Today was a bit of a special day! I discovered two CDs with Banksy artwork that I had never seen. I was casually surfing the Internet when I came across a picture of a CD cover that I didn’t recognise but that had classic Banksy artwork. The CD in question is an 11-track compilation released by Seven Magazine and called Seven Magazine Presents the Soundtrack to Sizzler Parties, and contains tracks by Blak Twang (Twixstar) and the Röyksopp remix of The Mecons Please Stay. This CD was released in 2002, so I don’t really understand how it has eluded me for so long!
The second CD, Orange City by a Canadian band called One Bad Son, was released in 2007. The front cover didn’t look promising — probably explaining why I had missed this release.
It isn’t until you open the jewel case and see the CD that the Banksy connection appears.
Here the Bomb Hugger girl image appears both on the CD and on the inside of the rear of the jewel case. I suspect that this is an unofficial use of this particular Banksy image that appeared officially on the Peace Not War compilation CD that accompanied the February 2004 number of the Big Issue magazine.
As I write this, my collection of Banksy records and CDs is moving from the Palazzo Ducale in Genoa to the Palazzo dei Diamanti in Ferrara until September 2020 and then from September to December to the Museum of Modern and Contemporary Art of Trento and Rovereto. Perhaps I should add these rare CDs to the exhibit.
There are artists who don’t tour very often and some of my favourites seem only to tour once in blue moon. Such artists are Randy Newman, Joni Mitchell — and Tom Waits.
I remember his concerts at Stockholm’s Cirkus on July 13th and 14th, 1999, very well. We were living in Luleå then and had to travel down to Stockholm to our little Stockholm flat for the concerts. And I’ve lately been clearing out my storage room and came across a whole lot of memorabilia, including the tickets for Tom Waits’s concerts promoting his Mule Variations album. Well, in addition to the tickets, I found that I had gone to the trouble of making set lists of both nights’ concerts.
These concerts were really very expensive — costing SEK 600 per person (about GBP 50 or USD 80), so for two people for two nights it meant an outlay of SEK 2400! Unheard of in 1999. But Cirkus is a great concert venue, with great acoustics and we had seats quite high up and to the right of the stage. On the first night, Tom sauntered into the theatre entering though a door just above us and walked down the stairs past our seats and on down to take his place on the stage. The first nights’ concert went on for over three hours. For the second night it seemed that he had had instructions not to go on for so long, so the show only lasted a bit over two and a half hours. The first night was magical and the second felt a bit like a disappointment after the previous evening. Perhaps we should have been satisfied with one night.
It looks from te set list as though the second night should have been longer — but I can guarantee that it wasn’t.
Per Bjurman, reviewing the concerts said Waits was great but thst the ticket price was extortionate!
Anyway, the first night was magical! I would pay the same to see Tom Waits again — should he ever decide to come over.
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.)
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.
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.)
While 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.
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.
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.
Street art has become mainstream. Street artists are increasingly in demand as commercial artists and recording artists are turning to these readily identifiable painters for cover art for their recordings. In America, Jean-Michel Basquiat, Keith Haring and designed record covers in the eighties, and Shepard Fairey, Robert del Naja (aka 3D) and Banksy (the latter two in the UK) produced covers mainly from the nineties onwards.
Covers by Basquiat and Fairey‘s art covers are very collectible and many are currently very expensive as they were produced in limited editions. Vinyl covers with Banksy designs are also rare and command high prices. I was lucky enough to start collecting Banksy’s record cover art relatively early and have managed to collect what I consider to be a complete collection of his record cover art. Thierry Guetta–better known as Mr. Brainwash–is a more recent street artist to design record sleeves. So far I have only been able to identify three such covers; all for Madonna. He designed the cover for her 2009 compilation “Celebration” which was released on vinyl as a 4 LP set in a gatefold cover.
Record Label Side 1.
Record Label Side 2.
Record Label Side 3.
Record Label Side 4.
Record Label Side 5.
Record Label Side 6.
Record Label Side 7.
Record Label Side 8.
There is also a 12″ EP of “Celebration” remixes.
Then there are a variety of CD releases. The standard double CD uses the same Mr. Brainwash image as the LP set, but there is a slightly different (more anemic) variation also.
And the 12″ picture disc and CD singles hare the same artwork:
A couple of other records turned up when I searched http://www.discogs.com for other cover art by Mr. Brainwash and I fell for one that I thought probably was by him–Travis Barker‘s “Give the Drummer Some“:
Travis Barker’s “Give the Drummer Some” LP cover front.
Travis Barker’s “Give the Drummer Some” LP cover rear.
Unfortunately, this cover is NOT by Mr. Brainwash but is by Pushead (aka Brian Schroeder, who, according to Wikipedia, is a graphic designer and record label owner.) More of his designs may be seen here. Skulls seem to be his speciality!
