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6360 054 - 6360 073

6360 054


Line-up: Marshall Erskine, fl, bsgtr (on Festival only)/ Ricky Gardiner, gtr,voc/ Martin Griffiths, voc/ Alan Park, keyb/ Gordon Sellar, bsgtr, gtr, voc/ Virginia Scott, keyb, voc/ Raymond Wilson, dr
Production: Phil Coulter & Bill Martin.
Photography by unknown.
Liner notes: none.
Cover manufactured
by unknown.
Recorded at Command Studios & De Lane Lea Studios.

Track listing A-side: Time Machine (Alan Park + Ricky Gardiner + Martin Griffiths)/ Lament (Alan Park + Raymond Wilson)/ I've No Idea (Alan Park + Martin Griffiths)/ Nimbus (Martin Griffiths + Ricky Gardiner + Gordon Sellar).
Track listing B-side: Festival (Alan Park + Marshall Erskine + Martin Griffiths)/ Silver Peacock [intro] (Virginia Scott + Alan Park + Martin Griffiths)/ Silver Peacock (Virginia Scott + Alan Park + Martin Griffiths)/ Impromptu (Virginia Scott + Ricky Gardiner)/ The Fox (Virginia Scott + Ricky Gardiner + Martin Griffiths).

There are no running time indications anywhere.
There are no composers credits on the label, they are inside the gatefold.
The Vertigo logo on front is pale orange.

Matrix number A-side:
6360054 1Y*2  420 1 1 1
Matrix number B-side:
6360054 2Y*1  420 1 1 2

Rarity scale: R1

More mellotron on this second album and more balance between melody and instrumental bravery. The atmosphere is cooler and more poised; the preoccupation with classical themes has been reduced somewhat. Most of this record sounds like palaces of glass, remote and coldly glittering, but undeniably beautiful. There are SF-implications on Time machine and traces of King Crimson too. Some tracks, on the other hand, still sound like filling material and lack some kind of necessity, but a track like The fox adds irregular metres to theatrical mellotron and choirs and is actually excellent. Definitely a step forward.

A cover that mirrors around the spine again and although the treated photograph is fine in itself, this does not make for any interesting imaging.
The lettering is very well adapted to the photo, but still looks a bit graceless in its flat pomposity.
The band is depicted all orange and violet on the inside.

Notes: When viewed through old-fashioned 2-colour 3D glasses (not the ones you get in current cinema's), the cover looks decidedly more adventurous.

6360 055


Line-up: John Dummer, dr/ Nick Pickett, voc, vl, gtr, keyb/ Adrian Pietryga, gtr/ Iain Thomson, bsgtr.
Production: John Dummer & Nick Pickett.
Liner notes by John Dummer.
Cover-art by Roger Dean.
Cover manufactured by Howards Printers.
Recorded at unknown.

Track listing A-side: If I Could Keep From Laughing/ Medicine Weasel/ Rambling Boy/ Me And Your Boogie.
Track listing B-side: Time Will Tell/ The End Game/ Me And The Lady.
All tracks by Nick Pickett.

There are no running time indications anywhere.
The Vertigo logo on front is non-existent, but it is in the gatefold and, yes, it is blue.

Matrix number A-side:
6360055 1Y//1 ▼420 1 1 1
Matrix number B-side:
6360055 2Y//1 ▼420 1 1 2

Rarity scale: R3

Did you ever notice how many British blues-bands are named after the drummer? Here's another one, but Nick Pickett Band would have been more adequate. He wrote all the (feeble) material and his violin is the only feature that stands out. This album was made after they had disbanded and it's easy to guess why they initially did. The success of the ''hit'' single Nine by nine caused them to have another try. Nothing here shows signs of big inspirations, what's left is competent blues-rock with violin to provide some uncommon textures. Sounds a bit like early Fleetwood Mac, but where are you Mr.Green? Routine music, unfortunately.

Nice fire-red cover that is die-cut in three layers. The cut-away clouds let the title and the bandname peep though (yes, these
The lettering is not bad, but could have been improved with a little energy.
The inside is again blue text on red background. The clouds inside are sprayed with a dab of, you guessed it, blue.

Notes: The extremely fragile nature of the cover has left very few copies around that have the clouds still unscathed.
This release seems to have been considerably delayed, as was the next one by Ian Matthews: both are dated 1972, where quite a few numerically afterward still carry the date 1971.
The flatness of the scan makes it look as if the clouds are protruding from the cover. In fact, they are not. On the contrary, they lie deeper than the front cover.
A recent eBay auction offered a strange copy with a single (uncut) cover and the label in black and orange instead of black and white. The dating indications have been removed from the label. The matrix number was stamped and correct! Anyone??


