All posts by rockdoc999

I used to be a music nerd with a large collection of all sorts of recorded music, though mainly a vinyl freak. I started out in the sixties, got swept away by psychedelia and into music posters which I continued to collect up until 2013, when space shortage meant I had to sell the major part of my collection. I had already started collecting record cover art and had an complete collection of art by Vaughan Oliver (4AD) and Neville Brody (Fetish Records), which unfortunately had to go. I had all Peter Blake's record covers as well as the nucleus of a representative Andy Warhol collection. In addition I had an almost complete collection of covers by Banksy, Klaus Voormann and Damien Hirst so I decided to continue to collect covers by these five artists.

Röyksopp’s “Melody A.M.” Promo Cover Art by Banksy.

Vinyl records with cover art by the artist known as Banksy were released in relatively limited quantities and have become very collectible. Two promotional records are particularly interesting for collectors as their covers are hand sprayed by Banksy. These are the Capoiera Twins4 x 3 / Truth Will Out 12″ single released in 1999, and Röyksopp‘s Melody A.M. album issued as a double LP in 2001. Both were editions of 100–the Capoiera Twins single unnumbered and Röyksopp‘s album hand numbered. I have previously written about the 4 x 3 / Truth Will Out cover and how I was swindled by what I now consider an unethical dealer here.

In this post I want to discuss the Melody A.M. cover.

I bought my copy of this album (No. 84/100) in 2011–before prices really started to skyrocket. It was sold to me by DJ who needed the money as he was getting married. All the copies I had seen up to that point had the cover art sprayed in dark green paint and I was initially disappointed in that my copy was sprayed in a much lighter green. I was suspicious that perhaps this was some sort of copy, but the records and press release were obviously genuine, so perhaps the colour had faded. Recently. however, I have seen several more covers with this light green printing.

Raimunds covers
Five copies of Röyksopp’s Melody A.M. promotional LP with Banksy artwork. Note three with dark green and two with pale green/olive green print. Photo: Raimund Floeck.

The covers pictured above have numbers 20, 34, 46, 56 and 68. Both the olive green versions have the highest numbers and my copy is number 84. So it seems that Banksy changed the colour of the paint at about number 50 (the exact number still has to be confirmed.) Perhaps he just ran out of the dark green spray and took the next best thing.

Thus there really are TWO versions of the promo cover for the Melody A.M. album — the dark green and the pale/olive green varieties. For completeness my collection should include both — that’s how I got to meet Ed Cartwright.

Ed had advertised a copy of the dark green version and we began an email correspondence, finally agreeing a price. Ed didn’t want to trust this rare album to the risks of sending by post or even by private carrier, so he suggested he would deliver it in person, if I agreed to contribute to his flight costs. What could be safer? Done deal. Ed is an interesting character. He is heavily involved in the music industry, managing bands and doing PR work and the occasional DJ gig. He has a huge vinyl collection. Most pertinent to the Röyksopp album, though, is the fact that he worked for Wall of Sound records (Röyksopp‘s label) around 2001-2 when their Melody A.M. album was released. In his office, he apparently was entrusted with a number of these promotional albums. He sold one in 2011 and now wants to rebuild his kitchen so wanted to sell another copy.

So on Friday, March 6th, 2020 Ed flew in to deliver the album. It is number 12/100. Ed could confirm that the initial fifty or so covers were sprayed with the darker green spray paint and suggests that the can ran out and the lighter, olive green spray paint was used for the remainder. Ed says that he knew the guy who sprayed the covers was named Robin. Wall of Sound records asked him to make the covers as a PR exercise, (there may even have been a film of the covers being sprayed), but as Banksy was almost unknown at that time, the information was never used.

Ed delivers 3
Ed Cartwright with the Röyksopp album.

This cover art may not be the greatest thing the artist known as Banksy has ever produced (actually, it’s pretty crappy) but it completes my collection of record and CD covers with his art. Okay, I hear you — I should NEVER say my collection is complete! But until I find something new I’m happy.

Here are my two covers (Nos 12 and 84):

Vaughan Oliver and Wes Wilson–an Appreciation.

Two record cover and poster designers that have inspired me both in my art and in my collecting have died recently. Vaughan Oliver, famous for his record covers, primarily for 4AD, and posters died on 29th December, 2019 just 62 years old.

Vaughan Oliver portrait
Vaughan Oliver 1957-2019.

