Andy Warhol and Silkscreens.

I’ve now read three Warhol biographies–well actually four: The first was the 1989 version of Victor Bockris’s Warhol biography entitled “The Life and Death of Andy Warhol”. Next I borrowed Bob Colacello’s “Holy Terror – Andy Warhol Close Up” (1990) from my local library and soon realised I needed my own reference copy. The third was Wayne Koestenbaum’s 2003 “Andy Warhol”. But then I read a review somewhere that told me that Bockris had updated and expanded his 1989 bio in 2003 for the 75th anniversary of Warhol’s birth and simply called it “Warhol”. So I invested in a copy and reread Bockris’s account.

There is no doubt that Bockris’s biography is the most detailed story of Warhol’s life and artistic development and I recommend the 2003 edition as the most detailed. Colacello’s book also tries to describe Warhol’s background and early years but its main interest is in the period from 1970 to 1981 when Colacello was Andy’s employee and confidante and hustler–constantly being nagged to convince potential customers to order Warhol to paint their portrait.  Koestenbaum’s, is the shortest of the biographies, and includes a description of Warhol’s early life, but I get the impression that he’s read Bockris. Koestenbaum is a fan of Warhol’s films and most of his book extols the virtues of sitting for hours watching them or re-watching them until one is hypnotised.

Bockris tells how Andy Warhol was introduced to silkscreening. Coincidentally, the day before I read Bockris’s account, I saw a BBC documentary on Robert Rauchenberg. I knew next to nothing about this other founding member of American Pop Art and realised I have really missed out on seeing his art. The only Rauchenberg work I know is “Monogram”–the stuffed goat with a tyre round its middle standing on a collage floor. I had no idea he was working with silkscreens before Warhol got the idea. I didn’t know either that he was gay and had had a relationship with Jasper Johns…

Warhol moved house many times in New York; first living in cockroach-infested, cold-water flats in various locations. In 1952 he rented a fourth floor flat at 242 Lexington Avenue and in the spring his mother, Julia, moved in with him as his housekeeper. They slept on mattresses on the floor of the single bedroom. then Andy rented the flat on the second floor of the building, above Shirley’s Pin-Up Bar night club, leaving Julia in the fourth floor flat. Andy was using his living room as his studio with the TV on and his stereo blaring the day’s pop record on repeat. He had hired his first assistant, Vito Giallo in 1954, introduced by Nathan Gluck, who the following year, would take over as Andy’s assistant.

Well, back to Warhol and silkscreens. Warhol always wanted to be accepted as a proper artist, but was generally regarded as a commercial artist and was having difficulty getting his art shown in galleries. He had approached Leo Castelli , who represented both Rauchenberg and Johns but had been rejected. Fast forward to 1962. Andy’s Cambell’s Soup Can paintings had aroused a lot of media attention, even before they had been shown in a gallery (in fact they were first shown in Los Angeles in July 1962).

Elinor Ward, owner of the Stable Gallery, who represented, among others, Cy Twombly and Robert Indiana, wanted to meet Andy. She was taken to his apartment by the art critic Emile de Antonio. Ward offered Andy a show in her gallery on one condition–according to Bockris, she took out her lucky two dollar bill, and waving it in Andy’s face, said that she’d give him a show if he painted the bill. All Andy replied was “Wow!”

Andy had painted Coke bottles and Campbell’s soup cans and was looking for a way to be able to reproduce images faster than painting them. So in July, as Andy was trying to find a way to reproduce a hundred dollar bills, Nathan Gluck suggested he use silkscreens.  He immediately revisited some of his earlier subjects, Elvis, Troy Donahue, Warren Beatty and Natalie Wood and made silkscreens with several images of his idols on each. Then, on 4th August 1962, the same day his Soup Can show closed in Los Angeles, Marilyn Monroe died. Andy immediately decided to paint a series of portraits of her, using Gene Korman’s photo of her from the film Niagara as his subject and over the following months he produced 23 portraits in various colour combinations. First he painted a coloured background, then he sketched an outline by projecting the image onto the background and painted in eye shadow and lipstick and then he silkscreened the black and white image onto the prepared canvas.

