//Selection of slides from Hawklords projection.//

With the legacy of Situationism the subject of a couple of posts on my blog, it seems timely to point up Barney Bubbles’ inclusion of frames from Christopher Grey’s Leaving The 20th Century: The Incomplete Work Of The Situationist International in his slide-show for Hawkwind’s post-punk offshoot Hawklords.

The SI content dovetailed neatly with the dystopian Hawklords project, for which Bubbles designed the sleeve of the concept album 25 Years On, was well as the booklet available on the tour, stage set, choreography, costumes, lighting and promotional ephemera.

//Page from Chris Grey's Leaving The 20th Century. (c) Derek Harris.//

//12" x 12" sleeve, front cover, 25 Years On, Hawklords, Charisma, 1978.//

//From Hawklords tour booklet.//

//Left: sticker. Right: postcard, both 1978.//

//Hawklords live, 1978. Photographer: Unknown.//

Working with frontman/lyricist/conceptualist Robert Calvert, Bubbles art-directed a team which included photographers Frances Newman, Bob “Bromide” Hall and Chris Gabrin, who shot a film about the fictional totalitarian organisation central to the plot, Pan Transcendental Industries. The PTI slogan “Reality you can rely on” appears on the album front cover.

Many of the performative and non-rock elements were abandoned after just a few dates of the only tour by the original line-up; these slides have never been published outside of Reasons To Be Cheerful.

“I wasn’t involved in the slide-show, though a couple of the word-boards – such as ‘Operate Without Blades’ – may have appeared in my PTI film,” says Chris Gabrin.

The comic was produced in France in 1968 as part of the Situationist arsenal during the May évènements and later translated into English; it was this version which appeared in Grey’s book, which was published in 1974.

Here’s (Only) The Dead Dreams Of The Cold War Kid, a standout track from 25 Years On and a career highlight from the wayward career of the late Robert Calvert:

Posters, each 60" x 40" designed by Barney Bubbles for the October 1977 Stiff Records UK tour Live Stiffs. Photography: Chris Gabrin.

Exhibits in Chris Gabrin's exhibition at Dimbola Lodge, Isle Of Wight.

Chris Gabrin’s exhibition From Hear To Photography includes a doozy for Barney Bubbles fans – for the first time since their creation more than three decades ago, Bubbles’ huge Live Stiffs poster designs are displayed together.

Each measuring 60″ x 40″, the posters are among the best examples of Bubbles’ vivid application of colour. Their Warholian fizz captures the energy of Britain’s new wave scene at its height.

Photo: Chris Gabrin.

Photo: Chris Gabrin.

The exhibition at Dimbola Lodge on the Isle Of Wight presents Gabrin’s 70s music work. In this period his photography was used in many Bubbles’ designs.

“About a third of the 70 or so exhibits are based around work I did with Barney,” says Gabrin, who points out that the show was the brainchild of Brian Hinton, curator at Dimbola Lodge (once the home of 19th century photographer Julia Margaret Cameron).

“I first saw her work when I was at college in the late 60s,” adds Gabrin. “The museum and galleries are a charitable trust run by part-timers and volunteers. It’s a national photographic institution which deserves as much support as possible.”

Photo: Chris Gabrin.

Gabrin shot the poster portraits of Elvis Costello, Ian Dury, Nick Lowe, Larry Wallis and Wreckless Eric during a photo-session for the Stiff Records’ autumn 1977 Live Stiffs UK tour.

This shoot produced a range of imagery which found its way into promotion, advertising and, in the case of the live album which followed, a couple of record covers.

Music press ad, 1977.

Music press ad, 1978.

Front cover, 12in sleeve, Stiffs Live Stiffs, various artists, Stiff Records, 1978.

Reissue, Music For Pleasure, 1980.

From Hear To Photography is on until October 2 at Dimbola Museum & Galleries,  Terrace Lane
, Freshwater Bay, Isle Of Wight.

Full details here.

]]> http://www.barneybubbles.com/blog/archives/5271/feed 1 http://www.barneybubbles.com/blog/archives/5134 http://www.barneybubbles.com/blog/archives/5134#comments Tue, 14 Jun 2011 07:19:55 +0000 Paul Gorman http://www.barneybubbles.com/blog/?p=5134

Next up in Vinyl 180’s reissue campaign is a gatefold version of The Psychedelic Furs’ 1982 album Forever Now.