And less than a month later on 24th January, 2020, Wes Wilson, legendary San Francisco poster artist died aged 82.

Wes Wilson photo
Wes Wilson 1937-2020.

Flashback–It’s 1967-8 and I’m a medical student at Guy’s Hospital in London. On Saturdays I would walk along Kings Road in Chelsea visiting hip boutiques and girl watching. Somewhere along there I bought some Fillmore Auditorium and Avalon Ballroom handbills and in a record shop at World’s End bought “The Psychedelic Sounds of the Thirteenth Floor Elevators” and the band’s second album “Easter Everywhere” (with the lyric sheet included). The handbills cost two shillings to half a crown in those days, which was quite a lot of money (10p/15p in modern parlance by with considerably greater buying power). Eventually I had collected more than forty by the likes of Victor Moscoso (ten), Stanley Mouse (four), Rick Griffin (four) and, of course, Wes Wilson (fourteen).

I was on the entertainments committee (not actually a committee, just some students who wanted to organise parties) at the hospital’s Student’s Union and together with fellow medical student Andrew Batch, painted posters for rave-ups that we called Inflam. My posters were heavily influenced by the psychedelic posters I had found on the Kings Road. We painted four copies of each poster to hang on the various notice boards around the Hospital and they attracted quite a lot of attention. I offered one to the shop Gear on Carnaby Street, which they we willing to buy for £25, but I thought that was too cheap, so I (idiot) refused the offer.

I still have my handbills, all 41 of them.

I did actually qualify despite my partying and actually practiced as a doctor doing my various junior posts in London and Norwich, all the while collecting records and posters. many of which I ripped from walls around London. Records with great cover art predominated even if there were many soul records. I had first editions of Sgt. Pepper’s Lonely Hearts Club Band, Their Satanic Majesties Request, Grateful Dead, Jefferson Airplane, Big Brother & The Holding Company, Country Joe & The Fish, Doors and Neil Young records and even bought Velvet Underground & Nico and White Light/White Heat.

Fast forward to the eighties. I discovered Victorialand, a Cocteau Twins album with cover art by 23 Envelope and thereby discovered 4AD records and began an almost obsessional race to collect album covers by Vaughan Oliver and 23 Envelope (Oliver‘s cooperation with Nigel Grierson) and v23 (his collaboration with Chris Bigg and others). I collected posters, calenders, 4AD catalogues and even had a little brass 4AD pin (I wonder what happened to that?) In the end my Vaughan Oliver collection included all the 4AD rarities, including the wooden box version of Lonely Is an Eyesore. My 4AD records went when I had to sell my collection, but I still have the first cover Vaughan designed for the company — the  of Modern English‘s Gathering Dust seven-inch single.

Gathering Dust-fr
Vaughan Oliver’s first cover design for 4AD records. Modern English Gathering Dust.

I bought a folder of fifteen 23 Envelope posters for £9.99 that I still have and also bought the softback This Rimy River (which went with my record collection), however I still have the limited edition of This Rimy River (No 65 of 400) which I took with me to v23‘s office/studio in November 2001 and got Vaughan to autograph it for me. He also signed Rick Poyner‘s book Vaughan Oliver: Visceral Pleasures, and the lid of of my Lonely Is an Eyesore box I arrived at v23 at around 11 a.m. and introduced myself and started chatting about my collection. Suddenly it was lunchtime and Vaughan and Chris Bigg suddenly remembered they had an appointment at 4AD to re-negotiate their contract. So the suggested I look through their poster archive and then pop round the corner for some lunch and they’d come back after their meeting. Vaughan let me take a selection of posters from the archive as a souvenir of my visit.

 

 

 

I am deeply grateful to both these artists for the inspiration their work has given me.

Banksy, Blake, Voormann Additions to My Collection.

Here I go again! I regularly boast that I have complete collections of Banksy’s, Peter Blake’s and Klaus Voormann’s record covers (well, I usually admit to lacking one Klaus Voormann cover, but still) only to find out that none of these boasts is true.

I recently found the cover to an unreleased 7″ single version of DJ DangerMouse’s “Keep It Real” cover (you can read about it in an earlier blog post). Now it seems there are a couple of other Banksy covers that I had previously never heard of. I’m not going to say more at the moment, but you can be sure that I shall return to this subject in due time.

