Posts Tagged ‘Pete Thomas’

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.

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//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).

The Attract!ons’ ‘solo’ album: Mad About The Rwong Boy

Wednesday, March 31st, 2010

12in sleeve. Front cover, Mad About The Wrong Boy, The Attractions, F-Beat, 1980.

This year marks the 30th anniversary of one of the least remarked of Barney Bubbles designs: that for the “solo” album by Elvis Costello’s band The Attractions: Mad About The Wrong Boy

7in sleeve. Front cover, Outline Of A Hairdo EP, Steve Nieve, F-Beat, 1980.

The deliberately zany typography of the album sleeve – with it’s kitsch Brian Griffin photography and graphic tics – mirrored some aspects of the design for that year’s  big EC album Get Happy!!.

Back covers, The Attractions, 1980. Left: 12in sleeve, Mad About The Wrong Boy. Right: 7in sleeve, Outline Of A Hairdo EP.

In fact, for the accompanying free EP Outline Of A Hairdo – music for an imaginary film by Steve Nieve, well ahead of similar constructs by Barry Adamson and U2 & Eno – Barney appropriated a Bob “Bromide” Hall shot of Nieve from the back covers of both Get Happy!! and it’s hit lead single I Can’t Stand Up For Falling Down.

Back covers, Elvis Costello And The Attractions, F-Beat, 1980. Left: 12in sleeve, Get Happy!!. Right: 7in sleeve, I Can't Stand Up For Falling Down/Girl's Talk.

Artwork, Outline Of A Hairdo. (C) Jake Riviera Collection/Reasons 2010.

In the manner of his approach to fellow F-Beat act Clive Langer & The Boxes, The Attractions were treated to a personalised label.

Left: Label. Right: 12in inner. Mad About The Wrong Boy.

On the inner Barney used a familiar trick of highlighting certain letters in the condensed font slogan “FBEAT WHERE THE ATTRACT!ONS IS” to spell out the record company’s west London location: FBeat Acton.

Double page spread advert, NME, August 30, 1980. Design: Tony Sales.

Barney repeated this on the design for the sleeve of single Single Girl. In his absence, his colleague Antoinette Sales created impressive press advertising from existing artwork. 

Back and front cover, 7" sleeve. Single Girl/Slow Patience, The Attractions, F-Beat, 1980.

The front was an illustration by Barney of the little china dogs from his parent’s mantelshelf.

Artwork, Single Girl/Slow Patience sleeve. (C) Jake Riviera Collection/Reasons 2010.

The addition of the gorgeous silhouette front cover sticker flagging up the inclusion of Nieve’s EP and a neat badge wrapped up the package, though even the musicians themselvesare likely to agree that this is one of those examples where the quality of Barney’s design exceeded that of the music it contained.

Badge and sleeve sticker, The Attractions, 1980.

 

Let there be drums

Sunday, January 25th, 2009

Stretched over the open end of the bass drum and at just under 2ft in diameter, drumheads proved a perfect canvas for the artistry of Barney Bubbles.

Throughout his career, Barney was in the habit of providing customised skins to musicians, either as part of an overall theme he had developed for an album or artist or as one-off gifts.

Today we exclusively present four produced over a 10-year period.

Only one has been widely seen before; the portrait of the freckle-faced Western gal set against a desert landscape was painted in 1973 for Pete Thomas, then of Chilli Willi And The Red Hot Peppers.

Chilli Willi drumhead

Chilli Willi And The Red Hot Peppers, 1973. (c) Pete Thomas/Pic: Tony Sayles

The cowgirl and the vista had appeared in Barney’s colour-your-own inner for the band’s debut album Kings Of The Robot Rhythm. Around this period Barney was investigating the interpretation of this educational form in a musical context: the cover of Brinsley Schwarz’s eponymously-titled album consisted of a paint-by-numbers scenario.

“Barney was such a lovely bloke,” says Pete, who gives the painting pride of place in his Los Angeles home. In 1999, it was the centrepiece for  the cover of the Willi’s compilation  I’ll Be Home.

In 1977 Pete went on to form the rhythmic bedrock of Elvis Costello & The Attractions, and Barney created a suitably new wave, Jackson Pollock-ed drumhead for the band’s participation in 1977’s Stiff’s Greatest Stiffs UK tour. Within a couple of months Costello and the band had released the ferocious This Year’s Model – Barney’s stickers for that album’s promotional campaign still adorn it.

Greatest drumhead

Stiff's Greatest Stiffs 1977. (c) Pete Thomas/Pic: Tony Sayles

As the drummer in the Kursaal Flyers, pub-rock scene chronicler Will Birch first encountered Barney when he designed the album sleeve of the Southend band’s album Chocs Away.

The two maintained contact and Barney provided artwork for Will’s post-punk band The Records in the early 80s. During their meetings the pair riffed on the notion of an imaginary band called the Blue Genes, and Barney painted Will a drumhead featuring wriggling single-celled genetic organisms with blue tails.

Blue Genes drum head

Blue Genes 1982. (c) Will Birch

Since the Blue Genes never performed or recorded, Will’s is in pristine condition, unlike Pete’s or that owned by another of Barney’s friends, record company promotional wizard and Viv Stanshall’s manager Glen Colson.

“I was drumming a bit at the time, so Barney offered to paint me a drumhead,” says Glen. “I used to like this move called a ‘flam’, where you bring both drumsticks in quick succession down hard on the snare. I was delighted when I saw Barney’s design say: ‘Flam Flam’.”

flam flam drum head

Flam Flam 1983. (c)Glen Colson/ Reasons 2009