DIFFERING GERMAN VERSIONS OF BRITISH ALBUMS
and German swirl releases of British (and one Australian) albums that were not issued on swirl in Britain
Almost all British albums,
except some
of the more obscure ones, were granted a German release. Apart from the
difference in label design, quite some of the covers were altered,
mostly in a restrictive way. We only list substantial differences. If a
swirl logo is printed in a different colour on the front, we do not
reckon this substantial enough to mention it.
The albums were released almost simulteneously with the British versions. They are listed numerically.
Early releases had a B-side style label on both sides and the ''old'' catalogue numbers like 847 900 for Colosseum's Valentyne Suite.
6360 012
MANFRED MANN CHAPTER III - DECEMBER FOURTH
The albums were released almost simulteneously with the British versions. They are listed numerically.
Early releases had a B-side style label on both sides and the ''old'' catalogue numbers like 847 900 for Colosseum's Valentyne Suite.
6360 012
MANFRED MANN CHAPTER III - DECEMBER FOURTH
 |
Test
pressings of Manfred Mann Chapter III: Volume 2 were adorned with a
completely different and consequently scrapped title!
6360
013
CLEAR BLUE SKY - PLAY IT LOUD
CLEAR BLUE SKY - PLAY IT LOUD
 |
The
discarded title from the British release proved undeadly in
Germany. It is featured prominently on the label, but not on the spine.
6360 050
BLACK SABBATH - MASTER OF REALITY
6360 081
SENSATIONAL ALEX HARVEY BAND - FRAMED
Folk raged in Germany in the early seventies, so this release seems logical enough. Previous Stivell LP's were only available as an import in Germany. Undoubtedly this is one of his best and this serves as a record that makes it clear why Stivell almost singlehandedly succeeded in carving an international niche for folk (rock) from Brittany. Apart from the almost pugnacious rock track Brezohoneg' rock, a convincing incentive to speak the native language of Brittany, it is traditional material almost throughout, but presented in a unique and strictly personal manner. Stivell's main instrument is the celtic harp and he uses this in itself quiet instrument with great elasticity and verve. The elegant guitars of Dan Ar Bras dominate the finely honed arrangements. The Breton material is powerful and full of uncommon twists, a far cry from the diluted versions for tourists in places like Vannes and Lorient. All tracks are filled with a combination of down-to-earth and even gritty directness with celestial widths and etherical visions, a combination that made Stivell a national hero after an exhausting career. The importance of Stivell for Breton culture cannot easily be overestimated.
Why the great ''celtic'' cover of the native (French) pressing was replaced by this horrible design is anybody's guess. A reasonable picture of Stivell with his harp is placed within an atrocious frame that sits uneasily on a flat green background.
The lettering makes it even worse. Both fonts are totally unsuitable and the pink shadows are the sad climax of no taste at all. A graphic monstruosity.
The backcover holds a fine live photograph, the information on the contents, a small version of the tasteless lettering and two small pictures of Stivell's previous French albums on Fontana.
Notes: The British version was titled From celtic roots and released as Fontana 6325 304 in 1973 in a totally different cover.
The native (French) version had yet another (fold-out) cover and was released as Chemins de terre on Fontana with the same catalogue number as in Britain, also in 1973.
As British Vertigo changed the label to a design of Roger Dean, often called ''spaceship'' or ''ufo'' label, other countries were not that fast. Therefore the swirl label survived much longer in some countries, one of them being Germany. The following albums were released with a swirl label in Germany and NOT in Britain.
Space-riff-rock and the departure of Mike Hugg (whose shadow still hangs over the title track) make this a much more accessible outfit than Chapter III. The simplicity of the riff on the title track sets the standard, but there is much too little happening, making this a classic example of a track extended too long for its own good. The following religious ballad is a bit simple, too, and, yes, pretty longish. Much better is Cloudy eyes, including a guitar part that could have been by Steve Hackett. The tradition of Dylan covers is restored on Get your rocks off, but this is only maginally interesting music. Good guitars and hopeless choirs make a mixed blessing out of Sadjoy. The stubborn rock of Black and blue and the jungle rock of Mardi gras day do not contribute anything to rock's canon. An opportunity well wasted.
