very few times and only in Europe, often in a set with the two other albums recorded by the Mark I line-up. The only other international reissue of the album is the Remastered 2000 CD edition by EMI, which contains versions of "The Bird Has Flown", "Emmaretta" and live performances taken from BBC Radio sessions as bonus tracks. All the songs were digitally remastered by Peter Mew at Abbey Road Studios in London. Touring While the band was recording the new album and touring in the UK, their managers at HEC Enterprises had found an agreement for Deep Purple to support the Rolling Stones in their upcoming US tour during Spring 1969, the first in three years and a certain sold-out event. Unfortunately, the Rolling Stones decided to spend more time at Olympic Studios in London to record their album Let It Bleed and postponed their tour. Thus, in early April 1969 Deep Purple were on their way back to the US to start off a two-month coast-to-coast tour as headliners which, similarly to what had happened in Britain, brought them mainly to small clubs and colleges. This time their trek also touched Canada, where their albums were distributed by Polydor Records. Upon arrival on US soil, Deep Purple found out that Tetragrammaton had not yet found the resources to manufacture their now finished album and could offer very little financial support to the tour. Contrary to what happened in the past, when the American label had spent much money in advance for promotion and people who saw the band on the road could find stacks of LPs and singles for sale at every concert, this time the single "Emmaretta" and the band's back-catalogue remained sitting on store shelves. In fact, the band experienced some economic limitations during the tour and asked their manager John Coletta to fly back home, so the hotel bills would be reduced. Coletta later commented on how 1969 was a wasted year for Deep Purple in America. Even though their most recent single was doing poorly, Deep Purple maintained a reputation as a fine live act in the US. The band had now begun to develop their stage presence into something grander, going in a louder and heavier direction and focusing more and more on the instrumental interplay between Blackmore and Lord. In particular the latter had found a way to short-circuit the original Leslie