Cock No. 7 #7 The Vinyl Issue

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Thanks for taking the time to check out Cock No. 7. If this is the first issue you see of our magazine-we hope you’ll enjoy it and come back for more. If you’ve been with us since the beginning, our many thanks for staying connected, watching us grow, and helping us get to our 7th Issue! Like they say, make new friends and keep the old, and in the spirit of all things vintage with an enduring quality we present to you our Vinyl Issue.

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ISSUE #7 Editor: Angel Ito Asst. Editor: Cookie St. James Music Compilation Producer: Ash Dutch Issue developed in conjuction with Spencer Drate & Judith Salavetz Cover Design: A. Ito Published by RawKiss Inc. In partnership with RawKiss Records

SUMMER 2012 Contact: Post: 1 Oval House, Rushcroft Rd. London, U.K. SW2 1JU For General Enquiries and Submissions: Email; Website: Follow us Facebook:

Other Links:

Online publisher: Blog: Youtube: CockNo7Television

CONTRIBUTORS SPENCER DRATE JUDITH SALAVETZ JEFF KLEINSMITH BRUCE LICHER BILLIE DAVIS CARL MORRIS LO17 ART COLLECTIVE JAKE BLACK ANTHONY MOORE MATT MURRAY XANY RUDOFF AMARPAL BIRING NOAM PIPER MARK BRENNAN DARIAN PARKER A very special thanks to the amazing design duo of Drate & Salavetz who helped us develop the issue and added their invaluable expertize on all things vinyl. Check out their retrospective and fantastic book, Five Hundred 45’s-reviewed in this issue.



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Blacker Dread 100



The Value of Vinyl



20 The Modern Collector 48 50 112 84




54 114 178 56 34 Celebrities & Their Vinyl




184 158 2 2 4

199 208




AGONY AUNT Disgrace Jones





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Some say its making a comeback-some say it never left us, while others don’t seem to have any idea what we are talking about, but if you were born before 1994 you probably have an idea. We’re talking about vinyl.

For Cock No. 7’s 7th Issue we have worked tirelessly trying to bring together a sampling of all things vinyl and introduce it to a new audience and to celebrate the people who have kept it close to their hearts. First off-let me apologize for the lateness of this issue. When Spencer Drate first approached me and suggested we take on Vinyl for our next issue I had no idea what I was letting myself into. Trying to form a single issue around all things vinyl is like trying to count the stars in the sky. Seriously!? I have to admit I went a bit crazy. Vinyl is Massive. I mean where do you begin? While I am the first to admit-I knew hardly anything about vinyl-I considered it a fresh challenge to learn more, and figure out what all the fuss about the format was about. I decided to attack it as if I was budding enthusiast (which I am), and got stuck in. I guess, in my own way I wanted to prove-that if I could fall in love with vinyl culture even now in our modern day fast paced tech world-then it was still a format worth fighting for. All I can say is that after months of putting this issue together, listening to

countless hours of vinyl, hanging out in record shops, getting lost in record sleeves, pouring through liner notes, and absorbing incredible retrospectives-I have found that it doesn’t take much for one to fall in love with vinyl.


There’s a reason vinyl isn’t going anywhere-quite simply it rocks. The sound, the culture, the art, the depth, the physicality, the mystery, the fragility, the etched time and space, the beauty to be replayed. We hope you enjoy our issue!


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Marilyn Monroe




From the original blonde bombshell Marilyn Monroe to Blondie, it seems that to be an enduring and infamous cool kid means that a love of vinyl is a basic requirement. And, As if the Vinyl Lovers Movement needed any more endorsement, here are some shots of icons of music and screen with their beloved vinyls. Beautiful portraits though they are, they also offer a reminder that we not should be so quick to dismiss the format that was often the principal means these artists had for capturing their sound and sharing it with the world. And they not only seemed to use the format but had an appreciation for it that Elvis Presley will never go out of style.

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Serge Gainsbourg

Audrey Hepburn

John Lennon

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Jimi Hendrix

Brian Wilson

Marc Bolan

Debbie Harry


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The Value of Vinyl While we are well aware-that to many col-

lectors the value of their vinyl is actually in the sound and music, or the memories and nostalgic attachments and not in its fetching price. Many people are digging out their collections and appraising them, in the wake of a vinyl trading boom made easier by the internet. If you’d like to try your hand at the buying and selling game and maybe cash in on a few records you are ready to part with-

Here are a few things to remember.



Condition is everything to a collector looking for near-perfect copies of favorite records. Records in “mint” or “near-mint” condition are the strongest sellers. These grades are reserved for old records that look--and sound--as they did upon release. Unless a record happens to be extremely rare, collectors suggest that it’s not worthwhile to sell releases graded below “EX” or “excellent,” since their value drops off considerably. For example, records graded as “P” or “poor” earn just 10 percent of their original cover price.


Simply stated, an old record’s price boils down to what someone will pay for it. However, scarcity often trumps age in the marketplace. Records issued in large quantities that remain readily available--such as 1950s-era Elvis Presley singles--carry lower values. Conversely, rhythm ‘n’ blues, doo-wop and teen pop albums released during the ‘50s are more collectible, because they appeared on obscure labels, and sold 10,000 or fewer copies.

Historical Interest

Filling in the blanks of specific historical eras--such as post-World War II rockabilly, or unheralded ‘60s-era Records that retain their original packaging carry a girl groups--naturally prompts collectors to prize cerhigher market value. Keeping all original packagtain records above others. For those reasons, rhythm ‘n’ ing and related items cannot be emphasized enough. blues rockabilly records issued from 1948 to 1963 often Albums without covers have no value whatsoever. command the highest prices. Records by certain artistsMany ‘60s-era EPs were also issued in distinctive -such as Kiss or the Rolling Stones--also sell well, heavy cardboard covers that now fetch about $1,000. because of their fans’ desire to own every release associWithout them, the value is greatly diminished. This ated with them. rule also holds true for singles issued with original picture sleeve artwork.



Sometimes its easy to forget that most music usually comes with art these days, as our tunes shuffle around in our MP3 playlists. But if you look there is a whole world of weird and wonderful music inspired art that in many ways complete the package or vision. From iconic to kooky, vinyl sleeves are the best by far to get the best look and feel.

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The Modern Collector Collectors of vinyl records range from audiophiles to geeks and everything in between. Japanese businessman are into it as much as face pierced and colorfully tattooed punks.

By Anthony Moore They may wander around in the shadows, dodging shopping centres it in their hands up to the sky, and squandering away their time in falling on their knees and shoutthrift stores and weekend flea mar- ing… “THERE IS A GOD!” kets, they may wear shirts with band They’re the one’s I love. Have you ever been there? Your names you’ve never heard of and flinch at the sound of Glee murder- favourite band that no one else quite understands… you know ing another classic but treat them that their 8th single was only well and they wont turn on you. released on 7” and the first 22 They’re obsessive vinyl collectors… were in yellow though you’ve You hear about the Hendrix and Dylan obsessed that ritualistically buy every copy of the thousands of bootlegs available… some are seemingly mad beyond comprehension though they will never be able to buy everything ever released as the releases never stop. Therefore they will always find something from somewhere. What about those bands that the general populous don’t know so well, maybe the band is more underground, their sound wasn’t “commercial” enough for the masses. What about those collectors that seek out releases for years on end to finally hold

never heard of anyone ever seeing one. You know it exists and will search until the end of time to find it… you’ll sell a kidney, your grandmother and the account number to your parent’s retirement fund. It doesn’t matter, it has no worth, it is priceless… Keep up to date with Anthony Moore’s kick ass musical musings and escapades on his blog: Something Sweet To Throw Away... http://somethingsweettothrowaway.

