Title Spin/3 Magazine: Action Time Vision Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/3868/ Dat e 2 0 0 8 Citation Bestley, Russ (2008) Spin/3 Magazine: Action Time Vision. Spin/3 Magazine: Action Time Vision. ISSN 1752-6442 Cr e a to rs Bestley, Russ

Usage Guidelines

Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] .

License: Creative Commons Attribution Non-commercial No Derivatives

Unless otherwise stated, copyright owned by the author Spin/3 Action Time Vision Spin/3 Action T ime Vi s ion Spin/3 Action Time Vision Tony Brook Action Time Vision single. That is, perhaps, a job for Russ himself. As we have, I hope, made clear, this is not by any means THE history of the Punk the icing on the cake. Easter in order to meet our deadline. Thank you so much — your contribution is this publication went to press! Malcolm not only agreed to help, but worked over Spin/3. Imagine my surprise when I bumped into him a couple of days before sleeves amongst many other things) about the possibility of contributing to up any hope of talking to Malcolm Garrett (designer of the great Buzzcocks Some things are meant to be. Not having the wit to look on Wikipedia, I had given to fill some rather large holes. generous act – but also gave us access to his magnificent collection allowing us insightful essay that gives context and meaning to Spin/3 — a wonderfully A huge thank you goes to Russ Bestley, who not only wrote an acute and fresh eyes. hope to encourage you to look at this innovative and challenging work through them out in a way we think works on the page. By this approach we We have also ignored chronology, choosing covers we like the look of and laying some of the sleeves we have chosen are deliberately off the beaten track. torn paper clichés, their power worn away by over familiarity. With this in mind, be alive, some of the excitement will surely touch you. aside your natural scepticism and accept that it was a vital and energetic time to into Anarchy, and that there wasn’t another English Civil War. But if you can set and outrage may be dissipated by the knowledge that the UK wasn’t plunged many of the covers featured in Spin/3 were made, the sense of anger, danger Punk agenda as much as the music. For those of you who weren’t born when messages from the front line, they were taken very seriously. Graphics set the seen as exciting, they were potentially explosive. Devoured by hungry eyes as and let’s agree to call it The Punk Single. in Spin/3 we take a look at what is for us, a rich and vibrant form of inspiration, under Punk. I realise that this is contentious, but for simplicity’s sake let’s say that and less than three minutes long was, in the beginning at least, lumped together most obvious, but as far as I remember it, pretty much everything that was ‘new’ and sub-genres developed with appropriate monikers – New Wave being the church encompassing a range of innovative musical and visual styles. Genres white or black-haired leather-jacket-wearing gobbing entity – it was a broad (anti) Contrary to the red-top myopia of the time, Punk wasn’t a singular spiky, dyed, Thanks Many renowned Punk singles have, over the course of 30+ years, become It is also important to note that back in the day these covers weren’t just

Malcolm Garrett Orgasm Addict Unplugged Richard Boon and with the band members. marketing materials, which I continued to develop in close collaboration with ‘considered’. This became the norm for all subsequent record releases, and members with the relevant lines of text on the sleeve. me the necessary rectilinear definition to square up the image and align the band panels of a Manchester bus stop, was suitably urban and most importantly gave photographing the four members of the band through the distinctive four glass legible from all four directions, whichever way up the sleeve was viewed from, the the sleeve layout demanded a very geometric approach, with lettering the Manchester music scene. This was my first attempt at art direction. Given photographer Kevin Cummins, who went on to make his name documenting frame in the circular format. There was also no ‘B’ side, only ‘A’ and ‘1’. the record label, where I tried to graphically juxtopose linear text within a square the job for me. I subsequently extended this controlling ethos into the design of as the catalogue number, copyright and publishing details was a natural part of of all of the minor typographic details demanded by the record company, such with experimental posters and handbills for fictitious art events, sotaking control in this department exploiting my interest in lettering, language and typography in the typography department at Manchester Poly. I’d already spent a lot of time manner, the lettering on the rear was hand typeset, letter by letter, in ‘cold’ metal and ‘industrial’ palette. reference to De Stijl or Bauhaus purity, with a nod towards a more contemporary remain legible. Blue combined with a quite specific choice of yellow was a clear the sleeve a ‘pop’ flavour but also maintaining the necessary image contrast to its reduction to one colour for printing. I chose dark blue rather than black to give the image with what I thought was a pleasing texture, and of course facilitated monochrome using the photocopier, was both a necessity and a bonus. It imbued viewed. sleeve, housing a round object with no discernible ‘right’ way up, should be image ‘upside down’, questioning which way up the flat, square ‘box’ of a record which I used to scale the image to the correct size. I also chose to place the At Chloride I had access to a photocopier, a relatively rare facility at that time, catalogue and the female torso was lifted from a Men’s photographic magazine. of the iron-headed woman was created by Linder, the iron came from an Argos company based in Bolton that developed electric vehicles. The sleeve montage whilst on a summer work placement in the drawing office at Chloride Technical, a lettering on the front was hand drafted with an architectural stencil I had found drawing board in my bedroom at home in Manchester. style’. It was in fact completed and marked up for the printer on a small portable production drew on materials and opportunities to hand in a very ‘bedroom music influenced many Punk and post-Punk bands in sublime ways. because it was also the home of most of the best bands from Germany, whose them was for the sleeve for the single key feature. legged tights!) and enlarged to such an extent that the shaky line quality was a resolution line drawing taken from a small ad in a weekend newspaper (for one- edginess and individuality. The main image on the poster was a very low Letraset rub-down lettering, modified and redrawn to achieve the desired distinctive double-Z. The logo itself was produced in a very DIY manner, from which was already proving clichéd and consequently locked in time. wanted to set Buzzcocks apart from this Punk look, which merely exploited a style as it was from the rough and ready, cut and paste vernacular of the . I was as distinct from what was the visual norm in the rest of music and pop world, room in the Fine Art department learning screenprinting skills during my first year. run of posters in various colourways, having spent considerable time in the print required. I took the opportunity to use School facilities to screenprint a small This was to be a ‘blank’ on to which venue details etc could be hand written as asked to design a poster which could be used to promote live appearances. 20th century art. anti-art and particularly the typographic manifestoes of the various isms of early expression for me, previously stimulated as I was by a passion for music, pop art, at the end of 1976. The energy of the movement provided a ready vehicle of excited by punk, the Sex Pistols and The Clash, following a a short stay in way through the second year of BA in Graphic Design, and had become very illustration student in the year above me at Manchester Polytechnic. I was mid- I met Buzzcocks early in 1977 through a mutual friend, Linder, who was an Nothing was left to chance in Buzzcocks world. All elements were The photograph was remotely art directed by me, and shot by a young local Extending the DIY ethic, again in a semi-professional but down-home Given that we only had two colours to work with, reducing the image to The logo on the sleeve was tweaked slightly from the poster version. The Despite the relatively sophisticated look of this sleeve all aspects of its Following the band signing to United Artists in mid-1977, my next brief from This poster saw the first appearance of the Buzzcocks logo, with its In this way I’d already resolved to develop a graphic style for Buzzcocks that After an introduction to Buzzcocks manager, Richard Boon, I was initially Orgasm Addict . UA was a label we all liked