A depressive image on the front. Earth is a desert, only inhabitable to humans with gasmasks, one of which is looking you candidly in the eye. A design that probably will be deemed prophetic in years to come, though you and I will not longer be there to comment. The fold-out is die-cut. Opening makes the earth globe float in the void with only a dead moon for companion. Not bad, but somehow quite depressing, too. The bandlogo on the right bottom corner does not fit in the image at all.
Nice and corresponding lettering, though awkwardly positioned.
Notes: The title on the label omits the closing apostrophe.
Keeping the inspiration up while everything goes awry is hard and this album is there to prove it. BO falls into the same trap as many did before and afterwards: an attempt to commercialize the sound, thereby sacrificing the characteristics that made the band unique. Ugly compromises are the inevitable result. The frighteningly commercial title track sounds wonderful, great guitars galore, but is empty from all emotion. A cross-breed between Nazareth and McCartney's Wings is not our idea of exciting music. The rest is questionable half-hard rock, beefed up with false energy. Only the closing Working man shows something that remotely sounds like inspired musicianship. Obviously too little.
The cartoon-derived and pretty vicious bulldog on the front looks unpromising for passing postmen, but doesn't make for a good cover image, although the mixture of alertness and stupidity is well executed. The colours are garish.
No problems with the lettering, they are just as cartoony as the image
We have discussed this band in the UK section, so we will not do this again here. You can rest assured that this is Quo at its very narrowest: boogie-blues is alternated with boogie-blues. Being thus able to fend the music away from us, we concentrate on the strange story of the cover.
Most German copies you will see come in the cover pictured above. If you have very good eyes you will discern a small notification in the bottom left corner, see enlarged scan detail. Translated it amounts to this: This is a temporary cover. If you so desire, you can exchange it for the original cover shortly at no extra cost. Apart from a strange definition of ''original'', this message is likely to have been disregarded by many owners. Especially since the forthcoming ''original'' cover turned out to be a black silhouette on a black cover, which needs the use of a 500W bulb to relinquish its image. You can have a look at this on the Italy page. German copies with the second cover are therefore much rarer and are considered to be R2.
Neutral lettering in white with a black shadow was temporary too. It changed to silver on the ''original'' cover.
Notes the exclamation mark of the title is omitted on the label.
The unsuccessful single Catch you on the rebop, which is the opening track here, reminds one vaguely of I'm a man, once more bringing to mind the unlucky career of Mr.Davis after the departure of Steve Winwood from his group. The well-executed, but ultimately somewhat colourless rock on this here album will not change the ingrown public opinion that the SDG was just a hulk without Winwood. ''With their new face on'' was a much better effort, but that underestimated album was 5 years old by now. Somehow this doesn't sound like a band that believes in its own possibilities, and so this is reasonably satisfying rock, but nothing that will take anyone by surprise or grope for some deep emotion. Best track: the also flopped single Mr.Operator, a straight but nonetheless convincing piece of rock.
The cover is a gimmix in the best of Vertigo traditions. You can manipulate the front flap into a half cylinder that in its turn can be fastened into the backsleeve. You now have a cylindric tin of ''Gluggo'', which is good for almost anything, if we may believe the pretty funny text inside. A very good idea, albeit somewhat derisive of The Who's Sell out. The backcover shows the lads in duotone before an old-fashioned store that among other products sells, you guessed it, Gluggo.
The lettering is very much part of the product and completely in style.
Someone in 1974 thought it a good idea to belatedly release this Australian hard-rock piece. It is reviewed in the Australia section. The gatefold cover was reduced to a single one. The album received a new catalogue number.
back to top page
Germany general overview
6360 050
BLACK SABBATH - MASTER OF REALITY
 |
The
elaborate concept of the British packaging was too much for the
German branch. The poster was kept and identical to the British
one, but the box cover was sacrificed. As a small compensation, a black
inner sleeve with the catalogue number in the top right corner was
added. The embossing of the
cover and the negative printing of the B-side label were saved from the
block, too.
 |
 |
|
As of now we have found two
different labels for this release and a third one is rumoured to exist.
Both have the misspelling (or rather misconception) ''Masters'',
instead of ''Master''. None of these mention track A3 Embryo, even though
the music is
present on the release.