Vinyl has gotten to the point where it’s exclusively for the collector, I guess.

Joshua Homme (But it doesn’t have to be.)

Getting kids to enjoy vinyl while they are young can instill a lifelong appreciation. Buy a kid a record today!

(Insert Your Face Here) Once you get into the groove-this could be you!

Jake Travis from Out on the Floor Records, in Camden, London snapped this Roy Ayers collector. “Not your average West Ham fan...he spent £60 as new mate.”

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Explosions In The Sky – Take Care, Take Care, Take Care Double 12” Etched LP. 2011 Temporary Residence Limited. (side 4 has etched image)

Propaganda – p:Machinery / Frozen Faces. 12” single. 1985 ZTT Records. Cola coloured!

Hard-Ons – Live At The Annandale. 12” LP. 2011 WeEmptyRooms. Signed Test Pressing #4 of 5.

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Check your answers on page 231.)

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Pictured: Victory Artist: Victory Art Direction/Design: Drate & Salavetz Photography:Geoffrey Thomas Label: CBS Inc. Year:1985

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VINYL DESIGNERS Drate & Salavetz Bio:

Spencer Drate and Judith Salavetz award winning creative directors/designers, authors, curators, media writers Art Reps and Packagers specializing in music design,branding and pop-culture books.. Their music design has been in MOMA, Brooklyn Museum, Cooper Hewitt Museum and various historic art galleries. Spencer was nominated for a Grammy in album packaging in 1979 for “Talking Heads-Fear of Music”, and was a 4 time Grammy judge (1989-1992) on music packaging,. He also and authored the first visual history book on the 7” Record Sleeve “45 RPM” in 2002. Both have designed for 12 musicians in the Rock n’ Roll Hall of Fame and many more who deserve to be photo by Greisha Fathoulin included The likes of U2, Lou Reed, The Velvet Underground, Anthrax, Joan Jett, Ramones, TalkFew people have demonstrated a love and ing Heads, Bon Jovi, Billy Squier, Paul McCartney, passion for the art and sound of vinyl like the Joseph Arthur, John Lennon, Leonard Cohen, The incredible New York design duo of Drate and Fabulous Thunderbirds, etc. Salavetz. Not only have they designed a string Spencer was the first album cover designer to be of successful vinyl sleeves for music icons, they interviewed on MTV/VH1. Both designers have have also designed and written books on the been profiled in major media as well as numerous subject. They have also taken a certain charge in designs and music books. Both are the recipients of many album-packaging awards and have judged flying the banner high for all the desginers who album designs for numerous organizations in the have inspired and continue to inspire them and music packaging industry. Drate is a member of the who made us fall in love with the format. And Grammy Award Committee for record design. they even helped us in putting together our ViJudith and Spencer met in the early 80’s and nyl Issue. If you’re looking for designers with worked on their first project together-the famous Rock and Roll in their soul-it’s got to be Drate & “MARSHALL CRENSHAW:” LP Cover, which won numerous design awards. From that point on, Salavetz. their graphic aesthetics complemented each other. Spencer Drate and Judith Salavetz are authors/packagers of 21 Again, a natural course deciding to work together, mostly pop-culture books-their newest “FIVE HUNDRED 45s”Collins Design-is the first book on the visual history of the 45 record as design team. This year marks their 30th year cover sleeve. designing together.


Being such diverse creatives-what is it about designing for music that’s always held your attention? Spencer: My mother was a singer and my father was an artist-it made sense to become a music designer. Judith: I was an art major with an emphasis on graphics- it was only natural to be a music designer, because of my love for music. I enjoy Rock n’ Roll, Jazz, Folk, Blues, an eclectic mix. In fact, our first published book together was titled”DESIGNING FOR MUSIC” When did you realize that you were designing for icons? We did not realize we were designing for Icons until later in our careers. In the beginnings of our career working together, many of the musicians we designed for were in the beginnings of their careers. Examples: -Talking Heads, Ramones, Bon Jovi to name just a few. When does what is essentially ‘Package Design’ become an art form? The term “art form” is strictly subjective. It is the viewer that defines it. As trained artists taking into consideration the vision each individual musician wants to express, we combine our aesthetics with their vision. Many times musicians rely and trust our aesthetics giving us free reign to be as creative as we want.

Is there anyone current that you feel is a taking the art form to another level? We feel Stefan Sagmeister is what we call “a visionary designer” in this field. Many indie musicians are designing their own 45 sleeves with interesting art representing the times, art, and the music!!!

How important is the music to the creative process? Do you have to love it? We were fortunate enough to work with musicians whose work we loved-this made it easier for us. Many times we would seek out musicians whose music we respected and loved for exampleJoan Jett and Joseph Arthur. Is concept important? Concept is always important to us. It is the vehicle of creation. We are proud to be the recipients of numerous design awards where concept played important role.

(Stefan Sagmeister is a New York based designer, born in Austria in 1962. He has designed The Rolling Stones’ “Bridges To Babylon”, Aerosmith’s “Nine Lives” and The Talking Heads’ box Set “Once in a Lifetime”. He has also designed graphics and packaging for other clients such as HBO and TimeWarner. He has also won a Grammy award for art directing.)

Can you tell us of a particularly challenging design project? Particularly challenging: “The Fabulous Thunderbirds-Tuff Enuff” Album Cover Story-the record company wanted a photo of the group on the front coverJimmy Vaughn happened to give us native American art perfect for the LP cover-We were determined to use this art as front cover and had many disagreements with the record company about this. We were very lucky to win out using the exceptional Native American art as the front cover.

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Do you look back on some covers you have done and think about how you could have done it better or differently? NO, we are happy about all our past covers-we were fortunate to work with elements we liked. We were independent designers not working in any commercial record company thus we were not compromised by the powers that be!! Do you share a favorite record sleeve? We are not able to favor one-there are so many great record sleeves we love. If we had our arms twisted to pick, we would both choose “Led Zeppelin’s-Physical Graffiti “-a special die cut album cover winning a Grammy for best album packaging in 1975. (pictured below) We also think our 1985 cover “Victory” (close friends of the popular 80’s band Scorpions), is out-

standing in every way. The record company was hesitant in releasing this LP because of the hard core front cover visual, but conceded in the end. What do you think makes a record sleeve ‘Iconic’? When you have all the right design elements it becomes iconic-for example “Fear of Music-Talking Heads”-LP Cover-Grammy nominated for best album packaging, Just as important is the popularity of the music/musician. As the relationship between music and art seems to be growing apart with the rise of the MP3-How important is to you that the Vinyl Record and Sleeve stays alive as a music delivery format and why? We feel music lovers around the world are missing out on the visuals that are usually connected with the sound-this enhances the experience of listening to the music. (And) We prefer the sound coming out of a vinyl recording. Many musicians have found this to be true and in addition to producing CD’s of new packages, they will many times produce a limited number of vinyl for promotion...both 7” and 12”. We as designers now have that large real estate to design on!! We love it! And know it will always stay!!