Spin/3 Action Time Vision Russ Bestley Punk, Graphic Design and the Seven Inch Single lyrical tribute to El Lissitzky, Henryk Berlewi and the Russian Constructivists. ’s 1978 single by Generation X featured a sleeve echoing the typographic experiments of been taken from a 1930s photomontage by John Heartfield, and that the debut that I discovered the ‘cool’ image on a Siouxsie & The Banshees sleeve had arouse any questions in me. It wasn’t until much later, when I went to Art College, cash for any number of odd vinyl outpourings by some obscure punk outfit didn’t and possibility. The ways in which I had been persuaded to part with hard-earned to these iconic images which seemed to have come from a new age of rebellion such a backlash in the national press, I had no idea what process might have led a certain fascination with the record sleeves of the new wave groups causing design was an unknown phrase to me. In fact, like many punk fans, though I found When I first started buying punk records, at around fifteen years of age, graphic relating to branding, marketing and promotion within popular culture. while many others were ad hoc adaptations of more traditional design skills packaging and proved influential within the wider practice of graphic design, design strategies later became established more widely within the field of music adaptation of available, lo-tech materials, and simple printing techniques. Certain inventive and sophisticated – incorporating alternative production processes, the design often involved strategies that, although based on limited budgets, were itself which would be extremely expensive to reproduce on a large scale. Their text and imagery, or in the hand-made, labour intensive nature of the packaging in terms of the mainstream record market, either in their uncompromising use of markets. Many record sleeves could be regarded as strongly non-commercial posters, flyers and fanzines which could betargeted to specific, often small-scale, DIY scene in the late 1970s also resulted in graphic design for record sleeves, help to establish a visual connection to the group. The growth of the independent the buyer could, in many cases, be both significant and long lasting, and would buyer would encounter in a record shop. The effect of this ‘first impression’ on the group – and the graphic message would be the first thing a prospective The record sleeve was often the first point of contact for fans and followers of to communicate particular visual messages to a specific record-buying public. fashion. Punk single sleeves are also a good example of the use of graphic design a graphic identity and packaging device which had subsequently fallen out of special releases during the 1950s and the early 1960s, the picture sleeve was developing subculture. A popular concept for extended play (e.p.) formats and sleeve – a convention which was to become increasingly important to the The seven inch punk single encompassed the return to popularity of the picture disposable format for the quick dissemination of musical ideas. widely adopted by punk groups as a cheap, accessible, effective and ultimately 45rpm single, a mainstay of earlier Rock and Roll, Pop and Glam Rock styles, was minutes, it’s not worth saying” and aggressive, and the widely repeated credo that of long playing, twelve inch 33rpm albums. Punk songs tended to be short, fast toward heavily produced, musically complex arrangements, usually in the form ideology that set itself in opposition to the contemporary fashion in popular music the central graphic design focus for this sub-culture. Early UK punk espoused an music business, albeit temporarily. The seven inch single sleeve might be taken as of activity threatened to seriously disrupt the commercial stability of the popular resulting deluge of independent, do-it-yourself records, concerts and networks industry itself. This led to a situation where ‘anyone’ did, in fact, ‘do it’, and the that declared ‘anyone can do it’ and an overtly nihilistic attitude toward the music generations and youth movements, they were married to an outspoken ideology development of youth culture in Britain. Whilst certain principles paralleled earlier The punk movement between 1976-84 represented a distinctive period in the particular kind of ironic, self-effacing and reflective wit. However, punk design also included parody, humour, satire, self awareness and a entrenched as the stereotypical — or perhaps archetypal — punk approach. of protest and agit-prop or ‘street’ politics, and these themes have become mood of the time. Punk graphics, like the music, tended to embrace elements incorporating unusual materials and lo-tech design strategies which caught the assumed, using new and old branding and marketing strategies to great effect, than that. And secondly, it was also more intelligent and innovative than might be described in history books — it was far more diverse, eclectic and unfocused Firstly, punk graphic design was not limited to the clichéd stereotype often design, back in 2001, some interesting facts started to reveal themselves. with. However, when I began a research project into UK punk and graphic internal and external discourse of punk took some time for me to become familiar manifesto” The Picture Sleeve Three Minute Heroes also remained a mystery to me for many years, and the complex “Marinetti, Boccioni, Carra, Balla, Palasechi” was adopted as standard practice. The seven inch “...if it can’t be said it three and the “Futurist anger, danger and outrage” introduction, many messages associated with the subculture are based on design, and on its eventual success or failure. constraints of cost. Each of these factors has an impact on the resulting sleeve and experience (or training), the tools and materials available, and the economic wishes, the visual language of the anticipated audience, the designer’s skills design of record sleeves operates in a complex matrix between the client’s potential buyer (i.e. a brand image, group and label information). The graphic a fragile plastic disc, while at the same time offering graphic information to a Record sleeves, in the most basic sense, are a form of packaging: they protect to this day. One highly elaborate DIY production, a package for the single was to be widely imitated, and still continues across the range of DIY releases stop the record and sleeve becoming detached. This form of simple packaging normally then be inserted in a plastic cover: without this there was nothing to was usually housed in a separate white inner bag. The record and sleeve would a 14” x 7” flat piece of card, folded and wrapped around the record – which folding and glueing sleeves meant that many DIY producers chose to print on and sophisticated sleeve designs, although the mechanical problems of cutting, piece of card. Access to silkscreen print technology could lead to more elaborate Blank Students Adicts something of a labour of love. Simple silkscreen printed sleeves include The a very short run not economically viable, or in the case of home-made sleeves, required, demand a great deal of time. This tends to make anything more than of prints in more than one colour, particularly where accurate registration is trimming with pinking shears. incorporated a simple photocopy which was ‘reworked’ by hand, in this case by Fifty Fantastics, while the debut e.p. by the O Level, the Not Forgetting and the silkscreen printed coloured stripes on the Manchester Mekon single Neurotics, sleeves, as in the folded insert included with the debut single by the Newtown process in-house. This strategy led to the creation of some extremely simple chose to print, as well as design, their sleeves, thus taking the entire production ready paste-up artwork for professional reproduction. Some DIY designers professional and amateur design extends beyond the production of camera- together with the skills and training of the designer. This distinction between technologically driven, with artwork often reflecting the availability of materials processes and specification techniques available; punk sleeve design was in part producers was in their detailed knowledge of the range of pre-press artworking sleeves. One distinction between the professional designer and amateur or DIY therefore key to the design and construction of printed material, including record The relationship between the designer, printer and pre-press artworker was widespread adoption of photographic techniques in engraving and platemaking. shift towards photolithography in the UK and Europe after World War II led to the print production, changed radically between the mid 1960s and late 1970s. A The role of the designer, particularly in relation to the preparation of artwork for within their simple visual form. and production methods, but intrinsically embody a sense of ‘anyone can do it’ Bicycles, The Adicts and the O Level, display not just a naiveté in graphic design sleeves, such as those produced by Spizzoil, Cabaret Voltaire, the Desperate clearly displaying the concept, rather than reproducing the final ‘design’. Other and instructions, and reproduced both on the reverse of the sleeve, once again Gang Of Four on the same label, Last took the group’s suggested sleeve image illustration of the recording and production process. For the debut single by the pair of speakers, with directions indicating a microphone and stand, while the reverse continues the microphone lead to a features hand-rendered typography on graph paper and a montaged image of the front sleeve for the debut single by The Mekons, Never Been In A Riot, attempted to visualise the relationship between recording artist and listener: used a less direct approach – Bob Last’s sleeves for the Fast Product label often detailing the recording and production costs of both record and artwork. Others Now? itself. Some sleeves, such as the Television Personalities’ sense of urgency, immediacy, and of the demystification of the music industry wider range of punk and post punk sleeves, many of which are included here: a Pistols. However, other subliminal messages were also prevalent throughout a the well known sleeves of the period, such as the work of Jamie Reid for the Sex Last Bus To Debden So, is there a standard visual language of ‘punk’? As Tony suggests in his The Design Process Methods of Production The silkscreen printing process is quite labour-intensive, and large batches e.p. and The Door And The Window’s Lunch With The Adicts Hypocrite . Other sleeves based on a simple folded A4 photocopy include We Are Natives , which is a basic, black and white, one-sided photocopy, e.p. by The Epileptics and , and this sense of shock comes through in many of e.p., Disco Zombies , which were all printed in one colour on a folded “...to record” Subculture Here Come The Buts God’s Got Religion We Love Malcolm and e.p. included notes Where’s Bill Grundy “...to you” — a simple , also by The and Max “...