The Austrian press (with ''Austro Mechana'' on the label) carries again the ''normal'', not inverted design. |
|
6360
062
JADE WARRIOR - RELEASED
JADE WARRIOR - RELEASED
 |
The
outrageous British packaging of Jade Warrior's Released was restricted while retaining
almost all
of its luxurious quality. The cover itself is a single cover,
depicting virtually the same front and back as the British release. The
Vertigo logo was transferred to the left upper corner, while the
freecoming space now had a caption ''including poster''. Indeed, a
poster
was added. This was an exact copy of the 6-part fold-out board used in
Britain, but of course on ''normal'' thin paper.
6360
065
NUCLEUS - ELASTIC ROCK
NUCLEUS - ELASTIC ROCK
There
seems to be a reissue of Nucleus' Elastic rock under this catalogue number, at
least
there are listings that mention this release. We have never seen a copy
ourselves...
6360
071
BLACK SABBATH - VOL. 4
BLACK SABBATH - VOL. 4
 |
| As stated in the introduction, some albums were released seperately in Austria. These bear the caption ''Austro Mechana'' on the label, the Austrian equivalent of GEMA, the copyright control institute. |
6360
073
BEGGAR'S OPERA - PATHFINDER
BEGGAR'S OPERA - PATHFINDER
 |
The
same measures as with the Jade Warrior album were taken with Beggar's
Opera Pathfinder.
Since no
swirl logo adorned the British release there was nothing to transfer.
The notion ''including poster'' was inserted at the top left corner,
just above the helmet of our space cavalier.
6360
074
CATAPILLA - CHANGES
CATAPILLA - CHANGES
As
you would expect, the die-cut gimmix cover of the insect head was
deleted and a simple single cover was used instead.
6360 081
SENSATIONAL ALEX HARVEY BAND - FRAMED
Very
unfortunately, the die-cut of the cover was omitted in Germany, making
this a very boring version, indeed.
Only well-selling titles were granted a separate Austrian release, this is one of them.
6360
098
STATUS QUO - HELLO!
STATUS QUO - HELLO!
 |
Only well-selling titles were granted a separate Austrian release, this is one of them.
The
following album was only in Germany available on Vertigo swirl. French
and British pressings were on Fontana
6325
251
ALAN STIVELL - CELTIC ROCK (1973)
ALAN STIVELL - CELTIC ROCK (1973)
 |
 |
|
Line-up:
Dan Ar Bras, gtr,
voc/ Bagad Bleimor, bagp, bombarde/ Jean-Luc Hallereau, bsgtr, voc/
Michel Santangelli, dr/ Pascal Stive, keyb/ Alan Stivell, voc, hrp,
bagp, keyb, fl/ Gabriel Yacoub, gtr, banj, dulc, voc/ René
Werneer, vl, voc.
Production:
Franck Giboni.
Cover-design
by unknown.
Photography
by unknown.
Liner notes:
none.
Cover manufactured by unknown. Recorded at Chateau d'Hérouville. Track listing A-side:
Suzy
MacGuire (trad.) 3'34''/ Ian Morrison Reel (P.McLeod) 4'03''/ She Moved
Through The Fair (trad.) 4'14''/ Can I Melinydd
(trad.) 1'52''/ Oidhche Mhaith (trad.) 1'49''.
Track listing B-side:
An
Dro Nevez (trad.) 3'40''/ Maro Ma Mestrez (trad.) 3'05''/ Brezhoneg'
Raok (Alan Stivell) 3'42''/ An Hani A Garan (trad.) 4'05''/ Metig
(trad.) 3'57''/ Kimiad (trad.) 3'23''.
The Vertigo logo on front
is
black.
Matrix number A-side:
10 AA 6325251 1Y 320 Matrix number B-side:
10 AA 6325251 2Y 320 Rarity scale:
R2
|
|
Folk raged in Germany in the early seventies, so this release seems logical enough. Previous Stivell LP's were only available as an import in Germany. Undoubtedly this is one of his best and this serves as a record that makes it clear why Stivell almost singlehandedly succeeded in carving an international niche for folk (rock) from Brittany. Apart from the almost pugnacious rock track Brezohoneg' rock, a convincing incentive to speak the native language of Brittany, it is traditional material almost throughout, but presented in a unique and strictly personal manner. Stivell's main instrument is the celtic harp and he uses this in itself quiet instrument with great elasticity and verve. The elegant guitars of Dan Ar Bras dominate the finely honed arrangements. The Breton material is powerful and full of uncommon twists, a far cry from the diluted versions for tourists in places like Vannes and Lorient. All tracks are filled with a combination of down-to-earth and even gritty directness with celestial widths and etherical visions, a combination that made Stivell a national hero after an exhausting career. The importance of Stivell for Breton culture cannot easily be overestimated.
