back to top page


VO 1 - 6360 013
* NOTE: ALBUMS WITH AN IRREGULAR CATALOGUE NUMBER ARE EVALUATED AT THE REAR OF THE SERIES.



VO 1
COLOSSEUM - VALENTYNE SUITE (november 1969)

vo1
vo1lbl

Line-up: Dave Greenslade, voc, keyb/ Dick Heckstall-Smith, sax/ John Hiseman, dr/ James Litherland, voc, gtr/ Tony Reeves, bsgtr.
Production: Gerry Bron & Tony Reeves for Hit Record Productions Ltd. (what's in a name...).
String quartet arrangement on Elegy by Neil Ardley, who also directs a background on Betty's Blues by ''some of the finest musicians at present working in London''.
Cover-design by Marcus Keef (fold-out cover outside) and Linda Glover (fold-out cover inside).
Photography by Marcus Keef and Peter Smith.
Liner notes by Jon Hiseman, written in July 1969.

Track listing A-side: The Kettle (Dick Heckstal-Smith + Jon Hiseman)/ Elegy (James Litherland)/ Butty's Blues (James Litherland)/ The Machine Demands A Sacrifice (Colosseum + Pete Brown).
Track listing B-side: The Valentyne Suite (Dave Clempson +  + Dick Heckstal-Smith + Jon Hiseman): Theme One - January's Search/ Theme Two - February's Valentyne/ Theme Three - The Grass Is Always Greener...

The label carries no composer credits. The inside of the fold-out does: all music by Colosseum and all words by Pete Brown.
Running time is not mentioned.
The Vertigo logo on front is bright pink.

Matrix number A-side:
886 775 1Y*1 420 1 1 1 1
Matrix number B-side:
886 775 2*Y*1 420 1 1 1 1

Well, we have hardly started and there we go.... The matrix should have carried the number 847 900, but our copy does not. If there is anyone out there who has a copy with a different matrix, please contact us!

Rarity scale: SC



Launching the label with the second album by Colosseum seems a logical choice. The band recorded a quite succesful LP for Phonogram already, Those Who Are About To Die Salute You, on Fontana (STL 5510). Their brand of mixing jazz and rock in a rather original way is custom made for the concept of the label. There can be little doubt about the musical competence of these gentlemen. Almost 40 years later, the music still sounds more or less fresh. Technically this is top-notch. Blues, jazz and rock are blended into a heady mixture and the playing sounds extremely confident. The ever present danger of too elaborate soloing is wisely restricted, especially on side A, which features strong compositions and fine singing. This A side is better than the long suite on side B: more compact and emotional. This is ever so important, where this kind of venture is always threatened to be marred by too much intellectual exercise. The sidelong suite of side B certainly has its moments, but its weak points show clearly through: not all parts are bridged adequately and some of the ensemble playing sounds cerebral. Still a fine LP by any standard.

The striking image on the cover does not reflect anything I can discern in the music, but that may not be a real disadvantage. Estranging light effects (sun and candles) and unreal sizes (the candles are enormous) create a surrealistic atmosphere. A desolate landscape of low brush with a very highly placed horizon does the rest. Is the lady waitng for you to marry her? Her virginal white clothing and her uncertain attitude seem to suggest so. Especially when opened the cover is impressive.
The lettering has a slight ''american'' touch and does look out of place on the overall design.
The inside of the gatefold has the liner notes superimposed on the foto of the ad below. Hiseman is portrayed once again beside this, heroically swinging the drumsticks. The liner notes are efficient and belie the egocentrical pose of this shot.

Notes: This LP was issued on Fontana in The Netherlands with the ''correct'' catalogue number 847 900 andlike that  in Italy too. It probably even was in Australia. Can someone confirm the latter?
It was also issued in the USA as The grass is greener on Dunhill (DS 50079) in 1970 with different tracks and in an altered cover. In Japan it was released on Philips (SFX-7201) and in New Zealand on Fontana (VTY 847 900)
A cassette release in Britain has been confirmed, the catalogue number is 16 000 CVO.

itdec69





An advertisement belatedly announcing Vertigo's first release proper (Colosseum's Valentyne Suite) we found in International Times no.70, from the 18th of december 1969.





VO 2
JUICY LUCY - ''same'' (november 1969)

vo2
vo2lbl


Line-up: Glenn Campbell, voc, mand, marimba, steel/ Pete Dobson, dr/ Keith Ellis,
voc, bsgtr/ Neil Hubbard, gtr/ Chris Mercer, sax, keyb/ Ray Owen, voc.
Production: Gerry Bron & Nigel Thomas for Hit Record Productions Ltd. and Juicy Lucy Music Ltd.
Cover-design by Nigel Thomas, Glenn Campbell  and Peter Smith
Photography by Zelda Plum and Peter Smith.
Liner notes by Nigel Thomas and Chris Welch, written in September 1969.
Recorded at the I.B.C. studios in London in September 1969.

Track listing A-side: Mississippi Woman (Juicy Lucy) 3'45'' / Who Do You Love? (Bo Diddley) 2'49''/ She's Mine (Keith Ellis + Nigel Thomas)</> She's Yours(Keith Ellis + Nigel Thomas) 5'43''/  Just One Time (Neil Hubbard + Glenn Campbell) 4'31''. Track listing B-side: Chicago North-Western  (Neil Hubbard + Glenn Campbell) 4'20''/ Train (Buddy Miles/Rich) 5'49''/ Nadine (Chuck Berry) 2'46''/ Are You Satisfied? (Pete Dobson + Chris Mercer + Nigel Thomas) 6'13''.

Again there are no composer credits on the label, they are inside the gatefold.
The Vertigo logo on front is yellow.

Matrix number A-side:
847 901 [this is HAND-ETCHED on our copy, the rest is machine-stamped as usual, ''VO2'' has been scratched out (!)] /2Y //1 ▼420 1 1 4
Matrix number B-side:
847 901 (normal machine stamp) *** 2Y//2  ▼420 1 1 2

Rarity scale: SC


For the liner notes by Welch the term ''pretentious'' would be an understatement. A quote: I encourage seekers of musical truth to investigate the work on this album. Believe me, don't. In retrospect there is not much more to hear than beefed-up boogie blues, with the asset of an unexpected steel guitar, but without any sublety in the composition department. The arrangements sound commonplace, maybe especially since all are so energetic that they ring false and superfluous. Solos are long, some are good, some really stink. The hitsingle Who Do You Love is hot enough, but this is concise and written by Bo. Some other tracks have such thin material that they are tramping common ground much too long to hold the attention of the listener, Are you satisfied? being the prime example. Yes, the band can play, no argueing with their ability. And yes, they can sweat too, most doggedly so. Any secretion 40 years old goes stale...

The cover-art strikes to stun, but ultimately succeeds perhaps only in evoking a mild smile. The lady (or is it a drag queen?), lying on the table under an avalanche of downpouring fruit, is one of those images you will never forget, once you have seen her in her helpless nakedness. Should we turn away disgusted, should we become appetized? Should we feel pity, loathing or even envy? Her left breast seems to have been airbrushed away, thereby creating an androgyne impression. She wears heavy make-up but has no body hair at all, is she a dummy? Bad taste is timeless, it only goes to show. Just watch the watermelon juice on the back cover dripping slowly down and down and down.
The lettering subtly echoes the fruity contents of the pictures: first rate!
The inside of the gatefold has a decent band photo in black and white, quite a deliverance after the outside.

