Although up till this point all gold inlays had been printed by DP and G&L, a batch of titles originally released on white-top inlays in 1969-71 were re-visited with new inlays to enable new 'pressing' runs to be undertaken. A slightly non-standard interpretation of the all gold look was applied to the following, and other previously-released titles.
On this gold re-issue, the international catalogue number had now been moved to the spine and the tracklistings to the inside-front-cover (instead of being on the reverse).
Cassettes continued to receive the same label design, although cassettes manufactured from September 1973 onwards received white labels instead of yellow, as with this example (right).
The tracklistings no longer spanned the reverse of the inlay, but were brought forward to the inside flip as with all other gold inlays.
Some rather lazy typesetting on this classical example, where the programme of movements could easily have been fit onto the backflip; but Ernest J. Day didn't bother!
All these mid-73 issues printed by EJD used an unusual version of Univers which seems to indicate the use of a specific model of typesetting machine, which clearly was only used for a matter of two months or so before they reverted back to their previous typesetting equipment, and the conventional version of the typeface.
One of many compilations of the evergreen rocking crooner, first issued on vinyl and tape in 1969.
The original inlay followed the standard 1969/70 template, using the inside-front flip to include a portion of the sleeve notes, aswell as both catalogue numbers. Also, as was the norm at this time, the tracklistings were given on the reverse face of the inlay:
The cassettes themselves continued to be made up of a white shell with yellowy-green labels. Compare this with the white-labelled version shown below.