Archive for the ‘Single sleeves’ Category

Barney Bubbles, July 30 1942 – November 14 1983: A celebration in rare and previously unpublished images and artworks

Thursday, November 14th, 2013
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//Barney Bubbles with poster/programme for Elvis Costello & The Attractions’ Armed Forces tour, west London, 1979. Photo courtesy Chalkie Davies//

In celebration of the creative legacy of Barney Bubbles – who died on this day 30 years ago – here is a selection of rare and previously unpublished images and artworks.

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//Drawing of Odeon cinema facade, Richmond, south-west London from early 60s student sketchbook. © Barney Bubbles Estate//

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//Credit to “the magnificent Barney Bubbles”, Oz 38, 1972//

bb-marjraz

//Ident for Kevin Coyne’s 1973 LP Marjory Razorblade. © Barney Bubbles Estate//

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//Photobooth shot from Stiff Records day out, 1977//

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//Bubbles (left) with Suzanne Spiro, Jake Riviera, Cynthia Lole, Paul Conroy and Dez Brown at Stiff Records offices, from Melody Maker, August 6, 1977. Photo: Barry Plummer//

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//Single sleeve proofs for Elvis Costello & The Attractions’ giveaway 45 Talking In The Dark/Wednesday Week, December 1978//

 

5_38d_Head

//FBeat Records letterhead, 1980//

6_15a_Art

//Profile, pen and ink on art board, 1983. © Barney Bubbles Estate//

6_15b_Art

//Profile, pen and ink on art board, 1983. © Barney Bubbles Estate//

6_15d_Art

//Pen and ink on art board. The sparkplug, along with the lightbulb, was one of the recurring motifs of Bubbles’ later work. © Barney Bubbles Estate//

Read here for recent examples of Bubbles’ pervasive influence.

 

Did Barney Bubbles forge the Psychedelic Furs/John Piper connection?

Tuesday, October 22nd, 2013

//Top: Abstract 1, John Piper, 1935; above: Front cover, Danger, The Psychedelic Furs, CBS, 1982//

One of the hallmarks of Barney Bubbles’ body of work is the elevation of the methods of art historicism.

While perusing a copy of the early 80s exhibition catalogue Circle: Constructive Art In Britain 1934-40 last week I came across John Piper’s Abstract 1, one of a series of investigations into abstraction by the artist in this period.

//Front cover, Circle: Constructive Art In Britain 1934-40, edited by Jeremy Lewison, Kettle’s Yard Gallery, 1982//

//Reproduction of Abstract 1 in Circle (Left) with sections of John Cecil Stephenson’s Painting, 1937, and Freidrich Vordemberge-Gildewart’s Composition no 94, 1935 (right)//

Abstract 1 in particular chimes with the Bubbles’ painting incorporated into the design for the front cover of The Psychedelic Furs’ single Danger.

//Abstract 1, oil and commercial paint on canvas, 917cm x 1065cm, Tate Britain//

//Composition, oil on canvas, 55.4 x 68 cm, 1937, Ashmolean//

//Abstract 1935, gouache and collage, 1935, Pallant House Gallery//

The Furs’ single was released in 1982, the year Circle was mounted at Cambridge gallery Kettle’s Yard to reflect on the outpourings of pre-WWII modernism from Piper, as well as such artists as Naum Gabo, Barbara Hepworth, Henry Moore and Ben Nicholson.

As Bubbles’ work in his final years grew increasingly reductive, his preoccupations became aligned with those of early 20th century artists, in particular regarding the simplification of natural forms to geometric essentials.

This was combined with his fascination for constructing faces from unusual elements – as explored a few years back here – in the Danger design.

I don’t know whether Bubbles visited Circle or was even aware of the show, but it’s pleasurable to contemplate the ways in which this master designer invigorated his work – en route achieving maximum engagement with his audience – by drawing on the relatively recent history of art and design.

Buy copies of Circle: Constructive Art In Britain 1934-40 here.