Thus was born Warhol’s modus operandi for the rest of his career. In the future, he would take a photograph (or he would find a stock photo) of the subject to be portraited. He would take the photo to a printer who would blow the photo up to the required size (usually 40 x 40 inches) and make an acetate from which a silkscreen was prepared and Andy–or rather some assistant, with or without his help–would make the final painting or print. In effect, Andy’s only contribution to the process was either taking or choosing the photograph used in the work.

Then–just as Rauchenberg, did–he would store the screens so that they could be re-used later. Andy did this in the eighties when he made a series of “reversal” paintings, re-using the Marilyn screens to make a series of negative portraits. Now, the fact that Andy kept old screens may shed light on another series of artworks, namely his 1963 “Giant Size $1.57 Each” record covers. He collaborated with Billy Klüver on producing the original edition of 75 signed an numbered copies on white record cover stock. There are four further series, each of 75 copies on spray painted record sleeves. The covers were sprayed in red, green, orange and yellow paint and then silkscreened with the “Giant Size” image. These were released for sale in 1971. It is my guess that it was probably Klüver’s idea to remake the series as he seems to have been responsible for selling at least some of them. It is thus completely possible that he–or Andy, or one of Andy’s assistants–made the second batch of covers using the original screen, particularly as these were often unsigned and unnumbered.

GiantSize_Screened_2
The five colour variations of the “Giant Size $1.57 Each” covers.
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Andy Warhol – The Artist Who Died Twice.

In a recent post I investigated Andy Warhol’s medical history, concentrating on the story of the heroic Dr Guiseppe Rossi’s lifesaving treatment of the seriously wounded Andy Warhol and on his gallbladder disease and final operation and his unnecessary death in 1987. Since that post, I have been researching Andy’s medical history in more depth using several biographical sources. Finding Andy’s medical history was relatively easy. Using several sources, probably every illness can be identified. However, none of the sources I have thus far read have even begun to discuss Andy’s mental health.

Reading Victor Bockris’s and Bob Colacello’s biographies gives some insights, but neither tries to discuss Andy’s psychological health. There are other books that do look at aspects of Warhol’s mental health. Claudia Kalb discusses Andy’s hoarding while Brian Dillon examines his hypochondria.

Reading Bockris’s and Collacello’s biographies one gets the feeling that Andy couldn’t have been a particularly ‘nice’ person. The biographies show that Andy was born in Pittsburgh in relative poverty. He was his parents’ third son, but the couple had had a daughter, born in Miková, then in the Austro-Hungarian empire, but now in Slovakia, near the Polish border. The girl died after only six weeks. Ondrej, Andy’s father (after whom he was named) was a hard worker and often had to travel away to work. So the three boys would be brought up mainly by their mother, Julia. The family was poor and Julia worked cleaning houses and making toys out of tin cans which she sold for 25 cents. Ondrej was thrifty and saved money to be able to send his youngest son to college. He hadn’t been able to afford to send his two elder sons — they started working early in life. Ondrej had recurrent jaundice that improved after his gallbladder was removed in 1939. However, his liver later began to fail and he was housebound for the last year of his life, dying in 1942 at the age of 55, when his son Andrew was only 14 year old.

Julia’s English wasn’t good. The family lived in cramped conditions and had a poor diet. Soups were often what they ate. Andy’s childhood illnesses made him closer to his mother. Remember, she had already lost her first born child. At the age of two, Andy had swollen inflamed eyes, which necessitated bathing them with boric acid solution. When he was four he fell and broke his arm. He didn’t tell his mother and it was several months before it was noted that his arm was crooked and he went to a doctor. It was necessary to re-break his arm to straighten it. In 1936, when Andy was six, he caught scarlet fever and developed Sydenham’s chorea, tremor and muscular weakness. He was confined to bed for several weeks and when he had apparently recovered he had a relapse and was again sent back to bed. A further consequence of the illness was that it left his skin blotchy and it would be a problem for him for the rest of his life. He also had problems with pimples and is nose was lumpy and ugly. He became very concerned about his appearance. And in addition, in his twenties, he began losing his hair and took to wearing wigs.

Andy began using various cosmetics to hide his blotchy skin and pimples and visited dermatologists at first searching for a cure, but later for collagen injections to fill out his sunken cheeks, the result of his inadequate diet because of his gallbladder disease. In the mid 1950s he had a procedure to sandpaper down his bulbous and swollen nose, but the treatment provided only a temporary result and he felt his nose was worse afterwards. He took courses of tetracycline for his pimples.