Spin/3 Action Time Vision tune with its audience. amuse and entertain, and as such are perfect examples of a graphic design in still, however capture memories, evoke emotional responses, shock, surprise, Some weren’t even – they were of the moment, instant reactions to the punk and post punk zeitgeist. encased in a museum vault, nor in many cases to last beyond the next week ephemeral graphic squares of card and paper. They weren’t designed to be There is still a raw sense of ambition and creativity that runs through these of opposition. underground – and punk with it – to continue to thrive as an ‘authentic’ voice with the growth of new technologies such as the internet, has allowed the DIY major international labels and distributors by the early 21st Century, together the increasing homogenisation of the music industry, reduced to four or five within this genre, and has become something of a visual trope in itself. Indeed, made and limited edition craft aesthetic is a central theme of many releases out this assertion: the use of lo-tech materials and the incorporation of a hand- subsequent releases. The success of ‘indie’ music since the mid 1980s bears the process, but the influence can often be seen to filter out across a range of framework. The ‘hard edges’ of the original approach might be softened in signing to a major label and developing their approach within a more commercial continue to their initial recordings on a small independent label, before edition releases, were also subsequently mirrored by the major labels. such as and Beggars Banquet, including coloured vinyl and limited Innovations in packaging materials and marketing techniques by pioneering labels a strong musical and visual influence on the development of punk as a whole. pop which continues to feature in the charts. A range of DIY styles also provided pop mainstream in the early 1980s and helped to build a foundation for electronic the new electronica of Mute Records and The Human League crossed over to the the Rave scene of the early 1990s. Other punk-inspired developments such as among fans and went on to influence new genres such as Thrash Metal and even unlikely to cross over into the mainstream, but did enjoy a strong level of support and 1990s. The hard-edged styles of Anarcho and Hardcore punk were always underground, going on to influence a range of new movements during the 1980s The graphic and musical styles of a number of punk sub-genres were to remain conceptual approach. and the printing process – though there is a strong sense of design thinking and approach to record packaging – at least not in the sense of machine reproduction nothing came of it.” to us threatening to sue us if we carried on selling the single in her sleeve but involved in a record that they had bought. Chaka Khan’s record label wrote and record buyers loved the idea. It meant that the band had personally been house.” printed. We then de-faced them one Saturday afternoon at the drummer’s financial decision as there was not enough money to get our own sleeves sold anything else but that’s where we got the sleeves. It was purely a that just sold picture sleeves in bulk from singles of the day. I can’t think if he decision: original sleeve. Guitarist Nadi Jahangiri remembers it was a spur of the minute covers with marker pens, together with comments related to the wording on the Darts, Chic, The Shadows and Funkadelic – and wrote their own titles on the for a range of contemporary chart releases – including releases by Chaka Khan, produce a professional sleeve for their record. They got hold of record sleeves materials. Having paid for recording and production, the group had no budget to production, in that the group members produced their own sleeves from found who released one single, original sleeve was designed by a group of teenagers from Torquay, Das Schnitz, of the sleeve, together with a photocopied insert. One particularly striking and record centre labels and added a small photocopied name label to the front billboard material. Each sleeve was unique – the group rubber-stamped the was created by cutting out 14” x 7” folded sections from large sheets of printed hand-crafted materials, though in this case the coloured pattern on the sleeve ...And The Native Hipsters, not mean that they were uninventive. The debut single by celebrated DIY group small-scale independent labels. achieve with a large-scale release, and such excesses were generally limited to of detail and hand-made material would be very difficult, and uneconomical, to and handwritten postcards and inserts – all contained in a PVC sleeve. This level sticky centre labels to glue to the record, and a number of printed, photocopied square, silkscreen printed front and back cards, together with screenprinted Bygraves Killed My Mother The sleeves included here are eclectic, vibrant, exciting and inventive. Indeed, it should be unsurprising that many innovators in the music industry Punk Legacy The fact that many DIY sleeves were produced by amateur designers does The sleeve design also gave the group some wider notoriety: “From what I remember, incredibly there was a stall at a local market There is little evidence of design production in this amateur designed 4AM There Goes Concorde Again by The Atoms included two separate seven inch , in the accepted sense of the word, at all. They can , in May 1979. This sleeve is an example of DIY , used a number of “...fans