Ebay is a remarkable research tool. I regularly do searches of various Ebay markets looking for records by artists I collect–and when I write “artists” I don’t mean the band or similar, I mean the graphic artist who designed the cover.
I am constantly on the lookout for new covers by the artist known as Banksy–the latest one I had found was the Boys in Blue single “Funk tha Police” from 2015. I found a Banksy pastiche by Junichi Masuda on his “Pokémon” test pressing and a limited edition copy of this cover a year or so ago. But nothing with a new Banksy design since 2013 whn a download by TerranceK used Banksy’s “Death of a Phone Booth” on this EP.
Anyway, a CD entitled “Skateboards” with Banksy’s “Insane Clown” cover image turned up a month or so ago. I had not heard of this CD before, despite it having been released in 2000, It was a promotional EP for Clown Skateboards, some of which used the Banksy image.
The CD contains two tracks each by Dynamic Duo (DJs Niall Dailly and Bryan Jones a.k.a. DJ Extra) and Nasty-P. I discovered that Dynamic Duo also released one of the tracks “Style by the Dozen” on a 12″, with the “Insane Clown” image on the label.
I enjoy visiting the A & D Gallery in Chiltern Street, London, on my regular visits to spend time with my aged mother. I enjoyed the banter with my friends, the late Daniel Brant and Helen Clarkson (who now runs the gallery). I learnt a whole lot about pop art, and in particular about Andy Warhol’s art, from these experts. Daniel had sold a couple of signed copies of the Rolling Stones’ “Love You Live” album in previous years and I had told him hat I would be interested in a copy should he ever find another. Three or four years ago he mailed me that he had included copies of “Sticky Fingers” and “Love You Live” in an auction and I was lucky to be able to buy them.
Late in 2018, I met John Peter Nilsson, from Moderna Museet, in Stockholm during the Warhol 1968 exhibition at the museum in Stockholm. I pointed out that one of the eight Andy Warhol designed record covers on display (by The East Village Other) was NOT designed or illustrated by Warhol. And I mentioned that I had a complete set of Warhol covers. John Peter suggested that, when the exhibition moves to Moderna in Malmö in March 2019, my collection would look great in the Malmö exhibition space so I agreed to lend my records to the exhibition.
Just prior to collecting the records I came across an autographed copy of Paul Anka’s 1976 album “The Painter” signed by both Andy Warhol and Paul Anka. Apparently, Warhol signed the cover outside The Factory in December 1986, just two moths before he died, and Paul Anka signed it later.
Most recently I found a copy of Billy Squier’s “Emotions in Motion” album signed by Andy Warhol. Unusually, this is an Italian pressing. The provenance is from a gallery in Rome that bought the album from Anita Pallenberg.
Apparently, this was signed in for Anita at The Factory in 1985. I’m a little suspicious, however.The signature soesn’t look 100% and I wonder how Anita Pallenberg happened to have her Italian copy of the album with her in New York… Perhaps I’m being too suspicious, though.
But the signed album any Warhol collector really wants is, of course, a copy of The Velvet Underground & Nico!
My friend and fellow collector of record cover art, Stefan Thull, decided in October to sell part of his amazing collection and among the records he was prepared to part with was his signed copy of Rats and Star’s “Soul Vacation” album that he sold to me.
I had heard of Robert del Naja in my research into the roots of Banksy‘s art and learnt that del Naja–alias 3D–was a leading figure in Bristolian street art long before Banksy started decorating Bristol’s streets. Banksy has acknowledged 3D as a major influence. I knew also that del Naja was a member of Massive Attack. Del Naja has even been suspected of actually being Banksy. despite Banksy‘s ex-agent Steve Lazarides stating that he had seen Banksy at a Massive Attack gig.
I got hold of Robert del Naja‘s book “3D and the Art of Massive Attack” last autumn and wrote a post about it last October. A couple of months ago I bought a copy of Massive Attack‘s “Heligoland”–the limited edition version from The Vinyl Factory, with its spangly cover.
I then saw a copy of The Vinyl Factory’s limited edition (1000 copies) of Massive Attack‘s “Atlas Air” 12″ offered together with a copy of Very Nearly Almost (VNA) magazine No. 26 which featured an article on 3D for the amazing sum of £300! And the VNA magazine was the regular version, not the limited edition one. I picked up a copy of VNA no. 26 for the princely sum of £15!
and decided that I would try to get the “Atlas Air” and “Splitting the Atom” 12″-ers too. I was lucky enough to find a seller in Germany who could supply both! They arrived a couple of days ago and I’m really pleased I got them. The cover art is magnificent.
The limited edition of “Atlas Air”. My copy is No. 085/1000.
The limited edition of “Splitting the Atom”. My copy is No. 576/1000.
