We’re indebted to Doug Smith for providing this original and previously unpublished Barney Bubbles artwork complete with printing instructions.

Logo by Barney Bubbles. (C) Doug Smith 2009.

The former Hawkwind manager and a close friend of Barney’s, Doug says: “I always thought we asked him to do it, but what with my memory being what it is, I wasn’t sure. Anyway, I came across it the other day and sure enough there’s Barney’s writing at the bottom.”

Zip Nolan Highway Patrol was a creation of Barney’s friend Michael Moorcock dating back to the late 50s, and appeared in Fleetway Publications’ comic Lion in various forms until the early 70s. Original artwork is currently fetching three figures on eBay.

Original Zip Nolan artwork, 1963.

In 2005 the Zip Nolan character was revived in the six-issue Albion, plotted by Alan Moore and written by his daughter Leah Moore and her husband John Reppion. This was published as a book by Wildstorm in the US and Titan in the UK.

Left: Albion issue 3. Right: The Albion book, Titan.

Michael doesn’t recall having seen Barney’s Zip Nolan logo until now. “I’d guess it was Barney doing a pop art rip,” he says. “I hadn’t written a Zip Nolan since 1963.”

As revealed here, Barney had worked for Fleetway around that time, having been commissioned to produce a Mods & Rockers special for the company in 1964 (which gave rise to the R&B Here Tonight t-shirt  and the award-winning Muleskinners poster).

The lettering style of Barney’s Zip Nolan logo chimes with that for The Glastonbury Fayre triple-album package of 1972.

Left: Clear vinyl envelope. Right: Booklet cover. The Glastonbury Fayre, Revelation, 1972. (C) Jeff Dexter.

1972 also saw the publication of a Lion annual featuring on it’s cover - who else? - Zip Nolan. And the character was to inspire a single of the same name a few years later by The Cult Figures, an obscure power-pop tune produced under the wing of indie pioneers Swell Maps.

Barney's letterhead during his time designing for Hawkwind, early 70s. (c) Reasons 2009.

Hailed in some quarters as the “psych-rock single of last year”, Sonic Attack (Psychedelic Warlords), the Acid Mother’s Temple/White Hills split 7″ is one of three special limited edition releases by Irish record label Trensmat celebrating Hawkwind’s heyday with cover versions by contemporary bands.

Front cover, Sonic Attack (Psychedelic Warlords), Trensmat 2008.

The wonderful Acid Mothers Temple (with oft time collaborators Cosmic Inferno) give it plenty on their version of Brainstorm from 1972’s Doremi Fasol Latido, and White Hills “put the wig-out horse before the cart” on their reshaping of album track Be Yourself from the band’s eponymously titled debut album.

Back cover, Sonic Attack (Psychedelic Warlords), Trensmat 2008.

Sonic Attack (Lords Of Light) features Bardo Pond and Seattle’s  Kinski covering Lord Of Light and Master Of The Universe respectively, and, on Sonic Attack (Motorheads), Mark Arm’s pioneering grungers Mudhoney get to grips with Urban Guerilla as Liverpool’s Mugstar sound like they were born to do Born To Go.

Labels, Sonic Attack (Psychedelic Warlords), Trensmat 2008.

The single sleeves by Johnny O pay homage to Barney by remaking and remodelling many of the elements of his design work for Hawkwind; each sleeve appears in a different set of acidic colours.

Left: Sonic Attack (Motorheads). Right: Sonic Attack (Lords Of Light).

Some of Barney’s work for Hawkwind was produced under the aegis of design company Hawk Graphics in London’s Westbourne Park.

Left: Front X In Search Of Space, UA, 1971. Right: Record bag, Space Ritual, UA, 1973.

At the top of this post you’ll find the letterhead derived from his double-headed Hawkwind logo. Due to space considerations, the letterhead did not appear in the first edition of Reasons; this is the first time it has been published.

Gatefold, X In Search Of Space, UA 1971.

Many of the elements will be familiar to Barney heads, having appeared first on the cover, gatefold and Hawkwind log insert of  X In Search Of Space.

Outer gatefold, Space Ritual, UA, 1973.

There are graphics, symbols and decorations from both sides of the six-panel Space Ritual fold-out as well as the tessallated design of the album’s record bags.

Inner gatefold, Space Ritual, UA, 1973.

And there are images and graphics from both sides of Doremi Fasol Latido, including the chrome Hawkwind “gateway”, as well as from the programme for the tour which accompanied that album’s release

Back + front cover, Doremi Fasol Latido, UA, 1972.

Left: Space Ritual tour programme 1972. Right: Logo 1972.

To play us out  here’s Kinski’s version of Master Of The Universe:

Today we present a hitherto unexplored adventure of Barney’s into magazine design; his contribution to 70s music title Let It Rock.

Let It Rock’s launch in 1972 coincided with “the first era of post-modernism in pop,” as the late great Ian MacDonald told me in my music press history In Their Own Write. “Music started to be conscious of itself and look back and begin to make syntheses and style references and be ironic.”

Barney's redesign is introduced Jan 1975 (c) John Pidgeon

Of course, the collective which founded the publication - Simon Frith, Charlie Gillett, Phil Hardy, Gary Herman, Ian Hoare and Dave Laing  - were riding the zeitgeist;  in fashion a stylistic revolution was being sparked by Malcolm McLaren and Vivienne Westwood’s  investigations into 50s musical subcultures at their King’s Road shop of the very same name, while visual artists such as Barney were enthusiastically plundering the recent history of art and commercial design to reinvigorate the world of graphics.

In the mid 70s John Pidgeon took over as Let It Rock editor. “I got to know Barney after he designed the Sutherland Brothers first album and loved the fact that he had shot holes in it with an airgun,” says John.  “I immediately discovered we had mutual friends in Ian McLagan and (another of Barney’s Twickenham college pals) Mick Finch.”

Let It Rock, October 1975

A couple of years later John  set about revamping Let It Rock and invited Barney over to his flat in Clapham, south London to discuss a redesign. “When he arrived, he unfolded reams of penciled artwork, all of which he had drawn on the tube between Isleworth (or whichever West London stop it was) and Clapham Common,” says John. The options were sketched on headed paper from Barney’s dad’s company.

Roughs for Let It Rock redesign on F.Fulcher paper (c) John Pidgeon

As these two sheets demonstrate, Barney focused on the font for the magazine logo, and also produced single page and double page spread layout samples (including one using a Bob Dylan feature for direction on photography and text placement).

Presenting a subheading “The world’s greatest rock read”, Barney notes the magazine sections Oldies, Singles, Album reviews, News and Letters, and provides the last with its own ident: a bobbysoxer writing fan-mail.

The masthead comes into focus (c) John Pidgeon

One masthead uses kitsch “cactii” lettering - as in Barney’s Chilli Willi And The Red Hot Peppers drumhead logo and another substitutes the “o” in “Rock” with a spinning reel of tape. 

John - whose CV includes much journalism, many masterful music documentaries and a spell nurturing the comic talents of The Mighty Boosh and Ross Noble at the BBC  - was knocked out with the selection and chose a font which Barney completed with the addition of a lightning bolt decoration.

This was introduced onto the magazine’s front cover in the January 1975 issue. “For the catchline I amended ‘greatest’ to ‘best’,” says John.  “Otherwise it was a typically brilliant Barney Bubbles slogan.”