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DTE 82
Original releasedate: 15 November 1983
Original releasedate: 15 November 1983
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.
| From the Headoffice |
Hi rockers'n'boozersThis is the last fanzine of this year. That means this editorial staff started a year ago. This fanzine has some extra pages because of the many articles we've got ready. There was so much we even have to postpone the extensive interview we did with Chuck Burgi in Bristol. You can expect that one in the next issue. So it's indeed Chuck who's the new Rainbow drummer, we already had with this news in "Over the rainbow" no 18 a superb scoop and left all the big musicpapers far behind us (geddit, big brothers). In this issue we have a review of the UK Tour and the review of the new "Bent out of shape" album. In December some ex-Rainbowmembers will play Holland. Jimmy Bain and Ronnie James Dio will play on 4 December in Ronnie's group DIO in the Muziekcentrum Vredenburg in Utrecht. Six days later, so on 10 December, Bob Daisley and Don Airey will play with Ozzy Osbourne in Zwolle. RAINBOW is expected early next year. KEEP THE GOOD FAITH !!! SOMETHING MORE ABOUT CHUCK BURGI Chuck Burgi was born on 15 August 1953, his first influences were the Ventures and especially the Beatles. He started drumming when he was about twelve years old. He went to the same school as Joe Walsh and they rehearsed together at Chuck's place. After Chuck had worked for some time as a construction worker and also as a roofer, he joined FANDANGO, the group also featured JOE LYNN TURNER. That was in 1975. Just before Fandango got a recorddeal Chuck left the group and went to the West Coast of the States. 
There he joined the group of AL DIMEOLA. After he toured with this group, he was approached via a technician by Percy Jones, the bassist of BRAND-X. Chuck, who always had been a fan of Brand-X, had to do another two months of the Al Dimeola tour. After this he got late 1977 finally in BRAND-X after all. In March 1978 the band left for England to record the album "Masques". After that there were tours together with Genesis and John McLaughlin. Late 1978 Chuck left Brand-X because he wanted again to play in a band with a singer who was into the rock'n'roll side of things.
First he took a holiday, and then he joined for the second time FANDANGO. They had recorded in the mean time some albums. He only did one tour with the band, that was in 1979. Since that time he kept in contact with Joe Lynn Turner. From early 1980 till the end of 1981 he was in the group of HALL & OATES, he played on the albums "Voices" and "Private eyes". His next group was BALANCE, they recorded with Chuck the album "In for the count". Together with the guitarist in Balance, Bobby Kulick, he played in that period on some albums of other artists like ALDO NOVA and MICHAEL BOLTON (on this last one is also ex-Rainbow bassist Mark Clarke).In the summer of 1982 he got a phonecall of Joe Lynn Turner. He did some rehearsals with Rainbow but decided to return to Balance. Early this year he got another call, but he wasn't sure of it. Then he played on the solo-album of Roger Glover (this one should be released in January). Roger talked about it with Joe, who told Ritchie about it. Rainbow was at that moment already for four weeks rehearsing with another drummer, but they didn't think he was the right man behind the drumkit. Chuck was phoned again and one day later he was the new drummer of RAINBOW. Chuck's favorite drummers are Mitch Mitchell and Billy Cobham. SET-LIST UK Tour 1983 |
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INTRO TAPES: Pump and Circumstance Over the Rainbow SPOTLIGHT KID MISS MISTREATED FOOL FOR THE NIGHT I SURRENDER CAN'T HAPPEN HERE CATCH THE RAINBOW DRINKING WITH THE DEVIL EYES OF FIRE (THEME) DIFFICULT TO CURE BASS SOLO KEYBOARDS SOLO DIFFICULT TO CURE GUITAR SOLO DRUM SOLO POWER BLUES STARGAZER STRANDED DEATH ALLEY DRIVER encores: FIRE DANCE ALL NIGHT LONG |
VIELLEICHT DAS NACHSTER ZEIT SINCE YOU BEEN GONE LONG LIVE ROCK'N'ROLL HEY JOE KILL THE KING LONG LIVE ROCK'N'ROLL OVER THE RAINBOW (tape) 
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RAINBOW ON TOUR 1983 On 6 September Rainbow started with a new line up, Blackmore-Turner-Glover-Rosenthal-Burgi the new tour. The repertoire is compared to last year pretty much changed. The most striking song that's no longer part of the set is "Tearin' out my heart". But we got "Catch the rainbow" back for that one. Another classic "Stargazer", was also again played. We also got four new tracks and "Death alley driver" from the last album was also added again. The show had some new additions as well. Besides the big eyes above the stage there was now also a projector that showed various effects and albumcovers on the backdrop. We got to see the covers of "Bent out of shape", "Straight between the eyes" and "Rising". There were some nice effects in "Catch the rainbow" (many fantasy shapes), "Eyes of fire" (fire effect), "Difficult to cure" (Beethoven's head and music notes) and "Death alley driver"(speed effect). 