My blog posts on the latest record cover art by Peter Blake have only mentioned the various vinyl, CD and cassette versions of The Who’s latest album “WHO“. I had bought two limited edition issues of the album: the 45 rpm double LP version with extra single-sided 10” single “Sand” sold via The Who Store and the HMV “Nipper1” double LP. A mate in Liverpool popped in to see Sir Peter while on a recent visit to London and got him to sign both the 45 rpm and HMV covers for me as well as a copy of the reissued “Stanley Road” album (signed previously by Paul Weller himself.)

fullsizeoutput_6580

Then I saw an ad for Dr. John Cooper Clarke’s 2018 book and CD “The Luckiest Guy Alive” whith its cover portrait of Cooper Clarke by Peter Blake and Blake’s classic alphabet tiles for the album title and artist’s name.

fullsizeoutput_65bb
The cover of John Cooper Clarke’s CD “The Luckiest Guy Alive”.

So, naturally, I ordered a copy of the book and CD. I wonder if my Peter Blake collection is complete now?

Then I saw an ad for The Blues Band’s album “Itchy Feet” that stated that the cover was designed by Klaus Voormann. I immediately went through my Klaus Voormann collection only to find that I had missed this album (though I had bought the other two Blues Band albums when they came out, and even seen the band live.)

fullsizeoutput_6569While going through the Voormann albums, I noticed that my copy of Gary Wright’s “Extractions” LP was in less than mint condition. It is a U.S. promo copy with a large cut-out hole through the top right corner of the cover, so I looked on Discogs for a better copy and saw that the U.K. original was released in a six panel poster cover that I had never seen.

fullsizeoutput_6577
The six-panel poster cover for Gary Wright’s “Extractions” LP.

So I ordered both the “Itchy Feet” and the “Extractions” records to “complete” my Klaus Voormann collection even though I’m still missing at least one of his covers. I was lucky that the “Itchy Feet” LP was one of the limited edition pressings that included the large poster of the band in action.

fullsizeoutput_6568
The poster from the “Itchy Feet” album.

I have to say that I feel I’m nearer to having complete collections of these three cover artists. I’ll just have to keep a lookout to see if I find further missing covers.

 

The Latest Peter Blake Cover Art.

Pete Townsend and Peter Blake are mates and when Pete needed cover art for The Who’s first new recording since 2004, he turned to Peter. The album, entitled WHO, was release on 6th December 2019.

IMG_0912
Peter Blake’s cover for The Who’s 2019 album “WHO”.

This is the second album cover Peter Blake has designed for The Who. The previous one, Face Dances, was released in 1981, and the cover for this latest Who album includes a reference to that album in the lower right hand corner. The layout of the cover is also reminicent of the Face Dances cover but with a five-by-five layout instead of the four-by-four layout.

The album is released by Polydor Records and they have gone to town. There are at least four different vinyl versions:
1. Standard 11-track black 33 rpm vinyl LP
2. Limited edition double 45 rpm LP with a separate 10″ vinyl with three extra tracks only available through The Who Store

WHO bonus bundle
The limited edition 45 rpm double LP with red vinyl 10″ plus CD and cassette.

3. A limited edition (5000 copies) HMV exclusive double LP with the 11-track album on black vinyl and a special cream-coloured extra LP of The Who’s greatest hits

Who-HMV
Limited edition HMV exclusive double LP.

4. Limited edition 11-track picture disc.

And then there are possibly four different CDs:
1. Standard 11-track CD in jewel case
2. Deluxe 14-track CD including three tracks not on the standard issue. This comes in a jewel case with slipcase (see picture above)
3. 11-track CD with vinyl look autographed by Pete Townsend inside the centre spread
4. 14-track CD in special cover signed on the outside by Pete.

WHO signed CD-1
Deluxe 14-track CD signed by Pete Townsend.

 

Finally:
– limited edition music cassette.

Who cassette
The limited edition cassette.

Collecting all these variations will cost a small fortune.

 

Banksy Covers–A Previously Unknown 7″.