Late period Bubbles: Sleeve and band logo for Sad Café’s 1983 single Keep Us Together

Thursday, April 18th, 2013
Barney Bubbles design for 1983 single sleeve - front

//Front, 7″ and 12″ sleeve, Keep Us Together, Sad Café, Charisma, 1983//

From the Barney Bubbles grab-bag comes this little-known sleeve for Charisma Records, commissioned by label chief Peter Jenner for Manchester soft-rock group Sad Café.

Produced a matter of months before his demise in November 1983, the spare design is marked by the increasingly reductive approach Bubbles adopted in this period and bears similiarities with another Jenner single commission for Charisma: Mercy Ray’s You Really Got To Me (down to the use of  fingers and fingernails as graphic motifs).

Proof, Barney Bubbles design for single sleeve, Mercy Ray You Really Got To Me, 1983.

//Proof, front and back of single sleeve for Mercy Ray’s You Really Got To Me, Charisma, 1983//

fingers

//Back cover detail, You Really Got To Me//

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Kate Moross’s fabulous video triptych at White Noise

Wednesday, June 13th, 2012

Kate Moross's Barney Bubbles Triptych at White Noise in Chaumont, France May 26-June 10.

A popular element of the Barney Bubbles exhibition within the recent graphics/music group show White Noise: Quand Le Graphisme Fait Du Bruit was the cubicle housing designer Kate Moross’s Barney Bubbles video triptych.

Cubicle housing Kate Moross's Barney Bubbles Triptych at White Noise in Chaumont, France May 26-June 10.

Kate Moross's Barney Bubbles Triptych at White Noise in Chaumont, France May 26-June 10.

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Never published before: Rejected Barney Bubbles artwork for Generation X

Tuesday, November 29th, 2011
Gen X - reject 1007 copy

//Proof copy of unused front cover for single sleeve, Your Generation/Day By Day, Generation X, Chrysalis, 1977.//

Presented here for the first time in nearly 35 years, this is Barney Bubbles’ original artwork for the front cover of Your Generation, the 1977 debut single by Generation X.

The design was rejected because the photograph was considered too routine. What a shame. This is a typically high-impact Bubbles work  combining concise photographic presentation with audacious typography.

The quartet’s manager Jonh Ingham, the journalist who had been at the forefront of punk reportage, has dug it out from his archive exclusively for this blog.

“I cut, folded and glued it, so we could see what the sleeve would look like held in the hand,” says Ingham.

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Amazing sticker + a Chiswick twofer

Friday, June 17th, 2011
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Sticker, 5cm x 12cm, 1977. Courtesy: Ace Archive.

This sticker for short-lived punk-folk band Amazorblades was produced by Barney Bubbles in 1977 as part of a commission from pioneering London indie label Chiswick.

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Barney Bubbles events at Glastonbury

Saturday, June 4th, 2011
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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.

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The Sheet Music logo

Tuesday, May 24th, 2011

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Among the lesser-known Barney Bubbles designs to emerge during last year’s research for the second edition of Reasons To Be Cheerful was the black-on-black label for Sheet Music for a single release by post-punk act The Vampire Bats From Lewisham.

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More Barney Bubbles single sleeve designs

Tuesday, May 24th, 2011
Barney Bubbles design for sleeve of Amazulu's single Cairo.

7" single sleeve. Back + front of Cairo, Amazulu, Towerbell Records, 1983.

The single sleeves section of this site has been updated today with the addition of yet more images, bringing the total number of Barney Bubbles’ designs for the 7″ format there to 85 (and there are more on their way…)

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Yet another Barney Bubbles design emerges

Monday, May 23rd, 2011
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7in sleeve + record with custom label. Stretcher Case Baby/Sick Of Being Sick, The Damned, Stiff Records, 1977.

A backlog has been steadily building of Barney Bubbles designs to be added to the singles + album sleeves section of this site.

We’ll be getting round to sorting the listings out soon with much more fabulous artwork, but the recent contact with Kosmo Vinyl has spurred on the addition today of Bubbles’ sleeve for The Damned’s free single Stretcher Case Baby/Sick Of Being Sick, issued in the summer of 1977 to celebrate the first anniversary of the band’s debut gig.

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