Notes: There are also copies with regular matrix numbers, of course. These seem to have a slightly bigger distance between ''1969'' and ''331/3'' on the label.
This was released in the USA on Atco (SD 33-325) in 1970.
If you want to see a hilarious variation, just have a look at the Spain page! Or else the New Zealand page...
It was released in Australia on Fontana (847 901 VTY), which was to be expected, on a yellow label.
A cassette release in Britain has been confirmed, the catalogue number is 7138 002.

A mispress has been spotted! Side B is Juicy Lucy as it should be, but side A plays the first side of Cressida's debut (VO 7).


juicyNL
Juicy Lucy's first LP was issued in The Netherlands on Fontana with the catalogue number 847 901 VTY in a different cover, although they did use the same idea on the design as on the British release. Under the Fontana logo on the front cover ''A Vertigo production'' pops up. The same happens at the bottom of the label. It looks like the same lady (is it?), but this is a much more decent picture, I guess. In this era, before Photoshop, they still had to cut and paste with scissors and glue, which shows clearly. Take a good look at the picture! The orange left to her face is litterally hanging in the air.
The matrix number (machine-stamped) is
AA 847 901 1Y 1 (P) 1969 670 11
and
AA 847 901 2Y 1 (P) 1969 670 11
as regular as it gets, ''670'' being the country code for The Netherlands.




VO 3
MANFRED MANN CHAPTER THREE - ''same'' (november 1969)

vo3
vo3lbl


Line-up: Harold Becket, trp/ Craig Collinge, dr/ Brian Hugg, gtr/ Mike Hugg, voc, keyb/ Bernie Living, altfl/ Manfred Mann, keyb/ Steve York, bsgtr.
Production: Dave Hadfield.
Cover-design by Jack Levy.
Photography by Johnny Clamp.
Liner notes by Manfred Mann and Mike Hugg.
Recorded at Maximum Sound Studios.

Track listing A-side: Travelling Lady (Manfred Mann + Mike Hugg) / Snakeskin Garter (Mike Hugg)/ Konikuf (Manfred Mann)/ Sometimes (Mike Hugg)/ Devil Woman (Mike Hugg).
Track listing B-side: Time  (Mike Hugg)/ Mister You're A Better Man Than I (Mike Hugg + Brian Hugg)/ Ain't It Sad (Mike Hugg)/ A Study In Inaccuracy (Manfred Mann)/ Where Am I Going (Mike Hugg).

Again there are no composer credits on the label, they are inside the gatefold.
There is no running time noted.
The Vertigo logo on front is silver.

Matrix number A-side
847092 1Y //3 ▼420 1 1 1
Matrix number B-side
847902 1Y //3 ▼420 1 1 2

Rarity scale: SC


Manfred Mann, major poppifier of Dylan, lost grip on the dying market for their kind of brew and disbanded in june 1969. A second incarnation of just Mann and Mike Hugg resulted in a flopped single and some advertising music. Small wonder that they claim on the first release of their third incarnation: This LP represents in general what we personally have been wanting to do for some years. Well, what they wanted to do for years turned out to be a pretty claustrophobic affair. Two keyboards at once, the vocals of Mike Hugg, who whispers and groans more than that he sings, and the somewhat cluttered production produce a sombre and at times difficult to penetrate sound. Main disadvantage seems to be the poor integration of rock drums in a setting that suggests jazz more than anything else. Shreds of Dr. John and of Soft Machine keep popping up, but the uncanny atmosphere is pretty unique nonetheless.. Very dense and here and there even strictly non-commercial, this album makes for uneasy listening.

The cover is of  great simplicity: silver line drawing on a dismal dark green background. The portraits of the musicians are drawn in haste, but yet with commendable likeness. Looks like a typical art-school product.
The lettering is done by the same hand as the drawings are and is by its very nature excellently assimilated into the whole picture.
Inside the shrewd use of green, black and silver, along with convincing slices of transparancy is a better recipe.

Notes: This was issued in the USA on Polydor (24-4013) in 1970 and in Japan on Philips (SFX-7200).
In Australia this was released on Fontana, very likely with cat.nr. 847 092.
Some copies have ''A Philips record product'' on the backcover (and some don't).
We would like to hear of other releases of this LP.
A cassette release in Britain has been confirmed, the catalogue number is 16 001 CVO.




VO 4
ROD STEWART - AN OLD RAINCOAT WON'T EVER LET YOU DOWN (end of 1969)

vo4
vo4lbl


Line-up: Mike d'Abo, keyb/ Ian MacLagen, keyb/ Martin Pugh, gtr/ Martin Quittenton, gtr/ Rod Stewart, voc, gtr/ Michael Waller, dr/ Ron Wood, gtr, bsgtr.
Production: Lou Reizner.
Cover-design by Marcus Keef.
Photography by Marcus Keef.
Liner notes by unknown.
Recorded at Lansdowne & Olympic Studios.

Track listing A-side: Street Fighting Man (Mick Jagger + Keth Richard) 5'04'' / Man Of Constant Sorrow (trad.) 2'30''/ Blind Prayer (Rod Stewart) 4'36''/ Handbags & Gladrags (Michael d'Abo) 4'22''.
Track listing B-side: An Old Raincoat Won't Ever Let You Down  (Rod Stewart) 3'02''/  I Wouldn't Ever Change A Thing (Rod Stewart) 4'45''/ Cindy's Lament (Rod Stewart) 4'28''/ Dirty Old Town (Ewan McColl) 3'40''.

Again there are no composer credits on the label, they are inside the gatefold.
The Vertigo logo on front is white.
The backcover lists the ''old'' number 847 200 VTY, as does the label, just under VO 4. The small lettering underneath  gives the used matrix number as 852 684, which is irregular.

Matrix number A-side
852684 1Y* 2 420 1 1 2
Matrix number B-side
852684 2Y//1 ▼420 1 1 1

Rarity scale: SC


We always had problems with Rod, but it must be admitted that his first solo album has its moments, above all the fine title track with its wonderful bobbing bass line and quite impressive vocals. Handbags & Gladrags also gets an excellent treatment. If you are familiar with his later solo output only, then the folky plus thundering drums approach will probably take you by surprise. The guitars are gritty, the band plays loose, yet tight. Nonetheless it seems hard to understand why this wasn't a release on Philips. Nothing in the music ever hints at something adventurous or even remotely ''underground''. One of the most common sounding LP on Vertigo.

Children in opulent night dresses run over the lawn with a friendly hobo accompanying them. The foto is just vague enough to be suggestive; the children clearly have fun. The stranger indeed wears an old raincoat.
The lettering seems a bit common, but is not disturbing the picture as a whole: at least they follow the general motion.
Inside the children sit beside him and listen to a beautiful old grammophone, a nice and friendly image.

