Looking back with Langer
It also marks the return of the sympatico producer Clive Langer, who – with his partner Alan Winstanley – has been on hand at various points through Madness’ career (even organising the band’s first recording sessions when they were rambunctious teens).
Clive’s pedigree stretches through production credits on records by such artists as Dexy’s Midnight Runners, Morrissey and Elvis Costello (with whom he co-wrote Shipbuilding) to membership of the pre-punk cabaret troupe Deaf School.
And his leadership of post-Deaf School band The Boxes coincided with Barney Bubbles’ boldest and most wide-ranging record label brief: patron Jake Riviera’s formation of FBeat in 1980.
Malcolm had been taken on at Radar straight from college to ease the pressure on Barney, and was responsible for sleeves for releases by another Deaf School alum Bette Bright as well as The Boxes’ debut, the 12″ EP I Want The World.
FBeat was different; here Barney grew the identity of the company from the ground up, producing sleeves and posters as well as a slew of logos for label copy, headed paper, advertising and promotional purposes.
Inspired by the design detail of Jake’s early 60s jukebox, kitsch-y crowns and other regal imagery, as well as precisely arranged chevrons, stars, ellipses and other insignia dominated this period. Barney even designed Jake’s furniture for his office at the company’s Acton offices, as well as an FBeat rug (which appeared on the inner of Carlene Carter’s Musical Shapes).
But Clive and the Boxes were hot on their heels; FBeat’s second 7″ was Splash (A Tear Goes Rolling Down), which arrived in Barney’s bespoke single bags, and the second album was the band’s Splash.
For the album sleeve the Boxes were dispatched to Putney swimming baths in south-west London, where Barney’s friend, the photographer Keith Morris, shot them diving, floating and generally splashing around.
But Clive wasn’t happy with Barney’s first draft for the cover. “I knew of and admired Barney; he had a notoriety in punk circles,” says Clive. “But the first idea for the cover just didn’t work for me.
“I got the distinct impression that he wasn’t too pleased, because people rarely rejected what he came up with. But on the second go the sleeve looked fantastic – there’s a great turquoise variation which came out in Germany.”
Barney’s advertising campaigns for the single and album played with a variety of visual puns. Ads for the music press used a close up of his friend Carol Fawcett’s right eye – not only does he create a face out of the typographic arrangement but the graphic “tears” splash into the shape of a crown.
Double A-side promo copies were sent to retailers wrapped in an 12″ x 8″ poster in which the droplets are stylised as lozenges set against swimming pool blue.
The standard single label features the ident for Liverpool label Korova, from whom the track was licensed. Interestingly, the promo label also bears an arcane symbol with which Barney peppered his work at the time: three triangulated circles.
The five-pointed crowns of the album cover are set atop boxes in the music press ads which trailed the tour dates while a single large one dominates the cover of follow-up single It’s All Over Now.
Coincidental aside: these days the Madness “M” logo – created by member Chrissy Boy Foreman – is sporting a five-pointed crown rather than a bluebeat hat.
As 1980 wore on, the Boxes waned, and Langer became fully engaged in production chores for Madness’ smash debut One Step Beyond, making the first steps in his career with Winstanley as part of one of Britain’s most highly rated record production teams.
Tags: 1979, 1980, Chrissy Boy Foreman, Clive Langer, Dexy's Midnight Runners, Elvis Costello, FBeat, Jake Riviera, Keith Morris, Madness, Morrissey, One Step Beyond, Radar, Splash, Stiff, The Attractions, The Boxes, The Liberty Of Norton Folgate