Posts Tagged ‘Charisma’

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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From here to hear: Design for Keith Allen’s unreleased pirate radio station album

Friday, August 3rd, 2012
Front, Programme 1 by Station BPR, the unreleased pirate radio album by Keith Allen. Design: Barney Bubbles. 1983.

//12" x 12" proof, front cover, Programme 1, 1983.//

Programme 1 was to be the second release on Utility, the label launched by music business manager Peter Jenner (Ian Dury, Pink Floyd etc) through Charisma in 1983.

As detailed here, the album purporting to be a broadcast by London pirate radio station BPR was conceived and performed by Keith Allen with appearances by others including the late actor David Rappaport.

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Situationism: Reality you can rely on

Monday, October 31st, 2011
hawklordsslidesx12

//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.

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Aura revelations

Wednesday, February 18th, 2009

The record label Aura is mentioned in Reasons To Be Cheerful, though there wasn’t sufficient space to go into detail on Barney’s designs for this relatively obscure and now collectible indie.

“I remember Barney occasionally working for Aura in the late 70s and early 80s,” says his friend Brian Griffin, who provided an image for the cover of England’s Trance by Placebo (not the mid-90s Swiss/American glam trio). The design credit on the 1982 album reads “Photography Consultants”.

 

 

Meanwhile Barney’s assistant Diana Fawcett contributed two sleeve designs to REASONS as examples of his work for the central London-based company (whose single packaging featured a convex upper lip on the envelope front).

During the late 70s Barney’s music workload was focused at Stiff Records, Radar and Chiswick, though from time to time he would make room for commissions for other independents such as Aura, Charisma and Chrysalis.

 

 

Founded by producer/photographer Aaron Sixx, Aura is best known for having released the work of US avant-jazz performer Annette Peacock.

Her career had been put on hold when she was bound by a contract to David Bowie’s management Mainman (which also looked after Iggy & The Stooges, Dana Gillespie, Jobriath, Mick Ronson and, yes, even Lulu). Freed from this set-up,  Peacock signed with Aura and promptly unleashed such critically acclaimed albums as X-Dreams and The Perfect Release

Recent years have witnessed a revival of interest in Peacock. Her track Pony featured on Morcheeba’s Back To Mine compilation and just last year she collaborated with Coldcut.

 

 

Aura was home to other maverick talents such as Nico and the great Memphis rock & roller Alex Chilton – in 1978 Sixx released a clutch of 1974 recordings by Chilton’s group Big Star as The Third Album (also known as Third/Sister Lovers).

 

Front cover, Kizza Me by Big Star 1978.

Front cover, Kizza Me by Big Star, 1978.

Big Star’s previous album Radio City had featured The Red Ceiling by the group’s Memphis friend, the celebrated photographer William Eggleston, who also played piano on the version of Nature Boy which appears as a bonus cut on later editions.

The band’s working title for their third album Sister Lovers was a reference to the fact that Chilton and drummer/vocalist Jody Stephens were romantically involved with Eggleston’s cousins, Lesa and Holliday Aldredge. Their respectively fractious relationships proved the wellspring for many of the darker album tracks. 

Jody said this week that he knows nothing of the genesis of the Aura cover, in which a model is swathed in the Tennessee Flag.

 

Back cover, Kizza Me by Big Star, 1978.

Back cover, Kizza Me by Big Star, 1978.

On the full-colour album sleeve the stars have each been granted 10 fizzing fuses; a reference, maybe, to the indoor fireworks delineated within. The monochrome front cover photograph for the  Kizza Me single progresses the theme with the (literally) inflammatory depiction of the Tenessee flag alight and the stars – without graphic adornment – aflame.

On the back, 10 frames are arranged geometrically into another pentagram. This is not just a nod to the band’s name. The pentagram  recurs throughout Barney’s work, as do flags, banners and other heraldic devices.

In comparison with the rarity value of The Third Album (as a result of the cult following maintained by Big Star to this day), California Sun by KK Black is more of a curio.

 

Front cover, California Sun, KK Black, 1978.

Front cover, California Sun, KK Black, 1978.

By the late 70s, The  Rivieras’ 1964 surf anthem had become familiar to punk audiences, having been a staple of The Ramones’ live set (and appeared on their second album Leave Home), but Black’s version failed to capture public interest and sank without trace.

 

Back cover, Californian Sun by KK Black, 1978

Back cover, Californian Sun by KK Black, 1978.

The noteworthy aspect of Barney’s design for this release relies on the way in which Black’s “new wave pin-up” appearance is enlivened by effective use of the spiky extended single lines which not only spell out his name on the front but also wrap around the fold onto the back.

KK Black was a pseudonym of Kelvin Blacklock, a schoolfriend of  Mick Jones who had been vocalist in the guitarist’s pre-Clash bands The Delinquents, Little Queenie and London SS, and went on to join The Damned drummer Rat Scabies’ short-lived White Cats before recording this single and one other, a version of The Herd’s I Don’t Want Our Loving To Die, before disappearing from the limelight.