6360 056


Line-up: Cal Bachelor, gtr/ Jimi Donald, dr/ Woolfe Flywheel, acc/ Ian Matthews, voc, gtr/ Jim Renwick, gtr/ Andy Roberts, gtr/ Bob Ronga, keyb/ Bruce Thomas, bsgtr/ Ray Warleigh, sax/ Ian Whitman, keyb.
Production: Ian Matthews.
Cover-design by unknown
Photography by Rick Ranken, Paul Nelson, Peter Gidion & David Ghar.
Liner notes: none.
Cover manufactured
by unknown.
Recorded at unknown.

Track listing A-side: Never Again (Ian Matthews)/ Close The Door Lightly When You Go (Eric Anderson)/ Unamerican Activity Dream (Richard Fariña)/ Morning Song (Ian Matthews)/ The Only Dancer (P.Carr).
Track listing B-side: Tigers Will Survive (Ian Matthews)/ Midnight On The Water (Ian Matthews)/ Right Before My Eyes (Peter Lewis)/ Da Doo Ron Ron (Phil Spector + Jeff Barrie + Ellie Greenwich)/ Hope You Know (Ian Matthews)/ Please Be My Friend (Ian Matthews).

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

Matrix number A-side:
6360056 1Y//1 ▼ 420 1 1 1
Matrix number B-side:
6360056 2Y//1 ▼ 420 1 1 1

Rarity scale: R1

A completely different backing band, compared to his last effort, but the profit is marginal only. The sound has more body, a little more emotion and - important - the choice of material is a little better. His own numbers mostly are still too saccharine, but Never again shows promise. And is this Spector-cover fun or isn't it? We are not quite sure. We are sure, though, that a producer with a somewhat more critical attitude would have been greatly advantageous to the results. This creepy feeling that Matthews is still working far beneath his possibilities is hard to shake off. One wonders lastly: does he really have this possibilities, or is their alleged presence just a phantom?

The structured cover shows an impressive Native American on a chair, but what has that got to do with the music?
The lettering is well in style with the image, although its placing is awkward.
Some friendly photographs adorn the inside, and - isn't it cute - there's a cat and dog too. Phew!

6360 057
not released in Britain, anywhere else?

6360 058
ASSAGAI - ZIMBABWE (not released)

Assagai's  second album reached the stage of test pressing, just like Dave Kelly's album earlier on. Indeed, the bouncy afro-rock of this band has little in common with other Vertigo releases. It was released on Philips 6308 079 instead.

Line-up: Mongezi Feza, trp/ Fred Fredericks, sax/ Smiley de Jonnes, perc/ Martha Mdenge, voc/ Bizo Mnggikane, sax/ Louis Moholo, dr/ Dudu Pukwana, sax, keyb/ Terri Quaye, perc.
Production: Dave Watson for Normal Associates.
Cover-art: none.
Photography: none.
Liner notes: none.
Cover manufactured
by none.
Recorded at Nova Sound Studios.

Track listing A-side: Barazinbar (Glyn Havard)/ Wanga (Martha Mdenge)/ La La (Martha Mdenge)/ Dulani (Dudu Pukwana).
Track listing B-side: Bayeza (Martha Mdenge)/ Sanga (Jon Field)/ Come Along (Martha Mdenge)/ Kinzambi (Tony Duhig).

Matrix number A-side:
6360058 1Y//1 ▼420 1 1 1
Matrix number B-side:
6360058 2Y//2 ▼420 1 1 1

Rarity scale: R5

6360 059


Line-up: Charlie Brown, gtr/ Richard Crooks, dr/ Paul Jones, voc/ Thomas Jefferson Kaye, gtr/ Kenneth Koser, vl, gtr/ Martin Kupersmith, gtr/ Robert Rizzo, bsgtr/ Ted Wender, keyb/ and a bunch of studio musicians on reeds and strings.
Production: Ted Cooper.
Arranged by Thomas Jefferson Kaye.
Cover-design by Bloomsbury Group
Photography by John Kelly.
Liner notes: none.
Cover manufactured
by unknown.
Recorded at Coordinated Sound Studios & 914 Studios.

Track listing A-side: Life After Death (Paul Jones) 3'21''/ Motel Blues (Loudon Wainwright III) 4'00''/ And You Say I'm Too Dependent On My Mind (Paul Jones) 6'01''/ Construction Worker's Song (Paul Jones) 5'30''.
Track listing B-side: Song [For Stan Stunning And The Noodle Queen] (Paul Jones) 3'40''/ The Pod That Came Back (Paul Jones) 4'13''/ The Mighty Ship (Artie Resnick + Pat Poor) 3'40''/ Who Are The Masters (Paul Jones + Kris Resnick + Rupert Holmes) 3'32''/ Strangely Human Sound (Kris Resnick + Rupert Holmes) 3'47''.