I’m constantly on the look out for record and CD covers with cover art by the artist known as Banksy. Ebay seems to be a real treasure trove and a great place to do research. I recently saw a copy of a cover for a seven inch version of DJ Danger Mouse’s 2008 unofficial Keep It Real / Laugh Now single. Well I have never seen one of these before and was immediately suspicious that it could be a fake. However, as a well-known faker myself, there was one detail in the item description that suggested that it may actually be genuine. If I was going to make a seven inch cover of this record that, as far as I know, has only been released as a 12″, I would simply photograph the front and rear of the cover, reduce the photos to the correct size in Photoshop, align them together and get my printer to print the result on glossy 300 gm paper. But the photos of this Ebay item showed that the artist, record title and catalogue number were printed on the spine. I’ve tried to replicate text on a thin strip to use as a spine and have found it nigh on impossible–so the appearance of text on the spine of this cover suggests to me it is genuine.

I made an offer for it and after some haggling managed to buy it. It is beautiful and in mint condition.

Keep It Real 7in-spine
The spine.

The seller told me that he had acquired the cover along with a couple of printers’ proofs sometime around 2011. apparently Danger Mouse had planned to release a seven inch version of the single and had a limited number of covers printed before abandoning the idea.

Here’s what the cover looks like with a single inserted.

picture
The cover with a random single.

It’s a lovely addition to my collection.

 

 

At Last–My Collection Organised.

We had been planning a revamp of our wardrobes almost from the moment we moved into out current abode seven years ago. Finally, last spring, we finally decided that we should get on with it. This involved moving a wall to enlarge our closet so that we could fit wardobes and cupboards on both sides. I planned for three metres of shelf space to house my record and CD collection. Unfortunately, there was no way to fit the three metres horizontally, so I had to arrange them vertically. And in mid-October everything was complete and I could fetch a crate of records from our storeroom in the cellar and arrange them om the new shelves.

My collection of Andy Warhol record covers was returned from the exhibition at Moderna Museet in Malmö at the same time and I could unpack the records and shelve them somewhat haphazardly until I had time to sort them properly. Almost simultaneously my collection of Banksy record and CD covers was dispatched to Genoa for the “Il Secondo Principio di un artista chiamatio Banksy” exhibition there.

Over the past weeks I have sorted the records and CDs according to designers–a shelf for Peter Blake’s record covers, two for Andy Warhol covers, spaces for Damien Hirst’s and Klaus Voormann’s covers and separate shelves for CDs (where all artists’ covers are collected together for the first time).

fullsizeoutput_64b7
The three missing Warhol covers.

But as I began sorting the covers returned from the Warhol 1968 exhibition in Malmö I couldn’t find three covers that I knew had been returned but just didn’t seem to be among all the others. Two were irreplaceable–Paul Anka’s The Painter album signed by both Anka and Andy Warhol and Ultra Violet by Superstar Ultra Violet. The third album was the US promo of John Cale’s The Academy in Peril, which isn’t too hard to find. I was desperate. I could buy a new copy of the John Cale album but I wouldn’t be able to afford new copies of the Ultra Violet and Paul Anka covers, even if they were available.

I spent three days going through every cover looking for these three. I took all the covers out looking for them, even opening gatefold sleeves to see if they had slipped inside but to no avail. I really thought the covers were lost. Had I really got them back from Malmö? I was about to contact Moderna Museet when I remembered that I had checked the returned covers by clipping the album title out from the delivery list accompanying the delivery and slipped each clipping into each respective record’s plastic protective sleeve (you can see the little strips in each cover in the photo). So, obviously I had received the records–so where were they? I spent the third night worrying and slept badly. On the fourth day I decided I’d go through the shelves for a final time.I started at the top and removed box sets and opened them to see if I had unconsciously put the records in them. They weren’t there, of course, but I did find some singles/EPs that I thought I had lost when I sold the major part of my record collection nearly six years ago–among them three German-pressed Count Basie EPs with Andy Warhol’s Basie portrait on the covers and two rare promotional CDs for the Hours’ Ali in the Jungle in a silver-covered booklet.

fullsizeoutput_64e4
The three Count Basie EPs I had considered lost.
Ali in the Jungle-promo
The front and rear covers of The Hours’ promo booklet for Ali in the Jungle.
Bosé 7 inchers
Miguel Bosé’s singles with Warhol cover art.

And, in addition, I found some other singles with Warhol cover art–The Silver Apples (Fractal Flow / Lovefingers), Jeanne Moreau & Günther Kaufmann (Each Man Kills the Things He Loves) and the seven inch EP box of Hugo Winterhalter’s recording of Rhapsody in Blue / Grand Canyon Suite. I am very pleased to be able to reintroduce these “lost” items into my collection.