Notes: This was released in the USA as The Rod Stewart Album in a plain and very unimaginative cover on Mercury (SR 61237) in 1969. Originals have a yellow cover without a black border. The black border was added on later pressings.
We would like to hear of any Fontana releases of this LP.
A cassette release of this title has been confirmed for Britain with the cat.nr. 7145 004



VO 5
ANCIENT GREASE - WOMAN AND CHILDREN FIRST

ancientgr


Well, it would have to surface somehow, we thought, and there it is. The back cover of the UK version of above title clearly shows the ''VO'' price code. Are there any copies around that show  the aborted catalogue number VO 5 anywhere?. If there are any readers of this who have such a copy and can send a scan of that area, we promise them be eternal gratitude! It was in actual life released on Mercury 6338 033 in 1970.
We have in the mean time received the information that the original title would have been STRAWBERRY DUST.



VO 6
  BLACK SABBATH - ''same'' (februari 1970)

vo6
vo6lbl1st


Line-up: Geezer Butler, bsgtr/ Toni Iommi, gtr/ Ossie Osborne, voc, harm/ Bill Ward, dr.
Production: Rodger Bain.
Cover-design by Marcus Keef.
Photography by Marcus Keef.
Liner notes by unknown.
Recorded at unknown.

Track listing A-side: Black Sabbath (Black Sabbath) / The Wizard (Black Sabbath)/ Behind The Wall Of Sleep (Black Sabbath)/ N.I.B. (Black Sabbath).
Track listing B-side: Evil woman, don't play your games with me (L.Wiegand + R.Wiegand + D. Waggoner)/ Sleeping village (Black Sabbath)/ Warning (Aynsley Dunbar).

Again there are no composer credits on the label, they are inside the gatefold.
There are no running time indications.
The Vertigo logo on front is pink.
Although the matrix carries the VO catalogue number for the first time, both the label and the backcover still mention the ''old'' number: 847 903 VTY.

Matrix number A-side
VO 6 1Y* 1 420 1 3
Matrix number B-side
VO 6 2Y*1 420 12 16

Rarity scale: SC


The beginning of an era, I guess. Where hard-rock up till here was pitting pathos and violence against each other, Black Sabbath introduced (not very convincingly yet) elements of evil and anti-christian symbolism. Although completely paling in comparison with what the end of the last century and the beginning of this one spawned in this direction, the band plunges into realms hitherto uncraved for with mixed results. Black Sabbath attempts to express the antipode of the spiritual quest as advocated by countless progressive bands, but has not yet the ability to musically convince. The music is simply not evil enough to effectuate its claim. That doesn't mean that some of the stylistic traits this LP inaugurates do not have their merits. Grinding guitars, emphasis on strictly unswinging rhythms and heavy textures prevail everywhere, quite a combination. With unmelodic and thus unmannered heavy rock Black Sabbath proves that the straight line sometimes holds more power than the ornament. And don't forget that being first is a feat in itself. A lot left to cultivate here, but ''the beginning of an era'' holds true.

The cover image is brilliant. A slightly more rural House of Usher bathes in a bloody red light. An impressive lady looks at us broodingly from a distance. She cradles a cat, of course. Trees and other vegetation suggest subtle decay. An image much more refined and unnerving than the music and one of Keef's best covers so far.
The lettering is nearly perfect. Modestly ornamental and again subtly suggestive of a restless mind in distress.
The inside provokingly only holds a cross upside-down with the recording information.

Notes: This was released in the USA on Warner Brothers (WS 1871) in 1970 and in Israel on Phonodor (12182) in 1970 with a different backcover to the UK, while keeping the Vertigo logo on front. On this version the production is by Boger Bain..... In Australia it was released on Vertigo with number 847 903 VTY (old Phonogram number) but in a Fontana cover!
We would like to hear about releases on other labels in other countries of this record.
There are in fact three swirl pressings of this record: the first with a label as shown above, the second with the label omitting ''A Philips record product'', and a third with the Vertigo wording above the spindle hole (more about this on the next pages).
Legend has it, that this album was released on friday the 13th of  februari (according to the book "How Black Was Our Sabbath").

A cassette release in Britain has been confirmed, the catalogue number is 7138 001

VO6ace1
VO6ace2
VO6ace1var VO6ace2var

A two-sided metal acetate belonging to this album has been spotted. This sports B-side styled labels with the four tracks that are on this version. A red stamped capital ''A'' marks the A-side. It plays at 45 rpm.
There are even different stamp variations! Just compare the sets above, taken from two different copies.






VO 7
 CRESSIDA - ''same'' (beginning of 1970)

vo7

vo7lbl vo7lblvar

A strange label variation has been spotted, see the right hand side, which could be the truly first edition. The copyright year caption is augmented with an earlier date. The owner states that the backside has the normal 'VO7" caption, but additionally a golden sticker with black text stating '847 904 VTY'. Apparently the record was slated for 1969, but was not ready in time.


Line-up: Iain Clark, dr/ Agnus Cullen, voc/ Peter Hennings, keyb/ John Heyworth, gtr/ Kevin McCarthy, bsgtr.
Production: Ossie Byrne.
Cover-design by Teenburger
Photography by unknown
Liner notes: none
Recorded at Wessex Studios.

Track listing A-side: To Play Your Little Game/ Winter Is Coming Again/ Time For Bed/ Cressida/ Home And Where I Long To Be.
Track listing B-side: One Of A Group/ Light In My Mind/ The Only Earthman In Town/ Spring '69/ Down Down/ Tomorrow Is A Whole New Day.

There are no composer credits anywhere.
There are no running time indications.
The Vertigo logo on front is black.
The backcover does for the first time not mention the ''old'' catalogue number, but the label does.

Matrix number A-side
847904 1Y// 1▼420 1 1 9
Matrix number B-side
847904 2Y// 1▼420 1 1 7
The matrix would suggest that this was recorded before the Black Sabbath album, since the new ''VO'' prefix has not yet reached the matrix.

Rarity scale: R3



cresspro
Photographs of Cressida are pretty hard to come by. This is a picture taken from a Vertigo promo folder with advertisements for roughly the first forty Vertigo releases.


One of Vertigo's finest hours, this is. It's progressive rock from Scotland, nothing less, but almost all irritating traits of that genre are carefully avoided. The mellow emotional singing is free from any mannerisms, the compositions are among the most moving in this realm. There is room for everyone in the production and the playing is refined, even restrained, but without sacrificing any of its splendour. Another point in favour: there is great variety of approach, both instrumentally and stilistically, yet the sound is immediately recgonizable. Stately striding from one climax to another, this still stands as one of the highlights of early British prog. A record that proves that aspirations do not necessarily become pretensions. Melodically extremely affecting with too many highlights to mention, this comes wholeheartedly recommended.

The cover is too rigidly composed to please. The geometric placement of its elements is very austere, the colours are not very fitting. Front and back cover do not truly match. More than a hint of Magritte is present, but to no real effect.
The lettering is too modest to cope with the stark hierachy of the image.
Inside there is a hotch-potch of constituents taken from antique sculpture and architecture. This may look impressive just at first glance, but bores soon after.

A cassette release in Britain has been confirmed, the catalogue number is 7138 017.



aloha
Also abroad Vertigo diligently advertised to get the label off the ground. This one was found in the Dutch ''Aloha" no.23 from 6-3-1970. The ad proudly states that Black Sabbath hails from ''Moody Blues town Birmingham'' !





