ArtsQ – Louise Howlett

Louise Howlett is a London based artist who also goes under the name, Paper Scalpel Paint. She makes modernist inspired images using a repertoire of re-appropriated imagery, incidental markings & collage to create a new visual vocabulary. Louise is currently preparing for 2 shows in the South West, one as part of Stroud’s annual SITE Festival. She works from her home in Brockley, South East London under the watchful gaze of her beloved black cat, Mars.

01. What were your early artistic influences?

My first memories of being affected and slightly fixated by an image were as a young child. We didn’t have that many books at home but I remember being captivated by the pocket sized Penguin Book of Modern Art. My favourite colour plate in the book was Broadway Boogie-Woogie by Piet Mondrian. I remember staring at it for a very long time. Even at a very young age it spoke to me on another level, beyond literal representation. Here was a whole new vocabulary. Then when we moved out of London in 1976 I was lucky enough to have access to a good local art gallery, the Towner, in Eastbourne.On permanent display was a Henry Moore sculpture of a seated couple and an Edward Burra painting ‘Soldiers Backs’. They also had a huge Eric Ravilious collection. My dad was a printmaker too, so there was art in the house. He taught me how to make lino cuts and I loved the smell and sound of “inking up”.

02. What sort of Art and themes do you gravitate towards generally?

It’s hard to say as my tastes are so much more catholic now. I’ve always loved graphic art which is why I studied illustration, but I’m not an illustrator. I suppose there is a core group of artists and movements that I always return to such as early Modernism or a painter like Phillip Guston but then countless other things outside of that. I love textiles for example. I think these days in terms of new artists I look for work that has restraint & a lightness of touch, things that I find hard to do myself. Saying that, I went to see the Auerbach at the Tate three times, so the opposite also stands.

03. What have been the main inspirations in your working themes and style?

When I was younger as I mentioned before I discovered Edward Burra, I got lost in the detail, humour and the dark strangeness of his paintings. I suppose he made me want to paint people within environments and I was excited by the graphic elements in his work too. These days much of the work I gravitate to is non objective. Every so often you discover long dead artists who blow you away. A few years ago my boyfriend and I went to Stuttgart and we stumbled across a huge collection of paintings by modernist artist Willi Baumeister which were a revelation. You rarely see his work in the UK. He was politically persecuted during WW2 but carried on painting alongside working in a varnish factory in Wuppertal, Germany. Julius Bissier is another painter that is little known, there was a tiny painting of his in the Miro foundation that I couldn’t stop thinking about. I almost can’t look at his work as for me it is so delicate and precious. I love the drawings of Eva Hesse who was in the back of my mind when making some black and white collage drawings. I suppose little bits of everything filter through and then you have to make it your own, again creating a vocabulary. That is a long and continually evolving process.

04. What about the different mediums and techniques that you use or employ? Do you use modern technology and if so how?

I use a computer sometimes but it’s just a way of bringing everything together easily as I use elements form a large variety of sources. I also don’t have a studio so space is tight. I’m using a combination of found, hand drawn and painted imagery at present to create collages and I’m enjoying the way I can work very intuitively using software like photoshop. Every mark and line is scanned and reassembled to make an image and there are things that I might use repeatedly that become like little motifs. I also like the way quite inconsequential marks can become key players in the images composition. Chance and accident also feature quite heavily and I only plan things to a limited extent. I create a basic framework and often lay waste or ”trash” it, so things can end up very different from my original expectations. The basic driver is feeling that the image is resolved and is something I can walk away from comfortably.

At other times I won’t switch on the computer for a week and will busy myself making something physical or trying to do something useful in a sketchbook. That material might then find it’s way into a digital image, most things get used at some point even if they aren’t immediately visible. I also don’t like things to be too ‘clean ‘ so I’ll leave a lot of dirt and grot in there to build up textures etc.