Like the 2002 reissue, this will utilise Barney Bubbles’ front and back cover designs for the UK release rather than the CBS art department’s lash-up job for the album’s first American manifestation.

This was imposed by the US record company’s marketing team to harmonise the sleeve with the look of the group’s previous albums (as investigated here).

There were also issues of legibility relating to Bubbles challenging use of colour and his “star” font; in the UK a star-shaped sticker conveying the title was slapped on front covers.

Band members, 12" inner, Forever Now, The Psychedelic Furs, CBS UK, 1982. Photography: Graeme Attwood.

Credits, 12" inner, Forever Now, The Psychedelic Furs.

UK label copy, 1982.

UK 24" x 24" poster, laminated paper, 1982.

Sticker, 4" width, 1982.

Artwork for inner gatefold of the forthcoming reissue. Courtesy Vinyl 180.

Vinyl 180’s version is released in August with Bubbles’ monochrome inner bag, a new label featuring the front cover artwork (the original had his circular title credit) and a gatefold remix of some of the original elements of the first UK issue (which included a poster of the front cover artwork).

For more details of Vinyl 180’s reissues, go here.

Thanks to Steve Young for providing the Vinyl 180 artwork.

Front, fold-out sleeve, Revelations: A Musical Anthology, Revelation Enterprises, 1972. 24" x 36".

This year’s Glastonbury Festival will celebrate the work of Barney Bubbles, who created the extraordinary sleeve for the Glastonbury Fayre triple album set Revelations – A Musical Anthology.

Since 2011 marks the 40th anniversary of the Fayre, Bubbles’ biographer Paul Gorman is staging two events at the Festival’s Spirit Of 71 Cafe  to mark the late graphic designer’s involvement with the album, the festival and many of the performers who have played there.

• Barney Bubbles Sound + Vision, 10pm, Saturday June 25.

Gorman will DJ a vinyl-only set of music relating to Bubbles’ work as Kate Moross VJs a very special projected light show.

• The legacy of Barney Bubbles, 12.30, Sunday June 26.

Discussion and q+a with contributions from those who worked with Bubbles on Revelations, including Jeff Dexter, and artists who collaborated with him at other stages of his career, including Billy Bragg.

The 40th anniversary celebrations are being organised by Andrew Kerr, who is launching his memoirs Intolerably Hip at this year’s festival.

Inner, fold-out sleeve, Revelations: A Musical Anthology, Revelation Enterprises, 1972. 24" x 36".

Sleevenotes, Revelations: A Musical Anthology.

Bubbles' advert for Revelations, Frendz, May 12, 1972.

This year’s Glastonbury features many who benefited from Bubbles’ designs, including:

• Nick Lowe (Acoustic Tent, June 25)

• John Cooper Clarke (Acoustic Tent, June 26)

• Edgar Broughton (Spirit Of 71 stage, June 24)

• Nik Turner (with Space Ritual, Spirit Of 71 stage, June 26)

• Robyn Hitchcock (Spirit Of 71 Stage, June 26)

Poster, Nick Lowe, Live Stiffs tour, 1977. 60" x 40".

Double-page spread from The John Cooper Clarke Directory, 1979. 10" x 14".

Front Cover, Xitintoday, Nik Turner's Sphynx, Charisma, 1978. 12" x 12".

Front cover, (I Want To Be An) Anglepoise Lamp/Fat Man's Son, The Soft Boys (inc Robyn Hitchcock), Radar, 1978. 7" x 7".

Details of the activities at the Spirit Of 71 Cafe are here.

Barney Bubbles Inside out from Lisa Whitaker on Vimeo.

This 100-second career resume has been created by Lisa Whitaker, who is currently studying graphics at Leeds College of Art.

The DVD – housed in an “inside-out” sleeve and accompanied by a poster – came out of a course brief for a collection of 100 design objects in which she compiled album sleeves, including Bubbles’ design for Imperial Bedroom by Elvis Costello And The Attractions.