I went through all seven shelves of records starting at the top, took out all the CDs sifted through a pile of singles and when I finally reached the bottom shelf, I found the three missing Warhol albums together right at the start of the covers lined up there. It was as if someone had removed them knowing I would be sorting the collection and then taken pity on me seeing my misery and carefully replaced them! Had they been there previously I would have found them. I mean I took every record out several times. Poltergeist? Someone or something from “the other side”? Any other explanaiton?

Anyway, having found the missing LPs–and a load more stuff I thought I’d lost–I can at last store my records where I can find them and have everything in order.

Banksy’s Second Principle–Retrospective Exhibition of Works by the Artist Known as Banksy in Genoa, Italy.

Three years ago the Fondazione Roma organised a retrospective exhibition of works by the artist known as Banksy, curated by Stefano S. Antonelli, Francesca Mezzano and Acoris Andipa. I was honoured to be asked to show my collection of Bansky’s record and CD cover art at that show and when the Associazzone MetaMorfosi was planning a new show once again to be curated by Stefano and Acoris, this time at the Palazzo Ducale in Genoa planned to run from 23rd November 2019 to 29th March 2020. Acoris again asked me to lend my record and CD covers to the exhibition.

Stefano Antonelli has entitled the exhibition “Il secundo principio di un artista chiamato Banksy“, which translated means “The Second Principle of the artist known as Banksy“. Okay. But if this exhibition is Banksy’s second principle, what is his first?  Stefano explains in his essay in the beautiful exhibition catalogue.

Genoa catalogue-fr
The exhibition catalogue.

Banksy’s first principle, according to Stefano, is “If you want to say something and have people listen then you have to wear a mask“. His second principle is “If you want to be honest then you have to live a lie“. And I suppose one should bear that in mind as one views the exhibition–however, I only read the catalogue at breakfast on the morning AFTER I went to the opening.

The exhibition is housed in the Palazzo Ducale’s cellar–eminently suitable for a show of “underground” street art. It is beautifully laid out and contains prints, sculptures and aforisms in addition to my collection of record and CD covers. The works on show have all been lent by private collectors and, as the organisers are at pains to point out in the introduction to the exhibition hall, that it is not authoised by Banksy.

e8B5AYV4TzyX4buDcblI+g
The introduction to the exhibition.
nWzbO7bnR5Ca3dZVXHgVqA
General view of the exhibition locale.

The only famous Banksy prints I missed were the Kate Moss series, which Banksy had done in the style of Andy Warhol. And I was reminded of how Banksy really knows his art history as I wandered round the five exhibition rooms. My records and CDs are in Room Five.
Bansky covers

The CDs and single records are shown in an impressively massive black trunk.

FEZrQobgTOS05sSwU3Nk3g
The trunk showing the CD and 7″ covers.

All in all a thoroughly thought out exhibition that I’m very happy to have been a (small) part of. Thank you to Stefano and Acoris for letting me share this experience. But, to return to the exhibition title “Il secundo principio di un artista chiamato Banksy“, I wonder if to be honest, I have to live a lie? This exhibition is an honest retrospective of the work by the artist known as Banksy. But is Banksy living a lie in trying to be honest?

A New Andy Warhol Record Cover

From March 31st to September 8th, 2019, Moderna Museet in Malmö showed a major part of my collection of Andy Warhol’s record cover art advertised as the first time a complete selection of Warhol’s cover art production was on show. At a forum on record cover art at the Museum on 31st August, 2019, I suggested that we do not actually know if the sixty-eight covers on show are really all the covers produced during Warhol’s lifetime. I noted that new discoveries were still being made–coincidentally, often soon after and exhibition closed. And so it has turned out again!

Warhol expert and collector extraordinary, Guy Minnebach, recently visited The Warhol Museum in Pittsburgh and did some further research through Warhol’s letters and invoices collected at the Museum [https://warholcoverart.com/2019/10/13/the-bossa-nova-cover-no-one-knew-was-a-warhol-paul-desmonds-take-ten/]. he turned up an order from RCA Records dated May 1st, 1962 for cover art for an album with catalogue number LPM/LSP 2598. An invoice with the same date had a July 6th written on it, suggesting that that was when it was paid.

Guy didn’t recognise this catalogue number among currently identified Warhol covers and quickly discovered that the number belonged to Paul Desmond’s 1963 album “Take Ten”.

Pauk Desmond-Take Ten-fr
The cover of Paul Desmond’s 1963 album “Take Ten”.