Why the great ''celtic'' cover of the native (French) pressing was replaced by this horrible design is anybody's guess. A reasonable picture of Stivell with his harp is placed within an atrocious frame that sits uneasily on a flat green background.
The lettering makes it even worse. Both fonts are totally unsuitable and the pink shadows are the sad climax of no taste at all. A graphic monstruosity.
The backcover holds a fine live photograph, the information on the contents, a small version of the tasteless lettering and two small pictures of Stivell's previous French albums on Fontana.
Notes: The British version was titled From celtic roots and released as Fontana 6325 304 in 1973 in a totally different cover.
The native (French) version had yet another (fold-out) cover and was released as Chemins de terre on Fontana with the same catalogue number as in Britain, also in 1973.
As British Vertigo changed the label to a design of Roger Dean, often called ''spaceship'' or ''ufo'' label, other countries were not that fast. Therefore the swirl label survived much longer in some countries, one of them being Germany. The following albums were released with a swirl label in Germany and NOT in Britain.
6360
087
MANFRED MANN'S EARTH BAND - MESSIN' (1973)
MANFRED MANN'S EARTH BAND - MESSIN' (1973)
 |
 |
|
Line-up:
Manfred Mann,
keyb/ Colin Pattenden, bsgtr/ Mick Rogers, voc, gtr/ Chris Slade, dr.
Production:
Manfred Mann.
Cover-art and design
by
Peter Hignett, William Stone & Peter Goodfellow.
Liner notes:
none.
Cover manufactured by unknown. Recorded at Maximum Sound Studios. Track listing A-side:
Messin' (Mike Hugg) 10'00''/ Buddah (Manfred Mann + Mick Rogers)
7'00''/ Cloudy Eyes (Manfred Mann) 5'30''.
Track listing B-side:
Get
Your Rocks Off (Bob Dylan) 3'00''/ Sadjoy (Manfred Mann) 4'30''/ Black
And Blue (Matt Taylor + Phil Manning) 7'57''/ Mardi Gras Day (Mac
Rebennack) 3'00''.
No Vertigo logo on front.
Matrix number A-side:
10 AA 6360087 1Y 320 Matrix number B-side:
10 AA 6360087 2Y 320 Rarity scale:
R1
|
|
Space-riff-rock and the departure of Mike Hugg (whose shadow still hangs over the title track) make this a much more accessible outfit than Chapter III. The simplicity of the riff on the title track sets the standard, but there is much too little happening, making this a classic example of a track extended too long for its own good. The following religious ballad is a bit simple, too, and, yes, pretty longish. Much better is Cloudy eyes, including a guitar part that could have been by Steve Hackett. The tradition of Dylan covers is restored on Get your rocks off, but this is only maginally interesting music. Good guitars and hopeless choirs make a mixed blessing out of Sadjoy. The stubborn rock of Black and blue and the jungle rock of Mardi gras day do not contribute anything to rock's canon. An opportunity well wasted.
A depressive image on the front. Earth is a desert, only inhabitable to humans with gasmasks, one of which is looking you candidly in the eye. A design that probably will be deemed prophetic in years to come, though you and I will not longer be there to comment. The fold-out is die-cut. Opening makes the earth globe float in the void with only a dead moon for companion. Not bad, but somehow quite depressing, too. The bandlogo on the right bottom corner does not fit in the image at all.
Nice and corresponding lettering, though awkwardly positioned.
Notes: The title on the label omits the closing apostrophe.
6360
090
BEGGARS OPERA - GET YOUR DOG OFF ME (1973)
BEGGARS OPERA - GET YOUR DOG OFF ME (1973)
 |
 |
|
Line-up:
Colin Fairlie, dr,
voc/ Ricky Gardiner, gtr, voc/ Alan Park, keyb/ Linnie Paterson, voc/
Gordon Sellar, bsgtr, voc/ Raymond Wilson, dr.
