so it's another collectors item).The single is also not released for promotional reasons, because it was months away from the planned concert in November. No wonder, it didn't became a hit. This was the last choice for a single I expected. Probably there are some intern rules of record companies, because it was also released in Japan. The record came in a grey cover, with the silhouette of a motor racer. Name of the group and title are in red, while there's a small pic of the band in the top right corner. Nice for collectors, but musically no extra value for the fans. Commercial "Bring on the night" or "Power" should have been a better choice. POLL 1982 Last year more than half the fanclan members send in the poll form. Ofcourse you'll do that now again. Tell your opinion about this magazine and send them to the old address. Attention: last year many people filled out things that didn't have anything to do with that year. We got results like Deep Purple was the third best group of 1981 and "Rising" was the best cover of 1981 (impossible). Keep in mind this only has to do with the year 1982, unless noticed otherwise. CONCERT SPECIAL 1982 Attention for the following: right away after 16 November we will start working on a special edition of the magazine. It's going to be a LIVE special with attention for the concert in Rotterdam, plus possible visited shows abroad. This extra issue will come out next to the normal issue. So you've got to order it. You can order more copies if you like, for example for friends who are not a member. Order before 10 December. This extra issue will be printed only once and is due for 15 December. Don't miss it!!!  © Rainbow Fanclan 1979-1984
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