In the nineteen fifties Andy Warhol designed or illustrated about twenty-eight record covers. By the mid- to late fifties he was one of the highest paid commercial artists in New York, but, surprisingly, only three record sleeves were known to have been produced during the sixties; the “Giant Size $1.57 Each”, the “John Wallowitch” covers, and–of course–the famous “banana” cover for the “Velvet Underground & Nico” album. So the discovery of a further cover released in the sixties is sensational.

This appears to be a silkscreen portrait of Desmond against a coloured background. This possibly could be Warhol’s first silkscreen portrait. He only began making silkscreens in August 1962, so he probably had no idea for the cover when the order arrived. There is a sweet story as to how Warhol hit upon the idea of using silkscreens to “mechanise” his art. In 1961, he met a couple of English teenagers, David and Sarah Dalton, at party and invited them to see his art at his home. The Daltons were regular visitors to The Factory and David would in 1966 co-produce the Aspen Magazine box set together with Warhol.

fullsizeoutput_5558
The pop art edition of Aspen Magazine produced by David Dalton and Andy Warhol in December 1966.

David Dalton went on to a successful career as a writer. But I digress, When Warhol met the Daltons, David was 16 and his sister Sarah 14. In early 1962 Warhol was experimenting with ways to speed up the process of producing multiple images on a canvas. He tried using stampers made from various materials but found that he could only produce small images by this method. According to one story, Sarah Dalton was visiting the Factory in early 1962 and saw Andy at work and he complained about the problems of reproducing many images quickly. Sarah was attending art classes at the time and suggested to Andy that he should try silkscreening as she had tried the method in her classes. Sarah would be a regular visitor and When Andy had filmed his first major film “Sleep”, he asked Sarah to edit it. Sarah had no previous experience of film editing but took on the challenge. It was the start of her career as a film editor.

Warhol usually used photographs from which to make his drawings and silkscreens. Thus he used a publicity still from Marilyn Monroe’s film “Niagara” for his “Marilyn” portraits, and a photo of hibiscus flowers, taken by photographer Patricia Caulfield as the basis for his “Flowers” paintings and prints. I therefore suspect that he found a photo of Paul Desmond on which to base his cover portrait. I have been searching for the photo, but without success.

Warhol’s cover design was also used by RCA Italy for a slightly different Paul Desmond album called “The Artistry of Paul Desmond” also released in 1963 and containing six of the original eight tracks from “Take Ten” but substituted “The Night Has a Thouand Eyes” and “O Gato” for “El Prince” and “Samba de Orfeu” on the original US release.

Paul Desmond-Artistry
The cover of “The Artistry of Paul Desmond” album.

So, my collection of Andy Warhol covers on show at Moderna Museet in Malmö during the summer of 2019 was incorrectly advertised as being “complete”. The finding of the Paul Desmond album barely one month after the show closed proves the collection to have been incomplete. I wonder how many more Warhol covers will turn up in the future?

 

The Record Cover Art of Sir Peter Blake–A Discography.

I have written about Dave Haslam’s little monograph “A Life in Thirty-Five Boxes–How I Survived Selling My Record Collection” (Contingo Publishing, 2019) in a previous post. In it, Haslam classifies collectors into either completists or surveyors (that’s my term not his.) I’m a completist–If I collect record covers by a particular artist, I HAVE to have EVERY cover by that artist, whereas those whom I call “surveyors” can collect odd items that represent their subject without the encumbrance of having to get every single item in the field.

As everyone who reads my blog knows, my particular obsessions are collecting record cover art by (in alphabetical order–obsessive again?) Banksy, Peter Blake, Damien Hirst, Klaus Voormann and Andy Warhol. I have almost complete collections of these artists. I have to stress the word “almost”. I have many times boasted that I have complete collections of Banksy’s, Peter Blake’s and Damien Hirst’s record cover art and, as near as dammit, complete collections of Klaus Voormann’s and Warhol’s record covers. When it comes to my Warhol collection, I have been able to fill the gaps by making my own reproductions of the rarest items, however, I’m missing one Voormann cover which I probably will never find…

But, back to Sir Peter Blake and my “complete” collection. Obviously I cannot have a cover of a record that has not yet been released (I refer to the forthcoming album by The Who discussed in my last post) but I reckoned I had ALL the other Peter Blake covers. WRONG! So it’s time for a revised list.

