//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.

In the photograph – possibly by Ray Stevenson -  the usually peroxide blonde frontman Billy Idol (centre left) has dyed red hair.

“That would have been an issue if we had gone with Barney’s first idea,” says Ingham. “But the band rejected it because they thought it looked too much like a ’standard’ group photo/cover. At the time almost no punk sleeves had band photos.”

The decision not to use the artwork has broader significance, particularly in terms of appraising Bubbles’ contribution to the development of graphic design in the 70s.

//Front cover, Your Generation, designed by Barney Bubbles to be the back cover.//

In the event, the graphic he planned for the back cover – the Constructivist-style play on the number 45 containing song titles and credits – appeared on the front and was repeated on the back without the info.

This example of Bubbles’ plundering of the history of 20th Century art has been cited by designer Peter Saville as an inspirational spark for a post-Modern approach to graphics by the new generation of music industry designers. This in turn enabled them to keep pace with developments in the wider world of commercial design.

“We saw the Generation X cover and received a very clear signal: Mr Barney Bubbles was saying: ‘Constructivism has our blessing’,” says Saville in Reasons To Be Cheerful.

“‘Our response was: ‘Yes, this is the way’.”

Would this message have been broadcast so effectively had the graphic appeared only on the back cover? Who’s to know? It’s certainly something to ponder as we admire this missing piece of the puzzle after nearly 35 years.

Read here how Bubbles drew inspiration for the Generation X sleeve from the work of Henryk Berlewi and El Lissitzky.

Read Jonh Ingham’s back pages here.

]]> http://www.barneybubbles.com/blog/archives/5437/feed 0 http://www.barneybubbles.com/blog/archives/5406 http://www.barneybubbles.com/blog/archives/5406#comments Mon, 31 Oct 2011 22:08:57 +0000 Paul Gorman http://www.barneybubbles.com/blog/?p=5406

//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:

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.

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.

Clockwise from top right: front cover; label A-side; label B-side; back cover.

Stiff pressed up a run of 5,000 copies to coincide with the gigs The Damned were booked to play at The Marquee from July 3-6 1977.

Members of the band’s fan club, Damned Disciples, were also sent copies and 250 were given away via the NME.

“I watched Barney put the design together,” says Vinyl of the sleeve, which – complete with custom label – amped up The Damned’s Gothic tendencies by using Charles Allen Gilbert’s fin-de-siecle illustration All Is Vanity: the image of a woman looking at herself in a mirror forms the outline of a death’s head.

60in x 40in poster, 1977.

On the front and label is the band logo Bubbles had recently created. This also appeared on his large Damned poster featuring lead singer Dave Vanian in full Nosferatu mode.

Bubbles also designed another poster for the residency.

“The Marquee gigs were canceled after  a row over the positioning of a row of the ‘Dave Vanian’ posters – one of my favourite Barney designs – across the back wall, covering up the Marquee logo,” says Vinyl.

“Jake (Riviera, The Damned’s manager and Stiff co-founder) pulled the shows, though I can’t remember if the first one went ahead anyway.  If it did it would have been because the house was already full.”

Gilbert’s illustration was also used for the front cover of Def Leppard’s 1993 album Retro Active, while Bubbles’ version with the Damned logo is available on t-shirts.

Top photo from King Bee.

I was delighted to receive this boxed Blockhead watch recently.

Of course the typogram on the watch face – which emerges at twelve-fifteen and three o’clock – was designed by Barney Bubbles at the behest of the late Ian Dury, who said in Will Birch’s No Sleep Till Canvey Island:

“I phoned him and said, ‘I want a logo. It’s got to be black and white and square’. Then I heard somebody in his office say, ‘Wow’ and he said, ‘I’ve done it’.”

Bubbles’ reworking of the 30s Left Book Club logo was initially used on the label and advertising for Dury’s April 1978 single What Waste.

The logo appeared in adverts and the full range of merchandise, while the watch became a much sought-after promotional item.

Manufactured by Timex, it was presented in a blue plastic silver-embossed box complete with card envelope, purple nylon lining and a guarantee.

These days the logo is owned by The Blockheads, who are making it available on badges, t-shirts and as part of the Blockhead “life membership” pack.

Read an extract from Paul Laity’s introduction to the 2001 reissue of the Left Book Club Anthology here.

Thanks to Mushi Jenner for sending me the watch.

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 absorption and reinterpretation of Barney Bubbles’ oeuvre continues apace, as evinced by this, the design for Punks Jump Up’s Blockhead EP by Michael Willis.

With an overall feel of Bubbles’ compositional techniques – particularly that of realising physiognomy by use of abstract and unusual elements – Willis’ artwork draws on such Bubbles’ creations as the BLOCKHEAD logo, the Tommy The Talking Toolbox ident, the Space Ritual tour material and the typography of the Revelations and Doremi Fasol Latido packages.