Warhol always maintained that he did not take drugs, though his associates witnessed him dipping his finger in cocaine and smearing it on his gums while saying the he didn’t take it. However, as part of weight loss treatment he was prescribed Obetrol®, a mixture of four amphetamine preparations (a 10 mg capsule contained 2.5 mg methamphetamine saccharate, 2.5 mg methamphetamine hydrochloride, 2.5 mg racemic amphetamine sulphate, 2.5 mg dextroamphetamine sulphate, while the 20 mg capsule contained twice the amount of each constituent). Andy would continue to take these capsules twice daily for the rest of his life.

Andy’s mental health:
Andy Warhol was inordinately attached to his mother, taking her to live with him in New York. He was homosexual but had difficulty in forming longterm relationships. He was vain and deeply insecure, always seeking approbation and affirmation. He had a twofold aim in life, to be the most famous artist of the twentieth century and to become very rich. He lacked empathy, discarding friends and associates, often delegating uncomfortable decisions to others. He was stingy and underpaid his Factory employees. He even failed to pay the $3,000 bill from the surgeon who, in 1968, saved his life after Andy was shot and seriously wounded. The bill was found when one of WArhol’s Time Capsules was opened almost 30 years after Warhol’s death. Warhol also suffered periods of depression. In summary, he appears to have been a classic case of Narcissistic Personality Disorder. The DSM-V states:

The most important characteristics of Narcissistic Personality Disorder (NPD) are grandiosity, seeking excessive admiration, and a lack of empathy. These identifying features can result in a negative impact on an individual’s interpersonal affairs and life general. In most cases, on the exterior, these patients act with an air of right and control, dismissing others, and frequently showcasing condescending or denigrating attitudes. Nevertheless, internally, these patients battle with strong feelings of low self esteem issues and inadequacy. Even though the typical NPD patient may achieve great achievements, ultimately their functioning in society can be affected as these characteristics interfere with both personal and professional relationships. A large part of this is as result of the NPD patient being incapable of receiving disapproval or rebuff of any kind, in addition to the fact that the NPD patient typically exhibits lack of empathy and overall disrespect for others.

But this isn’t really enough. Andy was a hoarder, another anxiety-based condition. DSM-V states that the symptoms of the hoarding disorder are:

  1. Persistent difficulty or parting with possessions, regardless of their actual value.
  2. This difficulty is due to a perceived need to save the items and to distress associated with discarding them.
  3. The difficulty discarding possessions results in the accumulation of possessions that congest and clutter active living areas and substantially compromises their intended use. If living areas are uncluttered, it is only because of the interventions of third parties (e.g. Family members, cleaners, authorities).
  4. The hoarding causes clinically significant distress or impairment in social, occupational or other important areas of functioning including ( including maintaining a safe environment for self and others).
  5. The hoarding is not attributable to another medical condition (eg., brain injury, cerebrovascular disease, Prader-Willis syndrome).
  6. The hoarding is not better explained by the symptoms of another mental disorder (eg. Obsessions in obsessive-compulsive disorder, delusions in schizophrenia or another psychotic disorder, cognitive deficits in major neurocognitive disorder, restricted interests in autism spectrum disorder).

The hoarder engages in excessive acquisition, buys items that are unnecessary and they do not have have space for. The hoarder may have good insight and realise that their hoarding is a problem or have poor insight and not recognise their behaviour is unhealthy.
According to (DSM-5) 80-90% of hoarders also engage in excessive shopping and buying unnecessary items.

This describes to a tee Warhol’s shopaholic behaviour. He threw nothing away. Quite apart from filling his house with about 100,000 items that, on his death, many were found not to have been removed from the packaging in which he took them home, he accumulated 610 boxes of “stuff” from his Factory studio that he called “Time Capsules”. These, now in the Warhol Museum, contain invoices, unread letters, used postage stamps, broken toys, gifts, records, decaying pizza slices, and much else.