The tour started in Liverpool with 2 concerts. In Whitley Bay the first guitar was demolished. Also in Stafford a guitar was sacrificed. After Bristol they went to Nottingham, Ritchie left the stage in that show because of malfunction of the equipment. In Cardiff both shows were recorded (picture and sound). In London there was another intro-tape. The "Land of hope and glory" part was now with vocals. The UK Tour got an end after St Austell in Edinburgh.Then a short Tour in Scandinavia followed. In Stockholm Ritchie set fire to an amp. Early October the band left for the West Coast of the States. The support-act here is Aldo Nova. Chuck played on his second album. The tour will continue till half December. Then there's a short break, a tour in Europe should follow in February and in March they'll do Japan to finish with the US East Coast in April, May and June. What did we saw ourselves; Ritchie is still the great killer guitarplayer who taking the spotlight. David has developed himself very much. He's now one of the better keyboard devils Rainbow ever had. Roger is on stage still the same, not a special bassplayer but a very useful one. In the studio he's much more important for the band. Chuck has to grow in the band. He has to keep his eye on Ritchie live, his drumsolo was a bit disappointing. He can (and should be) impress us hopefully a lot more when he's settled a bit more in the band. Joe was a bit disappointing in the end. He sings the new songs fabulous but he wasn't great live in old classics like "Stargazer", "Death alley driver" and "All night long". Although these songs were at the end of the set and at that time he already had given so much of his energy. Dee and Lin appear to have been a very clever move by Mr Blackmore.
a n o t h e r s p o t l i g h t k i d JOE LYNN TURNER 
On 9 July 1983 Joe Lynn Turner married his Caroline. The ceremony took place in the "Our Lady of the Assumption Church", in Wood Ridge, New Jersey. Besides many other friends also Bruce Payne, Chuck Burgi, David Rosenthal and Ritchie & Amy Blackmore were present at the ceremony. Roger Glover was not present in the church, but he was later on the party. That was held in the nearby "Country Club". Joe, dressed in light blue, and Caroline, in white, had hired an ancient Rolls-Royce, of which there are only a few in the States. A few weeks after the wedding something tragic happened in the life of Joe. Rick Blakemore, the guitarplayer in Joe's previous band Fandango, lost his life at a car crash late July. Rick and Joe were like brothers. Joe got very depressed, he was missing several rehearsals with Rainbow and didn't celebrated his 32nd birthday a few days later on 2 August. The future is uncertain. It's not out of the question that Joe might left Rainbow soon. He has already plans for a solo album, as well as collecting al the original work of Rick Blakemore and release that on an album. Time will tell what Joe's gonna do in the near future. RECORD TALK BENT OUT OF SHAPE 
The new Rainbow album was on the first day, 6 September, of the UK Tour in the recordshops of the U.K. Overhere in Holland it took a week longer, 13 September the new vinyl product of Rainbow was for sale in the shops. Although the official releasedate was 19/9. The covers of the English and Dutch pressing are different ones. On the Dutch pressing the cover has an extra green band around the photo, that points to the title. Besides the right bottom-corner mention, plainly, it's a digital recorded album.The label on the vinyl of the Dutch pressing is the usual Polydorlabel, on the English pressing one side has two 'bent out of shape' ladies while the other side has a label with all the songtitles subdivided in "this side" and "that side". The inside cover has some photos and the lyrics, including some errors. Another thing worth mentioning is there are 10 songs and the album is over 40 minutes. At the songcredits we see that mainly Blackmore and Turner are responsible for the writing of the songs. Rosenthal and especially Glover are scoring moderate. Burgi didn't wrote a thing. Most likely because he only joined the band after they already where rehearsing for four weeks with another drummer in the Sweet Silence Studios. The album is again produced by Roger Glover, it sounds all very good and is very suitable for air-play. When you listen to the first song you recognize at once the typical thin Sweet Silence sound we know from "Difficult to cure". For that "Straight between the eyes" had a much more powerful sound, which I liked better. The songs however have more a structure like on this last