05. What other current Artists do you find appealing? Heroes and Zeroes?

Well there are many heroes but Richard Tuttle is up there, his subtlety and intimacy. Juan Usle for his confidence. Christian Rosa caught my eye recently, his work is very spacial and kinetic. There’s a painter called Andrew Seto whose work I really like but I know little or nothing about him. Rose Wylie, I saw her show at the turner in Margate. She’s like, 80 plus years old and her work has more energy than many younger artists, she’s just always done her thing, without compromise. I also look at a lot of photography although when I think it most of them are dead, Luigi Ghirri, Tony Ray Jones, Raymond Moore, Saul Leiter. Alive? Chris Killip, Richard Wentworth. Friends of mine who make work are probably the biggest inspiration as they all deserve more success.

06. What can we expect to see from your current body of work right now?

I’ve been working on a series of prints that are quite architectural in feel. They look like a cross between skewed looking floor plans and designs for some fantastical modernist house. The technique I’m using is quite laborious but ultimately quite satisfying. I’m also making some work that might work well as some form of textile. I need some curtains!

07. Anything that you really dislike and why?

Wastefulness. General ignorance. Rude people on the internet! Laziness and procrastination, especially in myself. I find myself ironing hankies as an
avoidance tactic.

08. What about Commissions and awkward Clients?

I don’t generally take on commissions, I’m not very good at doing what I’m told.

09. Tell us what you are up to at the moment and where can we view your work etc?

I’m currently preparing for a last minute show at the Meme Art Cafe Bar in Stroud which opens on the 7th April for 3 weeks. I’m showing 6 prints and some wooden, painted constructions /reliefs made from balsa wood. I then have a show at a new gallery space called JunKroom Art Projects (also in Stroud) run by artist and vinyl obsessive Sean Roe. I’ve been making the work for this since late last year. The show opens on the 22nd April and runs until May 22nd and is part of the Arts Council funded SITE Festival, the work is loosely inspired by classical and Jazz record sleeves from the 1950s & is all record sleeve format, so 12″ x 12″ in dimension. I’ve really enjoyed making the work for this exhibition.

My work is also online via Tumblr & Instagram. A website is in progress!

10. Your thoughts on the future and things that excite you beyond Art?

I’m playing music again after a very long break. My partner and I have thought about forming a group called Teachers Pet Shop or The Incredibly Highly Strung Band. I’d also like to work with some new materials so I’m always on the look out for a new means to an end.

11. Have you met or worked with anyone interesting on your Artistic journey?

Yes and without those people life would be very tough.

12. What does the future hold in store for you and your work?

I’m hoping there will be more opportunities to show work but the most important things is to carry on making. I gave up my secure job a year ago in order to go back to making art, I’m determined to continue to make space for it in my life.

Web Links:


Meme Cafe Art Bar in Stroud from the 7th – 18th April
JunKroom Art Project in Stroud from April 22nd – May 22nd


Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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April 5, 2016 By : Category : Art Culture Design DozenQ Eyeplugs Interviews Tags:, , , ,
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ArtsQ – Jack Melville

Having worked at some of the top ten agencies in London and won prestigious awards from around the world at each of the agencies. Although creatively focused I also have a thorough commercial understanding. I was a hands-on art creative director and have helped train numerous teams at various levels, inspiring creatives, other agency colleagues and clients alike, hopefully stretching clients’ thinking and giving positive insight. I have a passionate desire to enable any project I work on to grow and flourish, as through experience, I understand commercial outcomes are so important as well as great creative executions. Working full time as an artist I continue this work ethic and draw every day for at least 8 hours.

Awards & Achievements

Over the period spanning my career I have won the Eurobest Grand Prix, Cannes Advertising Film Gold award, British Television Silver and Bronze, D&AD’s, New York Festivals, Clios, M&P Award, Drum Award, London International awards and Art Director of Europe from the Art Director’s Club.

01. What were your early Artistic influences?

‘When as a boy of seven attempting to put paint on paper I was so excited, so desperate to convey my appreciation of the world around me.

It’s still the same today, even fifty years later. My brushes have now evolved from the matchsticks that I chewed into little brush-like ends, but that same child-like excitement still makes me shiver when I see a shimmering light dancing through some trees.

My ability to draw was discovered by one of my Primary School teachers, who gave me a new pencil and encouraged me to sketch.

To let you in on my first influences I have to take you back to early child hood and some of your readers may not recall the references. Cartoon and comic books were my very early inspirations and helped me to learn how to draw.