I have a theory that many artists have a touch of obsessive compulsive related disorder (OCRD). But are OCRD and hoarding related? There are cardinal differences as explained by in a 2014 article:

The disorders in the OCRDs category have both similarities and differences. Although all the disorders in this category have intrusive thoughts, these obsessional thoughts manifest somewhat differently. Some disorders, such as obsessive-compulsive disorder (OCD) are characterized by classic obsessions. Obsessions are repetitive, unwanted, and intrusive thoughts that trigger anxiety. In other disorders, such as body dismorphic disorder (BDD) and hoarding disorder, the intrusive thoughts could be more aptly described as a persistent and unrelenting preoccupation. In the case of BDD, this preoccupation focuses on personal appearance and attractiveness. In the case of hoarding disorder, the preoccupation centers around possessions.

The intrusive thoughts of people with hoarding disorder are associated with their preoccupation regarding their possessions; specifically, parting with, or losing these possessions. Unlike spontaneous OCD obsessions, intrusive hoarding thoughts and resultant anxiety are not usually activated until faced with the prospect of losing or parting with possessions.

Andy’s preoccupation with his appearance–he always considered himself ugly–could perhaps be construed as a symptom of body dysmorphic disorder, BDD.

By all accounts Andy was not loved, more tolerated. There were, however, many sycophantic hangers on who wanted to share Warhol’s fame. His employees at the Factory called him “scrooge” because of his meanness. But Warhol was inordinately generous to people he wanted to impress, giving paintings and prints to potential clients or advertisers.

Over and above these personality disorders, Andy had several phobias. He was afraid of the dark from childhood. He was inordinately afraid if hospitals and doctors, despite having his own personal physician and regularly visiting dermatologists. It is unclear exactly when this fear of hospitals began; it could have been in his teens when his mother, Julia, was operated on for bowel cancer and ended up with a colostomy. Colacello states that it started n earnest after an operation in March 1969 to remove part of a bullet that remained in his body after he was shot by Valerie Solanas on June 3rd 1968. This inordinate fear was to cause him to delay having his gallbladder removed until his physical condition was poor. Unsurprisingly, Warhol became more paranoid after he was shot. Andy professed to a fear of flying. Early in his career choosing to cross America by car rather than fly. However, he seems to have overcome this later in his lie as he journeyed round the world to exhibitions.

I think we can conclude that Andy Warhol was a tortured soul. Biographical descriptions lead me to conclude that he probably suffered from at least three psychological disorders: narcissistic personality disorder, hoarding disorder and possible body dysmorphic disorder. However, his psychological deficiencies did not prevent him from producing amazing art that still influences twenty-first century art.

Sources:
Bockris, V. The Life and Death of Andy Warhol. 1989
Colacello, B. Holy Terror–Andy Warhol Close Up. HarperCollins, 1990.
Kolb, C. Andy Warhol Was a Hoarder- National Geographic, 2016.
Dillon, B. Tormented Hope: Nine Hypochondriac Lives. Penguin Ireland, 2009.

 

 

 

Liam Gallagher “As You Were”.

All collectors have a touch of obsessive compulsive disorder (OCD), or why would anyone want to collect 3,000 egg cups or 200 china elephants, stamps or, indeed, records? Well, I admit that I may have more than just a touch of OCD…

Last summer (2017) I heard that Liam Gallagher would be releasing his first solo album on 6th October 2017. I used to be an Oasis fan and had a really nice collection of Oasis stuff, including signed albums, rare promos and several other rarities. But they all went when I sold the bulk of my record & memorabilia collection. So–in theory–I wasn’t interested in a Liam Gallagher album. BUT. Unfortunately, I read the press release and saw that there would be a special limited edition, white vinyl LP that included a single-sided 7″ single and memorabilia, and–wait for it–an A5-sized Klaus Voormann portrait of Liam.

Now I was in torment. Did this qualify as a Klaus Voormann cover? Should it be included in my collection of Voormann covers and posters? After three months of agonising I decided I’d get the package and see.

So it arrived a couple of weeks ago.

As You Were-fr
The limited edition of “As You Were”.

Inside the front cover was the 7″ single in a non-removable pocket. and inside the back cover was the LP in a card cover equally stuck to the outer read cover. Opposite was a pocket containing the CD in a poster sleeve, some reproduction concert tickets, a page of Gallagher writings and the VOORMANN print.

As You Were-Voormann
Klaus Voormann’s portrait of Liam Gallagher.

The CD includes three bonus tracks not on the LP. The poster cover is nicely designed.