6360 001
  FAIRFIELD PARLOUR - FROM HOME TO HOME (beginning of 1970)

6360001
001lbl


Line-up: Dan Bridgeman, voc, dr/ Steve Clark, bsgtr, fl/ Peter Daltrey, voc, keyb/ Eddy Pumer, voc, gtr, keyb.
Production: David Symonds.
Cover-design by Marcus Keef
Photography by Marcus Keef
Liner notes: Everett K.
Recorded at Morgan Studios.

Track listing A-side: Aries/ In My Box/ By Your Bedsie/ Soldier Of The Flesh/ I Will Always Feel The Same/ Free.
Track listing B-side: Emily/ Chalk On The Wall/ Glorious House Of Arthur/ Monkey/ Sunny Side Circus/ Drummer Boy Of Shiloh..
All tracks by Peter Daltrey and Eddie Pumer.

For the first time the composer credits are on the label, where they belong.
There are no running time indications.
The Vertigo logo on front is orange.
There is no ''old'' catalogue number anymore. Instead there appears a ''VO price code'' indication in a square beneath the catalogue number on the back cover.
The wording ''A Philips recording'' at the bottom of the label seems to be gone for good.

Matrix number A-side
6360001 1Y// 1  1 1 1
Matrix number B-side
6360001 2Y// 1  1 1 1
Maybe we're hard to please, but now they forgot the country code '420' for the United Kingdom.

Rarity scale: R2



topright3 Finally Vertigo managed to agree upon a uniform system of cataloguing. The prefix 6360 will from now on indicate Vertigo releases, this in similarity with other Philips/Phonogram releases of the time. The ''VO'' prefix is almost buried, ending the confusion of the six previous releases, but clings to existence in the ''price code''.

As you probably all know, this is the third LP by Kaleidoscope, issued under an alias probably because Kaleidoscope seemed too much connected with the by now irretrievably vanished sixties. Again, this is a gem in the crown of Vertigo, almost as good as the two Kaleidoscope albums, albeit somewhat unfashionable and more disciplined. I strongly doubt that there were many listeners in 1970 waiting for a typical British "nice" psychedelic record, but maybe we are in 2007. The melodies are as innocent as they get and there is just enough whimsy to attract the attention without working contrived. Flamboyant highlight: the ever modulating and revolving Sunny Side Circus. Outdated, but very listenable nonetheless.

The cover works great when it is folded open. The elderly lady reading a paper in her rustic attic does not seem to know that there are four very solemn lads in the adjoining room: the band. They look as if they were preparing a sermon. The combination of diagonal lines and all kinds of frames (a mirror, a portrait, a letter, a doorpost etc.) is maintained with iron discipline. Hundred shades of brown and the use of a delicately structured board for the cover enhance the homeliness. The cover is structured in rectangles (see scan above).
The lettering is effective: just a hint of fancy and ornament.
Inside the lyrics are printed over a dark and misty landscape where the band is hardly visible in the gloom. The remains of a tree stick sharply into the nebulous air. Another tree, wintry and leafless, offers some protection. Very atmospheric.

A cassette release in Britain has been confirmed, the catalogue number is 7138 005.



We found a very strange copy of this record too and we will describe the differing details in full.

The vinyl is evidently thinner than on the regular release.
The cover is single instead of  folding out, thereby rendering the concept of its design incomprehensible. The contents of the inside are discarded except for the liner notes.
The liner notes in typescript are transferred to the bottom right corner of the back.
The front cover is the same as the regular release, but the backcover is in black and white.
The spine is left unprinted.
The catalogue number according to the label is VO 231 (!).
Although the label boasts the British design for most of its elements, the printing year has been replaced by ''stereo'', which is decidedly un-British.
The production credit is omitted, as are the composers credits.
The record number is inserted into the left of the label.
The matrix number is HAND-ETCHED and goes: FAIR 10-1A and FAIR 11-1B and has the inscription -L.Nix.
So far so good. The most astonishing fact, however, is the INCLUSION OF 4 NON-LP TRACKS, which were released on an EP (6059 008) around the same time as the album. These extra tracks are inserted two each at the end of the regular album sides, doing fully justice to the term ''LP''. Side A has Just another day and Song for you, while side B has Caraminda and I am all the animals.

We would be very grateful if there was anyone who could clarify this mysterious release.

In the meantime we did receive a scan from a white label copy of this record! That particular copy has a caption on  the front stating ''plus 4 bonus tracks'', so this is likely a (Korean?) reissue. My copy does not have this. Still, we do not quite know what to think...

A diligent reader posted the information, that this is a bootleg from Taiwan, released in 1978.
We have no means of checking this information, but it could very well be like he states.

vo231lbl







6360 002
GRACIOUS - ! (beginning of 1970)

6360002
6360002lbl


Line-up: Alan Cowderoy, voc, gtr/ Paul Davis, voc, gtr, perc/ Martin Kitcat, voc, keyb/ Robert Lipson, dr/ Tim Wheatley, bsgtr.
Production: Hugh Murphy.
Cover-design by Teenburger
Photography by Sam Sawdon
Liner notes: by unknown
Recorded at Philips Studios

Track listing A-side: Introduction/ Heaven/ Hell.
Track listing B-side: Fugue In 'D' Minor/ The Dream.
All tracks by Paul Davis and Martin Kitcat.

There are no running time indications.
The Vertigo logo on front is black.

Matrix number A-side
6360002 1Y// 1▼420 1 1 4
Matrix number B-side
6360002 2Y// 1▼420 1 2 4

Rarity scale: R2


Another fine progressive album from Vertigo. At this stage they seem to have the knack of signing adventurous bands that do not sound much like anyone else, while still keeping the prog flag high. Some sounds akin to King Crimson make their appearance (there are worse examples, of course), but the melodies are fresh and the instrumentation (like harpsichord and tympani) shows classical preferences, without imitating classical music. The overall sound maybe somewhat rusty at times and some themes are stretched a bit thin, but profuse washes of mellotron make up for this. The ''fugue'' actually isn't really one...

gracstruc

The cover is structured with an avalanche of small dots in different sizes (see above scan), almost conveying the impression of reptile skin to the touch. The exclamation mark is perhaps over-evident, but at least it is nice to hold the cover in your bare hands, due to the tactile experience it gives off.
The lettering is as neutral as you can get it and therefore nothing to bother about at all.
The inside is a collage that is probably meant to combine pop-art and psychedelics, but it's too cheap to convince. More Keef, please and less Teenburger!

A cassette release in Britain has been confirmed, the catalogue number is 7138 010.

Notes: This was released in the U.S.A.on Capitol (ST 602) in 1970.
Some copies have the matrix of side B ending in 1 2 2 and the wording ''Marty'' after the initial digits in the run-off groove.




6360 003
MAGNA CARTA - SEASONS (beginning of 1970)

6360003
6360003lbl


Line-up: Tony Carr, dr/ Derek Grossmith, fl/ Spike Heatley, cb/ Davy Johnstone, gtr, sit/ Barry Morgan, dr/ Tim Renwick, rec/ Chris Simpson, voc, gtr/ Glen Stuart, voc/ Lyell Tranter, gtr/ Tony Visconti, bsgtr, rec/ Rick Wakeman, keyb/ Peter Willison, vlc.
Production: Gus Dudgeon for Tuesday Productions.
Cover-design by Linda Glover
Liner notes: none
Recorded at Trident Studios

Track listing A-side: Prologue/ Winter Song/ Spring Poem/ Spring Song/ Summer Poem/ Summer Song/ Autumn Song/ Epilogue/ Winter Song (reprise).
Track listing B-side: Goin' My Way (Road Song)/ Elizabethan/ Give Me No Goodbye/ Ring Of Stones/ Scarecrow/ Airport Song.
All tracks by Chris Simpson.