My first recollection was of The ‘Deputy Dawg’ British TV debut which came on BBC TV in1963. The cartoons are between four and six minutes long, and were packaged three at a time and shown as a half-hour programme. The show was produced by and was the professional animation debut of Ralph Bakshi.

The character of Deputy Dawg (a dog) is a deputy sheriff in the State of Florida.

The other main characters are the ‘varmints’ Muskie Muskrat, Moley Mole, Possible ‘Possum’, Ty Coon, Vincent van Gopher, Pig Newton, and Dawg’s boss the Sheriff, as well as Mrs. Deputy.

It was two dimensional and in black and white. I drew the figures constantly so that I could draw them from memory. Once I had memorised them I would invite my friends to a drawing competition. I was quite competitive at an early age!!!

Another great influence was Krazy Kat an American newspaper comic strip by cartoonist George Herriman.

Krazy Kat’s mixture of offbeat surrealism, innocent playfulness and poetic, idiosyncratic language has made it a favourite of comics aficionados and art critics for more than 80 years.

The strip focuses on the curious relationship between a guileless, carefree, simple-minded cat named Krazy of indeterminate gender (referred to as both “he” and “she”) and a grumpy mouse named Ignatz. Krazy nurses an unrequited love for the mouse. However, Ignatz despises Krazy and constantly schemes to throw bricks at Krazy’s head, which Krazy interprets as a sign of affection, uttering grateful replies such as “Li’l dollink, allus f’etful”, or “Lil Angel”. At the end of most strips Ignatz is locked in the county jail.

Despite the slapstick simplicity of the general premise, the detailed characterization, combined with Herriman’s visual and verbal creativity, made Krazy Kat one of the first comics to be widely praised by intellectuals and treated as “serious” art. I loved the surreal simplicity.

Comic book art featured in all through my early drawing and The Spirit is right up there. The Spirit is a fictional masked crime fighter created by the telented cartoonist Will Eisner.

The Spirit chronicles the adventures of a masked vigilante who fights crime with the blessing of the City’s Police Commissioner Dolan, an old friend. The stories range through a wide variety of styles, from straightforward crime drama and noir to light-hearted adventure, from mystery and horror to comedy and love stories, often with hybrid elements that twisted genre and reader expectations.

02. What have been the inspirations in your working themes and style?

Moving from teens to adulthood I began looking at ‘proper’ artists and styles.

Charles Thomas “Chuck” Close is an American painter and photographer whom I greatly admire. He achieved his fame as a photorealist, through his massive-scale portraits. Close is known for using creative and intricate patterns to portray a concise human portrait.

Most of his early works are very large portraits based on photographs (Photorealism or Hyperrealism technique) of family and friends, often other artists. Chuck suffers from prosopagnosia (face blindness) and has suggested that this condition is what first inspired him to do portraits.

As he explained in a 2009 interview, he made a choice in 1967 to make art hard for himself and force a personal artistic breakthrough by abandoning the paintbrush.
“I threw away my tools”, Close said. “I chose to do things I had no facility with. The choice not to do something is in a funny way more positive than the choice to do something. If you impose a limit to not do something you’ve done before, it will push you to where you’ve never gone before.”

Although his later paintings differ in method from his earlier canvases, the preliminary process still remains the same. To create his grid work copies of photos, Close puts a grid on the photo and then on the actual canvas and copies cell by cell. Typically, each square within the grid is filled with roughly executed regions of colour (usually consisting of painted rings on a contrasting background) which give the cell a perceived ‘average’ hue which makes sense from a distance. His first tools for this included an airbrush, rags, razor blade, and an eraser mounted on a power drill. His first picture with this method was Big Self Portrait, a black and white enlargement of his face to a 107.5 by 83.5 inches (273 cm × 212 cm) canvas, made in over four months. He made seven more black and white portraits during this period. He has been quoted as saying that he used such diluted paint in the airbrush that all eight of the paintings were made with only a single tube of mars black acrylic!

Later work has branched into non-rectangular grids, topographic map style regions of similar colours, CMYK colour grid work, and using larger grids to make the cell by cell nature of his work obvious even in small reproductions. The Big Self Portrait is so finely done that even a full page reproduction in an art book is still indistinguishable from a regular photograph.