www.spin.co.uk London SE11 4AA 33 Stannary Street Studio 2 Spin 1752-6442 ISSN Printed by Newsfax International, London. Action Time Vision is a Spin project. iMaGes Kasper de Graaf. industry in London and has teamed up again with his partner from Assorted of dynamo london, the online showcase for the digital and interactive media Visiting Professor at the University of the Arts in London. He is Creative Director (Applied Information Group. Garrett is a Royal Designer for Industry and (RDI), a London in 2005 where he is now Creative Director alongside Tim Fendley at AIG mmersion in Toronto, Canada art directing interactive cinema, but returned to merged with Zinc to form Arnold Interactive in 2001. He then worked at I- interactive media production company. Garrett left AMX when that company technology and in 1994 he teamed up with Alasdair Scott to form AMX, an Culture Club and Simple Minds. rise of New Pop in the early 1980s and work for groups such as Duran Duran, Yachts, and The Members, before achieving major commercial success with the design.” He went on to design further sleeves for Buzzcocks, Magazine, The included “graphic identity, exhibition design, television graphics, and literature the design director of Assorted iMaGes, an innovative design group whose work became something of a punk design classic. From 1978 to 1994, Garrett was featuring a montage by Linder of a naked woman with an iron replacing her head, an exhibition, format and interactive screen-based versions of the work were included in to the design of record sleeves, often by self-trained and DIY producers. Large arguments, whilst celebrating the range of lo-tech and innovative approaches identity of UK punk which questions and repositions currently accepted central objective was to build an alternative historical viewpoint on the graphic designers of the period who feature in a range of art and design histories. The punk identity away from the major metropolitan centres, and beyond the ‘key’ perspectives on the development of graphic styles and regional variations in range of visual work was produced as part of the PhD, in order to show new groups taking up the punk banner and reinterpreting it in their own way. A emphasis on regional variations and the output of those Second Wave punk is a detailed analysis of UK record sleeve design, with a particular punk rock group Buzzcocks – the sleeve of their second single, 1980s. Garrett’s first important professional work was design for the Manchester graphic design of record sleeves and youth magazines in the late 1970s and early with fellow student Peter Saville, Garrett was to become a central figure in the 1975, then Graphic Design at Manchester Polytechnic from 1975 to 1978. Along Typography and Psychology at the University of Reading between 1974 and Malcolm Garrett was born in Northwich, , in 1956. He studied form the content of a new, web-based archive site at www.hitsvilleuk.com. London, Southampton and Blackpool during the spring and summer of 2007, and Hitsville UK: Punk Rock and Graphic Design in the Faraway Towns, 1976-84 College of Communication (formerly LCP). His PhD research project, entitled Russ Bestley is the Course Director of MA Graphic Design at the London Malcolm Garrett Russ Bestley In the late 80s and early 90s Garrett was increasingly attracted to digital Hitsville UK: Punk in the Faraway Towns , which was shown in Orgasm Addict , ,