album so we can say the band choose for a middle course. "Stranded" is not an opener like "Death alley driver". It's a good rocksong though but not a real record-opener. The solo Ritchie gives us is one from the Blackmore book. At the end of the song the word "Stranded" is repeated often. Live this works out excellent but on record it sounds not that good. "Can't let you go" start with an impressing intro of David, but it's a bit (too) loose from the actual song. It's a lovesong/ballad which is one of the best songs of the album. This is the kind of song that suits Turner best. Joe sounds, like the rest of the band, really grand. "Fool for the night" is a no-nonsense rocker, sometimes the tempo goes down which is followed by a step on the gas again. "Firedance" is another rocker. Ritchie and David come to the fore with great solos, while the solid drums of Chuck stand out here. This track was done in the UK as an encore, the intro was, surprisingly, played a lot heavier then on this album. "Anybody there" we know from the 12 inch single, the organ of David is very good just like the guitarwork of Ritchie. This piece, initially called "Doomed", is based on Bach's Prelude in C. "Desperate heart" is a good poprock song. Obvious the type of songs Joe likes best. The solo of Ritchie sounds real "mean", obvious not the known Sweet Silence sound. It's comes closer to the "Straight between the eyes" sound. This solo was not recorded in Copenhagen but in New York. Ritchie was not satisfied about the solo and did it again in the studio in New York. "Street of dreams" is more or less a copy of "Stonecold". A real ballad, suitable for the American market. So it is not a surprise the single was a flop in England and is doing fine in the States. The promo video for this single shows someone who undergo hypnosis and then ends up in the "street of dreams". "Drinking with the devil" is a fantastic rocker, a real party song and one of the best up-tempo songs on this album. "Snowman" is an arrangement by Ritchie of Howard Blake's "Walking in the air". The original was used as backgroundmusic for a cartoon about a snowman. Again Ritchie and David in the leading roles. "Make your move" is another typical rocker which ends this album. Ritchie does a fast solo in the middle of the song and the chorus is again American-tinted. 
To end a look on the members: Ritchie is still the big man behind Rainbow both as composer and guitarplayer. Roger is almost not participating as a songwriter, but his bass- en especially producers work are like always excellent. David took a step forwards, he's now a full member of the band.Chuck is not a drummer like Bobby Rondinelli, who was a real "basher". Chuck is a more technical drummer which sounds maybe a little bit less heavy, but it fits excellent in these Rainbow songs. Joe stays at the same level we got used to from "Straight between the eyes". There not much news about him. Joe feels very comfortable in the today Rainbow songs and only got even more to the foreground as composer. Because of the many articles in this issue there's a lack of space. Because of this there's no room for response of fanclanmembers on "Bent out of shape". The response was overall very positive by the way. In the press the new Rainbow got compared to the past very positive reviews. In Sounds it got five stars, Dutch Hitkrant and Aardschok had positive reviews. But in Muziekkrant Oor it was all about Blackmore's reputation instead of reviewing the actual record. Melody Maker slashed it like in the good old days, in Kerrang it was reviewed quite good.
D I O "Rainbow in the dark" This 12 inch is not that interesting for the a-side but it is for the b-side. Here we get two live tracks of the Donington festival, "Stand up and shout" and "Straight through the heart" CHUCK BURGI on vinyl Rainbow's latest new member plays on many good albums, to name a few: BALANCE "In for the count", ALDO NOVA "Aldo Nova" and MICHAEL BOLTON "Michael Bolton". All these three are good heavy American hardrock albums, in the style of the present Rainbow. RAINBOW "Street of dreams" (Picture disc) 
 This picture disc is the same studio version as the regular 7 inch single. On the front we see the singlecover, the back shows the famous Rainbow Rising fist plus the songtitles. RAINBOW "Can't let you go" After "Street of dreams" this is the second single of the "Bent out of shape" album. This was the strongest song of the album and clearly convenient to release as a single. Only they tried to make the single accessible for a even wider audience by mixing the drums to the foreground. 
