Posts Tagged ‘Labour Of Lust’

Bob Andrews’ Cracking Up grin

Friday, April 20th, 2012
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Top: Detail, Music press ad for The Rumour, 1979. Below: Detail, front cover, Cracking Up, Nick Lowe, 1979.

The collaged waving hand/face on the sleeve of Nick Lowe’s 1979 single Cracking Up is one of Barney Bubbles’ most recognisable creations, assisted into prominence by its usage on the front of Reasons To Be Cheerful.

The toothy grin was clipped from a photo of keyboard-player Bob Andrews, one-time colleague of Lowe’s in Brinsley Schwarz (and before that in 60s pop band Kippington Lodge) and one of Graham Parker’s collaborators as a member of The Rumour.

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The Guardian picks out Process

Saturday, September 25th, 2010

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Process is feature in today’s Guardian Guide as a pick of new exhibitions around the country. Of course John – who worked alongside Barney at Frendz and danced on Hawkwind’s Space Ritual tour – meant Nick Lowe, not Drake.

The image is the artwork for the “Hamer & Sickle” logo Barney Bubbles created for Lowe’s 1979 album Labour Of Lust, spin-off single Cracking Up and music press ads/tour promotion etc (Nick had recently come into proud possession of the Hamer bass which Bubbles “snapped” into three).

The artistry of Antoinette

Saturday, March 7th, 2009

From time to time we examine the work of those who collaborated professionally with Barney Bubbles; there are few who fulfilled as wide a range of roles as Antoinette Sales.

Back cover, Pure Pop For Now People, Columbia Records, 1978.

Not only was she the creator of clothes which appeared on Barney’s record sleeves, including the iconic “Riddler suit” sported by Nick Lowe on the back of Pure Pop For Now People (the US issue of Jesus Of Cool), but Tony was also his sometime model. It is she who is adorned with curlers, a face mask and bisected ping-pong balls for eyes appearing alongside a child’s doll in Barney’s disturbing Stiff Records music press adverts for Devo’s spring 1978  single (I Can’t Get Me No) Satisfaction.

Music press ad board, (I Can't Get Me No) Satisfaction, 1978. Antoinette Sales Collection.

Music press ad board, (I Can't Get Me No) Satisfaction, 1978. Antoinette Sales Collection.

Music press ad board, (I Can't Get Me No) Satisfaction, 1978. Antoinette Sales Collection.

And, in 1980, Tony received a six-week crash course in graphics from Barney at his studio in Paul Street in London’s East End, enabling her to become a fully fledged record sleeve designer in her own right.

A fashion illustrator and Stiff/Radar/F-Beat label boss Jake Riviera’s first wife, Tony had already  produced a number of sleeves, among them Elvis Costello & The Attractions’ biggest hits Oliver’s Army,  Radio Radio and Accidents Will Happen and Lowe’s American Squirm and Cruel To Be Kind.

Billboard, Sunset Strip, Los Angeles, 1979

Billboard, Sunset Strip, Los Angeles, 1979

Tony came up with the title of Lowe’s 1979 album Labour Of Lust, and designed the billboard promoting its US release on Sunset Strip. But she characterises the  month-and-a-half she spent learning the craft from Barney as  “an apprenticeship”.

Front Cover, Radio Radio, Radar, 1978.

Front Cover, Radio Radio, Radar, 1978.

Tony fondly recalls how she would catch the Underground from her home in west London across the city. “As soon as I arrived we’d get going,” she says.

Reversed out freehand drawing; Art center school assignment, Tony Sales. Note F-Beat style crown logo.
“I loved Barney and we were great friends, but when there was work to be done, you got on with it,” she says. “He basically instructed me in the mechanics of sleeve design and packaging.”
Hand-drawn label by Antoinette Sales, 1979.

Hand-drawn label by Antoinette Sales, 1979.

And this is evident from Tony’s subsequent output. She created a series of photo-driven sleeves for her friend (and Lowe’s wife) Carlene Carter, for whom she also designed stagewear. These included Baby Ride Easy and Do It In A Heartbeat. “I have an aversion to copying anybody else but the choice and arrangement of the typefaces was definitely influenced by Barney,” she says.   Tony also handled the sleeve design for Carter’s album Musical Shapes. The front cover shoot was art-directed by Barney, who created a set out of F-Beat singles and sleeves and constructed the wire sculpture communicating the album title.

Front cover, Musical Shapes, F-Beat, 1981.

Front cover, Musical Shapes, F-Beat, 1980.

“Barney set that up in the dining room of our house in Chiswick,” says Tony. “I designed and set the graphics on the back. He’d 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 is no artwork credit.”

Retail info sheet, Teacher Teacher, 1980.

Front cover, Everly Brothers EP, F-Beat, 1980.
Back cover, Everly Brothers EP, F-Beat, 1980.

