Signed copies of Reasons To Be Cheerful, my acclaimed monograph of the radical British graphic artist Barney Bubbles, are now available from my eBay page for just £20 including shipping worldwide, as long as you order through their Global Shipping programme if you are outside the UK.
As well as a celebration of a pop culture great, Reasons To Be Cheerful is recognised as a significant design history, praised by leading magazines and newspapers around the world and voted MOJO’s book of the year . It is also a recommended reference source for graphics communications courses at leading educational institutions.
Reasons To Be Cheerful includes contributions from some of the most important graphic practitioners operating today, such as Art Chantry, Malcolm Garrett and Peter Saville.
//Drumhead painted by Barney Bubbles for Hawkwind drummer Simon King’s kit, 1972//
A rare design by Barney Bubbles has come to light after four decades; the psychedelic sci-fi drumhead was painted for Hawkwind when the space rocking Sonic Assassins undertook tours around the world following the success of their Silver Machine single in 1972.
//Hawkwind – including, from left, Nik Turner, Stacia Blake, Simon King and Lemmy – performing with the drumheads in situ at the Windsor Free Festival, August, 1973. Photographer: Unknown//
//12″ paper inner for Barney Bubbles’ packaging for Doremi Fasol Latido, Hawkwind, UA, 1972//
//Detail of grimacing Hawklord from the Doremi inner//
The design of a snarling apparition – a so-called ‘Hawklord’ as depicted on the group’s album Doremi Sofal Latido – was one of a pair which adorned the front of the twin bass-drums in Simon King’s kit during this period.
Bubbles – charged with “Optics” and effectively the group’s art director – applied an integrated approach to the collective far beyond the remit of just creating album sleeves, posters and other promotional material.
//Flam Flam: Barney Bubbles drumhead for Glen Colson, 1983//
As mentioned in my Barney Bubbles monograph Reasons To Be Cheerful, the visual impact of painted drumheads appealed to Bubbles; as well as these for Hawkwind, he designed others for Pete Thomas (of Chilli Willi And The Red Hot Peppers/The Attractions), Will Birch (Kursaal Flyers/The Records) and his publicist friend Glen Colson.
The current owner of the amazing Hawkwind drum-head has treasured it for a number of years.
A fuller version of this story appears on my blog here.
The owner also has the original drumkit, for which offers are being welcomed. These should be directed via the contact mail on my blog (in the About Me section).
A popular element of the Barney Bubbles exhibition within the recent graphics/music group show White Noise: Quand Le Graphisme Fait Du Bruit was the cubicle housing designer Kate Moross’s Barney Bubbles video triptych.
Designs by Barney Bubbles feature in three exhibitions which have opened in London this week.
Above are 24 of the Crown wallpaper variations of Bubbles sleeve design for the 1979 album Do It Yourself By Ian Dury & The Blockheads, as featured in the Donald Smith-curated group show Ideal Home at Chelsea Space.
Below is sneaky iPhone shot of Bubbles’ extraordinary design for Armed Forces by Elvis Costello & The Attractions, which was released the same year as Do It Yourself and appears in the V&A’s big autumn show Postmodernism: Style & Subversion 1970-1990.
And above is a shot of Bubbles’ Elvis Costello poster for the 1977 Live Stiffs tour, which looms large in the subterreanean Old Vic Tunnels, venue for Stuart Semple’s exhibition Mindful Of Art, which is in aid of mental health charity Mind. The poster was sold last night at a gala auction hosted by Stephen Fry and Melvyn Bragg.
Also on display is a video installation by Kate Moross incorporating many Bubbles designs. Beamed from three TV screens this powerful light-show is cut to Hawkwind’s live 1972 track Orgone Accumulator.
Ideal Home is at Chelsea Space, Chelsea College Of Art & Design, 16 John Islip Street, London SW1P 4JU until October 22. Details here.
Postmodernism: Style & Subversion 1970-1990 is at the V&A, CRomwell Road, London SW7 2RL until January 15, 2012. Details here.
Mindful Of Art is the Old Vic Tunnels, Station Approach, London SE1 8SW until next Monday, September 26. Details here.
Stickers, a top-ranking new book about the enduring art of the most immediate of rock & roll ephemera, provides an opportunity to show a selection of Barney Bubbles’ forays into this area of design.
Stickers is compiled by expat Brit DB Burkeman, who, pausing only to publish one of his rare shots of the Sex Pistols live in 1977, mentions in his introduction that a chance encounter with Reasons To Be Cheerful enabled him to trace Barney Bubbles as the link between the visual audacity of Hawkwind and the new wave/post-punk scene.
Burkeman’s tome covers the waterfront, from Bubbles, Jamie Reid, Malcolm Garrett and Peter Saville to Fresh Jive, Fuct, Shephard Fairey and beyond.
A great feature at the back of the book are the pages of contemporary stickers just waiting to adorn a clean surface.