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

Matrix number A-side:
6360059 1Y//3 ▼ 420 1 1 1
Matrix number B-side:
6360059 2Y//1  1 1 2

Rarity scale: R2

If we counted correctly, this is the fifth solo album of Jones, unfortunately filled with a bunch of songs of which the lyrics are better than the music. Maybe it's all the fault of producer Cooper, who tolerates orchestral parts that work to great disadvantage to the songs. Not that the material itself is very exciting, though, but a track as Who are the masters could profit more from its nice juxtapostion of middle-piece and strophes. Orchestra-rock, vaguely reminiscent of Barry Ryan is the rather sad result, though less spectacular and over-the-top. The lyrics are mainly excellent, as you can verify by looking inside the cover.

The face of Jones looms large on the cover, divided in two by the spine. What could we possibly say about that?
The lettering is straight out of the font catalogue, neither inspiring nor inspired.
Under a gloomy sky Jones chews a straw, lying in a field, while underneath the lyrics are printed, there you have the inside of the gatefold cover.

Notes: This was released in the U.S.A. on London (XPS 605) in 1971.

6360 060
LINDA HOYLE - PIECES OF ME (end of 1971)


Line-up: Jeff Clyne, bsgtr, cb/ Linda Hoyle, voc/ Karl Jenkins, keyb, ob/ John Marshall, dr/ Colin Purbrook, keyb/ Chris Spedding, gtr.
Orchestration: Karl Jenkins.
Production: Pete King for Ronnie Scott Productions.
Cover-design by unknown
Photography by James Wedge.
Liner notes: none.
Cover manufactured
by unknown.
Recorded at Philips Studios.

Track listing A-side: Backlash Blues (Nina Simone)/ Paper Tulips (Linda Hoyle + Karl Jenkins)/ Black Crow (Linda Hoyle + Karl Jenkins)/ For My Darling (Linda Hoyle + Karl Jenkins)/ Pieces Of Me (Linda Hoyle + Karl Jenkins).
Track listing B-side:  Lonely Woman (Laura Nyro)/ Hymn To Valerie Solanas (Linda Hoyle + Karl Jenkins)/ The Ballad Of Marty Mole (Linda Hoyle + Karl Jenkins)/ Journey's End (Linda Hoyle + Karl Jenkins)/ Morning For One (Linda Hoyle + Karl Jenkins)/ Barrel House Music (Barrelhouse Bailey).

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

Matrix number A-side:
6360060 1Y//1 ▼ 420 1 1 2
Matrix number B-side:
6360060 2Y//1 ▼ 420 1 1 9

Rarity scale: R4

The cream of jazz-rockers Nucleus back the Affinity singer to mixed results. Simone's Backlash blues sounds fine, but the lyrics are beyond Hoyle's experience. The Nyro cover is better. Spedding is in top-form, just hear the devastating fuzz on the title track. Almost all guitar parts are beyond suspicion here. The double-tracked vocals on two tracks are not a good idea: they remove the intimate quality of Hoyle's voice. And why must For my darling sound like Barbara Streisand? It's an old problem on this album: excellent musicians can hardly make interesting music if they are no songsmiths, but yet rely largely on self-penned material. Results are inevitably flawed.

Hoyle sits very relaxed/unrelaxed on the cover. She cannot possibly have this hair colour, now can she?
The lettering is straight from the posh restaurant menu. Chateau Margaux, anyone?
A host of small pictures and the lyrics adorn the inside. Business as usual.

6360 061
not released in Britain, BUT IT WAS RELEASED IN PERU!
please refer to the Peru page.

This number is seen on discographies as being assigned to an album by a band called Necromandus, but we haven't found any concrete indication to establish this.

6360 062


Line-up: Dave Conners, sax, fl/ Tony Duhig, gtr/ Jon Field, fl, perc/ Glyn Havard, voc, bsgtr/ Allan Price, dr.
Production: Jade Warrior for D.H.F.Jade Ltd..
Cover-art by Jon Field
Liner notes: none.
Cover manufactured
by unknown.
Recorded at Nova Sound.

Track listing A-side: Three-Horned Dragon King (6'09'')/ Eyes On You (3'05'')/ Bride Of Summer (3'19'')/ Water Curtain Cave (6'28'')/ Minnamoto's Dream (5'30'').
Track listing B-side:  We Have Reason To Believe (3'50'')/ Barazinbar (15'00'')/ Yellow Eyes (2'51'').
All tracks by Jade Warrior.

There are no running time indications on the label, they are inside the gatefold.
The Vertigo logo on front is brown.

Matrix number A-side:
6360062 1Y//1 ▼ 420 1 1 1
Matrix number B-side:
6360062 2Y//1 ▼ 420 1 1 1

Rarity scale: R3

Exotic material still rules on this second effort, as a look at the titles will readily confirm. More heavy riffing, this time, but still alternating with etherical episodes, that are less in number, but even more gossamer than on the debut. Bride of summer only just stirs in a pool of silence. Flute parts dominate the sound as before and the tendency to play with dynamic oppositions reign supreme on the instrumental Water curtain cave. Philosophical points of view about the nature of man can be found almost anywhere in the lyrics, but luckily not overly so. Only the very length of the African tinged Barazinbar irritates. This is at times almost ''world-music''-rock, long before the term became common currency. A fine effort.