You both and many of the contributors in your book are part of very special group of musicians and artists who have steered the relationship between music and art-Any advice for young designers thinking of following in your footsteps? “LISTEN TO THE MUSIC.” Do your art every day, and pick a great art/design school. (Spencer) had Yale Design Instructors-The Best! (Judith) went to School of Visual Arts-NYC. How big is your personal collection of vinyl? Do you have any you consider precious? We both have a vast 12” and 7” collection--full of great and precious vinyls. Different people consider different albums and 45’s as “precious”. The basis for some is monetary value, while for others, it is the art on the cover, or the music itself!!! We fall into all three categories. You have both have had illustrious careers working with some amazing and influential artists and musicians-Is there anyone current you’d like to design for today? Any Past sleeves you’d have liked to have designed? (Spencer) I would like to design today for Dave Grohl and Jack White, I love their music. In the

past I missed designing for THE ROLLING STONES and Led ZEPPELIN-Iconic! (Judith) I would have loved to design for Bob Dylan, Pink Floyd, Love, Hendrix and of course the Stones. Today I would love to design for Mick Jagger, Foo Fighters, Bob Dylan, and James Taylor. I would also love it if we were given the opportunity to create a special package for Madonna. She likes going out on a limb in every way taking chancesso we could come up with something unique and mind blowing for her!!!

of brain implants with the ability to connect to live music and produce sounds at their highest most precise levels??!!). Who would have thought vinyl would make a return! You art rep and have a special relationship with musician and modern Renaissance man Joseph Arthur, who we are also featuring in this issue; can you explain why he has captured your attention? A visionary musician-we love his words, music and art-a GENIUS AT WORK! Recently on David Letterman (an evening variety talk show in NYC) for the 5th time. His art As you know with the advent of the and music intertwine-he will actuI.T. generation and digital softally paint on the stage while singing ware, art schools around the world a song! He paints on refrigerators, are churning out designers of all aluminum cans, women’s nude abilities by the day-As established bodies-what ever is available!! We artists and even a Grammy judge on love his creativity, his words, his design- In your opinion what makes music his art that grows and changes one stand out from the rest? constantly. A great design mindset that thinks “Out of the Box”-a visionary! You’ve seen the rise and fall in popularity of vinyl over the yearsDo you see a secure future in the format? Vinyl is in now and it is a hot topicsurprisingly musicians and music listeners both agree-the sound is so much superior to CDs or mp3s-but who knows for the future (maybe we will be able to have some sort

Many famous musicians follow and respect his musicianship such as Bono, Coldplay, Lou Reed, Michael Stipe, and many more. (Spencer) Your early sleeve designs for Sire Records, now quite iconic-seemed the perfect marriage of your talents with the vision of a music labelThis was the big step for my design career- designing for “The Punk Label” in the USA! Seymour Stein and the art director loved my work as did their musiciansso I was given the job of in house designer for such groups as Ramones, Talking Heads, The Pretenders, Deadboys, Lou Reed, The Velvet Underground. Many of these musicians later became music icons! Judith and I went on to design for many more because the door was now open. The Beach Boys, Joan Jett, Bon Jovi…….. Pictured: Michael Stipe, Joseph Arthur, Spencer Drate, and Judith Salavetz at one of Arthur’s openings.

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With different peoples tastes being so subjective and varied what in your opinion is the winning formula for an effective sleeve? Having all the right design elements whatever the project. The blending of fonts with visuals and packaging reflecting the music, the mood, the musician and sometimes none of these. If at all possible, the right chemistry between musician and designer can also play a significant role. As designers having worked with so many different types of musicians, managers, and producers (not to sound conceited)-WE JUST KNOW SOMEHOW WHEN SOMETHING SPEAKS TO US!!! You both have been interviewed many times about your design and even written a definitive book on the 45’s impact, based on a body of work anyone would be proud to call their own-It seems to demonstrate a deep love of the format-can you explain why you stand by and love the 45? We are quite well known in the world of album cover design, having designed for many popular, accomplished musicians, and winning many design awards, so people are interested in our story, our reasons why and how??? It is not just the 7” we love so well, but also the 12”as well. There is so much more room for our art, our vi-

sion as well as the musician’s vision! So much room to play with!!! Many books have been published on the subject of the 12”. But we could not find anything significant on the 45. As designers for music, we felt here was not only a need but also an obligation on our part to create one. What would you tell the MP3 generation to sell them on Vinyl “THE SOUND BATTLE” Vinyl has great sound quality-Listen to the vinyl! The next best thing to being at a live concert! You will notice many new music groups playing at “South By Southwest” (Annual Music Festival in Austin, Texas) produce either 45s or 12” of their music because of the superior sound quality.

Book Review: “FIVE HUNDRED 45’s”

the seven-inch record sleeve as a canvas, a place to experiment visually and to express the aesthetics and sentiments of the times. In FIVE HUNDRED 45’s A Graphic History of the Seven-Inch Record Spencer Drate and Judith Salavetz have created an amazing anthology of more than 500 examples of great record sleeve design. Organized thematically, with graphically compelling pairings on every spread, this book covers every genre of music and great musician from 1950-2000, from the swing of Frank Sinatra to the early rock of Elvis Presley, from Bruce Springsteen to Blondie, from the Pretenders to Nirvana. Music fans, graphic designers, and pop culture enthusiasts will be inspired and impressed by this visually rich, diverse collection and consider it a must for their libraries.

This Vinyl Bible is a masterpiece. A 480 page journey for the 45 record enthusiast. If your not a 45 record enthusiast yet, this book will seduce you to become one!

(published by Harper-Collins, NYC), Since it’s birth in 1949, the 45 has (The authors also tell us more provided a creative outlet for graphic aout how the book came about in designers and artists, who have used The 45 Story-next page.)

Check out this Vinyl Bible

The 4



The 45 Story:

Spencer authored a smaller book version titled “45 RPM” in 2002, published by Princeton Architectural Press-Ironically that book proposal was turned down by every other publisher The book skyrocketed in sales worldwide until 2010. This made way for a larger book SPENCER DRATE of 45 sleeves. With Collins AND SALAVETZ Design (our newJUDITH publisher) a new format, layout and “FIVE HUNDRED 45’s” evolved. With the help of numerous 45 record picture sleeve collectors and record labels, the book took shape. We authored the bookLenny Kaye (from Patti Smith Group) wrote the foreword complemented throughout the book with other music writers and collectors. Spencer Drate, Judith Salavetz and Brendan Dalton collaborated on the design of the book. Our layout had purpose to its madness! It was done intentionally in a very specific manner. Each spread is meant to have some commonality, whether shape, color, composition, clothes, inanimate


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objects hairstyles, fonts amongst a few. Just look at left page and then right page; quickly the similarity will jump out at you. Many highly accomplished artists, designers and photographers are showcased in our book; to name just a few: Mick Rock, Bob Gruen, Art Chantry, Jeff Kleinsmith, Bruce Licher, Keith Haring, Coop, Mark Ryden, Chris Ware, Malcolm Garrett, Kozik, Spencer Drate and Judith

Salavetz etc. At the time the book was released, vinyl became a very “hot” subject. The London Times reviewed the 45 book on a full 2 page center spread. “FIVE HUNDRED 45’s” can be bought on Amazon, The Clic Gallery and The Morrison Hotel in NYC. The book is the FIRST annotated history of the 45 record picture sleeves from 1950s to the 2000 era.