Spin/3 Action Time Vision Action Time Vision Spin/3 Action Time Vision Sunday ( Design: Wire (Harvest HA Wire Design: Bob Last FAS 2-3 Design: Janette Beckman O (Disorder Fights/Daily Life/You’ve Got Di Design: Alternative (Deptford Fun Sti Design: Unknown Addict ( Caba Design: Unknown WAS001) 1978 Ma Design: Danica Gacesa A Left to right: ther Doubts/Song For A Public l s tern rk Beer T : All or ff 2) 1978 : A Question ret Vo d Litt er a ti R R : Distortion T ough ough : v ime Low/Where OR l l e I R e Fin t solations e.p: Finx Jinx/Litany/ 5187) 1979 D T a ER V ire T T C : Action rade rade ity DF 2) 1981 g : Seconds O er f Degree/Former Airline s RT RT : Gotta Gettaway/Bloody T C T V 015) 1979 060) 1980 07) 1978 o Deafness/ T T ime Vision/Another o T N oo Late/ ow? (Fast Product T o Be Someone M an (Waste M ore C ontrol T han C oke Spin/3 Action Time Vision Design: ( E T (Hubcap SP ( Th Design: Patrick Hughes Sore Design: Unknown (4AD AD17) 1980 B Design: Unknown Ski P Design: Unknown (Heartbeat PULS G Design: Unknown (Yob Y T M Th Design: Polydor in-house (Polydor 2059135) 1979 P Design: (Virgin VS271) 1979 Ru Design: Jill (Polydor 2058966) 1978 S C lectric Bell Girls ony Parsons C auhaus la omorrow/ y a ha BS lever e trik Fitz e Str t N xo B s m 69 Clash ew Family : Babylon’s Burning/Society C Th a L1) 1977 tro O ro ab B001) 1980 a : Borstal Breakout/Hey Little : C M n C BS in-house etal V T l : a ie d .Graves C IN elegram Sam/ : Bright Shiny t /Po hanging World/ C : s g apital 1) 1978 : er I I M s

nterview/ Dunno/ C umford iti ald IN hristine E 5) 1979 2) 1982 v : e Si R I

adio e.p: mprove C omplex C g C rowds n K apital als M T eeler/ edia hings/ M : Here yself/Bingo

M R N an/

adio/Listen ova Bossanova T O oday,Gone nly For A Day R ich Boy C rowd/

Spin/3 Action Time Vision – Parents/Spider – Dancin Are (Arista B Design: ( Design: (Good Vibrations G M Li Design: Simon ( Happy Families/Posing At N ( T Design: (United Artists UP36433) 1978B Design: Arista in-house Z Design: Fischli/Wittwer Akr a K ice Will Play R ow? e.p: Part- R e u one tt ings l ed ough l zzcock i e yly C l pu v s oming/ R e i : Sign hino t s kz Of R T : ion Per R T oad/ T rade M : Smart Boy/Spyderman s ecords A

elevision Personalities erri Hooley E alcolm Garrett/Assorted : Love You Th isiger Wind/When RE R e B O udi – R D2) 1980 RT f ough T s a

T ittle T 062) 1981 on n he ime Punks/Where’s Bill Grundy/ ds RI al O T OT T vercome By Fumes/ e. S rade itie imes/Away From M T 7) 1979 ore/ 205) 1978 p : s RT O : Where’s Bill Grundy T N utcasts – I 033) 1979 he oise Annoys n T he T R he Street oundhouse

C at’s Away, I mages I T t All I he diots

C

ops

T he Spin/3 Action Time Vision O ( ( Design: Unknown ( Gori Design: Unknown De Design: Six (Six Weatherman/ Six Design: (Virgin VS232) 1978 Ski Design: Unknown Kl f R R C ough ough hiswick l eenex O t ds ne Skin/ M llas a M in 5 : Wide inute War S T T : Anticipation/You u : Ain’t You/Hedi’s Head rade rade te W C : She’s ooke N S4) 1976 R N M a O od of ight And Day/ RT RT inute War r pen e.p: : Slightly Longer Songs e.p: K 009) 1978 041) 1980 ey M M y Gal/Why Wait W003) 1981 I ron/ T he Saints Are K ung Fu C

ontusion

K T illers/Last Drop ill

C T oming/ omorrow T he

Spin/3 Action Time Vision ( (Fast Product FAS (Fast Product F9 T From FAS Design: Last Design: Bob Last Sc Design: Unknown Th Design: Bob Last (Dining T Th M he his Week/Straight Jacket/ ute a e e A T r M N Pro s iddle C orm d : Horrorshow/Adultery M horley/Deutsch Amerikanisch Freundschaft/ ict U TE du al O ut s 001) 1978 ct : : Lunch With C lass T T Ea .V. M U inute X rcom 3 1) 1979 C O

T ) 1979 .D./Warm Leatherette 8) 1979 C : +P N T oh he Adicts: O M

rganised ercy/Stupid Babies/ E asy Way C onfusion

O ut/ Spin/3 Action Time Vision ( T ( T ( ( ( Gener Design: INT Design: Unknown Th Design: Barney Bubbles N Design: Unknown W Design: (United Artists UP36316) 1977B Design: Unknown Ess Design: Unknown Ed Design: Barney Bubbles (Stiff BUY11) 1977 Elv C he Last I hunder When She Walks/What You Got R C C ick Lo ay u herry llegal adar ADA34) 1979 ells S hrysalis zzcock e B 570) 1978 ne enti i N a s i n a

gh g C C tion er o w o al R E EMI s tin e u M s T ed I LL1) 1978 te : nt : alcolm Garrett/Assorted : Lo en Days L005) 1979 C K C X O in-house ll gal y C racking Up/Basing Street innel HS2165) 1977 : Your Generation/Day By Day rgasm Addict/Whatever Happened An g H o ic ERR : Less e d : Aerosol Burns/World Friction s