It's Japan time on the cover, which again is a huge six-part fold-out piece of board. The lyrics of Minnamoto's dream are depicted in a convincing way when the poster is folded open. Eagle, archer, arrow and warrior placed in a desolate landscape and executed with enough feeling to satisfy. Unfortunately the front only shows the arrow...
The lettering is beautiful too and luckily not victim of some sort of cheap japanizing.
The lyrics are inside and they are a nice read, mostly..

6360 063
LEGEND - MOONSHINE (end of 1971)


Line-up: John Bobin, bsgtr, voc, gtr/ Bob Clouter, dr/ Mickey Jupp, voc, gtr, keyb/ Mo Witham, gtr, voc.
Production: Legend for David Knights Productions.
String arrangements by Matthew Fisher
Musical direction on the stringed tracks by Del Newman.
Cover-design by Marcus Keef.
Liner notes: none.
Cover manufactured
by unknown.
Recorded at Philips Studio.

Track listing A-side: Moonshine (Legend) 3'59''/ Another Guy (Mickey Jupp) 3'32''/ Mother Of My Child (Mickey Jupp) 3'28''/ Captain Cool (Legend) [¬]/ Ausfahrt (Legend) 2'29''.
Track listing B-side:  Eingang (Legend) [¬]/ Shine On My Shoes (Legend) 3'31''/ The Writer Of Songs (Mickey Jupp) [¬]/ Local Folk'Ol (Mickey Jupp) 8'02''/ At The Shop (Mickey Jupp) 2'54''/ Just Because (Mickey Jupp) 3'46''.

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

Matrix number A-side:
6360063 1Y//1 ▼ 420 1 1 2
Matrix number B-side:
6360063 2Y//1 ▼ 420 1 1 2

Rarity scale: R3

Slightly better material than on ''red boot'' is featured here and the vocal parts are better too. Still, an attempt to sound like The Free as on Shine on my shoes is futile and the overly sentimental Mother of my child sounds completely out of place. There is, on the other hand a small spark of real power in Just because. And is it a good idea to use strings alongside this kind of straight ahead rock? Well, reasonably. A little progress notwithstanding, this still is a thoroughly overestimated band in collector's circles.

A group of average citizens on its way to or from the underground, all in modest grey. But wait! One is wearing a lion's head! Nobody seems to care or even to notice. That's the way it is, folks.
Awkwardly placed and ugly coloured lettering does no justice to the inventive picture on front..
Great band shot inside in a grey-lilac that looks as from another planet.

6360 064
HOKUS POKE - EARTH HARMONY (beginning of 1972)


Line-up: Clive Blenkhorn, voc, gtr/ Smith Campbell, bsgtr/ Roger Clarke, gtr/ Johnnie Miles, dr.
Production: Kenny Lynch for Specs Productions.
Cover-design by Bloomsbury Group.
Photography by John Kelly.
Liner notes: none.
Cover manufactured
by Howards Printers.
Recorded at unknown

Track listing A-side: H.P.Boogie (Roger Clarke + Clive Blenkhorn + Smith Campbell)/ Sunrise Sunset [The Sunset] (Roger Clarke + Clive Blenkhorn)/ Big World Small Girl (Smith Campbell + Roger Clarke)/ Down In The Street (Clive Blenkhorn).
Track listing B-side: Hag Rag (Johnnie Miles)/ Living In Harmony (Clive Blenkhorn)/ Time And Space (Hokus Poke)/ The Poke (Roger Clarke + Clive Blenkhorn).

There are no running time indications anywhere.
The composers credits are not on the label, they are inside the gatefold
The Vertigo logo on front is light brown.

Matrix number A-side:
6360064 1Y//2 ▼ 420 1 1 1
Matrix number B-side:
6360064 2Y//1 ▼ 420 1 1 1

Rarity scale: R3

The intro of the opening is adventurous enough to expect great deeds and on the second track Clarke proves himself an excellent, at times even brilliant, guitarrero. Those are good starting points, but unfortunately too many rock stereotypes disfigure the proceedings later on. There is also the impression that the production makes the band feel ill at ease in the studio. Average muscular rock, well played though, is the result. Still, there are the interceptions and solos of Clarke to enjoy, but on the whole this is not enough to keep the attention focussed. Probably this was a marvellous live band, but more thought should have gotten into the arrangements and the choice of material.