Tony was responsible for the sleeves for Rockpile singles Teacher Teacher and Wrong Way, as well as Edmunds’ singles Crawling From the Wreckage, Girl’s Talk and Queen Of Hearts. And she came up with the title for Carlene Carter’s 1983 album C’est C Bon, though the sleeve for that was produced by Barney.

Back Cover, Teacher Teacher, Rockpile, F-Beat 1980.

Back Cover, Teacher Teacher, Rockpile, F-Beat 1980

During this hectic period, Tony also created a welter of point-of-sale and retail promotional material, backstage passes, badges, letterheads (for holding company Riviera Global, publisher Plangent Visions Music and studios UK Pro) and the label for reissue imprint Edsel.

Backstage passes, 1980.

Backstage passes, 1980.

Tony also produced music press ads; she recalls working at Barney’s studio on one for the NME to promote The Attractions’ “solo” album Mad About The Wrong Boy (to which we’ll be returning in the near future).

Double page spread ad for The Attractions, NME, August 30, 1980.

Double page spread ad for The Attractions, NME, August 30, 1980.

These days a film and TV costume designer , Tony lives in Austin, Texas and is extra busy supplying musicians (Paul McCartney’s guitarist  Brian Ray wore one of her shirts to the recent Grammy’s) as well as working with such fashionistas as Boudoir Queen’s Dawn Denton and South Paradiso Leather’s Romulus Von Stezelberger.

Peter York’s Grey Hopes

Wednesday, February 4th, 2009

Barney Bubbles credited one of the most creatively satisfying phases of his career to a prescient feature by marketing guru and cultural commentator Peter York published in the September 1978 issue of Harpers & Queen magazine.

York’s piece, headlined Grey Hopes, investigated the ageing demographic of the rock consumer and the concurrent wave of post-modernism pervading popular music. “The paradox of rock is that at precisely the time that a new rock sensibility is starting to invade the commercial heartland, the whole rock thing is uncomfortably coming of age,” wrote York, who also declared: “Rock & roll is the hamburger which ate the world.”

Extract from letter to Diane Fawcett, late 1978.

Extract from letter to Diana Fawcett, late 1979.

Presenting research which showed that 25- to 44-year-olds, not teens, had become the largest single group of record buyers, York pointed to the likes of Roxy Music as examples of art rockers who “consciously saw rock as a medium like any other”.

Reasons author Paul Gorman and Peter York, July 2008

Reasons author Paul Gorman and Peter York, July 2008.

York cites the highly referential example of Generation X, which was apposite; Barney designed two of the group’s single sleeves, the El Lissitzy-quoting Your Generation and the symbol-strewn King Rocker (available in four variations denoting vinyl colours).

Tony James: Barney took our ideas an inspired step further.

Tony James: "Barney took our ideas an inspired step further."

Guitarist Tony James says that, during the planning stages of the sleeves, he and Gen X singer Billy Idol talked to Barney about t-shirts they had designed in a Constructivist style.  “Barney looked at our original ideas and took them a very inspired step further,” he adds.

In a letter to his assistant and friend Diana Fawcett late in 1979, Barney says that York’s article “gave me my orders for the year” regarding “technology, urban environment, rock, etc”. He also says that he had carried out “everything I wanted to. It was a great, successful year”.

 

Inner sleeve, labour Of Lust, 1979

Inner sleeve, Labour Of Lust, 1979. (c) Riviera Global

This is true; the previous 12 months had been an extraordinarily fruitful period. Notwithstanding the advertising and promotional material which formed the bedrock of his business, Barney had also executed such triumphs as the redesign of the NME and creation of the paper’s Book Of Modern Music as well as sleeves for albums such as Armed Forces by Elvis Costello & The Attractions, 25 Years On by Hawklords (including the integrated stage show set), Do It Yourself by Ian Dury & The Blockheads, Labour Of Lust by Nick Lowe and Frogs, Sprouts, Clogs And Krauts by The Rumour.

In addition Barney completed the catalogue for the Lives exhibition at The Hayward (in which he also participated) as well as Brian Griffin’s Copyright, The Ian Dury Songbook and The John Cooper Clarke Directory. We shall be exploring all of these and more over the coming months.

Artwork for advert for Splash by Clive Langer & The Boxes 1980. (c) Riviera Global

Barney also tells Diana he has “had his orders” for 1980, the coming year. Since this was to witness advances into video-direction, painting, the realisation of the ambitious visual identity for the new F-Beat label AND a slew of releases by Elvis Costello & The Attractions, Carlene Carter, Clive Langer & The Boxes, Rockpile, Inner City Unit,  Dirty Looks and many more, it can safely be assumed the instructions came from as rich a source as York’s Grey Hopes.