Andy Dunkley, a fellow-traveller of Barney Bubbles as the Hawkwind collective’s MC and in-house DJ in the 70s, died on April 30 of heart failure. He was 68.
Posts Tagged ‘David Bowie’
A pleasurable introduction yesterday to the legendary Jim Haynes at the Chelsea Arts Club affords publication of this shot of Barney Bubbles in the midst of operating his slide projection light show at the Drury Lane Arts Lab in autumn 1967.
Haynes’ establishment of this space for mixed media performance and experimental theatre in September that year triggered a new phase in the development of the arts in Britain.
Soon a network of arts labs sprang up (one launched by the young David Bowie – who had performed his mime show at Drury Lane – in the back of The Three Tuns pub in Beckenham, Kent).
Drury Lane is the place where the Barney Bubbles Light Show came into being. The photograph of Barney Fulcher (as he was styled then) with ink-stained hands and heavy duty projectors was taken by his Conran design department colleague Stafford Cliff.
It shows the 25-year-old graphic designer on the cusp of adopting his new persona and stepping out into a mind-expanding future, taking the light show around other such underground venues as Middle Earth and The Roundhouse.
Jim is in the UK for participation in the Edinburgh Festival; of course his relationship with the city goes back many decades. These days he’s also known for the delightful Sunday dinners he has thrown at his Paris atelier for the past 30 years.
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.
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).
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.
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.
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.
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.