Since he was one of the pioneers of the so-called “age of plunder” (as Jon Savage pointed out in his 1983 piece on post-modernism for The Face), it was perhaps inevitable that the reintroduction of Bubbles’ work to a new generation of graphic artists and designers – via Reasons To Be Cheerful and Process – would result in the master himself being plundered.

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.

“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.

The most exciting moment in preparing the new edition of Reasons To Be Cheerful arrived at 6 o’clock one morning this summer when I cracked a major mystery surrounding Barney Bubbles’ life and work: the identity of his first full-time employer, the person who Bubbles said taught him “everything about typography”, instilling the rigour which resonated throughout his professional life.

In turn, the trail I uncovered lead me to establish a hitherto unacknowledged connection between Bubbles and one of the greats of graphic design, Robert Brownjohn.

During my research, family, friends and associates had recalled little about Bubbles’ first employer, least of all his name.

While stressing the importance of this mystery figure in his life, Bubbles himself declined to name the individual in his only ever interview (in The Face, published November 1981).

From Dave Fudger’s interview with Barney Bubbles, The Face, 1981.

So that early morning in June, after years of cross-checking directories and entering any number of search engine variations, I experienced the “Eureka” moment when the name Michael Tucker + Associates popped up halfway down page 6 of Googlebooks.

This chimed not just with an address and phone number I had accessed, but also contemporaneous correspondence in which Bubbles mentioned “M.T.”.

Within hours I had confirmed that this was indeed the commercial art studio where Bubbles (then Colin Fulcher) worked as an assistant between 1963 and 1965 as part of a small team servicing such clients as Pirelli.

And soon I unravelled the whole story, one which has never been published before.

A star graduate of the London College Of Printing, Michael Tucker began his professional life working for British industrial designer Ian Bradbury in the late 50s.

Cover, Meet Yourself As You Really Are, Michael Tucker, Penguin, 1962.

Design credit, 1962.

12″ sq inner sleeve, Space Ritual, Hawkwind, UA, 1973.

In 1962, Tucker, then in his early 20s, designed the jacket to Penguin’s reissue of 30s self-help book Meet Yourself As You Really Are.

The geometric arrangement and use of colour aren’t so far removed from Bubbles’ later work, such as the inner sleeve of Hawkwind’s 1973 album Space Ritual.

Around the time of the Penguin book cover, Tucker set up his own practice on the fourth floor of Artists House, at 14-15 Manette Street, the thoroughfare alongside Foyles which connects Charing Cross Road to Greek Street in London’s West End.

Artists House, Manette Street, late 60s.

Artists House adorned by JR, 2008.

Tucker was a stickler, insisting assistants use Graphos architecture pens rather than Rotrings and was dead set against the on-the-rise Helvetica, preferring for the house font the original manifestation, Neue Haas Grotesk, on a German-size body.

“There was also an unspoken rule that we had to wear American button-down shirts,” says Brian Webb, who began his career at Tucker’s in the mid-60s. “Anything not Ivy League was frowned upon.”

Webb – later of Trickett & Webb and now Webb & Webb – remembers Bubbles returning to MT+A from his job at Conran Design for occasional freelance commissions, including the lettering for the poster for director Hugh Hudson’s 1966 Pirelli-sponsored promotional short The Tortoise & The Hare.

Brownjohn’s credit sequence starts at 1.00.

The film was produced by the powerhouse commercials company operated by Hudson in conjunction with Donald Cammell and Robert Brownjohn (famed for his typographic excellence and design audacity with such triumphs as the title sequence for Goldfinger and the sleeve of The Rolling Stones’ Let It Bleed).

The Tortoise & The Hare is notable for the opening credits, which Brownjohn designed to appear on moving vehicles.

D&AD ‘66 Annual designed by Michael Tucker. Cover: Aldridge/Klein.

Feature on MT+A’s Chubb booklet, Design, 1971.

Also in 1966, Tucker designed the D&AD Annual (the cover was contributed by Alan Aldridge and Lou Klein), and went on to produce such commercial designs as vinyl labels for Plastic Coatings Ltd as well as logos and booklets for security clients Chubb and Minerva.

Tucker’s work appeared the Graphis Annual 1968-69, Top Symbols And Trademarks Of The World (1973) and World Of Logotypes Vol 2 (1978). By the early 80s he was teaching graphic design at Hong Kong Polytechnic before retiring to focus on his hobby, sailing.

For full details of this and the many other fresh elements in the new edition of Reasons To Be Cheerful – including 60 new images – click here or on one of the ‘buy now’ buttons below for a personalised signed copy at just £18.99 + P&P.