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Drate & Salvetz have designed for some of the biggest names in music and in the process became Art Icons themselves. With bold, innovative designs they have cemented a place for themselves in music history first as designers now as vinyl historians. Here are some of their classic sleeves.

Pretenders Stop Your Sobbing Design: Spencer Drate Record label: Sire Records Year: 1980

Spencer’s 45 Sleeve for “Take Me To The River-Talking Heads” Included in the Museum of Modern Art Show “Looking At Music-Side 2 “ in 2010.

Lou Reed Magic and Loss Art Direction: Sylvia Reed, Spencer Drate and Judith Salavetz Design: Spencer Drate and Judith Salavetz Photography: Louis Jammes Sire Records Company 1992

Billy Squier Don’t Say No Art Direction/Design-Spencer Drate Photography: Geoffrey Thomas Capitol Records 1981 Spencer did this cover in 48 hours-it went on to be multi-platinum and got him to be the FIRST Album Cover Designer to be interviewed on both MTV and VH1 in 1981.

Talking Heads Fear Of Music Art Direction/Design: Spencer Drate and Talking Heads Sire Recods, Inc. 1979 (Grammy Nominated Best Album Package 1979)

Robert Ellis Orrall Fixation Design: Spencer Drate Frontcover Art: Steve Byram RCA 1981

Marshall Crenshaw Marshall Crenshaw Art Direction/Design: Spencer Drate and Judith Salavetz Photography: Gary Green Oil painted: Christina de Lancie Record label: Warner Bros. Records,Inc. 1982 This is the Deisgn Duos first cover together-Voted as a winner by Annie Leibowitz in AIGA Cover Show.

Ramones Road To Ruin Design: Spencer Drate Frontcover Art: John Holmstrom Sire Records, Inc. 1978 A John Holstrom cartoon with Spencer’s Design. A Classic Ramones Cover and Album.

Road To Ruin End of the Century Design: Spencer Drate Photography: Mick Rock Sire Records, Inc. 1980 The Ramones produced this album with Phil Spector featuring a Mick Rock Photo!

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Won many design awards and was in the “Who Shot Rock n’ Roll Show” on tour now and in The Brooklyn Museum show of the same name originally in 2010.

Art Icons-Drate & Salavetz designed 6 Albums for Joan Jett and the Blackhearts!! (Below) Inside album panels Photography: (Left panel live photos-Robert Ellis) ( Left panel group shot- Mick Rock) Right panel: various photos and photographers


Friedrich Nietzsche

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JOSEPH ARTHUR Even though many of us at Cock No. 7 didn’t know

too much about this modern day renaissance man until he was brought to our attention by the design duo of Drate & Salavetzwho certainly have taken a shine to him, we quickly became fans of the painter and musician who’s literally redrawing the lines in the relationship between the two art forms and to great effect. Above: THE GRADUATION CEREMONY 12’ Sleeve By Joseph Arthur-2011 Opp. page- ALL OF OUR HANDS Package Design by Joseph Arthur


Best of Both Worlds Arthur is a critically acclaimed singer-songwriter and also a celebrated painter and designer whose artwork has been featured on his entire discography. The EP sleeve he co-designed with Zachary Larner for 1999’s “Vacancy” was even nominated for a Grammy Award for Best Recording Package. Arthur’s newest album, “Redemption City” is out now Check out his tunes and art at:

Joseph Arthur photo by Myriam Santos

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Sub Pop Records’ Art & Design Mastermind




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designer/ poster artist/ art director

I started making shirts and posters and cassette tapes in my bedroom when I was a kid. Graphics by Olli Vainamo

SubPop Records Art Director Jeff Kleinsmith talks to us about some early inspirations and shares a retrospective of kick ass vinyl design work as well as some of his fantastic rock posters. He’ll often call himself a dad, a husband, friend to dogs and other things before he calls himself an artist, but like us, you’ll probably know Jeff Kleinsmith as rhe visual mastermind behind Sub-Pop Records. When it came to which artists we wanted to feature in our Vinyl Issue we came up with a wishlist of designers who had made an impact on us as sleeve artists. And as big fans of SubPop’s musical output-we naturally had Jeff Kleinsmith’s designs on the list. So, when I found out he’d agreed to do an interview for our Vinyl Issue I was, admittedly skittish and a bit overwhlemed. I poured myself a drink and rolled myself a joint and tried to contain myself. But the more and more I looked up his impressive catalogue of work the further down slid my perverbial art and design panties. This guy just knows how to nail a crisp yet handmade looking emotive design. Everything he designs seems to be layered in young dreams and rose tinted imperfections, rough and sweet; coated in immediate and deliciously indirect connections.

Quite simply he rocks. And he’s been doing it for quite a while. So in many ways I was as nervous as I was excited, even though I’d watched his YouTube interviews and saw he was a pretty laid back guy-I had this idea I had to come off quite professional if he was actually going to talk to someone from a magazine called Cock No. 7. I jot down a few questions-just to make an introduction-put myself into some self possessed mind set and prepare myself for some strange car crash of an interview. Before I know it I’m dialing up Seattle. It rings a few times-my confindence drains away-and then suddenly someone picks up-and like a kindergardener I start to put words together and introduce myself. I was now speaking with Jeff and I ask him if its a good time to talk-and he mention that its quite early in the morning in Seattle, but yeah, he can chat for a bit. Apparently I was so wrapped up in trying to work up the courage for the interview that I forgtten about the time difference between us. So I asked him the first stupid thing that came to mind, “I hope I didn’t catch you in your pajamas?” What fucking kind of question is that-I ask myself. To my surprise, instead of telling me to fuck off-he politely laughed and said “No.” and we just got to talking about his love of vinyl! Angel Ito

ARTIST PROFILE Co-owner of New Rage Records; co-owner of Patent Pending Design (with Jesse LeDoux, former art director at The Rocket Magazine and long time creative director at Sub Pop Records. He has made hundreds and hundreds of posters and album covers for as many bands. and his work has appeared in numerous design books and magazines, in various gallery shows, and has work in permanent collection at Experience Music Project and The Rock and Roll Hall of Fame. Jeff also teaches advanced design at Seattle’s School of Visual Concepts and he has a client list that includes, among others, Dream-

works, Columbia Records, Elektra Records, Verve, Giro, Little Brown, Dakine, Alamo, Wired, and Nike.

Jeff was named one of the 40 most influential designers by ID Magazine and one of the 25 most important people in Seattle.

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How did you first make art and design into a career path? I started making shirts and posters and cassette tapes in my bedroom when I was a kid. I spent a lot of time hanging out listening to LPs and just making stuff that was generally music related. It wasn’t until the last couple of years of college that I made it official by majoring in graphic design. I was in bands and my friends were in bands so I would make the posters and band logos and it really just went from there. Sub Pop and the Rocket Magazine were big influences probably what inspired me to move to Seattle.