There are no running time indications.
The Vertigo logo on front is brown.

Matrix number A-side
6360003 1Y// 1  1 1 3
Matrix number B-side
6360003 2Y// 2 2 1 1
So they forgot ''420'' again? Such things happen, it seems.

Rarity scale: SC


Naturally Vertigo needs a folkband, so why not this one, that was already signed and quite popular too, we gather. Still, there are plenty of reasons why this was not the right choice, as the music is so inoffensive, that it actually offends the ear. Expertly played, arranged and produced, this is a conglomerate of meagre compositions, almost invariably too heavily instrumentated or even orchestrated. A sad climax is the sitar on Give me no goodbye, a sorry attempt to upgrade the sound with an unintegrated instrument. It is very unfortunate that this is just one example of many. Do not forget that this is a ''concept'' album, just look at the track listing of side A. The concept is superfluous, the music stale and contrived. What in the world do people hear in this? The British answer to Simon & Garfunkel? It's far less than even that, I  fear.

Opened-out the cover becomes a nice, but overly aesthetic, composition of botanical objets trouvé, augmented with a few acceptable line-drawings. Kitsch, but agreeably so.
The lettering follows the kitsch route devoutly and is fitting enough in the whole picture.
Inside there are the lyrics, which I will be so kind to not reproduce. They are printed over a brown in brown photosession, very rural and sophisticated.

A cassette release in Britain has been confirmed, the catalogue number is 7138 006.

Notes: This was released in the U.S.A.on Dunhill (DS 50091) in 1970.




6360 004
AFFINITY - ''same"" (spring 1970)

6360004
6360004lbl


Line-up: Mo Foster, bsgtr, cb/ Linda Hoyle, voc/ Mike Jopp, gtr/ Lynton Naiff, keyb, vibr/ Grant Serpell, dr.
Production: John Anthony.
Additional arrangements by John Paul Jones and Chris Hughes.
Cover-design by Marcus Keef.
Photography by Marcus Keef
Liner notes: various.
Recorded at Trident Studios and Island Studios.

Track listing A-side: I Am And So Are You (Alan Hull)/ Night Flight (Linda Hoyle + Mike Jopp) / I Wonder If I Care As Much (Don Everly + Phil Everly)/ Mr.Joy (Annette Peacock).
Track listing B-side: Three Sisters (Linda Hoyle + Lynton Naiff) / Cocoanut Grove (John Sebastian + Zal Yanowski)/ All Along The Watchtower (Bob Dylan).

There are no composers credits anywhere (isn't that illegal?).
The word ''stereo'' appears on the left of the label.
There are no running time indications.
The Vertigo logo on front is dove-blue.

Matrix number A-side
6360004 1Y//2  1 1 4
Matrix number B-side
6360004 B ▼ 1 1 4
So they forgot ''420'' again? Such things happen, it seems.

Rarity scale: R3


Quite enjoyable late-night blues plus jazz-pop, with the convincing voice of Hoyle to the fore. Playing and arrangements are authorative, Naiff plays a fine organ. Comparisons with Julie Driscoll can hardly be suppressed, though this is much less hectic. Opening very stridently with swing and brass, the record contains quite some relaxed cuts too, and these are obviously preferable. Not all choices are fit for their treatment. The generally highly praised cover of All along the watchtower sounds too contrived to us and the lack of substantial melody on Three sisters is not very inviting, but on the whole this is an agreeable album within its genre.

Another memorable cover shot by Keef. This one radiates calm and peace and is more or less the antipode to the Black Sabbath cover. The lady relaxedly observes the foraging swans, both the masonry at her back and the parasol serve to make her look very protected and cosy. The overall turquoise tinting works wonders too.
The lettering uses a well-known font to good effect.
Inside the musicians pose very aesthetically in grey-blue and silver. No less than seven positive reviews from the tabloids are displayed.

A cassette release in Britain has been confirmed, the catalogue number is 7138 009.

Notes: This was released in the U.S.A.on Paramount (PAS 5027) in 1970.




6360 005
BOB DOWNES OPEN MUSIC - ELECTRIC CITY (spring 1970)

6360005
6360005lbl


Line-up: Harold Beckett, trp, flhrn/ Dave Brooks, sax/ Ian Carr, trp, flhrn/ Nigel Carter,
trp/ Clem Cattini, dr/ Bob Downes, voc, sax, fl/ Don Faye, sax/ Herbie Flowers, bsgtr/
Robin Jones, perc/ Harry Miller, bsgtr/ Bud Parks, trp, flhrn/ Daryl Runswick, bsgtr/ Alan
Rushton, dr/ Ray Russell, gtr/ Dennis Smith, dr/ Chris Spedding, gtr/ Kenny Wheeler, trp.
Production: Bob Downes.
Cover-design by Nigel Rollins and Rob Lett.
Photography by Jake Jackson.
Liner notes: none
Recorded at Philips Studios.

Track listing A-side: No Time Like The Present (Bob Downes)/ Keep Off The Grass (Bob Downes) /Don't Let Tomorrow Get You Down (Bob Downes)/ Dawn Until Dawn (Bob Downes + Bob Cockburn)/ Go Find Time (Bob Downes)/ Walking On (Bob Downes).
Track listing B-side: Crush Hour (Bob Downes) / West II (Bob Downes)/ In Your Eyes (Bob Downes + Bob Cockburn)/ Piccadilly Circus (Bob Downes)/ Gonna Tale A Journey (Bob Downes).

There are no composers credits on the label, they are in the gatefold.
There are no running time indications.
The Vertigo logo on front is red.

Matrix number A-side
6360005 1Y//1 ▼420 1 1
Matrix number B-side
6360005 2Y//1 ▼420 1 1 4

Rarity scale: R1


Another attempt to elevate rock-jazz fusion into a style of its own, without letting one of the components dominate. Inventive arrrangements notwithstanding, much on this album sounds forced. A few tracks could pass for accompanying music to some seventies BBC police series. The flute of Downes himself is beyond critisism: agile and expressive all the way. Still the overall sound is asthmatic and thick. A pity that the unexpected ballad In your eyes is clogged with brass too. Maybe Downes was overestimating himself when he took the production chair.

An enormous wall-painting is the background to a display of assorted electric devices (and a rose too) that ultimately reaches the flute player himself, who carries a Siamese cat on his shoulder while playing. Very colourful and somehow quite convincing.
The lettering is sober and fits the image effortlessly.
Inside a selection of the musicians is being seen while traversing a typical London street-scene, executed in impressive black and white.

A cassette release in Britain has been confirmed, the catalogue number is 7138 015.



