6360 034
IAN MATTHEWS - IF YOU SAW THRO' MY EYES (spring 1971)

Very, very modest, this is, on the verge of colourless, actually.  Extremely polished folk-rock all the way through, impeccably played, but it indubitably lacks excitement. Matthews' own numbers are way too sugary, so the best tracks are Reno Nevada and especially It came without warning which boasts sensitive, even tragic, harmonies. The sound-surface is at times so slippery that the ear is sent skidding. Even Thompson is unrecognisable! The feeling that Matthews should be able do much better permeates the whole record. Pity!

Very aesthetic cover-shot, just a wee bit too much posed, don't you think? Very blue and violet, though, and if you open the fold-out, you will even see how his hand inobtrusively caresses a homely cat. Ow, c'mon now, mate!
Indifferent lettering and much too white: it spoils the profound character of the image.
Inside the lyrics again and a photograph of Matthews in front of a window, looking very profound too!

6360 035
not released in Britain, BUT IT WAS RELEASED IN ARGENTINA!
please refer to the Argentina page.

6360 036
not released in Britain, BUT IT WAS RELEASED IN ARGENTINA!
please refer to the Argentina page.

6360 037
MAY BLITZ - THE 2ND OF MAY (spring 1971)

Just a little bit more restrained than the debut, and that turns out to be an advantage. Growling guitars still reign, most exquisitely so on 8 mad grim nits, a classic muscular piece of rock. There is some acoustic guitar now too, even something that resembles folk-rock on The 25th of December, a julesong, no less. High beech has a nice mixture of electric and acoustic elements and Just thinking is as fragile as it gets, thereby ending the album on an unexpectedly placid note. Still quite a heavy album, of course, but the increase of diversity should attract even listeners who have their doubts about this genre.

Oh, there she is again, the queen of uglyness and this time she is about too be wed. The front shows her family of mutants and other creep in black and white. The backcover shows the groom, all filthy lavender and lilac, along with his flowery convoy. Boy, what a bunch of misfits! Nice detail: the bride is depicted in the frieze above the gateway.
The lettering is very much part of the picture and fits seemlessly..
May Blitz poses in a honey-coloured mist inside. It's windy out there.

Notes: this does exist with the Vertigo wording underneath the spindle hole and a big swirl above it.

6360 038
DADDY LONGLEGS - OAKDOWN FARM (spring 1971)

Rural stuff, no doubt. Some is just loosely playing around, pretty boring. Some is decent country, pretty boring too. But some is suddenly tight and intelligent US rock like Please believe me. If it weren't for a marring fender piano, Wheeling & dealing would be excellent too. Holderman (former guitarist for Roy Orbison and Bobby Vee!!) plays a great part on the sweaty Night shift. If you do not like the smell of hay emitting from your speakers, then give this a wide berth. Otherwise, you may like at least some of the cuts. There is no trace anywhere of the commendable novel by Jean Webster that gave its name to the band to be found.

Very rural sleeve too, even picturesque: who wouldn't love to live here? On the back four tiny workmen are busy earning their slice of bread.
The lettering is very much part of the picture and fits seemlessly, and yes, I wrote that before and will probably again.
A photo collage of the gentlemen in, indeed, rural circumstances is inside the gatefold. Somehow they all look more or less like Leon Russell....

6360 039
IAN CARR WITH NUCLEUS - SOLAR PLEXUS (spring 1971)

As Carr wrote all tracks, his name is top of the bill on this 3rd Nucleus LP. More experimentation, less rock, than on the previous effort, especially on side A, which is by far the better of the two, thanks to inventive instrumentation. Great flanged guitar on Spirit level and there we find subtle even soothing dissonance too. Side B is much more common and the themes are too weak to be able to support the length of the tracks. The closing Snakehips dream is the longest and thus the worst.