Especially the snare drum. This makes the song less heavy and more funky, which does the song no good. A bit of a blow for the a-side, the other side is even worse. The cover says they are live-recordings from Cardiff's St David's Hall. Without this mentioned you probably shouldn't have guessed this was recorded live. There's no audience to be heard, all mixed away. Just like with "Can't let you go" the mix is pretty weird.The vocals are so far mixed to the foreground it sounds a bit like two solo tracks of Joe Lynn Turner. The group sound like his backingband that is kept deliberately on the background. Even Blackmore sounds -without playing bad actually- unnoticed and miserable. "All night long" still is a Bonnet song. Joe doesn't have the power Graham had. "Stranded" sounds alright but not more than that. The album-version sounds a lot more solid. The production sounds like it was done in a hurry like: let's try something else for a change, it has to happen fast though because there's not that much time. So also no time to do it again. Only the photo on the back looks like the old days. For the rest it's not much. Are they really stranded? But opinions can be different..... The song is remixed and the organintro is left out so the song starts solid right away. The drums are more to the fore what gives the song a heavier sound than on the album. The b-side has two live songs, "All night long" and "Stranded". "All night long" now sang by Joe Lynn Turner, it sounds faster and more flexible than with Graham Bonnet. The drums sounds really excellent, solid and heavy. Dee and Lin back up Joe's vocals great. When I heard "Stranded" the first time on the album I wasn't over the moon, but this live version is excellent and a lot faster than on the studio version. The bass of Roger is distinctly present and sounds funky, (or is it) disco-style. The chorus is by the band who plays along, and not what you might think, by the audience. These two live songs have a studio-feel because the audience is not hearable, but that's the only minus. Rene< THE TROUBLE PICTURE After first have been in Nottingham to no purpose, we saw RAINBOW for the first time playing in Liverpool. The band was already two days busy with rehearsals in the Royal Court Theatre. That 6th September was the very first concert for the new line-up. The afternoon was used for a soundcheck. New man Chuck Burgi and David Rosenthal arrived first, they hardly were recognized. Joe Lynn Turner and Roger Glover came a little bit later and have to sign a lot of autographs before they reached the stagedoor. Joe told they would do "Stargazer" again. Ritchie Blackmore arrived as last one. There were stories going around that he has got a seriously injured his back a few days before in a soccergame in New York against Def Leppard. Ritchie stated that it wouldn't stop him starting the tour though. "Even if I have to go on stage with crutches, I'll play" thus Ritchie. But the fast spurt, ended with an athletic jump, a real escape unharmed into the Royal Court made it clear he was doing fine. Before anyone blinked their eyes Mr Blackmore was inside the place. During the soundcheck they did "Spotlight kid", "Miss Mistreated", the new "Fool for the night" and "Can't happen here". From the fierce business in tickets on the black market it's obvious that the concert is completely sold out. Later it becomes clear the Royal Court is a not too big former cinema. The arrival of Ritchie is not as planned. He now comes in a VW-van that stops before the stage-door and many bodyguards try to deliver "the man" fast inside. 
The support-act is by Lita Ford, the ex-Runaways female guitarplayer, with her band exciting of bassist Randy Rand and drummer Randy Castillo. The trio, with Lita obvious in the leading part, only gets 25 minutes time to warm up the audience. They make a good impression. Most striking song in their set is the Jimi Hendrix track "Fire", Rainbow played this song many time as an encore during the 1981 World Tour.When it's time for the change of the stage equipment we see as most remarkable fact the white backline. After all the years we had to look to a pair of black Marshall-tower, we now all of a sudden see the white anniversary edition of the Marshall factories on the stage. On the sides we see safety-nets, that can be used when the audience starts throwing rubbish on the stage. The big mechanical eyes are not visible, but later they turn out to be present as well. They were going down from above last year, this year they are rising from the depth. The intro-tapes are still the same, "Pump and circumstance" and "Over the Rainbow". After this the band enters the stage. Ritchie shows right away his good (wild) mood. Dressed in black as usual and a white Fender Stratocaster round his neck. Roger is noticeable in his purple outfit and his always present flaphat. David is now with his keyboards-set on top of Roger's bass amps. So there's now no place for both the backgroundsingers Dee Beale and Lin Robinson. They are now oblique behind Ritchie. Chuck is for the first time with Rainbow visible behind his black drumkit. Joe gets as last one on stage. The big mechanical eyes are conjured up and the chock-full Royal Court changes within a few minutes in a rock'n'roll paradise. 