03. What other current Artists do you find appealing?

John Mackie’s love of painting using bright colours began at a very early age.

It was whilst studying at the Glasgow School of Art that he was first introduced to the works of Monet, Renoir and Pissarro. In particular the influence of Monet can be seen in his own painting style and his is an obvious love of impressionist work.

Whether using oil or pastel he employs a fabulously rich palette, with works full of colour and really strong tones, and a rather fine eye for composition and structure. His work exudes quality, with his finished pieces simply transporting you to his chosen location, capture the heat of a French meadow, the hustle and bustle of a continental market square or a balmy evening in the romantic cities of Venice or Paris.

Another artist would be Guy Denning. He says he had been interested in art since he was a small child and is a self-taught painter.

Denning’s early work included an interest in the work of Franz Kline and was characterised by powerful, expressive brushstrokes in mainly abstract paintings. More recently he has combined earlier influences with an increasingly figurative style of painting. The human figure features strongly in his latest work and he uses this subject matter to convey powerful emotions, often with political overtones. The Icarus series of works is an example of this approach. Structurally his work is very dynamic showing a concern for strong draughtsmanship with a spontaneous application of colour. He does not work to set motifs, but makes paintings and drawings from observation and photographic reference.

04. What sort of art and themes do you gravitate to generally?

Most of my work is portraiture and produced in pencil or crayon. I like pencil as a medium because of the tonal qualities and density that can be achieved from a 6B pencil. I have been focussed on music and film icons at the moment as I have a close friendship with ex Dr Feelgood/Blockheads guitarist Wilko Johnson. I have produced a number of studies of him as I find his face beguiling. I was commissioned to produce his portrait after Wilko was diagnoised with terminal cancer. That was two years ago and he is just about to go on his Still Alive Tour. Possible Dorian Grey syndrome creeping in there.

Because of Feelgood originating from the Delta estuary area and myself living currently on the river, plus a rich cornucopia of musical talent available, I have been inspired to attempt to catch the energy and grit of the music through the drawings. Many of my paintings are rendered in black and white, or with dark greys and dark blues.

05. What about the different mediums and techniques that you use or employ?

I am not going to ramble on about the techniques of painting – I’d just like to say that I feel privileged to be able to make a living as a professional artist and I will always strive to paint with feeling, passion and honesty.

Throughout my career, I have worked on portraiture through the mediums of such varied drawing and painting techniques as ink, graphite, pastel, watercolour, conté crayon, finger painting. I simply build images by applying one careful stroke after another in multi-colours or grayscale pound shop painting by numbers style.

06. Do you use modern technology? If so how?

No! I try not to be a dinosaur but when it comes to drawing, I am a bit of a purist.

07. Have you met or worked with anyone interesting on your artistic journey?

I have had a varied career from design through advertising art director to artist and have met some intensely interesting people on my journey.

During the years I met an incredible amount of interesting people. Some who I could just about spend the day with, others who I would happily share a great deal of time. People like David Attenborough, Ian Dury, Wilko and Geldoff.

08. Anything that you really dislike, and why?

I had an early encounter with a Jackson Pollock painting: I went to the Sunderland Art Gallery and Museum with my Uncle Jack for the first time when I was 12. I saw this Jackson Pollock drip painting with aluminum paint, tar, gravel and all that stuff. I was absolutely outraged, disturbed. It was so far removed from what I thought art was. However, within 2 or 3 days, I was dripping paint all over my old paintings. In a way I’ve been chasing that experience ever since.

09. Tell us what you are up to at the moment, and where can we view your work?

At the moment I am busy producing a series of drawings with a fashion theme for an Ibiza one man show in July 2015. My work can be seen in London where I have a residency at The Sheaf in Borough Market, Southwark Street.

Other work can be viewed at Legends, The Railway Hotel and Chalkwell Park in Southend, Essex.

10. Your thoughts for the future and things that excite you beyond Art?

What will happen in the art world by 2050? I predict that all the smashed plates on Julian Schnabel’s paints will fall off on exactly the same day.

Seriously, I believe artists will be exploring and affecting all aspects of our daily environments in the most original ways possible. We are already seeing that artists today are moving beyond the four walls of established institutions and are directly engaging and inspiring a range of new audiences.