I decided that I would buy the limited edition of “3D and the Art of Massive Attack“, too. Said and done! My copy was number 149/350 and includes a print by 3D (from a run of 1325 copies, an expanded version of the ordinary book called “Protection” and, not least a single sided 12″ entitled “Vermona“–which is only available in this box set.
The cover of the book of 3D‘s art and the print (on hardboard) and the “Vermona” single sided 12″ with 3D‘s etching on the reverse.
I’m waiting for the remastered reissue of “Mezzanine“, Massive Attack‘s magnificent 1998 album. A special 3 LP version with coloured vinyl will be released in late January 2019 to celebrate its 20th anniversary. The stag beetle cover photo is by Nick Knight and the remastered vinyl package will come in a heat-sensitive box with more photos by Knight and 3D.
I have already posted the several versions of “The Velvet Underground & Nico” album. I have fallen for the temptation to include albums with cover art that is a pastiche of Warhol’s banana design or designs that influenced Warhol’s designs.
I found six pastiches of the banana cover, including several with removable stickers in various designs.
1. Crue-L Grand Orchestra – Family – 12″ EP – MayDay MayDay Records – 1999.
2. Various Artists – The Velvet Underground & Nico – 12″ LP – Castle Face Records – 2012.
3. Fauré Quartet – Popsongs – 2 x 12″ LP – Deutsche Grammophon – 2009.
4. Bud Benderbe – Slice Slowly & See – 12″ LP – Boo-Hooray Records – 2013.
5. Abwärts – Sonderzug zur endstation – 7″ EP – Virgin – 1990.
6. All You Can Eat / Hickey – Banana Split – Split 7″ EP – Monitor Records – 1995.
The last two of these simply had a printed banana on the covers.
Another Warhol pastiche, this time with soup cans:
1. Mindswings – Spiritual High – 12″ EP – Arista – 1990.
And a cover obviously used by Andy as for the design of the “Progressive Piano” design:
1. Jan August – Plays Songs to Remember – 12″ LP – Mercury – 1955.
On the subject of pastiches, I also picked up a wonderful “Sgt Pepper” pastiche by Jun Fukamachi with cover painted by Fumio Tamabuchi:
1. Jun Fukamachi – Sgt. Pepper’s Lonely Hearts Club Band – 12″ LP – Toshiba – 1977.
A while ago I started searching for musicians among winners of the Tate Gallery’s Turner Prize and turned up an astonishing number of artists who were also musicians and had released records with their own art on the covers. In 2017 I could include record cover by two of them–Suzan Philipsz and Wolfgang Tillmans.
Susan Philipsz: Susan Philipsz – Ziggy Stardust – Limited edition Digipak CD (500 copies) Susan Philipsz – Stay With Me – Book / catalogue with CD Susan Philipsz – Lost in Space – Limited edition picture disc LP in box set (300 copies) Susan Philipsz – There Is Nothing Left Here – Limited edition LP
In February I had the good fortune to meet Susan Philipsz at the opening of her “Lost in Space” exhibition at the Bonnier Gallery in Stockholm. She kindly signed the copy of her “Ziggy Stardust” CD and the book/catalogue from her “Stay With Me” exhibition from Malmö’s Konsthall. There was a catalogue introducing the “Lost in Space” exhibition and a limited edition box set of 300 copies that includes a 12″ picture disc of the performance. However, the box set was not available until a couple of months after the opening, so I didn’t get that signed… After considerable searching, I found the catalogue and LP from Philipsz’s 2008 “There Is Nothing Left Here” exhibition at the Centro Galego de Arte Contemporaneo in San Sebastian de Compostela.
Susan Philipsz “Stay With Me” exhibition catalogue with CD.
Susan Philipsz’ “There Is Nothing Left Here” 2008 LP.
The picture disc LP and book of Susan Philipsz’ “Lost in Space” installation.
Wolfgang Tillmans was another Turner Prize winner who’s records I found:
1. Wolfgang Tillmans – Here We Are – 12″ EP – Fragile – 2016.
2. Wolfgang Tillmans – 2016–1986 EP – 12″ EP – Fragile – 2016.
3. Wolfgang Tillmans – Device Control – 12″ EP – Fragile – 2016.
The cover of Tillmans’ latest EP “Thats Desire” EP.
Tillmans’ “Device Control” EP cover.
Wolfgang Tillmans’ “2016-19862 EP cover.
There were diverse other covers: A limited edition LP by Gilbert & George, entitled “The Thoughts of Gilbert & George” released by MoMa:
A Record Store Day soundtrack double LP release called “Ciao! Manhattan” with a cover drawing of Edie Sedgwick:
Having lived in Luleå, in the north of Sweden for more years than I can remember, I am acquainted with Karin “Mamma” Andersson’s art. Mattias Alkberg, poet and rocker, used her art on a 7″ single and a limite edition 12″ EP and I discovered that Beck had used her paintings to illustrate three limited edition 12″ singles, available only through his website.