You don't have to be an occultist to understand that the Solar Plexus does not look like the spiral on the cover. Some bad damage is done on its right side, does that mean anything? On the back cover we see the negative image of the front: a sure sign of lack of imagination.
The paraphrase on the bell button font is too common to excite, the colour is chosen with the utmost care to contrast and therefore in complete discord with the overall image. Or does it mean anything?
The inside is worse. The spiral is recapped as a concentric bunch of circles and a lime-green, eh, whatever it is, is featured too. Does it mean anything?

Notes: The label credits only Ian Carr as the artist, which seems an underestimation of his fellow musicians.

6360 040
MAGNA CARTA - SONGS FROM WASTIES ORCHARD (spring 1971)

Helped-out by the cream of British studio-musicians like Rick Wakeman, Nick Potter and Danny Thompson, this is still very much the bottom line. Crystal clear production and fine acoustic guitars notwithstanding, the songs are as nontoxic as possible. All glides along without contour, thus actually offending the listener with its enduring smoothness. And it's pretentious too! I could not find one single challenge for the ear, neither rhythmically, harmonically nor in any other way. What people hear in this nauseating bunch of non-songs is beyond me.

Nice gimmicks cover, though. It's looks like a wooden crate of fruits and when you open it, it is! Lovely apples, as tasty as the music is not, are revealed in the middle, the information is on the flaps that fold out. The back cover holds an atmospheric photograph of the culprits before a wealth of foliage. Nice, too.
The lettering is beautiful, a work of art in itself.

6360 041
GENTLE GIANT - ACQUIRING THE TASTE (summer 1971)

An almost incredible leap upwards and forwards compared to the debut, this album still stands as one of the highlights of early British prog-rock. The liner notes say it all: we have recorded each composition with the one thought - that it should be unique, adventurous and fascinating. It is a rare event, that this is not only expressed in words on the cover, but actually hearable almost everywhere in the music. The stunning vocal parts reach a complexity previously unheard of in rock. The interplay is inventive and innovative: combinations of sounds that we have not heard before, still completely clear and misleadingly facile. You never hear the efforts that must have gone into this recording, everything sounds as if it's totally natural. In an interview of March 1998 in 20th century music magazine Ray Shulman states: I think Aqcuiring The Taste, our second record, was probably the purest in terms of making music. We just made music and it was never for any other reason. There were no business concerns because we weren't even known. I think that is when you make the purest music because you don't even have an audience. Although the last part of this statement maybe doubtful, it perfectly sums up from which angle the music was made. Some 35 years later this still pays off! There is some room to quibble anyway, of course. Some moog-explorations sound dated and the plain rock songs aren't that exciting. On the other hand, the first two tracks are nothing less than masterpieces of inventive rock and there is so much to explore inside the arrangements, that the album will easily outlast the even most diligent listener. Top-notch.

Opening the gatefold shows an airbrushed image with an open mouth with protruding and drooling tongue. Underneath is an apple that is just being cut by a knife. The juice runs along its surface. The idea is nice enough, but the execution is stiff and ineffective.
The lettering is much better: playful and fitting the image..
Inside is a small band photograph and the lyrics in full, which are readable as well as listenable.

Notes: As the cover-design for the debut album was such a striking image, the idea seemed sound to ask the maker for another design for this album too. Indeed, George Underwood provided such a design, but this was scrapped in favour of the one above. Thanks to some industrious researchers you can judge for yourself by looking at the effort by Underwood right here, which may not be very tasteful, but at least etches an impression on the retinae of the onlooker.