Ritchie steals the show right from the start. Walking on his red boots all over the stage. Gives signs, keep his eye on new member Chuck Burgi, does a extended solo in "I surrender", it's that long Joe looks desperately to see if he can join in again. And "the man in black" is in fine form. It's a surprise they play again "Catch the Rainbow". It's a relief the solos are not that long.Ritchie's and David's solos stand out through the stereo effect. But Chuck's solo is not that impressing. In contrast to what you got to see of Cozy and Bobby in the years before this is not that spectacular. In 'Blues' Ritchie asks extensively the attention of the man in the back of the hall with the pointing spotlights, who's making too many mistakes. After he does his work a lot better Ritchie applauds for him. It's a big surprise "Stargazer" is again on the setlist, but the way they play it is a disappointment. The middle part with the solo is left out and the forced vocals of Joe doesn't leave much of the classic song. "Stranded" is a great rockin' song for the liveset, but the by Joe announced as a Russian ballad, "Death alley driver" is just like "Stargazer" too forced. Joe has no energy left at the end of the set. Encores follow soon. Joe explains the "All night long"-riff, has a nice conversation with Ritchie and creates this way a great atmosphere. Ritchie throws the microphonestand between the crush barriers and let the riff hear a few times through the speakers. The riff of "Smoke on the water" is next. The crowd's going wild, but Ritchie gives a sign like he's saying 'forget it'. With a filthy gesture Ritchie almost literally answers Joey's request 'to check his balls' during the voice/guitarduel. If the crowd starts singin' with Joe Ritchie gives the rest of the band the sign to leave the stage. Bad luck for Ritchie this time, Joe just looks at him at this moment so this time this 'practical joke' fails. After band and audience went for the last time to the limit in "Long live rock'n'roll" is it Judy Garland, who despite the cheering for more, the very first show of this line-up ends with the "Over the Rainbow" tape. The next afternoon Ritchie walks relaxed to the stage-door, when I gave him a few fanzines he asks which fanclub we are. After the answer we're the Dutch one, he replies "Oh yeah, the Dutch one. From which country?" is a question you can expect of Ritchie Blackmore. Ritchie apologize but the rest of the band is waiting for him to do the soundcheck. Then manager Bruce Payne all of a sudden comes outside telling Ritchie will come out to give autographs to the fans who are outside waiting. And it really is happening. On the question what Ritchie remembers from last night's show, he answers he was too drunk to remember. 
That second night in Liverpool, the 7th September, there's not as many people present as on the first night. Lita Ford plays the same rockin' set as the night before. The audience is with Rainbow, just like the band themselves, less wild than the night before. On the stage this results in playin' their instruments better. During the opener, "Spotlight kid", we have to do it without the big mechanical eyes.Later with "Power" they're again part of the show. But the smokebombs after the drumsolo are responsible that the effect is nil. During "Catch the Rainbow" we notice the very relaxed atmosphere on stage. Ritchie, tonight in a different black outfit, is having a conversation with Roger, who's tonight dressed in white, during the old classic. When David does his solo Ritchie throws a towel in the direction of the keyboards trying to get Dave out of his concentration. The towel just doesn't make it to the keyboards and drops on the ground just for it. David smiles and continue his solo. Chuck's solo is tonight a lil' bit better, also because of the use of some smoke and magnesium bombs. Again tonight "Stargazer" and "Death alley driver" are a bit disappointing. In the encores Ritchie plays a new version of "Smoke on the water". He plays the riff only on muted strings. Also "Lazy" and "Rule Britannia" are played very shortly. Again no demolishing act. This show was musically a lot better than the first night, but the wild and enthusiastic sphere of that last night was missing. On Saturday, 10 September, in the huge New Bingley Hall the sound is pretty bad. The acoustics of this place isn't that good. Lita Ford start here in Stafford with a little longer and better set. Especially the ballad "Just a feeling" with Lita on a guitar with twin neck is the favorite of the public. Rainbow starts, obvious inspired by the large number of fans, furious. The mood is right from the start great. It's rockin' like an unstoppable train. If it's finally time for a quiet moment, "Catch the Rainbow", things goes musically wrong. Ritchie lead everything, although it takes some sweat, into the right direction. Here it's the first time we get from the man in again the purple outfit a basssolo. The other solos are here clearly much longer than in Liverpool. The audience is wild and makes a lot of noise. A subject lands on stage. Ritchie picks it up and does a slide slidesolo with it, a bra. Also "Blues" gets done in a very long version. The normal encores are done but the audience still wants more and after they sang the full version of "You never walk alone" the band returns for the third time tonight. Ritchie shows up with an imitation Stratocaster and that means the wellknown demolishing act. Ofcourse the guitar gets smashed up. Ritchie destroys it competently and throws the remaining parts in the audience. After two hours and a quarter the show is over. 