Inventive ways which will explore the effects of new technologies on art, art making and culture.

Yet despite the focus on new media we will never abandon our passionate commitment to painting and sculpture.

There is always something new in painting and sculpture. In a world changing at warp speed, we will see greater complexity in the types of work produced.

Art is going to reach so many more people and will not be perceived as something “exotic” or marginalized-but rather as a normal mode of existence along with other pursuits.

Art is constantly changing and evolving. Jackson Pollock’s seemingly spontaneity yet formalised abstraction changed art forever. Robert Rauschenberg moved us from Abstract Expressionism to Pop and then into new hybrid forms. Andy Warhol explored every medium of the day and completely transformed our perceptions of commercial imagery.

In the future the art world will be more liberated to make use of all the media around us – because artists have this passionate curiosity and ceaseless desire for new ideas. We are in the midst of seismic cultural change!

Contact: Jack Melville


Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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April 1, 2015 By : Category : Art Culture Design Front page Interviews Tags:, , , , , ,
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Someday All The Adults Will Die! – Punk Graphics 1971-84

Someday All The Adults Will Die! – Punk Graphics 1971-84 – Hayward Gallery London

Even after the thirty five years that have elapsed since that summer of malcontent, and punk’s subsequent elevation to one of the UK’s more written-about cultural phenomena, I still find it a little incongruous that an art house would host an exhibition about this singularly delinquent cult. Yet, the pristine white walls of the Hayward Gallery, set in the brutalist concrete South Bank complex seems the most appropriate place in London to hold this comprehensive collection of punk ephemera.

Stretching back in time further than the year-zero of myth (when the two sevens clash!) to the first use of ‘punk’ as a cultural term in the late 60’s/early 70’s, and taking in far more than just a few favoured fanzines and 7”singles, we are presented with a fascinating, international, superbly documented history of the punk years from its gestation to its late and still-snotty middle age. Original clothing, ranging from the ubiquitous Ramones T-Shirt to the rent-boy camp of Let it Rock, has its own display frame, as befit these works of art, some now priced like rare paintings.

The pivotal importance of the Xerox copying machine to many young fanzine producers is given its rightful tribute, with an impressive collection of small circulation publications and posters that were such an important part of this scene. Some deliberately crude in their execution, with hand written content, some neat and tidy with typed text throughout, all bear witness to the infectious enthusiasm of a young and combative life style that was alternately being ignored or demonised in the conventional media. The size of the fanzine collection is matched by the 7” singles on display, almost every one bearing a picture sleeve, the artwork sometimes highly professional, sometimes deliberately sloppy, but all laying down a manifesto. From bands like The Jam and The Sex Pistols, who would be playing Town Halls up and down the country and would become household names, to those who never made it beyond their fetid bedrooms, these singles are punk’s dark talismans. Someone elected to spend their pennies on them, when the same amount of cash could for example, have bought the latest by some over-hyped guitar god or temporarily famous balladeer. Instead, they chose punk’s angry thunder.

From touchstones to perhaps punk’s true legacy, the Do It Yourself ethic, is illustrated in almost every exhibit here, from the fanzines surreptitiously printed on the works copier, the self-financed singles, and the home copied cassettes of unsigned bands’ music, all gloriously free from the interference of commercial pressures. You cannot fail to be impressed by the sheer tenacity of the bands, putting their music directly into the hands of their potential audience in the pre-digital age of the personal, word of mouth contact.

The music that can be heard emerging from its glory hole has been chosen with care to take in familiar bands as well as some of the hidden gems of the era, all in lo-fi, although I would have preferred to hear them on a typical portable player of the late 70’s, for maximum authenticity.

That punk was an enclosed, incestuous world is not an argument I’d want to waste my time trying to refute. Major record companies found punk, in its early days, difficult to stomach, and their attempts to tame it would result in the ridiculous, never used poster hanging on the wall of this gallery, the Sex Pistols’ name sprayed in candy colour on a squeaky clean tiled wall. It could be the cover image for a disco single, or a particularly louche advertisement for furniture polish.