  1. The Beatles — Sgt Pepper’s Lonely Hearts Club Band – June 1967
  2. Pentangle – Sweet Child – 1968
  3. Chris Jagger – The Adventures of Valentine Vox the Ventriloquist – 1974
  4. Roger McGough – Summer With Monika – 1978
  5. The Who – Face Dances – 1981
  6. English Chamber Orchestra / Steuart Bedford / Daniel Blumethal – Rhapsody in Blue / Piano Concerto in F / An American in Paris – 1983
  7. Ian Dury – Apples (LP) – 1989
  8. Ian Dury – Apples (7”) – 1989
  9. Eric Clapton – 24 Nights  (gatefold LP)– 1981
  10. Eric Clapton – 24 Nights (promotional box set of 7″ singles) – 1981
  11. Eric Clapton – Wonderful Tonight (7”) – 1991
  12. Eric Clapton – Wonderful Tonight (collectors CD) – 1991
  13. Band Aid – Do They Know It’s Christmas – 1984
  14. Band Aid – Do They Know It’s Christmas (reissue) – 1985
  15. Paul Weller – Stanley Road LP – 1995
  16. Paul Weller – Stanley Road (7” Box) – 1995
  17. A Stranger Shadow – Colours (CD only) – 1995
  18. David Sylvian – A Little Girl Dreams of Taking the Veil (12”) – 1986
  19. David Sylvian – A Little Girl Dreams of Taking the Veil (picture disc) – 1986
  20. Various Artists – Brand New Boots and Panties—Tribute to Ian Dury –2001
  21. Brian Wilson – Gettin’ in Over My Head (orange vinyl double LP)–2004
  22. Eric Clapton – Me and Mr. Johnson (Classic Records 200g LP) – 2004
  23. Oasis – Stop the Clocks (3LP) – 2006
  24. Oasis – Stop the Clocks (numbered 7”) – 2006
  25. Oasis – Stop the Clocks (CD in card cover) – 2006
  26. Oasis — Champagne Supernova (promotional, single-sided 12″) — 2006
  27. Various Artists – John Peel–Right Time, Wrong Speed (CD only) – 2006
  28. The Blockheads – Staring Down the Barrel (CD only) – 2009
  29. Ben Waters – Boogie for Stu: A Tribute to Ian Stewart (gatefold double LP) – 2011
  30. Eric Clapton – Me and Mr. Johnson (re-issue LP in gatefold sleeve) – 2011
  31. Madness – Oui Oui Si Si Ja Ja Da Da (double LP) – 2012
  32. Paul Weller – Dragonfly (numbered 12”) – 2012
  33. Eric Clapton – I Still Do (Double 45 rpm LP) – 2016
  34. Eric Clapton – I Still Do (CD in card sleeve) – 2016
  35. Paul Weller – Stanley Road (Reissue LP in gatefold sleeve) — 2017
  36. John Cooper Clarke — The Luckiest Guy Alive (CD) — 2018
  37. The Who – WHO (triple LP) – 2019
  38. The Who – WHO (double LP) – 2019
  39. The Who – WHO (cassette) – 2019
  40. The Who – WHO (deluxe CD) – 2019

Please note that this list is heavily weighted towards vinyl releases but I have had to include a few CDs and a cassette for completeness. I had not previously known about the David Sylvian’s “A Little Girl Dreams of Taking the Veil” single or Oasis’s “Champagne Supernova” promotional 12″. So how many other Blake covers do I not know about?

Sylvian-MikeS-fr
David Sylvian’s “A Little Girl Deams of Taking the Veil”, 12″ EP uses Peter Blake’s “Just at this moment, somehow or other, they began to run”, One of Blake’s 1970 illustrations of “Alice in Wonderland”. Peter Blake has signed this cover.

 

David Sylvian-Veil-pic-fr
A picture disc of the “A Little Girls Dreams of Taking the Veil” single.

 

Chapagne S-signed-fr
OASIS’ “Champagne Supernova (Lynch Mob Beats Mix) promo, single-sided, 12” single. Cover signed by Peter Blake

While Peter Blake is consistantly producing new works in a variety of formats, paintings, prints and collages, he has only produced 27 individual record cover designs (increased to the 38 listed in various formats) in fifty-seven years. I look forward to the arrival of The Who’s latest album and hope that the 87-year-old will continue to design even more.