: Paraffin Brain/ Th Y38) 1981 T ommy/Baby Was A Baby ( e El T han ectric Z ero/ Cha R adio Sweetheart ir E I lvis, mages s :

EMI T o? Spin/3 Action Time Vision ( C Caba Design: ( Th Design: (Beggars Banquet B A Design: Th Design: (Beggars Banquet B (Beggars Banquet B (Beggars Banquet B ( Th Design: Alternative (Deptford Fun Design: Unknown (Secret SHH123) 1981 Th Design: (United Artists UP36386) 1978B Design: Unknown ( Th Design: Joan Dawson (Pete Stride sleeve) (Howard Wall sleeve) Th R hance vs. N l R u M ough igel tern e L e L ough e zzcock anic e B e L e L N ret Vo u u i us u u rker rker gh rker rker a T M T E ine ti rade oore sleeve) M M M M rade tin sso sleeve) M s ike Stone ike Stone ike Stone ike Stone alcolm Garrett/Assorted v : C l s s ss s s e ausality t : : gal I : : T a Don’t : Harry RT I I RT I I V ire Don’t Don’t C Don’t Don’t e : Life After Life/Life After Dub 075/UGH4) 1981 035) 1979 ity DF s : Silent : E E E E I M G9) 1978 G9) 1978 G9) 1978 G9) 1978 diot Strength/Seconds

ind/Autonomy M

T N N N N

C ay/ V eed eed eed eed 04) 1978 E C mployer’s Blacklist T T T T ommand/ o o o o T T T T ell Her/Pills ell Her/Pills ell Her/Pills ell Her/Pills

I

mages

Spin/3 Action Time Vision T ( T Babysitter/ P Design: Buzzcocks/ ( (Small Wonder W N ( (Fast Product FAS Armalite T (Small Wonder S Design: Final Solution Demon Pre Design: Unknown (Virgin VS261) 1979 C Ess Design: James Hutcheson Th Design: Unknown De Design: (Demon D1005) 1981 Y Design: Unknown Th Design: Final Solution B Design: Bob Last G ime’s Up/Boredom/Friends Z he Paranoid Ward/ a N ow R he Lash ( rayon Wax a u a oom trik Fitz ew Hormones ough c zzcock e V l e n h enti t g T N t a

hat You’ve Gone i alv Of s 5 Z gh : A Fool Like You/Dubmarine U T : Fo al M rade tin e M s M 1) 1977 R a s alcolm Garrett/Assorted : Spiral Scratch e.p: Breakdown/ Lo C ind Your u ifle c : herry OK r g h gal I : Damaged Goods/Love Like Anthrax/ R er er g rrelevant Battles/ RT obot Love/For Adolfs’ /Bod’s ic OR ald : Little e EEN 031) 1979

M s : Wake Up/ G-1) 1977 ALL10) 1978 : Use Your Loaf/ R T : ed T Y 5) 1978 R O he Bingo T ichard Boon wn Business/ ONE M he Paranoid Ward e.p:

C essage H ERR ) 1978 M iss Perfect/Perfect Dub E Y34) 1981 agle Bird/Quality O f C

rowd M ine C

ruelest I nside I

mages O nly O

C ut/Under rime/

Spin/3 Action Time Vision I (Albion ( Ch Design: (Good Vibrations G Design: ( ( G Design: Unknown Summertime/Violence ( Attention/Listening ( Dron Design: Unknown You’ll Lose e.p: Lookalikes/ Th Design: Desperate Bicycles De Design: Unknown Th Design: Unknown Gener Design: Vermillion Sands (Step Forward SF18) 1981 Protex t’s Her Factory I EMI O a R C nferno H e .H. n efill hrysalis e Drone sp e ls g Edg

g er EMI Of e M o a a .S.G s tion : Don’t a Fo e : Freemans/ For te Bic ION T EMI 2956) 1979 RR : erri Hooley s u M E 4) 1978 : OO r acho 4) 1978 LL6) 1982 in-house C X

: At Home He’s A Eu T HS2207) 1978 : D emptations y MIX R ro R c eady Steady Go/ ing l M p e C 1) 1977

an/ e s orgi OT : I : M .D.Parade/How Do You I E e Up/(Just Want) Your 6) 1978 O

I ’m ternity/British ccupied n C

rap/Hard C O old f A White T

ourist/ T N erritory/Skill o O N n o C M N ollar Worker e/

o

K now

Spin/3 Action Time Vision M K Barrett Lives/Arthur T Design: ( ( Design: ( ( N Design: Unknown B Design: ( (Beggars Banquet B E ( Na Design: Giles Fortescue T Design: Perfumed Garden Th Design: Unknown Jo Design: (United Artists UP36348) 1978 O Design: (Virgin VS213) 1978 Penetr Design: United Artists in-house(United Artists UP36300) 1977Th indless Violence ing And e R R CNT R e u K verybody’s TR e Le l ough ough ough w zzcock ings l zi e F h e Str e to e U nn v v

v T s R e all i w i H1) 1979 A y ecords l s n s G a T T T R : We Love ga a ion Per ion Per tion T rade rade T rade N oad O : n : M R s C he Fall ony e Level gl in alcolm Garrett/Assorted ocking : What Do ountry T T u he Hippys Graveyard/ otally Wired/Putta Block rotic er s : Firing Squad/ KR O t F RT RT M CNT RT n s ottram 002) 1978 s s : 056) 1980 063) 1981 051) 1980 R as on on 004) 1982 evolver/Stairway N R s M

o ussian ci al : al alcolm/Leave

E I M K G7) 1978 s itie itie Get?/ ore Heroes/ ick m T : Sid Did he Gardener s s O : : Smashing ut O I N h Shit