6360 042
GRAHAM BOND WITH MAGICK - WE PUT OUR MAGIC ON YOU (summer 1971)

The pretentious occult liner notes are sustained on this second album and unfortunately the uninspired average rock is too, though this LP is marginally better than the first nonetheless. The flute parts do lift this an inch above the disappointment of the previous album. Moving towards the light even sounds almost like satisfying blues-rock. The long title track wins the award for useless prolongation of a boring theme. Saxes bleat, organs wail, but it is hard to understand why. Luckily there is a trace of humor in the lyrics: Everybody's looking for Jesus/ But Jesus changed His name/ His name is Ra-Harakhite. Such a pity that so few people know this, isn't it? The avalanche of pentagrams, zodiac signs and other paraphernalia also tend to tickle the laughing nerves. On the other hand is the title track supposed to form an astral protection around you and others present. That's not funny, that's sick!

A silver pentagram with a red circle in a blue circle, well why not? It does not contribute to a memorable image. The back shows a six-point star, another circle and the four fixed signs of the zodiac. Is that really necessary?
The lettering is better, although its location is disadvantageous. At least it avoids the sin of predictability.
Inside some of the worst liner notes ever written and five plump symbols. What a waste of time!

Notes This was released in th U.S.A. on Mercury (SRM 1-1612) in 1971, do not ask me why.

6360 043
TUDOR LODGE - ''same'' (summer 1971)

This extremely rare folk album balances precariously on the edge of coyness. The danger to present an attitude overly meek is ever-present on this album. Unfortunately most of the tracks do fall into this abyss of unassumingness. On the other hand there are at least two tracks that are just short of brilliant: the audaciously harmonized Willow tree, a spookily arranged lesson in surrender which alone makes the ownership of this LP worthwhile, and also The lady's changing home with lush vocal parts and an unexpected fuzz guitar. It all comes back to me is nice too, with the crystal voice of Steuart to the fore. Otherwise this is more like, say, The Seekers, than like Comus.
You can visit this band at
www.tudorlodge.com


The concept of fold-out is again taken to another level on this excellent gimmicks cover. You can fold the sleeve into a six-part poster with two die-cut flaps Three magnificently drawn portraits fill three parts and the rest is lyrics . The cover is textured with a pattern that vaguely recalls gingko-leaves, very beautiful (see scan above).
The lettering is as lovely as the rest: not just lettering, but an integral part of the design.

Note: There is a counterfeit around with a photocopied British label and the gimmix cover included. That has no structured cover, though and the wording ''Vertigo'' are missing from the front cover.

6360 044
DAVE KELLY - ''same'' (not released)

Quite reasonable blues-rock, with the slow tracks easily the best. The contribution of Jo Ann amounts to almost nothing at all, unfortunately. Some of the brass sounds much too conventional for comfort. The music could be deemed too standard to secure a release on Vertigo, but, then again, so could many other records too. To judge this for yourself you will have to dive up the version on Mercury, as there are only very few copies of the Vertigo pressing, naturally.

6360 045
VARIOUS ARTISTS - HEADS TOGETHER FIRST ROUND (autumn 1971)

Like the liner notes rightly suggest, this is not a label sampler in the usual meaning. No top-selling acts draw the cart, no Black Sabbath, no Uriah Heep, no Colosseum, no Juicy Lucy. Moreover, there are five otherwise unavailable tracks on this sampler, so it seems natural to have a closer look at these. The track by Sunbird sounds vaguely like the old Nirvana, even like Bronco. The Jimmy Campbell track is non-LP and on par with the best of his album and therefore an asset. Folkie Carthy makes an unexpected appearance and this is a classic version of a classic tune, excellent. Pete Aikin plays a self-penned song that sounds traditional too, but is quite inspired. Only the Lassoo track sounds like the ''new'' Nirvana and is expendable. From the already issued tracks the best cut by Tudor Lodge is very welcome too, as this is a much cheaper way to get hold of this marvellous cut than trying to secure their sole album.



The bulk of the musicians pose as football players on the cover in an old-fashioned sepia colour. Most of them look rather awkward in this role. Poor Ann Steuart is the only female person involved. The cover is textured with the same pattern as the Tudor Lodge LP was (see scan above).
The lettering is business-like and adequate.
Inside the gatefold there are small photographs of many of the players and the info.