Production:
Roger Wake.
Cover-art
by Brian
Adams & Pete Brown.
Liner notes:
none.
Cover manufactured by Druckhaus Maack KG. Recorded at unknown. Track listing A-side:
Get Your Dog Off Me (Alan Park + Ainsworth) 3'40''/ Freestyle Ladies
(Virginia Scott) 4'20''/ Open Letter (Robert Smith) 4'32''/ Morning Day
(Virginia Scott) 4'32''/ Requiem (Ricky Gardener) 2'18''.
Track listing B-side:
Classical Gas (Mason Williams) 4'28''/ Sweet Blossom Woman (Mick
Grabham) 4'08''/ Turn Your Money Green (Alan Park + Ainsworth) 4'08''/
La Di-Da (Beggar's Opera) 2'53''/ Working Man (Gordon Sellar +
Ainsworth) 4'33''.
No Vertigo logo on front.
Matrix number A-side:
10 AA 6360090 1Y 320 Matrix number B-side:
10 AA 6360090 2Y 320 Rarity scale:
R1
|
|
Keeping the inspiration up while everything goes awry is hard and this album is there to prove it. BO falls into the same trap as many did before and afterwards: an attempt to commercialize the sound, thereby sacrificing the characteristics that made the band unique. Ugly compromises are the inevitable result. The frighteningly commercial title track sounds wonderful, great guitars galore, but is empty from all emotion. A cross-breed between Nazareth and McCartney's Wings is not our idea of exciting music. The rest is questionable half-hard rock, beefed up with false energy. Only the closing Working man shows something that remotely sounds like inspired musicianship. Obviously too little.
The cartoon-derived and pretty vicious bulldog on the front looks unpromising for passing postmen, but doesn't make for a good cover image, although the mixture of alertness and stupidity is well executed. The colours are garish.
No problems with the lettering, they are just as cartoony as the image
6360
098
STATUS QUO - HELLO! (1973)
STATUS QUO - HELLO! (1973)
 |
 |
|
Line-up:
Stewart Blandamer,
sax/ Andy Bown, keyb/ John Coghlan, dr/ Steve Farr, sax/ Alan
Lancaster, voc, bsgtr/ John Mealing, keyb/ Richard Parfitt, voc, keyb,
gtr/ Francis Rossi, voc, gtr.
Production:
Status Quo for
G.M. Ltd..
Cover-art
by unknown.
Liner notes:
none.
Cover manufactured by Druckhaus Maack KG. Recorded at IBC Studios Track listing A-side:
Roll
Over Lay Down (Status Quo) 5'41''/ Claudie
(Francis Rossi + Rob Young) 4'00''/ A Reason For Living (Richard
Parfitt + Francis Rossi) 4'41''/ Blue Eyed Lady
(Alan Lancaster + Richard Parfitt) 3'50''.
Track listing B-side:
Caroline (Francis Rossi + Rob Young) 4'16''/ Softer Ride (Alan
Lancaster + Richard Parfitt) 4'00''/ And Its Better Now (Francis Rossi
+ Rob Young) 3'20''/ Forty-Five Hundred Times (Richard Parfitt +
Francis Rossi) 9'50''.
No Vertigo logo on front.
Matrix number A-side:
10 AA 6360098 1Y 320 Matrix number B-side:
10 AA 6360098 2Y 320 Rarity scale:
R1
|
|
We have discussed this band in the UK section, so we will not do this again here. You can rest assured that this is Quo at its very narrowest: boogie-blues is alternated with boogie-blues. Being thus able to fend the music away from us, we concentrate on the strange story of the cover.
 |
Most German copies you will see come in the cover pictured above. If you have very good eyes you will discern a small notification in the bottom left corner, see enlarged scan detail. Translated it amounts to this: This is a temporary cover. If you so desire, you can exchange it for the original cover shortly at no extra cost. Apart from a strange definition of ''original'', this message is likely to have been disregarded by many owners. Especially since the forthcoming ''original'' cover turned out to be a black silhouette on a black cover, which needs the use of a 500W bulb to relinquish its image. You can have a look at this on the Italy page. German copies with the second cover are therefore much rarer and are considered to be R2.
