THIS IS THE GERMAN ORIGINAL PRESSING on VERTIGO 'Swirl' label with stamped matrix. SINGLE COVER. The cover is in VG+ condition, normal wear BUT light discolouration/wear on spines/corners, mild creases on edges, some surface marks/hairlines on front/rear, left spine is fully readable; please for details see photos (with and without flashlight). Vinyl is in VG+ condition (light clicks) and plays wonderfully and without lessening in sound quality.

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BUFFALO

Hailing from Sydney, Australia, Buffalo's hard rock style from the 1970s would ironically earn them their greatest success in the late '80s in countries such as France and Germany, thanks to the band's recordings on the collectible Vertigo label. The first Australian band to sign to Vertigo, Buffalo was one of the heaviest bands, along with Billy Thorpe and the Aztecs and Blackfeather. Their debut album, Dead Forever..., sold over 25,000 copies and was followed by Volcanic Rock in July 1973 and Only Want You for Your Body in June 1974. Their controversial album covers were in the best heavy metal tradition, as were some of their outlandish song titles.

"DEAD FOREVER..."

tracklist

Side A: LEADER - SUZIE SUNSHINE - PAY MY DUES - I'M A MOVER

Side B: BALLAD OF IRVING FINK - BEAN STEW - FOREST RAIN - DEAD FOREVER

1972    LP     VERTIGO RECORDS     6357 100  

MADE IN GERMANY      ORIGINAL  FIRST PRESSING  ON  VERTIGO " Swirl" LABEL

SINGLE SLEEVE

NOTES: Vertigo 'large swirl' label.

Glossy single sleeve.

Original pressing with Stamped matrix.  Unofficial release, hand etched matrix numbers.

Barcode and Other Identifiers

Barcode: none

Other Code (Price Code): D[boxed, top right corner]

LABEL: VERTIGO -  SWIRL LABEL - BLACK TEXT

Catalog on cover: (spine) 6357 100     (rear) 6357 100 D[boxed]

Catalog on labels: (on Side A): none

(on Side B): 6357 100  (AA 6357 100.1 Y  /  AA 6357 100.2 Y

Matrix / Runout (Side A, Stamped): 10 AA 6̷1̷9̷3̷5̷   1̷Y̷H̷2̷  3̷2̷0̷  6357100 1Y 320   Λ 1 1

Matrix / Runout (Side B, Stamped): 10 AA 6357100  2Y 320  B 1

On label (Side B only): top rim text reads "Urheber Und.........Vorbehalten"

bottom rim text "A Philips Record Product"

Produced by Spencer Lee

On Back Cover: Tracklist + Credits

This stereo..........Printed in Germany by Druckhauss Maack KG. Lüdenscheid

grading

RECORD VG+ but (please, read above description)

 SLEEVE VG+ but (please, see pictures and read above description)

Upon release in 1972, Vertigo Records proclaimed, "Dead Forever is better in quality, production and music-wise than Black Sabbath's Vol. 4." While hyperbolic marketing is nothing new, this statement is largely misguided, unfair to the band, and generally misrepresentative of Buffalo's powers. The mighty Sabbath are their most obvious influence, but for the most part they're better when attempting something other than primal heavy metal. The record opens with a satisfyingly dreamy, otherworldly tone that recalls post-Barrett Pink Floyd (oddly, they don't explore this style further), before making an abrupt and clumsy segue into Sabbath land, sounding like awkward teenagers struggling to emulate their heroes. But Buffalo is more accomplished than that, and they quickly prove it with "Suzy Sunshine," a cloudless blues-rock number that possesses a vocal closely resembling one Ozzy Osbourne -- minus the doom-and-gloom. Guitarist John Baxter's talent becomes apparent here as well, an impression confirmed with his tasteful, Hendrix-inspired intro for "Pay My Dues." This Blues Image cover later features a nice trade-off between the two lead vocalists (yes there are two, yet neither plays an instrument), and during Free's "I'm a Mover" one or both of the vocalists hit high notes that would do any metal fan proud. "Ballad of Irving Fink" is a near-glam boogie rock tune with more fine vocalizing, and "Bean Stew" finds the group at the crossroads of late-'60s garage and early-'70s hard rock. A definite highlight. "Forrest Rain" is another detour, this one a moody, melancholy piece with a light psychedelic soundtrack and an Ozzy-like lyrical honesty. But the whole album seems like a warm-up when the awesome title track appears, a wobble-inducing Black Sabbath homage where the unit beams despite the morbid subject manner (led by Baxter, who really gives Tony Iommi a run for his money), and appears worthy of the extravagant publicity...(AllMusic)