6360 006
URIAH HEEP - ...VERY 'EAVY...VERY 'UMBLE (spring 1970)

6360006
6360006lbl 6360006lblvar


Line-up: Mick Box, voc, gtr/ David Byron, voc/ JKen Hensley, voc, keyb, gtr/ Paul Newton, voc, bsgtr/ Ollie Olsson, dr.
Production: Gerry Bron for Hit Records Ltd.
Cover-design by Robin Nicol for Design Machine.
Photography by Pete Smith.
Liner notes: Ken Hensley.
Recorded at Lansdowne Studios.

Track listing A-side: Gypsy (Mick Box + David Byron)/ Walking In Your Shadows (Paul Newton + David Byron) /Come Away Melinda (Fred Hellerman + Fran Minkoff)/ Lucy Blues (Mick Box + David Byron).
Track listing B-side: Dreammare (Paul Newton) / Real Turned On (Mick Box + David Byron)/ I'll Keep On Trying (Mick Box + David Byron)/ Wake Up [Set Your Sights] (Mick Box + David Byron).

There are no composers credits on the label, they are in the gatefold.
There are no running time indications.
The Vertigo logo on front is dark pink.

Matrix number A-side
6360006 1Y//1 ▼420 1 1 4
Matrix number B-side
6360006 2Y//1 ▼420 1 1 4

Rarity scale: SC


Poor Heap! Panned by the press, but still one of the most succesful Vertigo acts according to sales-figures. Hard organ rules, rips and even fakes church-organ. Drilling guitar-riffs abound, some blues is incorporated. Simulated prog-kitsch is available too, but the band sounds - luckily - tight and professional, though not very inventive. Probably this album wants to scare us, but there is just enough of a pinch of irony to sow doubts. So we have theatrical horror-rock with a useful and unexpected cover of Come away Melinda and a genuine highlight too: the truly progressive last cut of side B.

A more or less dead body in (eternal?) repose with a wide open mouth is wrapped in gossamer, but the colour of its skin is much too lively to convince and the lips are a healthy red too... The hands are better: a body-like blue-grey. Flirting with the other side of the grave clearly has become a fashion or even a trademark. This is the first release to boast a laminated cover.
The lettering is quite sober, which seems a good idea. A more gothic lettering would definitely only have contributed to the overkill.
The inside shows Heep in live action, a fine picture. The bassdrum carries the same head as the cover of this LP and another copy is projected behind the band. Looks neither heavy nor humble to us.

A cassette release in Britain has been confirmed, the catalogue number is 7138 004.

Notes: This was released in the U.S.A as a self-titled album on Mercury (SR 61294) in 1970.
We also got the notice that there are copies around that do have composers credits on the label:
And we found a scan of that...see above. The spelling of the production firm is different too.




6360 007
MAY BLITZ - ''same'' (summer 1970)

6360007
6360007lbl


Line-up: James Black, voc, gtr/ Reid Hudson, voc, bsgtr/ Tony Newman, dr, vibr.
Production: May Blitz
Cover-design by Tony Benyon.
Photography by unknown.
Liner notes: various.
Recorded at unknown.

Track listing A-side: Smoking The Day Away / I Don't Know?/ Dreaming..
Track listing B-side: Squeet/ Tomorrow May Come/ Fire Queen/ Virgin Waters.
All compositions by May Blitz.

There are no running time indications.
The Vertigo logo on front is pink.

Matrix number A-side
6360007 1Y//1  1 1 2
Matrix number B-side
6360007 2Y//1 1 2 1
Again no ''420'' country code...

Rarity scale: R1


A whole album of power-trio violence: somewhat hard on the listener's patience. Luckily overdubs are allowed on this record. Quite often there are two guitars rather than one, rendering a cut like Squeet a bit reminiscent of Wishbone Ash. The overall atmosphere is gloomy, especially when the tempo is decreasing like in Dreaming, where even some acoustic guitar becomes hearable. An effective vibraphone is a boon too. This makes for a rather diverse album, much more than the narrow format would suggest. Definitely a talented bunch.

A fat and monstrous woman in underwear and wearing a hat is drawn in a sordid black and white on the front. Opening the cover shows her to be on top of a city of empty blocks of flats, where a likewise monstrous ape sees up to her with a mixture of malice and servitude. About as ugly as it gets, but therefore almost laudable.
The lettering is hardly readable pink on light grey. It's a haven of normality in this context.
The inside shows more of the same. Now, the woman seems to flow out downwards into something like roots of flesh that form the name of the band. Small and out of character are the bandphoto's at the right. Left, three notables state that they surely dig May Blitz. Well, why not?

A cassette release in Britain has been confirmed, the catalogue number is 7138 008.

Notes: This was released in the U.S.A on Paramount (PAS 5020) in 1970.



6360 008
NUCLEUS - ELASTIC ROCK (summer 1970)

6360008
6360008lbl


Line-up
: Ian Carr, trp, flhrn/ Jeff Clyne, cb, bsgtr/ Karl Jenkins, sax, ob, keyb/ John Marshall, dr/ Brian Smith, sax, fl/ Chris Spedding, gtr.
Production: Pete King for Ronnie Scott Directions Ltd.
Cover-design by Roger Dean
Photography by Sigurdur Thorarinsson & Ævar Jóhannesson.
Liner notes: by unknown.
Recorded at Trident Studios.
Cover manufactured by E. J. Day Group

Track listing A-side: 1916 (Karl Jenkins)/ Elastic Rock (Karl Jenkins)/ Striation (Jeff Clyne + Chris Spedding)/ Taranaki (Brian Smith)/ Twisted Track (Chris Spedding + Brown)/ Crue Blues [part 1] (Ian Carr + Karl Jenkins)/ Crude Blues [part 2] (Ian Carr)/ 1916 - The Battle Of Boogaloo (Karl Jenkins).
Track listing B-side: Torrid Zone (Karl Jenkins)/ Stonescape (Karl Jenkins)/ .Earth Mother (Nucleus)/ Speaking For Myself, Personally, In My Own Opinion, I Think... (John Marshall)/ Persephones Jive (John Marshall).

There are no composers credits on the label, they are in the gatefold.
There are no running time indications.
The Vertigo logo on front is white.

Matrix number A-side
6360008 1Y//2 ▼420 1 1
Matrix number B-side
6360008 2Y//1 ▼420 1 1 1

Rarity scale: R1


Yes, it can be called jazz, we guess, though the atmosphere has hardly the agitation you would expect from a venture of this kind. The blending of rock and jazz elements works well on much of the first side. Nobody tries to steal the show through overlong soloing, the emphasis lies on ensemble play. As the record goes on, it becomes hard to distinguish between the different themes and tracks. The sound is now often too monochrome and the lack of variety in pace mars the proceedings. Still, a listenable album in this difficult realm, sounding as British as you could wish for.

This is the first of the Vertigo die-cut gimmix covers and a fine one too. A hole shaped like a looking glass is cut away from the front and a seething mass of magma shines through. It is also the first Vertigo cover that mentions where it was made.
The lettering is done in an elegant and beautiful outline font.
Opened up the magma proves to be the contents of an impressive crater, the picture of which was taken on Iceland. Left of this the recording  info. On the back Dean has drawn superb small portraits of the band members.

A cassette release in Britain has been confirmed, the catalogue number is 7138 007.