The enhanced, revised and updated new edition of Reasons To Be Cheerful is published in the UK this week.
With a remixed cover, the fully illustrated 224-page second edition of the acclaimed biography features many new elements.
There are nearly 60 fresh images in the new book: letters, postcards and photographs as well as sketches, designs and finished artwork for record sleeves, posters, stickers, drumheads, etc.
Paul Gorman has written a new author’s note and afterword summing up the impact of the first edition, and the commentary now includes a chat with foremost US designer Art Chantry about the relevance of Barney Bubbles’ artistic legacy to contemporary design. The new edition is published in the US in spring 2011.
A host of new contributors have been interviewed, from Wreckless Eric to “Record John” Cowell – Bubbles’ one-time room-mate and the half brother of Simon Cowell.
All chapters have been updated with freshly researched information, including never-previously published facts and quotes about Bubbles’ time at art school and his first full-time job at leading British commercial art studio Michael Tucker + Associates.
As an EXCLUSIVE, we are offering signed copies of the new book only from this blog, priced £18.99 plus £5 p&p UK.
Mail for info on postage to continental Europe and rest of world.
To buy your copy click on the button below or visit HERE for details.
Based in Bristol, Johnny first encountered Barney’s work via an introduction to Hawkwind as an avid vinyl collector in the late 80s, when acid house, shoe-gazing and grunge reigned in “a heady mix of distorted guitars and expanded oscillations”, to use his phrase.
Poster, The Heads/White Hills split LP, Rocket, 2009.
“Nowadays, investigating the past is handed to you on a plate via the internet,” says Johnny. “Back then, I had to rely on older brothers and their friends.” One, by the name of Simon Healey, championed early 70s Hawkwind and in particular the first album Barney designed for the group, X In Search of Space.
Posters, The Heads/White Hills split LP, 2009.
“Wow, the music was Viva La Trance!, a driving, throbbing freak-out,” exclaims Johnny. “I couldn’t detect the ‘hippiness’ the post-punk period portrayed it as, and the cover was unlike anything I’d ever seen. I sat for hours listening, looking and absorbing. The design and music seemed so intertwined, and I’m not sure Hawkwind would have had quite the same power without Barney’s work.”
Poster, Can You Pass The Rocket Test? 2008.
At the time, Johnny was a student on a technical illustration course, which would have struck a chord with Barney; his father was a precision engineer and the technical drawing he himself had studied at Twickenham art school (now Richmond Upon Thames University) was a major element in his output.
7" sleeve, Everybody Knows We Got Nowhere, The Heads, Sweet Nothing, 2000.
Johnny says he’d been accustomed to “a disciplined and geometrical but black-and-white world. Barney opened infinite doorways to the possibilities of the vinyl LP packaging format in all it’s multi-coloured glory. In Search Of Space’s artwork and log booklet are striking, graphic yet stark. It embodied an escape from the rigid structure of the engineered drawing I was studying, while still encompassing geometrical forms”.
Sonic Attack (Motorheads)/Sonic Attack (Lords Of Light), Trensmat, 2008.
Johnny describes the Trensmat covers – which came in three colour schemes in a nod to Barney’s multi-format approach – as a “collage”, bringing together elements from Barney’s covers, posters, inserts and booklets for ISOS, Doremi Fasol Latido, Space Ritual and The Glastonbury Fayre, as well as the die-cut elliptical puzzles contained within the booklet produced with his former Conran colleague John Muggeridge (who has the credit J. Moonman) for Quintessence album In Blissful Company.
Poster, Sun Ra Arkestera, The Croft, Bristol, 2008.
“They are all amazing,” says Johnny, “not least because of the interactivity: the opening, the unfolding, reflective print, puzzles, shapes, allusions, the collage of BB’s influences – all of these reflect the consciousness of that period in music, something that is harder to replicate in CD packaging.”
In his work for Rocket Recordings, Johnny says he has attempted to incorporate this creative approach “by collaging different influences and techniques; be it for graphic design pieces, photography or light shows. I dabble with the same methods and draw from an ever widening circle of interests”.
Poster featuring 12" sleeve, Which Side Are You On?, The Notorious Hi Fi Killers, 2008.
And he is full of admiration for the way Barney adapted to the post-punk period. “He seemed to fit neatly into the DIY ethic, but simultaneously had the full multicoloured myriad imagination of the 60s,” says Johnny. “Hopefully I try and encompass those values.”
Logo, Rocket Recordings, 2009.
And Johnny has a theory as to why there is such a blossoming of interest in Barney’s work right now: “In the 80s the commercial environment surrounding cheaply manufactured CDs didn’t pay regard to consumer tastes in packaging, so the art-form was forced underground.
Concert poster, Trinity Centre, Bristol, 2005.
“The rise of download culture has enhanced a desire from those who oppose it to own music as part of a well-crafted and considered package which makes an artistic statement.”