Line-up: Lol Creame, gtr, keyb/ Kevin Godley, dr, fl/ Graham Gouldman, gtr, bsgtr/ Ramases, voc/ Martin Raphael, sit/ Sel, voc/ Eric Stewart, gtr, keyb. Production: Ramases (the band, that is, not the singer) Cover-art by Roger Dean. Photography by Ramases. Liner notes by unknown. Cover manufactured by Howards Printers. Recorded at Strawberry Studios. Track listing A-side: Life Child (Ramases) Oh Mister (Ramases)/ And The Whole World (Sel)/ Quasar One (Ramases)/ You're The Only One (Sel). Track listing B-side: Earth People (Ramases)/ Molecular Delusions (Ramases)/ Balloon (Ramases)/ Dying Swan Year 2000 (Ramases)/ Jesus (Ramases + Sel)/ Journey To The Inside (Ramases). 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 green. Matrix number A-side: 6360046 1Y//1 ▼420 1 1 2 Matrix number B-side: 6360046 2Y//1 ▼420 1 1 1 Rarity scale: R2

6360 047
not released in Britain, BUT IT WAS RELEASED IN BRAZIL!
please refer to the Brazil page.

Even this record has a label variation. The right hand side example has an extra credit for 'Chappell & Co. Ltd.', as well as a different layout at the bottom. The bare fact that two variations exist makes the alleged 'only 70 copies' (or similar) that this record would have sold somewhat unlikely.
Line-up: Keith Keyes, voc, keyb/ Bob Watkins, dr/ Rob Watson, bsgtr.. Production: Keith Keyes. Cover-art by Barney Bubbles & Phil Freaks.. Liner notes: by unknown. Cover manufactured by unknown. Recorded at Island Studios. Track listing A-side: Evil Woman's Manly Child (4'47'')/ Spiritus, Manes Et Umbra (11'36'')/ Summer For The Rose (4'28''). Track listing B-side: Burn In Anger (3'26'')/ TooWell Satisfied (5'51'')/ In A Token Of Despair (10'13''). All tracks by Keith Keyes. There are no running time indications on the label, they are on the backcover. The Vertigo logo on front is green. Matrix number A-side: 6360048 1Y//1 1 1 2 Matrix number B-side: 6360048 2Y//1 1 1 2 Rarity scale: R4

6360 049
FREEDOM - THROUGH THE YEARS (autumn 1971)

Another heavy, blues-tinted rock album, craftily played, but with not much originality. Some tracks sound like The Free, but with a great distance to that band's intensity. Saunders plays nice interceptions and some able solos, but the lack of something like an own handwriting mars almost every track. Some of the lyrics are examplary for what's wrong here: way down in the valley/ where the green grass grows. How poetically inspired can you get?

It's monday morning in the art departments too. A lackadaisical bandphoto, mirrored around the spine of the gatefold is not our idea of inventive graphics, though the magenta and scarlet of the leaves is at least something.
The lettering is awkwardly placed and of an unfitting font.
The inside picture, taken in Hyde Park, where the band sits beside a very sceptical hippie chick, is very effective, though. It conveys perfectly the London atmosphere in the early seventies.

Notes: This was released in U.S.A. on Cotillion (SD 9074) in 1971

6360 050
BLACK SABBATH - MASTER OF REALITY (end of 1971)

A leap forward for the Sabbs, no doubt. The interplay is more mature, as After forever will easily prove to you. There is even room for some acoustic guitar! Solitude could almost have been a Jade Warrior outtake. Rumbling train-riffs adorn Children of the grave, an appeal for universal love, housed in dark cloth. On the other hand there are the ominous repetitions of Into the void. It's diversity of sorts, but also a fork in the road: will they fall back on trodden paths or develop an even richer sound? Time will tell...