1. Beck – Gimme – 2 x 12″ EP – Fonograf records – 2013.
1. Beck – Defriended – 12″ EP – Fonograf records – 2013.
1. Beck – I Won’t Be Long – 12″ EP – Fonograf records – 2013.
Beck “Gimme”. Cover art by Karin “Mamma” Andersson.
Beck “Defriended”. Cover art by Karin “Mamma” Andersson.
Beck “I Won’t Be Long”. Cover art by Karin “Mamma” Andersson.
In my music festival days, I got to know singer Henrik Berggren, formerly front man of the now defunct Broder Daniel. Henrik released his first solo album “Wolf’s Heart” after many year’s absence from the music scene. The standard album was released on black vinyl, but six record stores each had limited editions of 300 copies on coloured vinyl. There were yellow, light blue, violet, red, clear and pink vinyl issues. Being totally obsessive I bought copies in each colour.
Henrik Berggren’s “Wolf’s Heart” album on black, violet, red and yellow vinyl.
The pink and light blue vinyl versions of Henrik Berggren’s “Wolf’s Heart” LP.
Well, that sums 2017 up. A record year and the last time I will be publishing a list like this, My collections are so near complete as I can make them. So I feel it’s time to stop. I will try to keep the collections up to date if, and when, any of the artists I collect release new cover art.
It has been my ambition to collect all record covers with Andy Warhol‘s art. Most of the seventies and eighties covers are relatively easy to find and shouldn’t cost the earth (an exception is Ultra Violet‘s eponymous LP from 1973), but the earlier ones, particularly the fifties covers have become increasingly expensive. And the original “Velvet Underground & Nico” (1967) along with many of it’s reissues are becoming increasingly expensive.
I have long searched for decent copies of Moondog‘s “The Story of Moondog“. While copies of the Moondog album do pop up relatively frequently on Ebay, most are in pretty poor condition with severely discoloured covers, but I had the great good fortune to find a near mint copy on Discogs which I bought as a Christmas present to myself.
The other major hole in my collection was John Wallowitch‘s second album for Serenus Records called “This Is (The Other Side of) John Wallowitch“. This album doesn’t come up for sale very often and bidding goes crazy on good copies. A reasonable copy popped up on Ebay in late January and despite having depleted my funds the previous month for the Moondog album, I managed to win it with a not too outrageous bid.
Front and rear covers of “This Is (The Other Side of) John Wallowitch”, 1965.
As can be seen, Wallowitch chose as the rear cover picture to reuse the “photo booth” photos taken by Warhol that were on the front cover of his previous Serenus Records release “This Is John Wallowitch“. It’s sort of ironic that the “Man of a Thousand Faces”, as stated on the front cover, is portrayed on the rear from the chin downwards, so one cannot see any of the thousand faces (actually, there are only 56 photos, or parts of photos on the cover, not thousands).
So now there are two of Warhol’s original covers and one bootleg that I need to complete my collection of Warhol’s record covers. These are the pink version of Prokofiev’s “Alexander Nevsky, Cantata Op 78” and the unobtainable “Night Beat” promotional box set that Guy Minnebach wrote about in his Andy Earhole blog (https://warholcoverart.com/2017/03/25/night-beat-rarest-of-the-rare/). Though I do have the facsimile box of the latter.
The remaining bootleg I am still looking for is the limited edition of Keith Richards‘ “Unknown Dreams” (Outsider Bird Records, OBR 93009).
As readers of this blog will know, I collect both Andy Warhol‘s and, not by any coincidence, Peter Blake‘s record cover art.. I would list these great Pop Artists as the equals–Warhol as an exponent of American Pop Art and Blake curiously English.
Andy Warhol died on 22nd February 1987, just 30 years ago. Art lovers, it seems, love and hate him in almost in equal measures. However, Warhol‘s art still causes excitement and discussion. Peter Blake‘s art continues to evolve, now in his 85th year.
In 2009 Sir Peter Blake produced a 355 x 355 mm (14 x 14 in) print of Andy Warhol in an edition of 25, complete with diamond dust. A new, larger (510 x 510 mm) edition 0f 75 was produced in 2016.
This would make a great addition to both my collections! I’m going to start saving up tomorrow.
I dedicate this post to the memory of Daniel Brant of the A and D Gallery, who died on 19th January 2017 and who gave me many insights into Andy Warhol‘s art and gave me the opportunity to meet Sir Peter Blake at the opening of the Gallery’s show Peter Blake‘s “I Love London” in 2010. I suppose it is also an homage to Andy Warhol and Peter Blake, too.