For all the bluster about anarchy within punk, the political side of the movement was often confused and misdirected, if not downright dubious. One band with a very clear political agenda are covered well here, the overtly anarchist group, Crass. Their age-old dogged determination to promote an anti-system of living is documented with innumerable fanzines and posters, some their own creation, others by those who followed in their wake.

With contributors like Jamie Reid, Liner Sterling and Penny Rimbaud, among others, I would have expected nothing less than a comprehensive history of punk, and in this, the exhibition succeeds completely.

‘Someday All the Adults Will Die!’ runs to 4th November and is FREE!

Scenester 10/10/12


Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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June 5, 2015 By : Category : Art Culture Design Events Exhibitions Front page Icons Reviews Tags:, ,
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DozenQ – Max Galli

This entry is part 12 of 20 in the series DozenQ

Max Galli has been working as a professional illustrator and graphic designer during the last 20 years, producing hundreds of colourful, 60s-influenced drawings, illustrations and commercial graphic designs. His trademark swinging Sixties girls, shy and sexy at the same time, appeared in posters, records and CD covers, packagings and more, making his very own Pantone marker-based style a must for the discerning 60s loving collectors all over the world.

Currently he’s contributing with his illustrations and articles to The New Untouchables (which promotes 21st Century Modernist & Sixties Inspired Underground Music Culture with an International Mindset) ‘NUTsMag‘ and Eyeplug Magazine.


01. What first inspired you to veer towards the world of Art, Design and Illustration?

I think women (aunts, cousins, acquaintances, some girls and women around…) must have been one of the main sources of inspiration, so far. Along with late 60s-mid 70s TV shows like UFO, Space:1999 and Doctor Who (the Tom Baker one), since I was seriously impressed by the design of furnishings and environments.

02. What are some of your early reference points and how have they grown or changed over time?

My reference points have always been quite diverse. When I was a child, it was basically my father’s pictures of models, actresses and landscapes from the 60s and 70s. A few years after, when I was in my early teens, it was comics. I became a very good comic strips reader and collector, focusing my imagination on the 1965-1975 graphic style, you know, the likes of Crepax, Peellaert, Forest, Moebius, Rostagno, Maroto, Pazienza. In my late teens it was fine arts and illustration: Alphonse Mucha, John Waterhouse, William Morris, the Preraphaelites, the whole Art Nouveau phenomenon, Art Déco, Bauhaus, Op-Art…

03. What form does your modern work tend to take?

Well, I love drawing 60s-style pin ups! The female characters I draw are always sexy and sweet at the same time, and never too explicit – I think eroticism is an imaginative issue, not a blatant one. I have my wife and a lot of friends and acquaintances who – sometimes unconsciously – inspired me.

04. What sort of themes, mediums and techniques do you employ?

The main theme has always been the 60s-early 70s, since I was 19. You can’t really stop me being fascinated by that period, can you? My favourite media are pigment ink pens and ProMarker and Pantone markers, which I only use on Letraset  marker paper. I never used a computer for my illustrations, nor I ever used Photoshop for colouring. I’m an old school cat.

05. What has been the re-action and feedback so far to what you try to do?

Honestly, I have a few thousand fans from all over the world, but a good 60% of them are from English-speaking countries (UK, USA, Canada, Australia). The funny and amazing thing is that many of them are from outside the International Mod-60s Scene.

06. Have you managed to exhibit  or publish your work so far, and if so how and where?

I was lucky enough to have quite a few exhibitions around (three in London, one in Spain, 4 in Italy) and I published my first illustration back in 1994, for an Italian literary magazine. There are also a few books of mine around, the latest one, “Midnight To Six” is having a great success, both with public and critics.

07. What other factors come into play whilst in the process of creating a new piece?

It just depends on how I feel in that precise moment. Inspiration and music play a fundamental role, though. Usually I listen to some slow, sweet hammond organ stuff. Things like 60s-70s  library music, 60s easy listening in general…

08. How do you spread the word about what you do and who you are, as an Artist?

Usually I do this through facebook and my own website. But I also like to know new people and meeting friends and  keeping them updated about what I do.

09. Have you collaborated on other Art based projects, if so who with and what was the outcome?

I tried  to join other project with other people, but I think that like mindness should be an important factor to make people work well together.          