Another die-cut sleeve. This time the opening in the front gives way to a portrait of the gentlemen, not very inventive and clad in drab colours, too. The back cover shows the lyrics and another bandphoto.
The lettering is well executed, but looks contrived and too massive.
Inside there is beside the picture of the band a whole page of dark brown, with nothing else on it, a sure sign of lack of inspiration.

Notes: Brenda Brooker is credited with production duties on the label, but the cover says of her ''who held us all together'' and only Lynch gets a production credit there.

6360 065

I have read reports that this catalogue number would have been used to reissue Nucleus' Elastic Rock, but I have never seen a copy of this with my own eyes. If there is anyone out there who can provide further information, we would greatly appreciate this.

6360 066
WARHORSE - RED SEA (beginning of 1972)


Line-up: Ashley Holts, voc/ Peter Parks, gtr/ Mac Poole, dr/ Nick Simper, bsgtr/ Frank Wilson, keyb.
Production: Jan Kimmet.
Cover-art by Rick Breach.
Liner notes: by Jan Kimmet.
Cover manufactured
by unknown.
Recorded at De Lane Lea Studios.

Track listing A-side: Red Sea  (Warhorse) 4'17''/ Back In Time (Warhorse) 7'50''/ Confident But Wrong (Warhorse) 4'44''/ Feeling Better (Warhorse) 5'31''.
Track listing B-side: Sybilla (Warhorse) 5'31''/ Mouthpiece (Warhorse) 8'03''/ I [Who Have Nothing] (Donida + Jerry leiber + Mike Stoller) 5'03''.

The Vertigo logo on front is white.

Matrix number A-side:
6360066 1Y*1  420 1 1 2
Matrix number B-side:
6360066 2Y*1  420 1 1 2

Rarity scale: R2

A modest improvement compared to the debut, this still suffers from too many conventional  rock gestures to convince some thirty-odd years later. Surely the guitar parts on Back in time sounds fresh still, but mostly this is strongly in Deep Purple or Uriah Heep territory, with neither the drive of the former nor the aplomb of the latter. Recommended strictly to hard-core aficionados of the genre, who probably find here all they wish for. The claim of the liner-notes that Simper after his stint with Deep Purple is now ''creating completely new dimensions with his talent'' is as hilarious as it gets.

Again a design that mirrors around the spine, but as it is a ship, it's not as annoying as usual: the two halves make a whole. Until you start to look closer and see that the water is flowing in two different directions because of it. On the bow the five gentlemen are drawn, the rear carries a (war?) horse. If it wasn't so stiffly executed, it could have been a nice image.
The lettering is strident and fits in very nicely.
Inside some sort of seated helenistic goddess of the sea appears, again in stark symmetry, with triton and shield. On the shields the rascals are depicted on small black and white photographs.

Notes: The cover inside states ambiguously ''all titles composed by Warhorse'', although I [who have nothing] has the right composers credits in brackets.

6360 067
JACKSON HEIGHTS - 5TH AVENUE BUS (beginning of 1972)


Line-up: Brian Chatton, keyb, voc/ Mike Giles, dr/ Lee Jackson, bsgtr, voc, gtr, vlc/ John McBurnie, gtr, voc/ Roger McKew, gtr/ Dave Watts, keyb/ Lawrie Wright, keyb.
Production: Lee Jackson + Al Shepheard for Stonewall Productions.
Cover-design by unknown.
Photography by Roger Stowell
Liner notes: none.
Cover manufactured
by Howards Printers.
Recorded at Trident Studios.

Track listing A-side: Tramp (John McBurnie) [¬] / Dog Got Bitten (John McBurnie + Lee Jackson) 5'20''/ Autumn Brigade (Lawrie Wright) 4'32''/ Long Time Dying (John McBurnie + Lee Jackson) 3'26''/ Sweet Hill Tunnel (John McBurnie) 8'43''.
Track listing B-side:  Laughing Gear (John McBurnie) 2'44''/ House In The Country (John McBurnie) 3'70'' {we know that this is impossible, but it's on the cover and on the label nonetheless}/ Rent A Friend (John McBurnie) 3'38''/ Luxford (Lee Jackson) 3'12''/ Pastor Roger (John McBurnie + Lee Jackson) 6'09''.

The Vertigo logo on front is white.

Matrix number A-side:
6360067 1Y//1  1 1 3
Matrix number B-side:
6360067 2Y//1  1 1 2

Rarity scale: R2

Melodic rock with a hint of pop appeal that balances on the edge of the acceptable, but fortunately mostly succeeds through quite some unexpected twists that season the music. The keyboards are generally lovely, which is a rare thing to encounter within this style. Multi-part vocals are a bonus and give the music at times even a west-coast flavour. Almost all of side A convinces, except a tedious pianosolo on Sweet hill tunnel. This song has the advantage of a blood-curdling harmonic twist at the end that will send your hair a-flying, though. Pity that side B cannot maintain this level. The songs sound like weaker versions of those on side A. Mostly this side sounds over-polished and routine. The last track, a biting satire on living life as a pastor, makes up for the lost opportunity. This again is rich and variable music.