And when did you realize that work you were doing was not only good but becoming iconic in its own right? I never thought of what I was doing as iconic while I was starting out. I guess I still don’t as a whole. There are a few posters that I’ve done that probably could be labeled that way. When does what is essentially ‘Package Design’ become an art form? Do you have a certain philosophy or approach? I have no overt “philosophy” or approach to overall package design per se. I want to make things look good and fit the band. Period. I try to achieve that in a variety of ways but none of them fall under some sort of over arching manifesto or philosophy. How do you see the effects of technology and the rise of a non physical format, the MP3, on the need and production of Cover art? Cover art is still important, it’s the physical package that has lost it’s way a little. Although, I will say, when I first started designing music packaging the CD was the new frontier and my beloved LP was losing ground. While MP3s and iTunes digital booklets are big, so is the LP again.

People will always like to hold stuff, touch stuff and that’s the stuff I like to make - it may be in limited quantities compared to MP3s but some sort of physical music delivery system or screen printed rock poster will always be around (I hope...). Many varying styles have been established when designing for music, but many soon become design clichés. Is there anyone current that you think is a taking the artform to another level? If I was asked that question 15 years ago my answer would be different but I feel like now, after doing this for 25 years, I’m less surprised by something new or innovative I see. It seems like right after I see it in one place I’ll see a version of that same thing a 100 more times. Nothing’s new. It’s more about innovative ways of recycling looks, concepts, ideas, etc. How important is the music to your creative process-Do you have to love the band to design for them? I don’t have to love the music. I have made packages and posters for bands that I don’t love or don’t know much about and at the same time I’ve made the worst posters and packages for bands I LOVE.

Is concept important? Or do you just wanna make something that looks cool? Concept is important but “concept” is such a broad term. One band’s concept could be that everything they present is found thrift store imagery or dog photos or type only, and another could be a sophisticated multi-layered “statement.” Do you look back on some covers you have done and think about how you could have done it better or differently? Are there any changes that didn’t make it in-or alternate versions you worked on that you thought were stronger or deserved the light of day? Yes, yes, and yes. Luckily, I have kept all of the various versions and iterations of the package design process and the years go by and my memory gets worse I forget about some of the designs I did that didn’t get picked by the bands. It’s funny to see. Is Vinyl here to stay? I hope so. I grew up on it and it’s my favorite thing to design. Who knows though. I’ve watched a lot of things go away in my years (8-tracks, cassettes, DVDs won’t be around much longer).

What do you think makes a record sleeve ‘Iconic’? Oh, again, these words are subjective. The Sebadoh “Bakesale” baby playing in the toilet is “iconic” to some while to others I’m sure it’s just an old family Polaroid.

To me Wish You Were Here or Sabbath Volume 4 are iconic. It’s a combo of graphic imagery and whether it’s a band you care about or has stood the test of time.

Which was the first sleeve/record/ music package to really blow your mind? Sabbath’s first album was always the one that had such a huge impact on me. It is just the perfect marriage between what the band is, what the band sounds like, and how the music makes you feel.

Concept is important but “concept” is such a broad term. One band’s concept could be that everything they present is found thrift store imagery or dog photos or type only, and another could be a sophisticated multi-layered “statement.”

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What were some of your early design influences. Growing up in the ‘70s /’80s and getting heavily into metal/hard rock I was drawn to the sleeves that Hipgnosis did. (pictured in center) (Hipgnosis was a British art design group that specialized in creating cover art for the albums of rock musicians and bands, most notably Pink Floyd, T. Rex, The Pretty Things, UFO, 10cc, Bad Company, Led Zeppelin, AC/DC, Scorpions, Yes, The Alan Parsons Project, Genesis, Peter Gabriel, ELO & XTC. Hipgnosis consisted primarily of Storm Thorgerson, Aubrey Powell, and later, Peter Christopherson. The group dissolved in 1983. (wikipedia)) You are part of very special group of artists who have nurtured the relationship between music and art for a generation (or two)-any advice for young designers thinking of following in your footsteps? Advice... TYPOGRAPHY. I see a lot of portfolios and have taught classes over the years and the thing that I always see in students’ work is lack of great type work. I wouldn’t set out to make a grand iconic album cover but one that is a great concept and most importantly, fits the band. Just fitting the band is a fine concept.

Which are your most precious vinyls and why? All of the LPs I bought when I was just starting out to collect albums. My first two were Rush Caress of Steal and AC/DC Let There Be Rock.

I’m a very nostalgic person so the ones that are most near and dear to me aren’t necessarily the ones that are worth the most-they are the ones that harken back to a good time, story, or feeling.

You have had an illustrious career designing for some of the best and most influential musicians of a generation-Are there any current artists or musicians you’d like to design for today? Or Past Artist sleeves you’d have liked to design? I want to design Kate Bush records. She is my all-time favorite artist ever. The National, Warpaint, Graveyard are a few modern ones. I’d love to have done all of the Pink Floyd records, as I consider those to be, as a body of work, the best collection of album covers of all time. What in your opinion does it take to make a mark as a young graphic designer? How much is luck involved? It’s luck and timing as much as it’s talent and vision. In the poster world when I started out there were only a handful of folks making screen printed rock posters so I got more attention for what I was doing. It was probably less about the AMAZING GROUNDBREAKING ARTISTIC VSION and more about just being among a small group of folks doing this new thing. Nowadays, you can’t swing a dead cat without hitting some uber-talented designer illustrator doing screen printed rock posters. It’s taught in school in the way that book design used to be taught. Compared to the talent level in the poster world now, I’m a total

We’ve found a business here in the U.K. that presses people’s ashes into a vinyl when they die as a funeral service, eerily cool, you can also record a message or songand choose a selection of music for Could you please, tell us about your legacy album that people can your relationship with the Sub listen to at your service. Would Pop label and how it influenced or you consider this? And if yes-What impacted your work? would you press into your record Sub Pop plays a HUUUUGE role (Songs, sounds, messages?) in how I came to be doing this stuff. The song would be “Wish You First off, their sleeve designs and Were Here” and the sounds would general look and feel was a huge be my dogs barking and my chilinspiration even before I took up dren talking. graphic design. And when I did it was the work that inspired my “vision.” Lisa Orth, Art Chantry, Dale Yarger, and Linda Owens (among others) were big influences as designers and Bruce Leicher and Jon were big influences (still are) as visionaries. I freelanced for Sub Pop while I was the art director at The Rocket Magazine (18 years ago!) and when it was time to start an actual inhouse design department (in 1994) they asked me to run it. It was just me at first and then I hired Hank Trotter. After he left it was Amy Saaed and Jesse LeDoux. Jesse and Want to see more of Jeff’s workI ran it together for 7 years until Visit the SubPop and Patent Pendhe left and I hired Dusty Summers ing Industries websites. (Heads of State). Sasha Barr and I are the ones running the department http://www.patentpendingindusout of the main office. hack (ha). I’m extremely proud of my place in, and contribution to the poster world - I wouldn’t trade it but it’s not all about one aspect. It’s combo of many things.