10. Who else do you rate from the world of Art, Design and Illustration both past present and future?

I’d say US illustrators Peter Max and Bob Peak and Spanish Luis Roca and Esteban Maroto, Italian designers Joe Colombo and Anna Castelli Ferrieri for the past times, for now and the future there’s a great choice of very good artists, I can only remember a few names, but I like their artwork: Steven Millington, Marty Street and Kristian Hughes from UK, Alex Barbarroja and Marcos Torres from Spain, Sam Paglia from Italy and a few others from both sides of the sea.

11. Does your work ever get you into trouble at all?

Well, it happened sometimes. For example, I had a MySpace profile blocked four years ago, because of the naked women I showed in my illustrations. They didn’t like my illustrations, so I didn’t like being on MySpace. As a result of them blocking my art, I’m not using MySpace since then.

12. What are your future plans?

It just depends on what the future will bring me. You know, if I have the chance of doing something interesting, I’ll just do it.


Website (commissions):
Max Galli on Facebook


Boo Eyeplug acts as webmaster/designer for the Eyeplug site. Not the most social of creatures and with several personality issues, and rather exotic, eccentric tastes for obscure ‘cultish’ stuff which makes his ramblings seem even more sweetly abstract and often annoying.

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June 5, 2015 By : Category : Art Culture Design DozenQ Front page Interviews Tags:, , ,
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Lloyd Johnson: The Modern Outfitter

Kings Road Chelsea 1967

Lloyd Johnson: The Modern Outfitter Chelsea Space 24/1/12

Scenester is rarely driven to do anything by a sense of pure nostalgia, but this evening, he thought he’d make an exception. With Mme. Scenester at his side, your pal and man about town, took a short tube trip from his vile chambers to Pimlico, to catch a sneak preview of this timely exhibition of the classic work of Lloyd Johnson, The Modern Outfitter.

Curated by Paul Gorman, whose style tome ‘The Look’ is reviewed elsewhere on Scenester’s website, this exhibition celebrates Lloyd’s long career in fashion, from the sixties right through to the nineties. Utilising printed material, a replica shop front, video, but first and foremost, the clothes themselves, your narrator was transported back to several fashion eras he remembers with affection, and several he barely remembers at all, in the space of a few footfalls.

The entrance lobby houses some of the earliest work available, with highly patterned tank tops and wildly printed shirts, all a long way from the often sterotyped fashions that feature in most look- backs to the fertile decades of the sixties and seventies. The ‘Soup Cans’ print shirt is so emblematic of the sixties; it ought to have a preservation order on it.  The stunning ‘Sea Cruise’ jacket, from the ‘Johnson & Johnson’ era, with its multiple palm tree motifs, is a design classic of its own kind. The ’Top Hat’ print suit, covered in images of Fred & Ginger, is pictured worn by none other than Fred Astaire, in a shot from 1973. Such outsize motifs would later become much common in mainstream fashion, and usually on shirts, rather than suits. The shirts of this era threw all caution to the wind, with spaniel-ear collars, and shades and hues that guaranteed they would not be worn by the average fellow, even if he knew where to get them.

In this age of digital business cards and online shopping, it’s easy to forget that business was once a much more word-of-mouth, hands-on affair. The curling business cards for ‘Cockell & Johnson’, ‘Johnson & Johnson’ and’ Johnson’s‘, and the browning press clippings from long-folded newspapers were welcome survivors from an age of letter compositors and offset litho printers.

Elsewhere in the rooms, editions of ‘The Face’, ‘Ms London’, and others, show off Johnson’s increasingly broad range of clothes for the modern gent, and more rarely, lady. The statuesque figure of Siouxsie Sioux models the Japanese-influenced designs of the early 80’s whilst the youthful members of Madness walk low in box jackets and, what else, but baggy trousers.

Johnson’s enthusiasm to revisit classic designs is nowhere better demonstrated than with three stunning examples of Rock ‘n’ Roll revival clothing, set up as if for sale, in the turned wood and red plate glass reproduction shop front that adorns the main room. A T-yoke jacket in leather and hide, as worn by Jerry Lee Lewis, is set aside a riotous gold fringed leather jacket that both Lux Interior and Liza Minelli have sported, with an easy on the eye powder-blue 50’s suit making up the more restrained part of this trio. These striking outfits were displayed on vintage mannequins, with quiffs to match, as were some of the leathers Johnson’s made for the ladies, the figures complete with beehive hairdos.