Notes: First pressings with a large swirl logo (this is a premature remark, details of label differences are to be found on the second Britain page below 6360 028) have the opening to let the disc through at their ''normal'' outside of the cover and no title on the spine. Second printings with a smaller swirl logo have the opening at the inside of the gatefold in the way of the Beatles For Sale album and do correct the omission of the title.



6360 009
DR. STRANGELY STRANGE - HEAVY PETTING (summer 1970)

6360009 636009lbl


Line-up: Tim Booth, voc, gtr, keyb/ Tim Goulding, voc, keyb/ Andy Irvine, mand/ Johanna, voc, keyb/ Linus, voc, perc/ Dave Mattacks, dr/ Gary Moore, gtr/ Johnny Moynihan, bouz/ Jan Myrdal, glock/ Ivan Pawle, voc, bsgtr, keyb/ Brendan Shields, bsgtr/ Heather Woods, voc/ Annie Xmas, voc, keyb.
Production: Joe Boyd. for Witchseasons Productions Ltd.
Cover-design by Roger Dean
Photography by Roger Dean & Johanna & Orphan Annie.
Liner notes: hardly any.
Recorded at Eamonn Andrews Studios & Sound Techniques Studios.
Cover manufactured by Howards Printers Ltd.

Track listing A-side: Ballad Of The Wasps (Tim Goulding) 3'23''/ Summer Breeze (Tim Booth) 3'40 / Kilmanoydd Stomp (Ivan Pawle)'2'43''/ I Will Lift Up Mine Eyes (Tim Goulding) 1'56''/ Sign On My Mind (Ivan Pawle 8'34''.
Track listing B-side: Gave My Love An Apple (Tim Booth) 6'08''/ Jove Was At Home (Ivan Pawle) 2'40''/ When Adam Delved (Ivan Pawle) 2'12''/ Ashling (Tim Booth) 4'44''/ Mary Malone Of Moscow (Tim Goulding) 3'57''/ Goodnight My Friends (Ivan Pawle) 1'14''.

There are no composers credits on the label, they are in the cover.
The lyrics are printed on the cover (a Vertigo debut).
There are no running time indications, we took these from the cassette release.
The Vertigo logo on front is green.

Matrix number A-side
6360009 1Y//1  1 1 2
Matrix number B-side
6360009 2Y//1 1 2 1

Rarity scale: R3


Second album of this idiosyncratic crew that incorporates a young and restless Gary Moore into its chaotic folky leanings. Hired-in drummer Mattacks mostly tries in vain to keep order among the players, but that seems to be exactly what makes this album interesting. Chaos and cosmos are in constant struggle with each other, while the musicians only smile benignly or frown lightly and do not seem to wish to do anything about it. Producer Boyd, champion of the unpolished folk sound, has no intention to pull the reins tight and already the opening Ballad of the wasps boasts an enormous mistake in the singing parts that is met not with a cut and a re-take, but with a full peel of laughter. In this atmosphere it is not difficult to feel free and unbound and so the whole album emits relaxation and enjoyment. You want chaos? Check Ashlings! You want melodic folk-brilliancy mixed to the bones with unashamed amateurism? This is your album!

We cannot refrain from letting you know how Longman's Dictionary defines the album title: sexual activities without actual having sex. How would that feel for a change?

Vertigo takes the concept of gimmix covers another step up. The cover proper (with top-opening to let the disc through) is wrapped in two folding flaps that have been die-cut in three places on front and that fold into two iconic pieces at the back. On the front cover a strange building on pillars rises into the grey sky. The foreground is a painted wood with very green but gnarly bushes everywhere. The contrast is striking. Three of our culprits peep through. Lyrics in white on black and written in Dean's gorgeous but hardly readable handwriting are on the back flaps and on the back cover. There is a photo of stairs covered with moss, too, as well as numerous small drawings of embracing trees, wasps and more like that. Phew!
The lettering is leafy and green, as was to be expected.


Notes: It seems an unlikely candidate for a bootleg, but there defintely is one around, gimmix cover and all. It is easily discernable by its hand-etched matrix. The corners of the cover look blurred: evidently a photograph of the real thing.

There are copies around with a mistake on the label: tracks 4 and 5 are interchanged (not on the actual record, though).
If you have excellent eyesight, you may discern this from the following scan.

dr.strstrvari




A cassette release in Britain has been confirmed, the catalogue number is 7138 020 and here is how it looks. The running order has been totally revised, not for the better, though.

cassdrstra



6360 010
JIMMY CAMPBELL - HALF BAKED (summer 1970)

6360010
6360010lbl


Line-up: unknown
Production: Don Paul.
Cover-design by Marcus Keef.
Photography by Marcus Keef.
Liner notes: none
Recorded at unknown.
Cover manufactured by unknown

Track listing A-side: Green Eyed American Actress/ Loving You Is All I Do / So Lonely Without You/ In My Room/ That's Right, That's Me/ I Will Not Mind.
Track listing B-side: Dulcie [It's December]/ Forever Grateful/ Half Baked/ Closing Down The Shop/ Don't Leave Me Now.
All tracks by Jimmy Campbell.

The lyrics are printed inside the gatefold.
There are no running time indications.
The Vertigo logo on front is red.

Matrix number A-side
6360010 1Y 2 420  1 1 1
Matrix number B-side
6360010 2Y*2 1 2

Rarity scale: SC


Too little originality severely impairs most of the tracks collected here. The ballads are better than the rocking tracks, but it only goes to show that Campbell (from Rocking Horse) doesn't quite seem to know whether he opts for being a singer/songwriter or a rocker. Rustic watercolours characterize the slow tracks, but mostly there is not enough happening to seriously attract the attention. Fine exception: the orchestrated title track, which seems a genuine expression of self-doubt. Some acceptably interesting harmonic progressions do pop up, but these are few and far between.

Back to the normal gatefold cover, but a nice one it surely is. The atmospheric photograph of two clowns, one male and one female, comes into perspective when folding-out the cover. The park-like landscape is inhabited by a rook and a vague figure that could be a nun. Great surrealistic kitsch.
The lettering is very difficult to read, though this does not seem to be meant that way: an unfavourable sign.
Inside the lyrics are printed red over grey and a photo of the singer is displayed as well. Nothing special here.

A cassette release in Britain has been confirmed, the catalogue number is 7138 012.

Notes: A6 is wrongly credited on the label as ''I do not mind''.



6360 011
BLACK SABBATH - PARANOID (september 1970)

6360011
6360011lbl


Line-up: Geezer Butler, bsgtr/ Toni Iommi, gtr/ Ossie Osborne, voc, harm/ Bill Ward, dr.
Production: Rodger Bain for Tony Hall Enterprises.
Cover-design by Marcus Keef.
Photography by Marcus Keef.
Liner notes: none
Recorded at Regent Studios & Island Studios.
Cover manufactured by unknown

Track listing A-side: War Pigs/ Paranoid/ Planet Caravan/ Iron Man.
Track listing B-side: Electric Funeral/ Hand Of Doom/ Rat Salad/ Fairies Wear Boots.
All tracks by Black Sabbath

There are no running time indications.
The Vertigo logo on front is red.