And another great packaging! The cover is a box that can be opened on top to reveal not only the record, complete with ''negative'' printed B-side label, but a large poster too. The laminated cover has embossed lettering in purple and black on a black background, simple and effective. The backcover holds the lyrics (are these occult dilletantisms coming to a head, or is it philosophical maturity?).
The lettering is the image and yes, that works well, although the scan proved nearly impossible to make.
On the poster the band poses in all shades of brown under large trees, a fabulous shot.

Notes: We have found two different posters included with this release. The more common one is 35 inch high and 24 inch wide. There is also a smaller variation which is printed on thicker paper and much darker of colour. This is 27 inch high and 18 inch high. Anyone who can explain this? There is also a considerable amount of difference in the colour of the purple lettering on the front cover, ranging from dark violet to a much lighter lilac.

This was released in the U.S.A. on Warner Brothers (BS 2562) in 1971, also with a poster.

6360 051
GRAVY TRAIN - (A BALLAD OF) A PEACEFUL MAN (end of 1971)

The Train tries on their second LP to concoct a slightly more commercial sound with generally favourable results. Hughes' flute is mixed into the front, which is advantageous, since it is one of the best features in the music. There are multi-part vocals, very succesfully so on the closing Home again. Strings on Alone in Georgia do not work, because they are in unsubtle discord to the music. The title track is fine and diverse prog-rock. Mellotron is being used to good effect on Messenger. This all makes for an overall notable record, that due to poor promotion did not leave any trace in 1971. Now it's one of the main collectibles on Vertigo and one can only hope that the surviving bandmembers still have a box of this in their attic.

The contrast on the cover between a dark-skinned hand an a very white and wet egg is memorable enough. Our copy is laminated.
The lettering echoes mildly the contrast and fits in nicely.
Almost overgrown with weeds, the band looks moody and self-conscious on the inside.

Notes: this seems to exist with the Vertigo wording underneath the spindle hole, although technically this appears impossible.

6360 052
BEN - ''same'' (end of 1971)

Another one of those Vertigo releases that reputedly only sold some 70 copies or so back in 1971. This time is is not hard to understand why that could be the case. There are four long tracks somewhere in between club-jazz and prog-rock without almost any character of their own. Vocals are sparse and executed without much expression at all. Much instrumental prowess, again with a minimum of expression, well-trodden themes and a general feeling of musical malaise, if that's your idea of an interesting record, buy this LP! Sad climax of futility: the endless riffing of Christmas execution, sounding more like the hangover from the 2nd of January.

A tap with glasses on? Well, it surely makes for an image you will not easily forget. Please note that the glasses are lilac and the drop of water is like liquid cherry candy. The backcover shows the tap without the glasses, not a very bright idea.
The lettering is clear and evident, though not very fancyful, eh?
The inside has some information and yet another tap, this time all pink. The drop is now falling down the drain and such an excellent symbol this is!

Notes: This is one of only two British Vertigo album without the swirl logo on front.
There is a counterfeit around with red glasses, which unscrupulous dealers sell as the original!  The glasses must be lilac, folks!

6360 053
MIKE ABSALOM - ''same'' (end of 1971)

Candidly spoken, this is strictly for lovers of lyrics, as the music is just a man and his guitar mostly, without any tendency to do more than just play some songs with average melodies. Any convincing compositions are completely lacking. The lyrics are fine enough, though: epic, at times surprisingly expressive and more than once they contain a psychedelic edge. Urban poetry sung with a reasonable voice to straightforward and unadventurous music, why not? The general public did not pick this up, logically, and this became one of the worst selling Vertigo albums.

Dean shows his versatility on this one. Again a huge six-part fold-out has been provided for his antics, though the inside is empty this time around. Six heavily doctored photographs of London, beautifully aqua-tinted (except the front) adorn the cover, conveying a credible impression of different aspects of the city.
The lettering is fine, too: a crafty combination of archaic and artistic.

Notes: this does exist with the Vertigo wording underneath the spindle hole!