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Opposite Page: The Murder City Devils / Split w/ Gluecifer: In This Town / Can’t Seem to Make You Mine (1999) Enon The Nightmare of Atomic Men 7” Single (2001) This page: Retribution Gospel Choir “2” (2010)


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ThePostalService GiveUp Vinyl+CD (2003)

GrandArchivesTheGrandArchives VINYL+CD (2008)

Beach House/ Dum Dum Girls & Male Bonding /Happy Birthday (2010)

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MudhoneyThe Lucky Ones Vinyl + 7inch + CD (2008)

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Flight of the Conchords Flight of the Conchords Vinyl + CD (2008) Flight of the Conchords I Told You I Was Freaky Vinyl + CD (2009)

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Low C’mon Vinyl+CD (2011)

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Dum Dum Girls Only In Dreams Vinyl+CD (2011)


ARTIST MUSICIAN DESIGNER SINGER RECORD LABEL FOUNDER INDEPENEDENT PROJECT PRESS FOUNDER LETTERPRESS ICON Musician, artist & designer Bruce Licher founded Independent Project Press after learning the art of letterpress printing at the Women’s Graphic Center in downtown Los Angeles at the beginning of 1982. His initial projects centered around creating album covers, postcards and promotional stamps for his band Savage Republic. It didn’t take long before he was producing work for other L.A. underground music groups, along with a growing number of clients in the Los Angeles design community. In addition to packaging and releasing music on his own record label (Independent Project Records), his other music-related projects have included work for clients ranging from R.E.M., Kendra Smith, Harold Budd, Stereolab. The Buck Pets, Polvo, as well as Licher’s own ensembles, the legendary Los Angeles 80’s band Savage Republic and his current group, Arizona-based Scenic. His distinctive design style and letterpress production have earned him two Grammy nominations for packaging and he has been credited with starting the trend in letterpressprinted CD and record packaging using industrial-style chipboard. His graphic design and letterpress work has been featured in two major design exhibitions at the Cooper-Hewitt National Design Museum in New York City, and has also been exhibited in California, Arizona, and Paris, France.


“Independent Project Press was born out of Bruce Licher’s vision of combining music and packaging in a cohesive, artful and economical whole... Using the almost extinct method of letterpress printing and such materials as chipboard and metallic ink, Licher conjures up the sense of the desert vernacular. Each piece is like a relic from a place far from the hustle and bustle of city life and from a time long before computers. -- Matt Woolman, excerpt from “Sonic Landscapes” chapter in his book Sonic Graphics, Seeing Sound

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So it is written - A Letter Impressionist As well as being a musician,


artist, designer, and record label founder-The Independent Project Press you founded seems to connect all of these passions. It seems to speak of a love of things worthy of presevation; a belief in a path of creativity. Can you talk to us about how you fell in love with letter press-and how this passion evolved to your music and design work. I started my “Independent Project Records” label in 1980 while a fine art student at UCLA. The first release was created for an ‘independent project” course overseen by noted performance artist Chris Burden. At the time I had no idea that I’d be making more records after that first one (a 7” EP called “Project 197,” after the course number) but thought that the release should have a record

label name. I wanted to come up with a name that didn’t seem out of place, hence I went for the most direct statement of what I was creating: an “Independent Project Record.” As it was an “art project,” I wanted to do something a bit more creative with the packaging. For that first 7” I had the records pressed with no labels, just plain black plastic in the center. I then silkscreened a photo and text across the label area while the record was in the white sleeve with the die cut hole, causing the image to go from positive to negative to positive again as it crossed the label area. (below) Once I completed Independent Project 001 I realized it was so much fun to make that I had to do another. I then pressed a second 7” EP

A letterpress shop/design studio run by musician/designer/artist Bruce Licher specializing in distinctive letterpress printing and graphics since 1982. Known for its extraordinary combination and use of color, graphics, type and technique.

For those unfamiliar with the process, letter press printing involves paper being rolled over a stamp to make a print rather than the modern method of using a flat plate. The letter press process is much more expensive and time consuming than modern ones, but it allows for truly stunning results when used properly by employing the color, grain, and weight of the paper as a design element. A state-of-the-art technology in the 30’s the letter press is still used today. It produces a more distincttive and authentic looking results contrary to the wider used digital forms of printing which are more common.

from recordings I had made with a friend in a series of subterranean utility tunnels on the UCLA campus. For this next release I designed an insert from blueprint drawings of the tunnels, which we printed on a blueprint machine. A third 7” followed, with labels printed on a xerox machine. Those labels turned out to be problematic as the heat from the record presses caused the labels to tear due to fact that they had been printed with xerox toner rather than ink. Live and learn... All 3 of these first 7” releases had foldover xeroxed covers, as many DIY singles did in those days. By the end of 1981 I had started working on recording an album with 3 other friends from UCLA. This group was initially called Africa Corps, and our first rehearsal was in those same subterranean utility tunnels at UCLA. At the time there was a large Iranian student population at the university and as it was around the time of the Iranian revolution there were many of their political flyers posted around campus. Emerging from the tunnels after our first rehearsal and being confronted by these posters with their stark and violent imagery made a strong impression, and I immediately knew what I wanted our album jacket to look like. In addition to wanting our album to project a visually powerful statement I also had the desire for it

to be perceived as a numbered edition piece of fine art. Creating limited edition prints as we had learned in print-making classes at UCLA was all fine and good, but I wanted to take the idea of a limited edition print and have it become a 3-dimensional object that was a functional art piece -- something that would engage with people in a less rarified environment than what the fine art world had to offer. At this time I was working as a courier at UCLA, and saw a weekend class in letterpress printing being offered through their Extension catalog. Intrigued, I signed up, and during that first class created a post card announcing the forthcoming debut LP from Africa Corps. When I saw that the print studio had a large Vandercook flatbed press that wasn’t being used, I realized that press was the perfect size for printing an album jacket. I took the class a second time and learned to use the Vandercook, printing 1000 album jackets for the band, whose name we changed to Savage Republic before release of the album in May 1982. What drew me in to letterpress was that it was a process that allowed me to create a hands-on printed piece that looked like a fine art print, yet could be mass-produced and therefore sold at a more affordable price to the public. It wasn’t long before I was using the studio’s presses on a weekly basis, creating

7” single and 12” album jackets, postcards, and even promotional stamps for my band. By this time friends in other bands asked me to print jackets for their releases as well. After a year and a half my business grew to the point where I decided to establish my own print shop with my own equipment. For anyone interested in knowing more about how I’ve used the letterpress process to create record jackets I recommend reading the essay I wrote for Spencer Drate & Judith Salavetz’ book “Five Hundred 45s: A Graphic History of the Seven-Inch Record.” What is about letter press that instantly seduces a viewer? I believe that it is the hand-made element of letterpress that can seduce a viewer, along with the juxtaposition of ink and impression on paper or card stock. Not just any letterpress work has the power to seduce, though. When I learned letterpress, the technique was mostly being used for fine art books and broadsides, which can be beautiful and well-crafted, but I felt like that style of letterpress was very dry and not what I was looking to do. I wanted to make something that felt immediate and exciting, and as you say, seductive. I looked for interesting and unusual paper stocks (especially

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paper that was unusual for the usages that I had in mind), and this was why I gravitated towards the brown chipboard. This industrialtype paper stock is not made to be consistent due to the nature of how it is created and what it is normally used for. One paper supplier described it to me as “floorscrapings.” I like it because of it’s earthy, mid-range tone, which enables me to print both dark and light colors on it to create different effects. I’ve designed a number of projects which incorporate a negative image printed in an opaque white ink on the brown chipboard, yielding a positive image when viewed. And you can get some interesting effects with metallic inks. When you tilt the printed piece in the light the image switches from positive to negative, depending on how the light hits the paper.