Nice die-cut cover again, though the image itself is a little dull. You can open the frontdoors of the bus and instead of a driver, you will see the nucleus of the band. We also learn by the ad on top that Japan has a classic whisky to rejoice in. Probably in the same manner as Scotland having a classic saké.
The lettering is completely sterile, wasted time.
Inside there is a quite terrible picture of the boys, must have been saved from the dustbin somehow.

6360 068
MAGNA CARTA - IN CONCERT (beginning of 1972)


Line-up: Davey Johnstone, gtr, mand, banj, voc/ Chris Simpson, voc, gtr/ Glen Stuart, voc, keyb, glock.
Production: Cyril Smith.
Cover-art by unknown.
Liner notes: by unknown.
Cover manufactured
by unknown.
Recorded at Concertgebouw, Amsterdam.

Track listing A-side: Airport Song  (Chris Simpson)/ Time For The Leaving (Chris Simpson)/ The Boatman (Davey Johnstone)/ Sea And Sand [The Isle Of Pabay] (Chris Simpson)/ Banjo (trad.).
Track listing B-side: Old John Parker (Chris Simpson)/ Seven O'Clock Hymn (Chris Simpson)/ Midwinter (Chris Simpson)/ Country Jam (Magna Carta)/ Ring Of Stones (Chris Simpson).

The Vertigo logo is black and on the backcover
There are no running time indications anywhere.

Matrix number A-side:
6360068 1Y//1  1 1 8 [There is an additional hand-etched word ''dimples'']
Matrix number B-side:
6360068 2Y//1  1 1 5  [There is an additional hand-etched word ''ZoSo'']

Rarity scale: SC

Big advantage here is the lack of cloying strings and other tricks, rendering the songs unmarred, as this is recorded live all the way. We now hear that they surely can sing crystal clear vocal lines and play in tune. Which, of course, does not solve the problems of previous albums: the songs are as watery and nondescript as before. The announcements in between are irritatingly posh and mostly downright boring. Even with no strings attached, we can not recommend this bland record to anyone.

A quite horrible tablecloth holds bandname and track listing augmented by a lilac ornamentation, as insipid as it gets. The spine is left unprinted.
The lettering is huge, thick and obtrusive, thus disbalancing the image most crassly.
Inside the same tablecloth becomes visible, this time with tiny liner notes about the Concertgebouw. Makes me pretty proud to be born in Amsterdam, folks!
A cover variation with the arwork displayed horizontally instead of vertically has been spotted!

6360 069
GORDON - Same (beginning of 1972)


Line-up: unknown.
Production: Ted Cooper & Thomas Jefferson Kaye.
Cover-design by unknown.
Liner notes: by unknown.
Cover manufactured
by unknown.
Recorded at unknown.

Track listing A-side: The Saddest Song  (Gordon Waller)/ At The End Of The Day (Gordon Waller)/ Be Careful There's A Babay In The House (Loudon Wainwright III)/ I Won't Be Your Ruin (Gordon Waller)/ Collection Box (Thomas Kaye + Vent).
Track listing B-side: Rocky Roads To Clear (Thomas Kaye + Vent)/ When This Whole Thing Began (Gordon Waller)/ Stranger With A Black Dove (Peter Asher +Gordon Waller)/ Before You Go To Sleep (Gordon Waller).

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

Matrix number A-side:
6360069 1Y//1 ▼420 1 1 1
Matrix number B-side:
6360069 2Y//1 ▼420 1 1 1

Rarity scale: R4

OK, it's one half of Peter & Gordon and so the liner notes claim that Gordon Waller was a product of the sixties. But, luckily, this is now a completely different Gordon: relaxed and much more mature. Then, the music. Did Jim Croce have a retarded brother? Obviously he did. The efficient backing band plays all possible stereotypes from the americana catalogue, and even expands it! The only track barely acceptable is written by Wainwright, everything else is of the lowest imaginable interest. A record as bad as its reputation. Probably this is the rarest regularly released Vertigo album, as almost no copies were sold in 1972. Sometimes there is some justice in record land after all.

Our hero sports a Crosby-moustachio and a hat and is cuddling a flock of poultry on the front. Pretty cosy. The picture is slightly raised and printed on a glossy paper, whereas the border is not. This is a single cover, not a gatefold! On the back Gordon stands in the door opening of a large hall that is totally devoid of any furniture and looks stripped and abandoned. Not cosy, but somehow better.
The lettering is quite common, but its bordering ornaments are beautiful and well-chosen.