Matrix number A-side
6360011 1Y//1 ▼420  1 5 7
Matrix number B-side
6360011 2Y//2 ▼420  1 2 1

Rarity scale: SC


It may be self-explanatory that albums like this are not primarily concerned with new musical horizons. This LP does not add much to what we already knew from the first album, but it converted a lot more people and it is undoubtedly better played than the debut. So this became Vertigo's first number 1 LP in Britain. Musically it is only slightly more, well eh, catchy and some tracks survived several decades in live performances like War pigs, Rat salad and, of course, the title track. In retrospect the music isn't quite as dangerous as it would like to be. Most of the riffs are almost shamelessly simple and the playing is not even as heavy as you would think. Naturally, our ears have been schooled by another forty years of heavy riffing, so I guess at the time this was weighing enough to convince. The vague attempts to consider the other side of occultism sound dated and actually embarrassingly comparable to children who talk about the ''dirty'' side of sex, that is without having any inkling. The evil forces will not consider these endeavours as any help at all.

A strange kind of modern day crusaders seems to populate the cover brandishing a sword made out of moonlight. By slyly copying several photographs into each other the impression of a secret army is conveyed. Well-done, but a bit cheap as an image.
The lettering could have been more elaborate, but its chubby letters do not look misplaced, though.
Inside the four gentleman are posing in the grass. They seem actually nice guys. The cross that is dangling from the neck of one of the villains is in fact the right way up!

paranoidcred

A very meticulous collector found out that there is an indication for a very first pressing of the British release that is to be found at the backside of the sleeve. The very first pressings carry a credit for the management of Black Sabbath ''Jim Simpson, Big Bear'' in Birmingham. These copies are NOT laminated, as are later issues. The credit was deleted from later pressings, so run and check with your copy!


Notes: This was released in the USA on Warner Brothers (WS 1887) in 1971
It even got a quadrophonic USA release on the same label in 1974 (WS4 1887)

A cassette release in Britain has been confirmed, the catalogue number is 7138 011

vertigo1
Vertigo were very proud of their first number 1 and showed it too....
We took this from Record Mirror  from the 10th of october 1970.





The Swiss book club release of this album, pressed in the UK, has been relocated to:
Switzerland





6360 012
MANFRED MANN CHAPTER THREE - VOLUME TWO (october 1970)

6360012
6360012lbl


Line-up: Harry Becket, tr/ Dave Brooks, sax/ Craig Collinge, dr/ Sonny Corbett, trp/ David Coxhill, sax/ Jerry Field, vl/ Brian Hugg, gtr, voc/ Mike Hugg, voc, keyb/ Conrda Isidore, dr/ Bernie Living, sax/ manfred Mann, keyb/ Andy McCulloch, dr/ Clive Stevens, sax/ Steve York, bsgtr.
Production:  Dave Hadfield, Mike Hugg & Manfred Mann.
Additional brass arrangements: Derek Wadsworth & Mike Gibb.
Cover-design by Marcus Keef.
Photography by Marcus Keef.
Liner notes: none
Recorded at Maximum Sound Studio
Cover manufactured by Howards Printers.

Track listing A-side: Lady Ace (Mike Hugg)/ I Ain't  Laughing (Mike Hugg)/ Poor Sad Sue (Mike Hugg)/ Jump Before You Think (Mike Hugg)/ It's Good To Be Alive (Brian Hugg + Manfred Mann)
Track listing B-side: Happy Being Me (Mike Hugg)/ Virginia (Manfred Mann).

The composers credits on the label are completely wrong!
There are no running time indications.
The Vertigo logo on front is blue.

Matrix number A-side
6360012 1Y//1 ▼420  1 1 5
Matrix number B-side
6360012 2Y//1 ▼420  1 1 5

Rarity scale: R1


It's more rock than the debut, but solos still mean reeds and no guitars. A few morsels acoustic guitar are an asset and the music tastes less wry. I ain't laughing is even almost folk and It's good to be alive is commendable slow and sleepy rock with ace drummer McCulloch playing a remarkably restrained role. Very unfortunate is the extreme boredom provoked by the never-ending pianosolos on side B. Somehow this formula didn't really work and the next release was already by another band, Manfred Mann's Earthband. Rightly so!

A host of doll's heads fills every inch on the cover, with the one black face strongly crying for attention. A slightly unsettling image.
The lettering echoes the round forms of eyes and heads very nicely.
Inside the picture goes on: now a little polynesian boy sits on a landscape of stones with sparse vegetation and plays with the heads. This results in a playground filled with severed heads. They are only dolls, mind you!

A cassette release in Britain has been confirmed, the catalogue number is 7138 013


octoberad
Here's another advertisement from the label. Autumn seems to be the favourite season.
We took this from International Times no.90 from 22 october 1970.





6360 013
CLEAR BLUE SKY - "same"  (october 1970)

6360013
6360013lbl


Line-up: John Simms, voc, gtr/ Mark Sheather, bsgtr/ Ken White, dr.
Production: Patrick Campbell-Lyons.
Cover-design by Roger Dean.
Photography by unknown
Liner notes: by Nick Massey.
Recorded at Island Studios.
Cover manufactured by Howards Printers.

Track listing A-side: Sweet Leaf (9'30'')/ The Rocket Ride (5'57'')/ I'm Coming Home (3'05'').
Track listing B-side: You Mistify (7'45'')/ Tool Of My Trade (4'50'')/ My Heaven (5'00'')/ Birdcatcher (4'10'').
All tracks by John Simms

There are no running time indications on the label, they are on the backcover.
The Vertigo logo on front is black.

Matrix number A-side
6360013 A//1  1 1 5
Matrix number B-side
6360013 2Y//2   1 1 2

Rarity scale: R2


Another power-trio and this time they are of very tender age too: all are under 18 years old. The main attraction is the dexterous guitar of Simms, who seems to know where the strings are attached. Relentless soloing is the result, but mostly it's an effort spent in vain, as the songs are as average as you can imagine them. Notable exception, though, is My heaven, where an attractive melody suddenly appears and which hints at the possibilities that lurk behind this album. Lovers of guitar pyrotechnics will worship this, but there isn't anything remotely ''progressive'' about this release, that even so shows some promise.

A rather restrained Dean cover, this is. A castle protrudes from the clouds in the characteristic combination of archaic and futuristic styles. The sky is decidedly unblue... Pterodactyls hover over the mist. Three small portraits betray the youth of the delinquents involved. Record info in Dean's handwriting.
The lettering  underlines the general character of the cover, but seems a bit rigid.
A mechanical bat with a masked driver adorns the inside. Pretty scary.
A cassette release in Britain has been confirmed, the catalogue number is 7138 019.

Notes: There seems to have been some confusion over the title of this record. On the label it is called Journey to the inside of the sun. The spine, however, shows the title Play it loud (see scan below), which is blotted out with red ink. The cassette release uses this very title and is also housed in a totally different cover to the LP. If you have a means to get hold of this cassette, please let us know! The German release also used this latter title (see the Germany pages).


clearbluespine



back to top page

Britain overview

6360 014 - 6360 033

6360 034 - 6360 053

6360 054 - 6360 073

6360 074 - 636083 + irregular numbers

singles Britain



We sincerely hope that you will be of assistance in making this information as reliable as possible.
In case of any contributions or questions or even complaints, please use this here virtual address: e-mail.