With letterpress it’s also possible to lay the ink on thicker than you can with offset lithography, which can give a luscious feel to the surface. And of course the impression into the paper stock that results from the 3-dimensional printing plates and hand-set type contributes to a piece which is tactile and seductive.

on their front cover. I had a set of 4-color process letterpress plates made, and then decided to create 100 different color combinations from these plates, switching the colors around, and in some cases leaving certain colors and plates out of the mix. For example, on one variation I might print the yellow plate with magenta ink, the magenta plate with cyan ink, and the black plate with yellow ink. It was a fun process, and while not all of the covers turned out great, the most fascinating aspect of the whole endeavor was that the facial People at the companies I was expressions on the band members’ faces would change depending on working with couldn’t underwhat mix of colors was used on a stand why I’d want to do things particular cover. There were some any other way than how they covers where they looked peacewere used to doing them. I’m ful and serene, and others where they looked intense and angry. The sure it was as frustrating for same image and printing plates them as it was for me, but in were used on the various covers, it the end I was able to create was just the process of switching some interesting and, for me, the colors around (the way that they satisfying work. were not “supposed to” be printed) One of my most far out experiments that produced these exciting results. was on an album jacket I designed And I had no idea this would hapand printed in 1984 for an L.A. artpen -- it was an added bonus that punk group called The Party Boys came out of the experiment. (whose bassist, Marnie Weber, is now a well-respected fine artist in Technology and the rise of the the L.A. art world). The band had digital age seems to be making posed for a full-color photograph at a things like vinyl and Letter pressMexican portrait studio in downtown ing-things of the past, Do you Los Angeles and wanted that image think they have a future? When does what is essentially ‘Package Design’ become an art form? Do you have a certain philosophy or approach? I think that “Package Design” becomes an art form when you experiment (no matter what processes you are using) -- to push the boundaries of what may be possible, and to try things that haven’t been done before (at least to your knowledge). During my early years in letterpress and record-making I found it was often more interesting to do things differently than the way they were ususally done.

For a number of years it seemed that vinyl and letterpress were dying out, but in recent years it’s happening that both are coming back and being appreciated by a new audience.

I think that for both vinyl and letterpress, it’s their hands-on and tactile aspects that help us to be connected to our humanity. We do live in a real, 3-dimensional world, and as exciting as the “digital cloud” may be to some, I believe that it’s important for humans to be connected to real, physical things in our real, physical world. Of course, digital technology has expanded our possibilities in many areas, but I’ve always thought that just because a new technology has been developed that opens up new horizons, that doesn’t mean the older technologies should be discarded. There are things that some of these older analog-based technologies can do, and experiences we can have with them, that are completely impossible to do or to have with digital technology. I believe that there is a place for both the old and the new, and that there is no need to willfully attempt to kill off the old technologies, as the major record labels and chain stores

I’d be perfect for the project, and attempted to do to vinyl when the compact disc came into being during they gave me some interesting graphic elements and ideas to work the 1980’s. Much of my work has been with. I ended up having a lot of fun about combining the old and designing and printing a promotional 7” sleeve, stamp sheet and promothe new technologies, in order tional poster, and it was interesting to create something that looks how the 12” sleeve for the project and feels timeless. developed. It turned out that the promotional poster I’d printed was How do you approach the design the same size as the printed album briefs for clients? Is concept jacket flats I was working on for the important? Or do you simply aim to debut Camper Van Beethoven LP make work that looks cool? at the time. Just for fun I sent off a It really depends on the project. few posters to be fabricated into 12” Sometimes the client has an idea of album jackets and they came back what they want and they will prolooking pretty interesting. On a vide me with elements to work with. whim I mailed one to the creative diOther times (particularly with my rector, putting stamps directly on the own work) it’s completely up to me jacket, addressing it, and dropping what the direction will be. it in the mailbox. Two days later I received a phone call asking me to Do you have to like/love the music prepare layouts for the 12” version that you design for? of the single, using the Scritti stamps Early on I was a bit conflicted and designing a cancellation mark about designing for music I didn’t for the package, similar to the jacket like, as I started on this path work- I had mailed to him. ing only with music I loved. I alSo you never know where most wonder if it helped not to have an idea or a project will come heard the music ahead of time on a few projects. There were a couple from. The best thing to do of Scritti Politti sleeves I designed is to have fun with whatever for Warner Bros. in the mid-1980’s, you’re working on, and don’t and it’s hard to say if I would have be afraid to try things that are been as inspired had I heard the a bit off the wall. music before starting on the designs. As it was, the creative director at Warners saw my work and thought

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bRUCE LICHER MUSIC PROFILE Founding member of of the LA post-punk band Savage Republic and instrumental post-rock band Scenic. In Groups: Bridge (5), Independent Project Press, Project 197, Savage Republic, Scenic, Them Rhythm Ants Savage Republic Tragic Figure 2nd edition (7” ep) Independent Project Records letterpress edition of 1000 copies, 1984. Bruce Licher.

Savage Republic

Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves with their legendary performances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music. Their music incorporates minimalist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, primal chants and even a bit of surf guitar.

What do you think makes a record sleeve ‘Iconic’? When all the elements come together with the music such that you couldn’t imagine the package being any other way. The original pressing of the debut from Savage Republic is probably the most iconic sleeve I’ve done. I wanted to make something that looked like it came from some “other” place -- another culture, as it were. If someone was flipping through the bins they would be compelled to stop and pull it out to look at it, wondering what the hell this was, and where did it come from? I think I succeeded with that one... So do we!