The inside of the CD cover shows 24 Polaroid photos that immediately reminded me of an Andy Warhol photo session.

The album hasn’t had particularly great reviews and I certainly hear shades of Oasis in the songs, but they don’t (yet) seem as memorable as Oasis’s early albums.

So I have added the portrait of Liam to my Klaus Voormann collection.

Additions to My record Cover Art Collection in 2017 – Part Three.

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.

fullsizeoutput_4ae8
The Cru-el Grand Orchestra’s 12″ single “Family” with its obviously Warhol-inspired banana ice lolly.
Castle Face-fr
Castle Face & Friends play the Velvet Underground & Nico album with David Shrigley’s cover art.
Bud Benderbe-fr
Bud Benderbe’s cover album.

Faure-Popsongs-fr

Banana Split-fr

Abwärts
Abwärts “Sonderzug zur endstation” 7″ single.

Another Warhol pastiche, this time with soup cans:
1. Mindswings – Spiritual High – 12″ EP – Arista – 1990.

Mindswings
Mindswings “Spiritual High” 12″ EP.

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.

Jan August
Jan August “Plays Songs to Remember” LP cover.

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.

JunFukamachi-Fr
The cover of Jun Fukamachi’s “Sgt. Pepper” album painted by Fumio Tamabuchi.

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.

ziggy-signed-cd
Susan Philipsz’ “Ziggy Stardust” CD autographed by her.

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.

There were diverse other covers: A limited edition LP by Gilbert & George, entitled “The Thoughts of Gilbert & George” released by MoMa:

gilbertgeorge-lp
“The Thoughts of Gilbert & George” LP cover.

A Record Store Day soundtrack double LP release called “Ciao! Manhattan” with a cover drawing of Edie Sedgwick:

Ciao Manhattan
Soundtrack LP “Edie Sedgwick: Ciao! Manhattan” has the same image as The Cult’s single “Ciao Edie”.

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.

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.

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.

Classic Record Cover Design – “Turn Back” and “Sleeps With the Fishes”.

I like graphic design and for me minimalism in expression and great typography make a record cover appeal to me. I regularly get asked which is my favourite record cover design. The question is really impossible  to answer–could it be “Sgt. Pepper’s Lonely Hearts Club Band”? “Revolver”? “Sticky Fingers”? Something by Vaughan Oliver or Peter Saville? Nope!

Despite collecting cover art by some great designers, there are a couple of covers that always excite me. The first is the late Tony Lane’s design for Toto’s 1981 album “Turn Back”. In my book, a contender for the greatest record cover design of all time!

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Tony Lane’s cover design for Toto’s “Turn Back” album.

Tony Lane (May 2, 1944–January 1, 2016) is one of record design’s masters, though generally unrecognised. Lane was responsible for revamping the graphic style of Rolling Stone magazine in the 1970s. He was recruited by Bob Cato and John Berg at Columbia Records and designed covers for a wide range of artists including Michael Jackson (“Bad”), Simon & Garfunkel (“Bridge Over Troubled Waters”), Barbra Streisand (“Greatest Hits, Volume 2”), among a host of others. But for me, his greatest moment was this Toto cover!

He even managed to convince Columbia records to move their Walking Eye logo from the top left corner of the cover (where it appeared on every Columbia LP that I have seen since the early sixties), banishing it to the bottom of the reverse.

Turn Back-bk
The rear cover of “Turn Back” with Columbia’s logo at bottom centre.

What more can I say other than the calligraphic design in all its simplicity really rocks!

Close to this, and almost equally exciting, is Chris Bigg’s cover for Pieter Nooten’s & Michael Brook’s “Sleeps With the Fishes” released by 4AD in 1987. For many years Chris Bigg was Vaughan Oliver’s partner in 4AD’s design team v23. His calligraphy was featured on several 4AD covers including the promotional double CD/book “Lilliput”. The “Sleeps With the Fishes” cover stimulates my fantasy and I see all sorts of figures in the calligraphy. I’ll also admit to having a particular liking for covers that use black/red/white colour combinations. They are always dramatic as these two examples show.

NootenBrookSleepswiththeFishes (kopia)
Pieter Nooten & Michael Brook – “Sleeps With the Fishes” cover design by V23 with calligraphy by Chris Bigg.