In Bristol, the next day -it's 11 September-, we arrive early in the morning. There are no fans yet at the venue and the roadies are very busy.We got known quite well at the whole Rainbow-circus. It's Sal Lupo, the man behind the big mechanical eyes, who gives us the name of 'the shadowguys'. Later that afternoon tourmanager Colin Hart promise he'll try to arrange something for us. He's also the guy who fixed us with some trouble a guest-pass, after tourpromotor Dotty O'Rourke us refused to give backstage passes. When Colin finally arrives just before the show that night, he tells me to wait at the stage-door after the show for him. The venue here in Bristol is about the opposite of the one in Stafford. The sound is here near perfect and we see the best show of the four we were able to visit. In "Catch the Rainbow" Ritchie don't take a chance and lead everything like a leader should do. Joe asks the audience if they'd have some drinks. Time for "Drinking with the devil". Turner ask himself the question. Positive! Then it's Ritchie's turn to answer. Whatcha think? Ofcourse! Roger has the nerve to shake 'no'. Who believes that Gloverboy? Mr Glover again let us hear a bass solo, that with the help of the public, grows to a highlight. Roger then wants to give David the sign that he can start his solo. But Roger sees nobody behind the keyboards and then David, who was on his knees, pops up with a big smile on his face. Ritchie don't lag behind. In "Blues" he gets to the right side of the stage. Chuck doesn't notice it and his eyes starts lookin' desperate for Mr Blackmore on the left side. When he finally sees Ritchie on the other side of the stage, the man in black gives him the sign and Chuck starts "Stargazer", while the rest is still in the middle of "Blues". During the 2nd encore in "Long live rock'n'roll" Ritchie climbs on Roger's backline and starts a duel with David. The concert ends with an enthusiastic Ritchie and Roger playin' each others instrument. 
After the concert we are waitin' at the stagedoor with about 50 other fans. Lita Ford is very busy signing autographs. Then it's Colin who comes outside. He tells me to go to the hotel and whispers the name of it in my ear. In the mean time Joe, Chuck and David rush to one of the BMW's. Colin, already quite tipsy, keeps his eye on the fans if they don't go too far. And when they do he roars inarticulately. Chuck Burgi tells him: 'C'mon, ya know these guys' and Colin gets to the other BMW.I ask Colin if it's ok to drive behind him because we don't want to go through the whole of Bristol trying to find the hotel. Colin say it's alright. Ritchie has gone already through another door. Then we hear Colin roaring again: "From who is this fuckin, bike?". Someone has parked a bike against Colin's BMW. From the crowd someone replies: 'it's Ritchie's bike'. Colin laughs: "Ha, he's too drunk to go on a bike", and again between the booze fumes from Colin's mouth it's again "From who is this fuckin, bike?". Just when Colin Hart is on the point to demolish the bike the perpetrator comes forward. Colin gives the bike to the shivering kid and tells him: "Fuck off with that bloody bike". Finally the BMW with David Rosenthal behind the wheel is leaving. The wait is than for Colin who has to take Roger Glover with him. Ten minutes later it's so far. We drive with a very high speed after Colin. Arrived in the hotel we wait together with Roger for Colin who has to find himself a parking place. Roger thinks he already is in his room, uses the big flowerpot as ashtray and then finds out they have stolen his bed. Roger has started to decorate his room when Colin gets in. Roger's having a lot of fun: "Hey Colin, have you got my keys, they're in the back of the car, Colin swears and commands everybody into the elevator. With the seven of us we are in the far too small elevator. "To the bar" commands Colin. In de bar we see some strangers but also Joe Lynn Turner, David Rosenthal, Chuck Burgi, manager Bruce Payne, Ritchie's personal assistant Barry Ambrosio, Dee Beale and Lin Robinson. After it's clear we're from the Dutch Rainbow Fanclan, it's big boss Bruce Payne who says: "Ah, the guys from the orange paper". We are not strangers obvious to the big man behind the band. Not much later the whole circus is glancing through our fanzines. Joey starts laughin' and mumbles 'Oh oh, the trouble pic'. Just at that moment Colin calls us so it's not clear what Turner means. 