Members through the years :

Bruce Licher : guitar, bass, percussion, vocals Ethan Port : guitars, percussion, metal horn, voice Greg Grunke : guitar, bass, dulcimer, vocals Jackson Del Rey : vocals, guitar & percussion Jeff Long : vocals, bass & guitar Mark Erskine : drums, percussion, bongos, vocals Robert Loveless : keyboards, bass, percussion Thom Fuhrmann : bass, trombone, keyboards, vocals

Savage Republic – Tragic Figures Genre:Rock Style:Punk, Avantgarde Year:1982

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IP Ten Eleven front cover

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Scenic - The Long Sun (10” ep) St. Ives Records - letterpress edition of 600 copies, 2004. Analog design by Bruce Licher. R.E.M. - Where’s Captain Kirk 1992 Holiday Fan Club (7” single) R.E.M./Athens, L.L.C. - letterpress edition of 6000 copies, 1992. Analog design by Bruce Licher R.E.M. - Sex Bomb 1994 Holiday Fan Club (7” single) R.E.M./Athens, L.L.C. - letterpress edition of 6000 copies, 1994. Analog design by Bruce Licher Neef - 23 (7” ep) Independent Project Records IP012 - letterpress edition of 1000 copies, 1984. Analog design by Bruce Licher

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Previous Spread: Polvo - Celebrate The New Dark Age (triple 7” ep) Merge Records - letterpress edition of 2000 copies, 1994. Analog design by Bruce Licher Opp. page: The Dentists - Charms and The Girl (7” single) Independent Project Records - letterpress edition of 1500, 1992. Analog design by Bruce Licher Buffalo Tom - Sodajerk (7” single) Beggars Banquet (1993) front and back Analog design by Bruce Licher Nels Cline Trio - Ground (7” single) front and back Label: Krown Pocket 1995 Analog design by Bruce Licher This page: Medusa Cyclone 1995 (7” single) front and back Analog design by Bruce Licher





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Re-Viewed by A. Ito

When I think of Vinyl and Film,

few names come to mind quicker than Quentin Tarantino. Maybe its because, whenever you think of one of his films the first thing you do is start singing their soundtracks. His soundtracks, often as deliriously exciting as the films themselves, are weaved nto his storytelling in a way that makes the two inseparable, and ‘Death Proof’ is no exception to the rule.


His half of the kick ass exploitation Grindhouse double-bill brings to the screen a serial killer called Stuntman Mike played by aging action hero Kurt Russell who has a fetish for killing hot girls with his indestructible car-a blend of no less than three B-movie staples that provides a perfect vehicle for a perfect soundtrack, which Death Proof comes pretty close to being. Given the inspirations behind this stylized exploitation flick, it should come as no surprise that the soundtrack borrows heavily from the ‘60s and ‘70s, digging up a bunch of forgotten soul, pop, rock, and surf songs that you probably never heard of before but will instantly fall in love with.

To be honest, when I thinking of which of his movies to write about, ‘Death Proof’ didn’t jump straight to mind. In fact, after first viewing the double bill-I walked away more impressed with the machine gun legged heroine of Roberto Rodriguez’s-‘Planet Terror.’ Well, in my defense it is one helluva crazy/zombie filled/kick ass ride-stewed in B-Movie juices and I couldn’t take my eyes off Rose McGowan. It was only when I mentioned to a friend that I was thinking of highlighting ‘Jackie Brown’-and got, ”No way, man. You’ve got to do ‘Death Proof’! There’s like girls just gyrating in front of jukeboxes and shit!” that I was convinced to give it another go. He quickly put it on-and we rewatched it. And WOW! What a ride. He was right. There they were, a bevy of Tarantino beauties, thrashing to tunes, lap dancing on dares, and ripping up the road, all to one of the most killer soundtracks-I’ve heard in a long while. On second view-(and watching it on its own) I couldn’t help feel it was the stronger film. Smart, edgy, tense, and so so slick. And the jukebox! Well-its almost a unwritten character in the film through which Tarantino fleshes out his story-and seduces you to ride along. Let’s put it this way-I’m a gay guy and I was totally seduced by Tarantinio’s taut tits and ass thriller and soundtrackso much so I looked up the artists and was treated to tons more amaing music! Well worth a second view and listen!

We know he loves hot chicks and feet but we think Tarantino loves Vinyl even more. Deathproof features, oh-only about 500 close-up shots of the inner workings of an Austin, TX bar jukebox spinning 45s.

“I’m a big collector of vinyl I have a record room in my house - and I’ve always had a huge album collection.” Quentin Tarantino No surprise there!

These are some of the ones we we loved! I hope they have jukeboxes in heaven! Or eslse I ain’t going.


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By all accounts it had been happening more and more often, ever since VinylHead had come back onto the scene; the music, the parties and the people flocking around him all the time. It was as if someone had flipped a switch inside VinylHead and suddenly he was back in the groove. So that evening, he was only slightly surprised to find another young beauty on his door step feigning to have lost her waybut actually just looking for a good time.




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Art Direction and Styling: Angel Ito & Zoe Hunn Photography: Zoe Hunn Asst Photo: Angel Ito Models: Zoe Hunn, Richard Gilbert

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AGONY AUNT Disgrace Jones

“I’ve fallen for someone with the most disgusting musical taste!” Dear Ms. Jones,

I went to a house party where everyone was invited to bring some vinyl and play a few tunes. As I left for the party I grabbed a few of my favorites, and even grabbed a few of my roommates. Once at the party I quickly got wasted, and when it was my turn at the decks-some jerk off shoved me toward the tables-and in a drunken blur I fell into the whole system and brought the entire party to a halt. In the process I had destroyed about a dozen or so vinyls (including my roommates). I haven’t been able to show my face in my usual social circles-and my roommate refuses to speak to me until I replace the records. I get that I fucked up-but come on! Kara Hershey

Dear Vinyl Pariah-

Your fucked up little novella-really moved me...Everybody makes mistakes-but seriously what did you expect! If you took my shit without asking and then broke it-I’d break your shit all day long till you replaced mine. Make it right-quickly! Or suffer! D.J.xx

Dear Ms. Jones,

I’ve fallen for someone with the most disgusting musical taste but who is probably the best lover I’ve ever had. I can handle most things but fucking to Justin Beiber tunes is just wrong. Any advice? Dillon S.

Dear Dillon, I’d normally advise puncturing your eardrums and

enjoying the ride-or simply using earplugs if the sex is worth the compromise. But- Beiber!? seriously!? Run! D.J.xx

Email your questions

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cOCK no. 7


cOCK no. 7 There are plenty of places that try to sell you a piece of yesterday-but few go the extra distance to try and make you feel it. While on the vinyl trail for this issue, I did come across plenty of vintage and even mainstream shops that peddle the look but few that keep the culture alive. Maybe that is why I was so struck by the 2&6 Shop in the Brixton Village Arcade. Walking in, my eyes quickly surveyed the beautiful shop and darted from the cool collection of leather and jean jackets and rails of The Clash and The Sex Pistols t-shirts, straight to the beautiful, authentic, and operating jukebox and old time phonograph.

Proprietor Mark Judge, welcomed us in true old skool South London fashion; rocking a rolled up beanie hat, rolled up faded jeans, a suede jacket and boots. Cool, reserved and relaxed he gave the entire shop an air of authenticity. He was wearing the clobber, not like a branded shop mannequin but rather as an ambassador of a culture that he had lived and continued celebrate. While I loved looking through the affordable vinatge clothes, I have to admit it was the shop and jukebox that was holding my attention. It the kind of place you just want to hang out in, listen to records, and forget about the present. To make the visit complete, Mark even treated us to a rendition of Elvis Presley’s “Hound Dog” on a phonograph, telling us-”I live by my records!” As you know Music and Fashion often go hand in hand-so if you are looking for quality vintage clothes to go with your new/old records-and you hap pen to be in LondonGet decked out at 2&6 Vintage Outfitters Brixton Village Arcade Atlantic Road, Brixton, SW9 8PS

Mark Judge knows old skool cool“2’6 refers to half a crown, which is old English money-but it is also the address. His shop features not only a great selection of vintage men’s wear but also some vintage tunes direct from his jukebox.

no. 7