everr T K he now Where Syd M I I M T e Alone/ t/ n iles And ories/

T I

T R

o Boredom mages he Shadows adio Version T

ime/

M iles Spin/3 Action Time Vision (Pogo P ( ( F Design: ( (Factory FA (Deep ( Design: Peter Saville Jo Design: Barney Bubbles N Design: Unknown S Design: Unknown De Design: Unknown (Dexter B Design: Unknown Th Design: Unknown Vi R M ad EMI C ick Lo ubu la adar ADA12) 1978 ute herry y s e F s G Di tro nk St itor

r adg EMI lys ba M C v y O U uts D i w n St A s G TE et EMI 2907) 1979 R s e ud R : Beverley/Don’t : O ed ion : Little Hitler/ ll ecords) 1980 02) 1978 009) 1980 : ent E in-house C uds lectric Heat/ I EE C M 13) 1979 : nsecticide/Fireside Favourite H on s P1) 1979 ERR T : : We Are ransmission/ s I ter Y3) 1979 Hate School/Young Power s : Bored/You’re Gonna Die N atives/ M C M oth/ ruel oonlight N ovelty O ne Line T I o Be Want O

n K ind T M

o Be Happy e

Spin/3 Action Time Vision (Deram (Small Wonder S Design: (Good Vibrations G (Harvest HA U/ (Harvest HA M Design: Barney Bubbles (Stiff BUY7) 1976 Another World/Blank Generation/YouR Gotta Lose Design: Wire Wire Th Design: (United Artists UP36471) 1978B Design: Steve Walton Th Design: Wire Wire Design: Unknown Design: Simon (Step Forward SF17) 1981 Ch o- ic u T zzcock e Un e e rue d ha ls M ette : : o r e l O d I d a R C e utdoor ertone Am He : ecords D T onfessions/ s M s s erri Hooley ter R alcolm Garrett/Assorted : Promises/Lipstick : Paint ockin’Horse/Years Away ll T R R he Fly/ 5151) 1978 s 5172) 1979 : ( : Disco Love/ s M R : M iner/Practice eeves I ET ALL14) 1978 T

C eenage I ould Live With You - OT t Black/Bitta E R E x Lion -1) 1980 4) 1978 mergency K icks/Smarter C T ommuter amer M

C akes Perfect ases T

ruth

I mages M

an I n)

T

han

Spin/3 Action Time Vision T I (Sire S ( J’Attends Les Design: ( (Pogo P (Safari SAF K Design: ( J Design: ( Special View Th Design: (Virgin VS230) 1978 Th Design: Wire (Harvest HA Wire Design: Unknown (Future FS3) 1983 B Design: Unknown Th Design: Unknown Th Design: Sire in-house Th Design: Unknown (Finding Someone At Caba he Prisoner ’m So Happy R M i C ul C l ough alicious Damage ll BS BS 6383)1978 itz e e F e e e Un ie & Gor O El Clash in : ret Vo C n ly : BS6228) 1978 ly M ectric d g T IR O T annequin/Feeling in ertone Joke rade M G R C elecommunication/

T O 4015) 1979 ike O ocking BS in-house he Flying Lizards g : White ne 03) 1978 Liz l d E R t on s 18) 1979 : 5144) 1977 a T RT C

: Another Girl, Another Planet/ Cha s ire o M oles R : Gordon’s a : Jimmy Jimmy/ 018) 1979 arines equiem/ r K R ds ir : now You M ussian an E : Summertime Blues/All Guitars s N G : So ag T M I he Door Again?) D1.00) 1980 n Hammersmith Palais/

N C ag hange M

C N any Ways/ alled Love/12 T ot A N eletron ag/ M

ars Bars I M s oron/ T hat

M

X e U

Spin/3 Action Time Vision ( D Design: ( E S Design: ( I Th Design: ( ( (DinDisc D O Design: ( Design: J. ( A Design: (Donut D J Design: Peter Saville West Side Boys C Design: Das Schnitz Th Design: Bill Smith (Polydor 2058995) 1978 Th Design: Spizz Th E as EMI lectricity/Almost p C nnocent C R rc Z R dv O ockne llie Jay records izzoi BS 9339)1980 e J BS 9480) 1981 ough onophone at H e Str e e Sc h N erti Clash Clash

e

EMI a R E s h m ace 1- LL tr y nitz : T aps l s EMI 2754) 1977 C C rade EMI I R T ON : 6,000 al in N BS in-house M BS in-house S: Babies e he Straps : Hitsville U : ews an IN E j U : Just

g T : 4A in-house Ma in-house Z . ect T : Stolen Love/Suspender Fun R he 2) 1979 4) 1980 1) 1980 RT

A noe O T s f

C M S ) 1980 : all Up/Stop /Getting C O uv T C razy/1989/Fibre 1) 1978 I he World/Aunties And Uncles/ an’t ’m Forever Blowing Bubbles/ re E I

JSP9246) 1979 n Jars/Photostadt s

K I T / n ake Any R N Th adio owhere/ e D T he World a O rk ne M ore/ : M

y House

N

ew Age

Spin/3 Action Time Vision Don’t Back R ( I (DinDisc D ( ( ( Th Design: (Good Vibrations G Design: Unknown Cash Design: Peter Saville White Light/ O Design: Unknown Breaking Point Rud Design: Unknown (Armageddon AS005) 1980 Th Design: Desperate Bicycles De Design: Desperate Bicycles De Design: Final Solution (Small Wonder S P Design: Unknown (Squad SQA014) 1982 E ipped T ’m An R R C rc u xit 13 he Label efill efill orpus e Fit e So sp sp ni h i e : P er er sh s I uss f tr a a ment O I s Spy/Genuine t Bo : te Bic te Bic ld Pervert n RR RR C : T al O hristi erri Hooley ie T T ver IN 2) 1977 1) 1977