6360 070


Line-up: Gary Green, gtr, perc/ Kerry Minnear, voc, keyb, vibr/ Malcolm Mortimore, dr/ Derek Shulman, voc/ Philip Shulman, sax, voc/ Ray Shulman, voc, bsgtr, vl, gtr.
Production: Gentle Giant.
Cover-art by Rick Breach.
Liner notes: by unknown.
Cover manufactured
by unknown.
Recorded at unknown.

Track listing A-side: Prologue / Schooldays/ Working All Day.
Track listing B-side:  Peel The Paint/ Mister Class And Quality?/ Three Friends.
All tracks by Derek Shulman + Philips Shulman + Ray Shulman + Kerry Minnear.

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

Matrix number A-side:
6360070 1Y//2 ▼420 1 1 1 2
Matrix number B-side:
6360070 2Y//2 ▼420 1 1 1 2

Rarity scale: R1

After the giant leap between the first two albums, it was hardly to be expected that a similar progression would be made on the third. A new drummer and a lyrical concept should lead the way, but unfortunately the band often sounds cramped and restricted, less inspired and above all less colourful. The Prologue is promising enough with its trademark of soaring guitar and syncopated vocals. But already the overlong Schooldays sounds constructed. A superfluous child's recitation (son Calvin Shulman) underscores the helplessness to keep the ship on course. Working all day sounds like a remake of Wreck of the previous album, but more dull and monochrome. Sax and moog parts are extremely displeasing. Side B starts again fine. Peel the paint is the best track by far: adventurous, biting and with another awesome juxtaposition of velvet chamber music and hard-hitting rock. The rest has its incredible moments, but cannot save the album as a whole.

Three highly abstracted human figures (the three friends) adorn the cover, a seagull sits between them. On the back the friends turn their backs to each other and the seagull flies away with the ribbon that held them together. Fine idea, somewhat stiffly executed.
The lettering is integrated into the image, complete with binding ribbons, very fine indeed.
Inside the lyrics and drawings of the friends, a bit awkward, unfortunately.

Notes: There are two different labels for this: with ''Made in England'' at 1 o'clock and without that caption. The one without is believed to be released first.

6360 071
BLACK SABBATH - VOL. 4 (spring 1972)


Line-up: Geezer Butler, bsgtr/ Tony Iommi, gtr/ Ozzy Osbourne, voc/ Bill Ward, dr.
Production: Patrick Meehan & Black Sabbath.
Cover-design by Bloomsbury Group
Photography by Keith McMillan.
Liner notes: none.
Cover manufactured
by Howards Printers.
Recorded at Record Plant Los Angeles.

Track listing A-side: Wheels Of Confusion (8'09'')/ Tomorrow's Dream (3'06'')/ Changes (4'41'')/ Fx (1'38'')/ Supernaut (4'42'').
Track listing B-side: Snowblind (5'25'')/ Cornucopia (4'48'')/ Laguna Sunrise (2'49'')/ St.Vitus Dance (2'24'')/ Under The Sun (5'49'').
All tracks by Black Sabbath.

The Vertigo logo on front is orange.
There are no composers credits anywhere.
There are no running time indications anywhere, except on some very few copies, see notes below.

Matrix number A-side:
6360071 1Y//1  1 21 4 [an added hand-etched word ''porky'' is visible]
Matrix number B-side:
6360070 2Y//1  1 1 6 [an added hand-etched word ''pecko'' is visible]
We believe this to be an indication that George ''Porky'' Peckham did the cutting.

Rarity scale: R1

The fact that BS is a powertrio with additional singer is well-masked on this their 4th and most developed album so far. Small, but cunning overdubs enrich the sound and make the music more differentiated than on previous efforts. Wheels of confusion opens the record with verve, even with a rhythm change and a totally different ending. Changes may even be called a ballad and Fx experiments with sounds unheard of. Overall, the level of organisation is higher and the best BS track up till now must be Snowblind that flows and urges like a real composition. The sledgehammer heavy stuff like St.Vitus dance also sounds more mature than comparable tracks on previous albums. Even when heavy-fans may balk at the romantic and string-soaked Laguna sunrise, the effect of an oasis in the middle of the violence is welcome enough. Best Sabbath album on Vertigo.

Ozzy in orange/black duotone graces the front in a triumphal gesture. The back uses the same image in white on black, another sure lack of imagination by Bloomsbury.
The lettering is too massive and roofs the singer, thereby cutting his triumph short, an exceptionally bad idea.
Luckily the inside is garnished with an extra 4-page photosession, showing the culprits in full action. Especially the picture of Ozzy is great!

Notes: This was issued in the U.S.A. on Warner Brothers (BS 2602) in 1972.
There are the different pressings of the UK pressing in circulation, the rarer one showing running time for all tracks inside the gatefold (see scan). The disc that belongs to this has no extra writing in the run-out groove. The label has an extra ''Made in England" underneath the pressing year indication.