I used to have the poster for this cover on my office wall, so I could see it every day.

Additions to My record Cover Art Collection in 2017 – Part Two

I don’t suppose I’ll ever again be able to add as many covers to my collection as I did in 2017–partly because most of my collections are complete or very nearly so.

I added a few new areas of collection during 2016 and added new covers in these in 2017. I managed to find several new covers featuring Kate Moss and some Banksy covers. It was the 50th Anniversary of many important albums. I have already written about “The Velvet Underground & Nico” reissues. 2017 was also the 50th anniversary of “Sgt. Pepper’s Lonely Hearts Club Band” and there was a magnificent box set released to mark the occasion. I also found an interesting pastiche of the Blake / Haworth cover art by Jun Fukamachi. And, while on the subject of pastiches I collected several “Velvet Undergound & Nico” pastiches, too.

So, here’s a list of covers by other artists that came into my collection in 2017:
BANKSY:
Capoeira Twins – Four (4 x 3) / Truth Will Out” – Promotional 12″ single with hand sprayed cover.
Boys in Blue – Funk Tha Police” – 12″ limited edition single.
Skitz – Badmeaningood, Vol 1 – Digipak CD.
Roots Manuva – Badmeaningood, Vol 2 – Digipak CD.
Peanut Butter Wolf – Badmeaningood, Vol 3 – Digipak CD.
Scratch Perverts – Badmeaningood, Vol 4 – Digipak CD.
Monk & Canatella – Do Community Service – CD.

PETER BLAKE
The Beatles – Sgt.Pepper’s Lonely Hearts Club Band – 50th anniversary box set.
The Beatles – Sgt.Pepper’s Lonely Hearts Club Band (outtakes) – Bootleg gatefold LP
The Beatles – Sgt.Pepper’s Lonely Hearts Club Band – Japanese origami stage set.

Sgt.Pepper’s Lonely Hearts Club Band – Pastiche
Jun Fukamachi – The Beatles – Sgt.Pepper’s Lonely Hearts Club Band – 12″ LP.

Gilbert & George.
Gilbert & George – The Thoughts of Gilbert & George – Limited edition 12″ LP.

Karin “Mamma” Andersson:
Beck – I Won’t Be Long – 12″ single.
Beck – Defriended – 12″ single.
Beck – Gimme” – Double 12″ single.

Kate Moss:
6majik9 – Kate Moss – Hand painted CD cover.
Babyshambles – Shotter’s Nation – 2×12″ LP.
Bryan Ferry – Alphaville / Me Oh My – Limited edition 12″ single.
Bryan Ferry – You Can Dance – Limited edition 12″ single.
Bryan Ferry – Alphaville (Remixes) – Limited edition 12″ single.
Bryan Ferry – Olympia – Limited edition, autographed, 2 CD + DVD and book.
Bryan Ferry – Olympia Remixes – Digital file.
Bryan Ferry – Heartache by Numbers – Promotional CD single.
Primal Scream & Kate Moss  – Some Velvet Morning – 12″ maxi single.
Primal Scream & Kate Moss  – Some Velvet Morning (Luke Fair Remix) – 12″ single.
Vomit – Kate Moss – 7″ EP.

BANKSY:
I had an almost complete collection of covers  on both vinyl and CD with Banksy art and was just missing the elusive Capoeira Twins’ “Four (4 x 3) / Truth Will Out” promotional single with the hand sprayed cover. None (apart from a couple sold by art galleries) seemed to have been sold for several years but suddenly there appeared a spate of them on Ebay in the latter half of 2017. I managed to get one of them, though unfortunately not the cheapest. And just as I was congratulating myself on completing my collection, a new Banksy cover appeared by a band I have never heard of called Boys in Blue. This was said to be a limited edition of 100 copies featuring Banksy’s “Rude Copper” on the cover. I snapped up a couple of copies!

I also added some CDs–the four “Badmeaningood” series in Digipak covers and a second copy of Monk & Canatella’s “Do Community Service” that came in a batch of 23 CDs that I bought for £3 plus £7 shipping!

