Posts Tagged ‘Musical Shapes’

Buy the exhibition booklet

Monday, September 20th, 2010

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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

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PRICE INCLUDING POSTAGE

Barney Bubbles caught in action at work

Tuesday, July 27th, 2010

Barney Bubbles positions wire lettering, west London, 1980. Photo: A. Sales.

Here we have Barney Bubbles setting about creating of the wall-mounted electrical flex and wire construction which adorns the sleeve of Carlene Carter’s 1980 album Musical Shapes.

Quaver and jukebox selector, 1980. Photo: A. Sales.

Quaver with 7" single, 1980. Photo: A Sales.

The arrival of the photos from Antoinette Sales couldn’t be more timely as we prepare for our forthcoming exhibition Process: The working practices of Barney Bubbles.

Tony collaborated with Barney on the design, providing the lettering and layout, as well as styling Carter (for whom she also designed stage wear).

With Chalkie Davies behind the lens, the cover shoot took place in the west London house Tony shared with her then-husband (and Barney’s friend and patron/F-Beat label boss) Jake Riviera.

“Barney set it up in our dining room in Oxford Road,” says Tony in Reasons To Be Cheerful. “I designed and set the graphics on the back. Barney had 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 was no artwork credit.”

12in album. Front cover with sticker, Musical Shapes, Carlene Carter, F-Beat. 1980.

12in album. Back cover, Musical Shapes, Carlene Carter, Warner Bros. 1980.

12in inner sleeve, Musical Shapes.

12in album. Front cover, Around Midnight, Julie London, Liberty, 1960.

Winding away from the three-legged Dansette, the five flexes (all ending with upturned plugs) feature the album title picked out in wire and blue and red balls. These also appear to be notation; can anyone interpret what they convey musically?

One of Tony’s photographs shows that there was a try-out with a diner jukebox selector. On the back cover,  a bread bin replaced the Dansette.

Tipping a wink to the Pate/Francis & Associates 1960 design for Julie London’s Liberty album Around Midnight, the inner showed Carter reclining on a rug bearing the design of an F-Beat single (by the label’s most prominent act, Elvis Costello And The Attractions).

The sleeve was decorated with many references to the newly-launched label: on the front, Carter stood on a floor strewn with promo copies of the single version of one of her father Johnny Cash’s most popular songs Ring Of Fire (with a label incorporating Barney’s symbol of three interlocked rings and also his encircled copyright “C” familiar from designs for others such as the album’s producer Nick Lowe and Johnny Moped).

The Musical Shapes sleeve drove home the F-Beat identity by featuring the variants of the house singles bags Barney produced for Riviera.

These 7″ paper designs, based around insignia and decorations from Riviera’s office jukebox, utilised the stark colour overlays and contrasts noted across Barney’s work by such contemporary practitioners as Art Chantry.

7in house sleeve. Ring Of Fire/That Very First Kiss, Carlene Carter, F-Beat. 1980.

7in house sleeve. Ring Of Fire/That Very First Kiss, Carlene Carter, F-Beat. 1980.

7in house sleeve. Splash (A Tear Goes Rolling Down)/Hello, Clive Langer & The Boxes, F-Beat. 1980.

7in house sleeve. Good Year For The Roses/Your Angel Steps Out Of Heaven, Elvis Costello & The Attractions, F-Beat. 1981.

7in house sleeve. Head To Toe/The World Of Broken Hearts, Elvis Costello & The Attractions, F-Beat. 1982.

In line with the treatment he received from other American record companies,  Carter’s US  label Warner Bros tamed Barney’s design for fear of illegibility; the full-bleed front cover was given a white border for the artist credit and album title. In addition, the inner was dispensed with altogether.

Meanwhile, the US press kit included a standard 8″x1o” b&w shot of Carter from the Oxford Road session, and posters were given away with both the American and British versions of the release.

8"x10" glossy press photo. 1980.

Billy Bragg’s rug and the Masereel effect

Sunday, October 11th, 2009

In the early 80s an opportunity arose for Barney Bubbles to spread his creativity into designing rugs.

As detailed in REASONS TO BE CHEERFUL, at this time Barney was already investigating many areas of the visual arts outside of providing commercial art for the record industry: painting, videos, mixed media, collage, mobiles, furniture design and even glass sculptures during a trip to Australia. 

12" inner sleeve. Musical Shapes, Carlene Carter, F-Beat, 1980.

Barney’s friend and patron Jake Riviera explains in Chapter 5 of REASONS that in 1980 the pair encountered an invidual working in the carpet business “who could realise anything we came up with”.

Rug design artwork, 1982. (c) REASONS 2009. Courtesy: Riviera Global.

Barney designed a circular rug like a giant  single featuring Riviera’s F-Beat label for the company’s offices in Acton, west London. This appears on the inner sleeve of Carlene Carter‘s album Musical Shapes.

“Then Barney started to produce original designs,” adds Jake. “By that stage he was taking any opportunity he could to create in other media.”

But there was one rug which was based on a design of Barney’s which he didn’t commission. To explain: in the final year of his life – 1983 – Barney was working as the designer for new indie label Go! Discs, whose priority act was Billy Bragg.

Billy and Barney  shared an admiration for Flemish Expressionist artist Frans Masereel.

“I mentioned to Barney that I loved the guy’s work and of course he got it immediately,” says Billy.

Book illustrations, Charles de Coster's The Legend Of The Glorious Adventures Of Tyl Ulenspeigel. Frans Masereel, 1943.

For the cover design of Billy’s debut album Brewing Up With…Barney recreated Masereel’s signature woodcut technique.

Front covers, 12" albums. Left: Ersatz, Imperial Pompadours, Pompadour, 1982. Right: Punkadelic, Inner City Unit, Flicknife, 1982.

This was realised in the same way as the sleeve designs for his own album Ersatz (in the guise of The Imperial Pompadours) and Inner City Unit’s Punkadelic  Barney used black paper on white.

Front cover, 12" album. Brewing Up With Billy Bragg, Go! Discs, 1984.

In the event Brewing Up was released in October 1984, nearly a year after Barney’s death. The cover depicts two scenes: in one, a light radiates from a house over an industrial cityscape, in the other a contemplative figure sits at a window, lit from overhead. 

Poster, 30in x 20in. For Billy Bragg live dates, 1983.

Barney’s design was also used for Billy’s residency at London venue The Captain’s Cabin.

Rug, 8ft x 2.5ft. (c) REASONS 2009. Courtesy: Billy Bragg.

On Barney’s death, his one-time assistant Caramel Crunch took over designing for Billy, and in the mid-80s commissioned a rug rendition of one part of the Brewing Up artwork.

“My business partner Colin did some stationary for a rug-maker and she made us both rugs as payment,” explains Caramel, who these days goes by her real name, Pauline Kennedy.

“I supplied her with Barney’s album illustration and she made me the rug from that. Then I gave it to Billy as a ‘thank you’ for letting me design for him.”

And a quarter of a century later, it is still going strong, having made the leap to another domestic object, appearing appropriately on tea mugs available from Billy’s site.

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.