Colin is waiting with Chuck for us. 'Is it alright if you have a chat with Chuck?' he asks with a tone like he wants to say if it's not good we pick out one of the other lads. But we are very keen to speak with the new member of the band, we were in fact hoping to speak to him. So it's Chuck.Right away it turns out he's an enthusiastic speaker. He's very curious how we knew he was in Brand-X. He shows us proudly the review of the 'Masques' album in "Over the Rainbow" no 18. Yeah right, that's our own magazine. Joey told us is the answer and Chuck replies: 'Aaah, now I understand'. When we have talked with Chuck for about twenty minutes Ritchie arrives in the bar and after he's been talking with Barry and Bruce he sits down just behind us. He starts glancing through some of our fanzines and interfere in our conversation: 'You're from Holland, isn`t it? How's Holland?' we hear behind us. "Oh, great" is the answer. Ritchie doesn't hear it good apparently. "What? White?" he asks. "Oh yeah!""...great!" and Ritchie says understanding: "Ooh, yes ofcourse". While Chuck keeps talkin' through, we concentrate again on him. 
Ritchie is glancing some more through the fanzines. And then we hear behind us: "Oh boy, there it's again. The TROUBLE PICTURE". We're now very curious. Ritchie explains what it's all about. He has "Over the Rainbow" no 16 on page 13 (can't miss ofcourse) before him. And we understand what he means. On that page (see the Down To Europe 82 Special on the website for the uncensored picture) there's a picture printed from the Hilton hotel in Rotterdam last year November.Ritchie is seen on this photo in the company of a female. "This photo has give me quite some trouble. If Amy (Ritchie's wife) see this, I'm going to have a bad time. She search through everything that's written about me. When these magazines turned up in the Sweet Silence Studios in Copenhagen, I right away tear out this page" thus Ritchie who's going through the mags again. Lookin' for more trouble? Lita Ford and her crew also arrive and the eyecontact is inevitable and in the Rainbowcamp it's clear we also no strangers for each other. Also Lita and co get into our fanzines. With Chuck we get to the subject of camping and tents. Ritchie gets involved in it and says: "That should be fun instead of these boring hotels. I always want to be a prisoner". The conversation continues and Chuck gets us a drink, and ofcourse also for Colin Hart is another drink ordered. Colin comes to pick up his beer and checks our taperecorder if it's still working. All kinda inarticulate words are getting out of his mouth, it should be like it is a soundcheck. After a conversation of five quarters with Chuck, it's time to say goodbye and thank him for his enthusiastic cooperation and the expensive beer. We also thank Colin Hart, who's in the mean time 'drunk as a skunk' jogging in the bar. When we leave the bar it's Ritchie who greets us. The party is over. SONG TEXT JEALOUS LOVER Lost and lonely, clouds hide the sun Out on a highway, it's all you can run Cold empty nights, devils in my head It's something I've been, oh baby something you said And it's hard to discover That you're just another jealous lover And it's so tough to take That you're making no mistake jealous lover Oh girl don't want no other 
Shades of red, eyes of greenShe's got me waiting, there's no inbetween Ask me no questions, I'll tell you no lies Still you keep thinking that it's all paradise And it's hard to discover You're like any other jealous lover And you say I'm afraid That you're making no mistake, oh In the day it's the same, the faces and the names How long can I go on playing this game So I live for the night, salt and the lights To really love you and tomorrow they might But it's hard to face No one else tales your place jealous lover And they say that's the breaks But I got what it takes jealous lover, oh I'm a jealous lover Jealous lover Don't need no, don't need no, don't need no other Jealous lover, yeah Jealous lover, oh Jealous lover.  © Rainbow Fanclan 1979-1984
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