Posts Tagged ‘Hawkwind’

Update: Signed copies of the Barney Bubbles book available now for just £20 worldwide!

Tuesday, May 24th, 2016

IMG_3368

IMG_3372

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.

Buy your copies here.

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.

IMG_3376

IMG_3375

IMG_3374

(more…)

Amazing Hawklord drumhead comes to light after four decades

Thursday, January 8th, 2015
Hawkwind drumhead designed by Barney Bubbles 1972

//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.

stacia_hawkwind73-627x416

//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//

Doremi Fasol Latido by Hawkwind - inner sleeve

//12″ paper inner for Barney Bubbles’ packaging for Doremi Fasol Latido, Hawkwind, UA, 1972//

Doremi-inner-detail

//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.

GlenColsonDrumhead82

//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.

1a-Kit-Front-Colour

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).

Kate Moross’s fabulous video triptych at White Noise

Wednesday, June 13th, 2012

Kate Moross's Barney Bubbles Triptych at White Noise in Chaumont, France May 26-June 10.

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.

Cubicle housing Kate Moross's Barney Bubbles Triptych at White Noise in Chaumont, France May 26-June 10.

Kate Moross's Barney Bubbles Triptych at White Noise in Chaumont, France May 26-June 10.

(more…)

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.

(more…)

Three London exhibitions feature Barney Bubbles designs

Thursday, September 22nd, 2011

Barney Bubbles sleeve variants for Do It Yourself by Ian Dury & The Blockheads, as featured in the exhibition Ideal Home at Chelsea Space, London.

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.

Barney Bubbles' sleeve design for Armed Forces by Elvis Costello & The Attractions, as featured in the Postmodernism exhibition at the V&A.

Barney Bubbles' Elvis Costello/Live Stiffs tour poster as featured in the exhibition Mindful Of Art at London's Old Vic Tunnels.

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.

Farewell “Auntie” Dunkley: The Human Jukebox

Thursday, May 5th, 2011
dunkley4

//Andy Dunkley. Photo: Howard Thompson.//

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.

(more…)

Top ranking new book about the art of the sticker

Wednesday, November 10th, 2010

stickers-grenade

stickers-grenadeaf

stickers-elvis

stickers-chilli

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.

stickers---cover

stickers-dbintro

stickers---barney

stickers---stickers

stickers---stickers2

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.

Buy your copy of Stickers here.

stickers---back

New edition of the Barney Bubbles book out now

Tuesday, October 26th, 2010

rtbc-cover450

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.

2nd-modspread

2nd-spacespread

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.

2nd-cresspread

2nd-sospread

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.

rtbc-aimspread

rtbc-lustspread


Buy the exhibition booklet

Monday, September 20th, 2010

P1110070.JPG

Copies of the 24-page Barney Bubbles exhibition booklet are now available exclusively from this site.

Click on the Process exhibition booklet link in the right hand column.

Featuring the cover image of the ingenious hammer & sickle artwork for Nick Lowe’s 1979 album Labour Of Lust, the illustrated booklet includes:

  • Title sticker (in ‘process magenta’)
  • Introduction by author Paul Gorman
  • Overview of Barney Bubbles’ design practices
  • Photograph of Barney Bubbles creating set design for cover of Carlene Carter’s Musical Shapes
  • Letter to Barney Bubbles from client Line Records
  • Design for The M!ss!ng L!nk tattoo for The Damned drummer Rat Scabies
  • 18 images including original artwork, sketches and photography for Elvis Costello, Dave Edmunds, Hawkwind, Clive Langer & The Boxes and Whirlwind

PRICE INCLUDING POSTAGE

P1110131.JPG

P1110132.JPG

P1110129.JPG

P1110126.JPG

P1110127.JPG

PRICE INCLUDING POSTAGE

Johnny O Rocket: Excellence in search of space

Thursday, July 30th, 2009

Sonic Attack (Psychedelic Warlords),Trensmat, 2008.

The talents of Johnny O Rocket came to our attention with his superb Barney Bubbles remixes for the three split 7-inchers released last year by Irish indie label Trensmat Records.

Poster, Rocket Recordings 10th anniversary celebration, 2009.

Like Barney, Johnny studied technical illustration and works closely with a select band of independent labels and groups, incorporating Barney’s legacy in his graphic design, light-shows, photography and concert posters for Trensmat and Rocket Recordings and sonic adventurers such as The HeadsThe Notorious Hi-Fi Killers, Thought Forms and Cripple Black Phoenix Band.

Photography, Thought Forms, 2008.

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.”   

The Heads Live @ The Thekla Bristol, Part 4

Johnny’s light show for The Heads live.

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.”

Artwork. Tribute to Can.