“I am fascinated by this talented man and his links to other creative people,” says Whitaker. “My moving image piece Barney Bubbles Inside Out pulls together the research and is aimed at graphic designers, record collectors and music lovers as a way of spreading the word about inspirational figure.”

Whitaker’s backgrounder on the project is here.

“The work of Barney Bubbles expresses post-modern principles: that there is the past, the present and the possible; that culture and the history of culture are a fluid palette of semiotic expression and everything is available to articulate a point of view.”

Peter Saville, Reasons To Be Cheerful: The Life & Work Of Barney Bubbles.

During the making of Tahiti 80’s fifth album, Xavier Boyer, mainman of the French electro-orchestralloungepopindie sextet, put together a mix-tape consisting of  80s indie from The The, dark dance 90s remixes by producer Andy Weatherall, the psychedelic cut-ups of Cornelius and 70s post-punk and power pop in the form of Wire and Squeeze.

Barney Bubbles’ promo for Is That Love, Squeeze, 1981.

Boyer and his accomplices also noted the sentence which opens Peter Saville’s essay in Reasons To Be Cheerful: hence the title for “our Postmodern album”, The Past, The Present & The Possible.

Says Boyer: “The Past is the sum of strong roots, The Present is us living in our times, and The Possible is one’s interpretation of the future.”

The new album is released on Tahiti 80’s label Human Sounds in February, trailed by the  Solitary Bizness EP out now with this animated clip by Daisuke Kitayama:

Tahiti 80 Solitary Bizness from Tahiti 80 on Vimeo.

It was a pleasure to take tea in Soho last week with John Muggeridge, Barney Bubbles’ friend and colleague at Conran and Teenburger Designs.

Muggeridge has long been a resident of Bolivia, and his visits to the old country are rare. This didn’t, of course, hinder his contributions to Reasons To Be Cheerful, but it was fab finally to meet the man credited on Quintessence’s In Blissful Company as J. Moonman (he and Bubbles contributed the album design including a 12-page booklet).

12″x12″. Page 5, booklet, In Blissful Company, Quintessence, Island Records, 1969.

Page 6, in Blissful Company booklet.

Page 7, In Blissful Company booklet.

Page 8, In Blissful Company booklet.

Page 9, In Blissful Company booklet.

Page 10, In Blissful Company booklet.

Booklet detail: Muggeridge-inscribed lyrics for the track Ganga Mai.

A graduate of the London College Of Printing, Muggeridge joined Conran’s design department in 1966, where he worked with Bubbles (then the company’s senior graphic designer going by his birth name, Colin Fulcher).

As described in Jonathan Aitken’s 1967 book The Young Meteors, the Conran studio was at that point at the cutting edge of the global design business, with 35 employees at its offices in Hanway Place, central London.

Muggeridge became Bubbles’ assistant when the designer launched Teenburger from 307 Portobello Road in the spring of 1969, and worked with him on a run of record sleeve designs, as well as pitches for the opening sequence credits for two or three films.

“The only one I can remember was Women In Love,” says Muggeridge, who has a clear memory of himself and Bubbles sat in an otherwise empty Soho screening room viewing a rough-cut of Ken Russell’s movie. Their proposal didn’t make the cut.

Having studied calligraphy at LCP, Muggeridge’s Teenburger responsibilities included hand-lettering; his italics adorn the In Blissful Company credits.

“I was really Barney’s apprentice,” says Muggeridge, these days involved in the food business. “It was amazing to watch him apply concepts. Ideas emerged fully-formed on the drawing board. Quite often we would work together silently in the studio; there wasn’t a great deal of talk. We just got on with it, while US draft dodgers and all sorts of people traipsed up and down the stairs outside.”

12″ x 12″. Front, Cressida, Vertigo, released February 1970.

12″ x 24in. Inner gatefold, Cressida.

Back, Cressida.

12″ x 12″. Front, Red Dirt, Fontana Records, released April 1970.

Back, Red Dirt.

12″ x 12″. Front, Gracious!, Vertigo, released August 1970.

12″ x 24″. Inner gatefold, Gracious!.

Back, Gracious!.

As well as the Quintessence album, the pair produced the designs for the eponymous debut albums by Cressida, Brinsley Schwarz, Red Dirt and Gracious!.