PETER BLAKE:
2017 was not a good year for Peter Blake’s record cover art as no new covers appeared. It was partially saved by the 50th anniversary of “Sgt. Pepper’s Lonely Hearts Club Band” and Apple released a generous 4CD box set with a hardcover book and posters to celebrate. The box had a lenticuar reproduction of the original Blake / Haworth cover art. Though initially I thought I didn’t need this in my collection, I finally succumbed and bought a copy only to be pleased to find that each CD had a different version of the original cover art photo session.

Sgt Pepper box
The Beatles “Sgt. Pepper’s Lonely Hearts Club Band” 50th anniversary box set.

The Japanese version of the 50th anniversary box set included an insert which the handier collectors could cut out and assemble into a montage of the Pepper band in a stage-like frame. I found one of these cut outs at a record fair and could buy it to add to my UK box set.

“Sgt. Pepper’s Lonely Hearts Club Band” – Pastiche:
The Japanese composer Jun Fukamachi released an album called “Sgt. Pepper’s Lonely Hearts Club Band” in 1977. The cover was painted by Fumio Tamabuchi showed the Pepper scene with backs turned to the viewer.

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The cover of Jun Fukamachi’s “Sgt. Pepper” album painted by Fumio Tamabuchi.

Additions to my collection of covers featuring Kate Moss:
As I already had covers by Damien Hirst and Banksy that featured Kate Moss I thought it would be fun to collect all the covers I could find that she appeared on. I turned up ten more in 2017:
The most interesting were the limited edition 12″ Bryan Ferry singles released by The Vinyl Factory in 2010-2011 with tracks taken from Ferry’s 2010 “Olympia” album. There were seven singles released from “Olympia” but only six made it onto Vinyl Factory 12″-ers. “Heartache By Numbers” was the exception and apparently only released as a promotional CD single in The Netherlands.

There was a hand painted CD entlitled “Kate Moss” by the band 6majik9 that was only made in an edition of 100 copies that I was luck to find on Discogs:

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2007 6majik9 “Kate Moss” CD-r with handmade cover. Music Your Mind Will Love You.

And a 7″ EP by the American grunge/punk band Vomit also called “Kate Moss” that had a fold-out sleeve with about thirteen Kate Mosses all told.

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The gatefold cover of Vomit’s 7″ single Kate Moss with at least thirteen portraits of Kate.

Kate Moss was for a while involved with Babyshambles singer Pete Doherty and she appeared on a few of the band’s tracks. Sje appears in person on the cover of the Band’s “Shotter’s Nation” album:

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2007 Babyshambles “Shotter’s Nation” Parlophone LP.

Kate was also in a duet with Primal Scream on the classic Lee Hazlewood song “Some Velvet Morning” and this was released as a 12″ single and a Luke Fair remix was also released in a black dye-cut sleeve. Some copies, however, had photos of Kate taken by Kate Garner in 1992.

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2003 – Primal Scream & Kate Moss “Some Velvet Morning”, Columbia 12″.


So, quite a number of interesting additions thus far.

In Part Three, I’ll list the remainder.

Additions to My Collection of Andy Warhol’s Record Cover Art–A Review of 2017, Part One.

2017 was one of my best for I don’t know how long–probably since the mid 2000s when I really started to seriously collect Andy Warhol’s record cover art and it saw the 50th Anniversary of the release of many albums that helped form my musical tastes, including “The Velvet Underground & Nico”–an album I still listen to as often as I do to The Who’s “Who’s Next” or Led Zepellin “II” or “Electric Ladyland”.

There were 16 separate titles added to my Warhol cover collection in 2017:
Miguel Bosé – Made in Spain promotional folder – LP, 12″ and 7″ singles + booklet
Latin Rhythms by The Boston Pops – 7″ single.
Aretha Franklin – Aretha – Original CD from 1986.
I’m Talking – Lead the Way – 7″ and 12″ singles.
Moondog – The Story of Moon Dog – Original Prestige LP.
Sergei Prokofiev – Alexander Nevsky – Two copies: Original 1949 turquoise cover and re-issue green cover.
Rolling Stones – Live in Laxington – Bootleg LP.
Rolling Stones – Sticky Fingers (outtakes) with David Mongomery’s photo.
Diana Ross – So Close – 7″ single in calendar cover.
Diana Ross – Who – 7″ single.
Skyline – Skyline – 12″ bootleg EP – Original on Four Stars Records label.
Skyline – Skyline – 12″ bootleg EP – 2016 Reissue on Paint Noise Productions label.
Velvet Underground & Nico – 12″ LP with artist’s name and record title on cover.
Velvet Underground & Nico – 50th Anniversary black vinyl LP (2 copies)
Velvet Underground & Nico – 50th Anniversary pink vinyl LP
John Wallowitch – This Is the Other Side of John Wallowitch – 12″ LP