Rarer (probably later) version of 6360 071 with ''Made in England'' and running time indications inside the cover, as well as ''deluxe'' on the backcover above the catalogue number.
More common version of 6360 071 without those features and the VO price code surviving still, though probably the first version, as ''Made in England'' came in use later  in 1972.

6360 072


Line-up: Pete Dennis, voc, bsgtr, gtr/ Bobby Harrison, voc, dr/ Steve Jolly, gtr/ Roger Saunders, voc, keyb, gtr..
Production: Malcolm Ross.
Cover-art by Rick Breach.
Liner notes: none, but a poem by Laurence Craig-Green.
Cover manufactured
by unknown.
Recorded at unknown.

Track listing A-side: Together (Steve Jolly + Bobby Harrison)/ Miss Little Louise (Roger Saunders + Bobby Harrison)/ Sweaty Feet (Freedom)/ Brainbox Jam (Freedom).
Track listing B-side: Direction (Roger Saunders)/ Going Down (Don Nix)/ Dream (Roger Saunders + Bobby Harrison)/ Ladybird (Pete Dennis + Bobby Harrison).

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

Matrix number A-side:
6360072 1Y//1 ▼ 420 1 1 6
Matrix number B-side:
6360070 2Y//2 ▼ 420 1 1 5

Rarity scale: R3

The inclusion of an uncredited solo violin and a guitar highlight right on the opening track conveys the impression that no trouble has been eschewed to make this album better than the strongly flawed Through The Years. Still, it's wrestling with the blandness of the musical material most of the time. Luckily there is the talented guitar of Jolly, without whom not much of this LP would have been left. Just hear his emotional interceptions on the slow blues Direction, the best track here. The nice ballad Dream is heavily impaired by unsavoury strings and the sax on Ladybird is ill-advised too. Enjoy the guitar parts, forget the rest.

Rick Breach surely likes archaic composition on his covers, and here's another starkly symmetrical design. It is die-cut in the middle with a rectangle, where the poem is allowed to peep through. Otherwise it's all neo-neo-renaissance, quite intricate, but not very convincing. The back cover shoulders on in much the same direction, lyre-playing muses and all.
The lettering is completely out of tune with the rest of the image, although on the back a fractal font is used, which is ever so slightly better.
Inside more of the same: neo-renaissance noodling, or should I say doodling, and yet another unfitting font.

6360 073


Line-up: Ricky Gardiner, voc, gtr/ Martin Griffiths, voc/ Alan Park, keyb/ Gordon Sellar, gtr, bsgtr, voc/ Ray Wilson, dr.
Production: Beggar's Opera.
Cover-art by Peter Goodfellow
Cover-design by Bloomsbury Group..
Liner notes: by Martin Griffiths.
Cover manufactured
by unknown.
Recorded at unknown.

Track listing A-side: Hobo (Alan Park) 4'40''/ Macarthur Park (Jimmy Webb) 8'20''/ The Witch (Virginia Scott + Ricky Gardiner).
Track listing B-side: Pathfinder (Ricky Gardiner) 3'44''/ From Shark To Haggis (Virginia Scott + Ricky Gardiner) 6'38''/ Stretcher (Ricky Gardiner) 4'50''/ Madame Doubtfire (Martin Griffiths + McFeddries + Ricky Gardiner) 4'15''.

The Vertigo logo on front is white, but it is inside the fold-out and not visible on the front.
There are running time indications in the gatefold, not on the label.
There are composition credits in the gatefold, not on the label

Matrix number A-side:
6360073 1Y//1 ▼ 420 1 1 3
Matrix number B-side:
6360073 2Y//1 ▼ 420 1 1 3

Rarity scale: R2

The effort to make this combo, that hovers between prog and classical-rock, sound more commercial does not yield the right results. In fact, this is a step backward. Where Waters Of Change could convince through its cold fire and otherworldliness, much of its successor rings false. The overly commercial Hobo copies the production values of  McCartney's Wings and the much-praised cover of Macarthur Park does not add anything to the well-known version by Richard Harris, technically attractive as it may be. The catchy riff of the title track is more persuasive, as is the cold emotionality of  From shark to haggis that even transforms into fine folk-rock. The closing Madame Doubtfire unluckily falls prey to the fashion of the times with satanical overtones like chromatic choirs, bitonality, icy ranting and diabolical laughing, which all sounds contrived and untrue. A pity, as the previous album showed real promise.

A pity, too, that our scanner cannot cope with the huge six-part poster that is the cover. Only one sixth of this GIANT image is shown here. A desert rider sporting a space-helmet gallops ahead on a wild brown horse through an archaic landscape. A beaten dragon lies behind him. Through the helmet's perspex not a face becomes visible, but a planet suspended in space.
The lettering is slight and does not distract from the image.

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Britain overview

VO 1 - 6360 013

6360 014 - 6360 033

6360 034 - 6360 053

6360 074 - 6360 083 + irregular numbers

singles Britain

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