We covered the first leg of the US Tour in Issue Sixteen. They put in a second leg covering other areas of the country in the autumn, after which David Stone and Bob Daisley were fired. It seems that Ritchie tried to get Jethro Tull bassist John Glascock, but was unlucky there. The last rumour was that he had got in a black player. Dio was rumoured to have been sacked; and promptly rehired on the condition that he left his wife behind when they toured! It's been confirmed that he has now been fired for good.

To fanatics, who have managed to get all of the original singles there is only one gem here. The version of 'Speed King' is not the original 'Black Night' b-side (which was unedited from 'In Rock', intended as a plug for the LP). This is different, an early demo version, slower, with piano, some background harmonies, and more complex drumming. Somebody obviously picked out the wrong master-tape from the vaults. I forgot that there must be some fans who have never heard the studio 'Black Night' until I got some of your letters in. Written after a lengthy studio stint to try to write a hit single and failing to get anywhere; this is probably reflected in the guitar soloing from Ritchie, on which he sounds fed up and resorts to dismantling the tremolo arm! I still love it!

Drummer Liam Genocky stayed long enough to help them record an album and play at the Reading Festival. The permanent drummer is Pete Barnacle. With the band's name shortened to Gillan they began a German tour in September 1978, followed by their UK debut at The Marquee on September 28th and 29th_

"They're on. There's a lot of noise. Bassist sports a Kojak cut and is built like a brick shit-house. Punk drummer. The first two numbers go fast and furious. More guts and depth than the IGB, though I wouldn't class them as outstanding players. Encore is 'Lucille' with strobe, guitar and bass running up and down, looked too contrived to me.” Ernie Tull.

A single album issued by Island Records in Japan, early 1978, recorded at a gig in the Tokyo Budo-Kan Hall on September 22nd 1977. The fairest way to assess this album is that, for a fan of the band, it will make a useful reminder of the set. Whereas most live albums seem to improve a lot over the studio versions, I don't think this does to any great extent. Gillan's vocals benefit from not being mucked about with too much certainly, but the solos are uninspired throughout, especially Fenwick, who gets most of the space between vocals but has very little idea of what to do with his freedom. The disc comes in a double-sleeve, with an inner sleeve full of pics, all in colour.

Another single album, on a new label (East World) operated by Kingsway, Gillan's own studio. It contains more from the concert above, and was issued in Japan after the first one had done so well. This hasn't much to recommend it, and came in for rough reviews over there. 'Mercury High' sounds weak, and 'Woman From Tokyo' is a criminal rendition of a Purple classic.

Whitesnake embarked upon their first proper tour, beginning in Newcastle on October 26th, and ending at the Hammersmith Odeon on November 23rd. This was preceded by a TV spot on The Old Grey. Prior to the tour the album was finished with Pete Solley on keyboards, and they were going to leave it like that before Jon Lord offered to add his own keyboard parts instead. The job only took him four days.

For those of you who don't like bad reviews, read the live report below. I saw the band before I heard this, and there ain't no comparison. 'Take Me With You' has a nice opening, synthesised noises and chunky guitar before the track proper starts, but it kind of tails off after a while. I don't think Dowle is right for the band, but not being a drummer I can't really say why. 'The Time Is Right For Love' is a track which, had it had the time devoted to it that 'Northwinds' had might have been very good. In case you miss the news about Lord, they just turn him up as it ends, both on this and other tracks. Overall it's very ordinary and two-dimensional.

Not having heard the new LP yet much of the show was new to me, and though it wasn't faultless I enjoyed it. After Coverdale introduced Lord, he was a bit upset to see him get more recognition than himself, and began screaming to regain the audience's attention. I don't think he's got a lot to worry about, his singing was good, and he stayed right out front most of the time. In 'Mistreated' Moody and Marsden duelled away in the middle, while Lord belted away at his keyboards; racing his hands up and down, it was magical...

It came as little surprise to know that he was on The Who short-list, but he has steered clear. According to Jon Lord, Ian is at present working on forming a band. He hasn't told Lord with whom yet, it's still a bit tentative.

Someone in Sounds claimed that this album is Deep Purple in disguise. Now I've finally heard it and I can confirm it is NOT Deep Purple. The opening track is a rip-off of 'Wring That Neck', and this obviously set some people wondering, but there is a lot of nicking from other bands also - early Hawkwind, The Rattles etc. Never do we hear a single Blackmore trade-mark or riff.