Perhaps the most important additions to my Warhol cover collection were the Moondog and John Wallowitch albums, particularly as most copies of the former that I have seen come up for sale have been badly yellowed or in otherwise poor condition. My copy is superbly near mint! John Wallowitch’s second album on the Serenus Records label is considerably rarer than his first and I was lucky to find a good copy.

The find that probably excited me most, however, was the Spanish promotional package for Miguel Bosé’s 1983 “Made in Spain” album, which came in a maroon folder and should have included the full album the 12″ and 7″ white label versions of the “Fuego” single as well as a booklet with a fold out poster of Warhol’s cover portrait of Bosé. Mt copy of the package, though, didn’t include the two singles, but they were relatively easy to findon Discogs, so I could completee the package.

Two “new” Warhol covers were discovered in 2017 . Warhol collector Kevin Kinney found the “Lead the Way” single by Australian group I’m Talking, which used a detail from Warhol’s “Marilyn’s Lips” print as its cover art. The single was released as a 7″ single and as a limited edition 12″.

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I’m Talking’s “Lead the Way” 7″ single cover.

I found the second “new” Warhol cover in the catalogue of the “Adman – Warhol Before Pop” exhibition held in Melbourne in 2016. The catalogue had a picture of a print that I immediately recognised as a slick for a box set of 7″ EPs similar to the “Night Beat” set. I immediately set about making a replica box similar to the one I made for the “Night Beat” set.

Another cover I had had trouble finding was the “Skyline” album with the portrait of Suzanne de Maria taken from one of Warhol’s screen tests. Early in the year I saw a copy on Ebay which I managed to win only to find that it wasn’t the 1978 original but a 180g reissue, supposedly limited to fifty copies that included a photo of Suzanne de Maria numbered 49/50. The record was released on the Paint Noise Productions label, not the Four Stars label and the rear cover stated that the cover photo was by “A. Warhol”, the original 1978 album did not have this credit. Later I got hold of a copy of the original 1978 version and a comparison showed the cover photos to be very different. The original version had a clear picture of de Maria, while the reissue was fuzzy.

The covers are almost two separate versions of the image.

And as if the Skyline albums weren’t nerdy enough, there were a couple of even nerdier additions to my collection: The original cover for “Latin Rhythms by The Boston Pops” EP as well as a second copy of Warhol’s design–one that without the A Hi-Fidelity Recording” text under the RCA logo on the front cover.

I have reserved the final section to the 50th Anniversary reissues of “The Velvet Underground & Nico” album. I already had the 45th Anniversary LP and 6 CD sets and wondered when they came out why Universal Music had released them with the 50th anniversary so near. Obviously, to sell more copies–so I wasn’t too surprised to read that they would also release 50th Anniversary versions, too. I heard that there eas a very limited pink vinyl version as well as the standard the black vinyl version. I found two copies of the latter at HMV on Oxford Street but they had never heard of the pink vinyl version. It took a while to find a copy but that was added to my collection.
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I had also decided to collect other cover designs for the album and bought an eighties reissue with the artist and title on the front cover to add to my collection as well as a bootleg of the Norman Dolph Scepter Studios acetate

I hope 2018 will allow me to find copies of the only two LPs with Warhol covers that I still need to complete my collection:
Keith Richards’s – Unknown Dreams – LP with Warhol’s Mercedes drawing,
Prokofiev’s – Alexander Nevsky – LP wit the pink variation of the cover.

In following posts I will list additions to my other collections: Banksy covers, Kate Moss covers, and newer collections including Karin “Mamma” Anderson, Suzan Philipsz, Wolfgang Tillmans, Jeff Koons, Klaus Voormann and Peter Blake as well as pastiches of “The VelvetUnderground & Nico” and “Sgt Pepper’s Lonely Hearts Club Band” covers.

Wishing you a very Happy and successful 2018. See you next time!

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Record sleeve art by artists I collect