The Scorpions : In Trance [1989 Remastered Japan Edition)

SITTING ALONE BY MY WINDOW

COUNTING THE STARS OF THE NIGHT

(WAITING , HATING)

SITTING ALONE BY MY WINDOW

COUNTING THE STARS OF THE NIGHT

(WAITING , HATING)

DARK LADY

 In Trance

 is the third 

studio album

 by German

 Rock band

 The Scorpions

released by

 RCA Records 

in 1975. 

The music was a departure

 from the progressive 

rock of the two

 previous albums. 

Instead, 

the album has a hard rock sound 

of shorter and tighter arrangements

 with which the band 

would achieve their

 global success and fame. 

Extended suites

 in the vein of songs such as

 "Lonesome Crow"

 and

 "Fly to the Rainbow" 

are absent altogether. 

This was the first of 

two studio albums

 to feature drummer

 Rudy Lenners, 

and the first album 

by the band to

 contain the

 now-famous logo

 and 

controversial artwork.

Arwork

The original version 

of the album cover 

photographed by 

Michael von Gimbut 

was censored for 

clearly showing the 

cover model's 

exposed breast 

hanging down towards

 the guitar. 

Later releases 

blacked out the breast

 so that it is not visible. 

This is the first of many

 Scorpions album covers

 to have been censored. 

The band's former 

lead guitarist 

Uli Jon Roth 

claimed he may have 

"come up with the idea

 to do the thing 

with the guitar

 for the cover of 

In Trance"

However, in a 

2008 interview 

Roth claimed that 

early Scorpions

 album covers

 in general were

 "the record company's idea

 but we certainly didn't object.

 And so shame on us. 

Those covers were probably

 the most embarrassing thing

 I've ever been involved with.

" He did,

 though, classify the

 In Trance 

cover as 

"borderline".

The White Stratocaster shown 

on the cover belonged 

to Roth 

and he can be seen

 playing the same guitar

 on the cover of

 the Electric Sun album 

Fire Wind. 

This is the guitar that

 Roth used on all

 subsequent Scorpions

 and 

Electric Sun

 albums 

on which he played.

This was the band's 

first album to feature

 the band's name

 written in the 

now-familiar font 

used on nearly all

 subsequent 

album covers 

as well as their 

first collaboration with 

producer 

Dieter Dierks.

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