Neutral lettering in white with a black shadow was temporary too. It changed to silver on the ''original'' cover.
Notes the exclamation mark of the title is omitted on the label.
6360
102
SPENCER DAVIS GROUP - GLUGGO (1973)
SPENCER DAVIS GROUP - GLUGGO (1973)
 |
 |
|
Line-up:
Gary Cooper,
steel/ Spencer Davis, voc, gtr/ Ray Fenwick, voc, gtr/ Eddie Hardin,
voc, keyb/ Charlie McCracken, voc, bsgtr/ Pete York, dr.
Production:
Spencer Davis.
Cover-art
by John
Kosh.
Photography by Tim Fulford-Brown. Liner notes:
by Pete York.
Cover manufactured by Druckhaus Maack KG. Recorded at Morgan Studios and Advision Studios. Track listing A-side:
Catch
You On The Rebop (Eddie Hardin + Ray Fenwick) 3'17''/ Don't You Let It
Bring You Down
(Eddie Hardin + Ray Fenwick) 3'53''/ Living In A Backstreet (Eddie
Hardin + Ray Fenwick) 3'26''/ Today Gluggo, Tomorrow The World
(Pete York + L.Rubin) 3'42''.
Track listing B-side:
Feeling Rude (Eddie Hardin + Ray Fenwick) 3'17''/ Mr.Operator (Eddie
Hardin + Ray Fenwick) 3'35''/ The Edge (Eddie Hardin + Ray Fenwick)
2'22''/ The Screw (Eddie Hardin + Ray Fenwick) 3'43''/ Tumble Down
Tenement Row (Spencer Davis) 3'09''.
No Vertigo logo on front.
Matrix number A-side:
10 AA 6360102 1Y 320 Matrix number B-side:
10 AA 6360102 2Y 320 Rarity scale:
R2
|
|
The unsuccessful single Catch you on the rebop, which is the opening track here, reminds one vaguely of I'm a man, once more bringing to mind the unlucky career of Mr.Davis after the departure of Steve Winwood from his group. The well-executed, but ultimately somewhat colourless rock on this here album will not change the ingrown public opinion that the SDG was just a hulk without Winwood. ''With their new face on'' was a much better effort, but that underestimated album was 5 years old by now. Somehow this doesn't sound like a band that believes in its own possibilities, and so this is reasonably satisfying rock, but nothing that will take anyone by surprise or grope for some deep emotion. Best track: the also flopped single Mr.Operator, a straight but nonetheless convincing piece of rock.
The cover is a gimmix in the best of Vertigo traditions. You can manipulate the front flap into a half cylinder that in its turn can be fastened into the backsleeve. You now have a cylindric tin of ''Gluggo'', which is good for almost anything, if we may believe the pretty funny text inside. A very good idea, albeit somewhat derisive of The Who's Sell out. The backcover shows the lads in duotone before an old-fashioned store that among other products sells, you guessed it, Gluggo.
The lettering is very much part of the product and completely in style.
6357
100
BUFFALO
- DEAD FOREVER (1974)
 |
Someone in 1974 thought it a good idea to belatedly release this Australian hard-rock piece. It is reviewed in the Australia section. The gatefold cover was reduced to a single one. The album received a new catalogue number.
6366
101
BLACK
SABBATH - SABBATH BLOODY SABBATH (1973)
 |
Another album pressed for the Austrian market and this must be the
strangest of them all, as this was not released in Germany itself with
a swirl label. Both cover and disc are maufactured in Germany, but the
Austrian copyright notice ''Austro Mechana'' betrays the purpose of
this issue. The matrix number shows both a Vertigo and a WWA number
(logically, as this was released on WWA in the UK):
WWA 005 2Y*1 14 6366101 B
as well as three digits that are hardly readable, but could be anything from 250 to 370.
WWA 005 2Y*1 14 6366101 B
as well as three digits that are hardly readable, but could be anything from 250 to 370.
92 985
BLACK
SABBATH - PARANOID (1971)
 |
 |
As
above, this time for an Austrian book- and recordclub with a differing
catalogue number.
The cover is
the normal German one, although unlaminated, but has a sticker in the
corner announcing the special number.
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Germany general overview
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In case of any contributions or questions or even complaints, please use this here virtual address: e-mail.