Posts Tagged ‘Chalkie Davies’

Barney Bubbles, July 30 1942 – November 14 1983: A celebration in rare and previously unpublished images and artworks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the creative legacy of Barney Bubbles – who died on this day 30 years ago – here is a selection of rare and previously unpublished images and artworks.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//

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//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//

 

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//FBeat Records letterhead, 1980//

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

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

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//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.

 

Barney Bubbles caught in action at work

Tuesday, July 27th, 2010

Barney Bubbles positions wire lettering, west London, 1980. Photo: A. Sales.

Here we have Barney Bubbles setting about creating of the wall-mounted electrical flex and wire construction which adorns the sleeve of Carlene Carter’s 1980 album Musical Shapes.

Quaver and jukebox selector, 1980. Photo: A. Sales.

Quaver with 7" single, 1980. Photo: A Sales.

The arrival of the photos from Antoinette Sales couldn’t be more timely as we prepare for our forthcoming exhibition Process: The working practices of Barney Bubbles.

Tony collaborated with Barney on the design, providing the lettering and layout, as well as styling Carter (for whom she also designed stage wear).

With Chalkie Davies behind the lens, the cover shoot took place in the west London house Tony shared with her then-husband (and Barney’s friend and patron/F-Beat label boss) Jake Riviera.

“Barney set it up in our dining room in Oxford Road,” says Tony in Reasons To Be Cheerful. “I designed and set the graphics on the back. Barney had taught me how to lay down Letraset and make the placement and spacing impeccable. I had fun with the “N” for Notes, “S” for Selections and “P” for Personnel. In the self-effacing Bubbles tradition, there was no artwork credit.”

12in album. Front cover with sticker, Musical Shapes, Carlene Carter, F-Beat. 1980.

12in album. Back cover, Musical Shapes, Carlene Carter, Warner Bros. 1980.

12in inner sleeve, Musical Shapes.

12in album. Front cover, Around Midnight, Julie London, Liberty, 1960.

Winding away from the three-legged Dansette, the five flexes (all ending with upturned plugs) feature the album title picked out in wire and blue and red balls. These also appear to be notation; can anyone interpret what they convey musically?

One of Tony’s photographs shows that there was a try-out with a diner jukebox selector. On the back cover,  a bread bin replaced the Dansette.

Tipping a wink to the Pate/Francis & Associates 1960 design for Julie London’s Liberty album Around Midnight, the inner showed Carter reclining on a rug bearing the design of an F-Beat single (by the label’s most prominent act, Elvis Costello And The Attractions).

The sleeve was decorated with many references to the newly-launched label: on the front, Carter stood on a floor strewn with promo copies of the single version of one of her father Johnny Cash’s most popular songs Ring Of Fire (with a label incorporating Barney’s symbol of three interlocked rings and also his encircled copyright “C” familiar from designs for others such as the album’s producer Nick Lowe and Johnny Moped).

The Musical Shapes sleeve drove home the F-Beat identity by featuring the variants of the house singles bags Barney produced for Riviera.

These 7″ paper designs, based around insignia and decorations from Riviera’s office jukebox, utilised the stark colour overlays and contrasts noted across Barney’s work by such contemporary practitioners as Art Chantry.

7in house sleeve. Ring Of Fire/That Very First Kiss, Carlene Carter, F-Beat. 1980.

7in house sleeve. Ring Of Fire/That Very First Kiss, Carlene Carter, F-Beat. 1980.

7in house sleeve. Splash (A Tear Goes Rolling Down)/Hello, Clive Langer & The Boxes, F-Beat. 1980.

7in house sleeve. Good Year For The Roses/Your Angel Steps Out Of Heaven, Elvis Costello & The Attractions, F-Beat. 1981.

7in house sleeve. Head To Toe/The World Of Broken Hearts, Elvis Costello & The Attractions, F-Beat. 1982.

In line with the treatment he received from other American record companies,  Carter’s US  label Warner Bros tamed Barney’s design for fear of illegibility; the full-bleed front cover was given a white border for the artist credit and album title. In addition, the inner was dispensed with altogether.

Meanwhile, the US press kit included a standard 8″x1o” b&w shot of Carter from the Oxford Road session, and posters were given away with both the American and British versions of the release.

8"x10" glossy press photo. 1980.