In 1970 Muggeridge was laid low by peritonitis and, after recuperation in Ireland, embarked on the hippie trail with his girlfriend Virginia Clive-Smith (who had also worked with Bubbles at Conran), by which time Teenburger had closed.

During our conversation at Patisserie Valerie, the performance artist Bishi approached us. She had just been one of the crowd of 50 contributing silence to the anti-X Factor single 4′33″ in a nearby studio, and was intrigued by our conversation and the RTBC cover.

There ensued a fantastic cultural exchange: Muggeridge talked about the Barney Bubbles Light Show, which was inspired by a visit he and Bubbles made to UFO while working on an all-night job at Conran, while Bishi enthused about the work of contemporary light-show designers.

She has been performing in Nicholas Immaculate’s “Hindu Tron” suit, which helps her control light and sound by voice and movements.

Call The Tiger – Performance from Bishi TV on Vimeo.

Muggeridge was delighted. “I’m sure Barney would have approved,” he said.

Check out the Barney Bubbles references in this clip for Kim Ann Foxman’s track Creature.

“How can something so square be so hip?”

Designer Richard Evans sets out to answer this question in the new illustrated history of the 12in album sleeve, The Art Of The Album Cover.

Evans, The Who’s in-house designer for 35 years, provides a comprehensive overview in this glossy hardback which presents many examples of Barney Bubbles’ plundering of the history of record sleeve design for his palette of possibilities: think the crazy lettering and daring mix of photography and graphics of Alex Steinweiss and his 40s brethren Jim Flora and George Maas and, in the 50s,  the work of the cool ruler, Blue Note’s Reid Miles.

Evans shows how Miles’ admiration for the “blotted line” illustrative work of Andy Warhol in the 50s resulted in gorgeous sleeves for Johnny Griffin and Kenny Burrell, while tribute is paid to the work not just of examplars such as William Claxton and Burt Goldblatt but also the teeming “unknowns” who populated the art departments of (mainly American) record labels in the 50s and 60s.

As design critic Kenneth FitzGerald recently set out in his new collection of essays, Evans recognises that everything changed with The Beatles’ 1963 debut album sleeve by Robert Freeman, setting design for music on the path to Sgt Pepper’s four years later and then onto the 70s boom-time. There are name-checks for all the leading art directors, illustrators, designers and artists, including Cal Schenkel, Neon Park, Kosh, Hipgnosis, Roger Dean and Evans himself as well as Barney Bubbles, whose work Evans deeply admires.

“I don’t have enough words of praise for the delightful and brilliant work of Barney Bubbles,” writes Evans. “He was the graphic designer’s graphic designer; a man full of the best ideas executed with great wit and originality.”

With concise sections dedicated to Neville Brody, Peter Saville, Malcolm Garrett and Stylorouge, Evans tracks the familiar tale of the damage done by the shrinkage of the packaging with the rise of the CD and the ultimately restrictive practices wreaked by increased digitisation.

As in FitzGerald’s Volume, however, the obituary for the vinyl sleeve outlined in Aubrey “Po” Powell’s introduction (“The art of creating album covers belongs to a bygone age”) looks again to be premature in an era of renewed vigour in the field.

And Evans’ declaration that album sleeve design now resides in CD booklets also seems wrong-footed; the digital format is being rapidly forced down the gurgler by the download generation yet the demand for vinyl – though necessarily much more limited than in it’s heyday – is once again the smart choice.

The Art Of The Album Cover is available here.

Stickers, a top-ranking new book about the enduring art of the most immediate of rock & roll ephemera, provides an opportunity to show a selection of Barney Bubbles’ forays into this area of design.

Stickers is compiled by expat Brit DB Burkeman, who, pausing only to publish one of his rare shots of the Sex Pistols live in 1977, mentions in his introduction that a chance encounter with Reasons To Be Cheerful enabled him to trace Barney Bubbles as the link between the visual audacity of Hawkwind and the new wave/post-punk scene.

Burkeman’s tome covers the waterfront, from Bubbles, Jamie Reid, Malcolm Garrett and Peter Saville to  Fresh Jive, Fuct, Shephard Fairey and beyond.

A great feature at the back of the book are the pages of contemporary stickers just waiting to adorn a clean surface.

Buy your copy of Stickers here.