T wo T ears ys Ma s Of he Front L 6) 1980 : 99% I R : Betray noe y y L

T 010) 1979 c c I he Bridge/Final Sunset

M u l l O Wanna Destroy You/ IT ALL8) 1978 x uv e e f A u s s I S9) 1983 OT r : Smokescreen/Handlebars : re

s Shit/ y R 12) 1979 T : Puppet Life/ N s

eply/Sometimes/ M he ation/Bravado/

y Friends I n M edium Was Th C ash Flow e D a rk

: T

T R he Demon

edium/ ed Frame/

Spin/3 Action Time Vision Specimen ( (Harp Sleeping e.p: Degenerated C ( Th Design: John (Last (Junta ( Design: Breed/ (Sofa S Saw) Batman ( Lunch Th Design: Unknown Dron Design: Prag Vec (Spec Pr Design: Virgin in-house (Virgin VS209) 1978 XTC Design: Unknown Pink Design: Unknown C Design: David Jeffery Hear Wading Th Design: Unknown Th RC lown I R om nferno H e A aw e S ag e So e A A PB5160) 1979 : sa g Vec dv R T M hap M ll o t An R T T AW5) 1977 his i M R y Brane f R s ecords HSP1025) 1979 own/Heaven/Hell rumpet L ert R l E um ( ecords SP001) 1978 T t Bo ie ussian Delight For ecords JU T it A e : Wolf/ hrough A Ventilator/ N he Shapes T s g s I o.2 E s 1) 1979 a : Wot’s For Lunch e : Plush Living/ s Pop?/Heatwave N ys LL3) 1982 : r ls ot B***s Again!)/ Eu y M E I : Give St :

y Place/ lco

n ro T R C T 001) 1979 a ed Planet/ p igarettes/ he Launderette)/ NT n e d : Death’s A A1) 1979 A I t l N one:

T ew

o C T C M Buddha Waking Disney I omputer he Soft Boys e.p: E

hurch an/Sanjo Get xistential/Bits M T um e.p:Wot’s For C he Face C ollege Girls/( areer/Split E

xcited/ C

hatterboks K O antara/ f Death/

I Spin/3 Action Time Vision Blame And T T Th Design: ( (Fast Product FAS (Stiff Ia Design: ( Design: Unknown A Drainpipe Th Design: Barney Bubbles (Stiff BUY20) 1977 Elv Design: Barney Bubbles (Stiff BUY27) 1978 Gener Design: (Virgin VS333) 1980 Th Design: (Virgin VS207) 1978 Maga Design: Virgin in-house (Virgin VS228) 1978 P Design: Barney Bubbles (Stiff BUY10) 1977 Singalonga Scabies Th Design: Bob Last Sti he hen ( R C ubl e ough n D hrysalis e e e D i ff M C M M M s ic zine artin owboy Song ekon u em em a

a Litt I O r C mne tion t n T O y o b b I M rade FF3) 1978 & C s er er m M M : O M s ilton Haworth hrysalis in-house te ag alcolm Garrett/Assorted alcolm Garrett/Assorted d n y : Where Were You?/ s s : T l Th

C ll : Solitary X : e Limite ouch And Go/Goldfinger e Fin C O

N HS2261) 1979 : ain/ wn) e B RT R eat o K omance/ : Watching 004) 1978 ing l

g

ock M N T er ystery Dance eat 7) 1978 R

d s h ocker/Gimme Some : Alternative Ulster/78rpm : Public e T ad N C he Ballad eat/Stab Yor Back/ onfinement/ S: What A Waste/Wake Up! T he Detectives/ I ’ll have I mage/

O f John I I

R mages mages

at Up T T ruth o Dance

Spin/3 Action Time Vision Street ( Th Design: Alternative (Deptford Fun (Stiff LAS O M (Fast Product FAS (021 Design: Jill (Barn 2014119) 1978 A Design: Hipgnosis (Step Forward SF6) 1977 Th Design: Bob Last Heart And Soul Th Design: Barney Bubbles Screwed Up/Shock Horror Supermarket Again Like We Did Last Summer/ M Design: Steve Joule N Ea Design: Unknown A Design: United Artists in-house(United Artists UP36318) 1977 C T utrageous- e/ l ick F o u e he Label e De tern P l e e ter M R i ore/ a C M ound And Around a R ir ortin ekon An : Get Your Yo Yo’s p ecords a a K re rren & s ti id : You/Domestic Departure/ d T ss

hinking s v Th T as : e T

ion 4) 1977 C L e N T : Defiant Pose/ ontagious/Let’s Loot R OTO ever Been M V Mu Th 007) 1978 C umford s : Life/Love Lies Limp

ity DF : t e De 2) 1979 a M T O tion essing With Your Heart/ 1) 1978 f v

T T i C he USA/Holland V a 05) 1978 s nt I : You Better Believe O n A

ut e.p: Debutantes Ball/ s : Screwed Up e.p: I R ndependence iot/32 Weeks/ K T erb he

C rawler

Spin/3 Action Time Vision (4 Play (Small Wonder S (Lightning G K Subculture/Fashion Slaves/ Design: ( ( Pure Th Design: Unknown Th Design: Unknown Th Design: Unknown Th Design: Unknown Th ill N E B pic e Door An e Vi e W e W e Jerk R C ecords M asps all olin/Wurst Band E ania b P r R T C a : s ecords F he Door And 6393) 1978 tor : : E

xchange/ C d T N ool/ eenage I s Th B-1) 1979 L549) 1978 : Judy Says ( e Win M ALL21) 1979 C O ruisin’ (Again) U R T K d 001) 1977 reats/She iss T o he Window w

: Subculture e.p: T he K N nock You ostradamus/Don’t M irror M ade

M I agic n T he Head)/