High on the walls, we see a wide selection of Johnson’s imaginative take on the leather jacket, with layered leather shapes, often in contrasting colours, applied to the jacket’s body, and painted images from war comics and rock ‘n’ roll iconography all contributing to a near-unique garment for the biker with more than a touch of individuality. Many of the jackets had an aged look applied to them, to give the impression that they had been made in an earlier era, and so it was a double delight to see how well they are now ageing, this time for real.

The earthy, fetishistic imagery of Rock ‘n’ Roll pervaded much of the exhibition, with vintage record labels and totemic motorcycle manufacturers logos printed onto the backs of jackets, panels of animal print fun-fur inserted into leathers, bristling with studs and clanking with chain mail, and t-shirts heavy with all-over prints of skulls, guns, knives and grimly fiendish patterns, all paying tribute to the era that inspired them, but with added camp twists that were only for the brave. Some readers may remember that 80’s pop royalty dressed from the store, from the Stray Cats in their peg trousers and short sleeved shirts, to Paul Young in his shiny blue suit to George Michael in that biker jacket. Perhaps you did too?

Lloyd Johnson: The Modern Outfitter runs at the Chelsea Space, 16 John Islip Street London SW1P 4JU until 3rd March 2012.

Scenester – 29/1/12

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Scenester lives in London and Brighton, as time allows. Enjoys music, film, television, books, design and anything else which won’t leave well alone. Old enough to know better.

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June 5, 2015 By : Category : Culture Design Exhibitions Fashion Front page Heroes Icons Reviews Shopping Style Tags:, , , ,
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60s Comics: A Brief History (Part 3)

This entry is part 3 of 3 in the series MaxComics

60s Comics: A Brief History – By Max Galli, (Part 3)

At the end of 1967, psychedelia was spreading everywhere. It began with the introduction of mind-expanding drugs, and went on to influence music and most visual arts, including – of course – comics.

A couple of young French artists called Jean Rollin and Nicolas Devil (being the first one a script writer and the second an underground painter) created the first psychedelic comic book ever: Saga De Xam. It’s the story of planet Xam, a peaceful world populated only by women, invaded by aliens who know the art of war. Beautiful Saga, the girl with the blue skin, begins her journey through various ages, looking for a way to save her planet. Magnificently drawn, with plenty of psychedelic graphics and details, Saga De Xam was way ahead of most of late 60s comic art. The book, published by Eric Losfeld (yeah, the same publisher of Barbarella, Jodelle and Pravda), was printed on heavy paper (300+ grams) and sold as a luxury edition. Nowadays, only few copies survive, as the book itself has become a most treasured possession for a very small group of discerning collectors.

In the UK, brilliant SF writer Jo Addams, one of the very few females writing in the medium, and Barcelona-born illustrator Luis M. Roca, created a space heroine who – because of a car accident –dies and becomes the guinea pig for a scientific experiment that reincarnates her with a new life and a new identity. The plot is quite interesting, as Scarth (our eponymous heroine) finds herself in an unfamiliar world, where she can’t remember anything from her previous life and has to rebuild everything from scratch. The year is 1969. The place is London, where pop culture is still producing new concepts. The comic strip, published in The Sun for a few years, proved to be an instant success, as Scarth was the first British comic character to appear completely naked in a newspaper, and one of very few spacewomen. Roca’s drawings are extremely suggestive and take inspiration from pop-psychedelic graphics as well as Art Nouveau decorative art, and the story is just irresistible, as it never runs out of new ideas. Space journeys, fashion, adventures in strange worlds … Scarth’s new life is full of interesting stories and catchy graphic solutions.

Back in the US, 1966 and 1967 were the years of a revolutionary American comic: Phoebe Zeit-Geist. The dynamic duo, Springer-O’Donoghue, created a bizarre adventure with – maybe – a bit too much emphasis upon necrophilia and sado-masochism, as 24 year-old Phoebe is submitted to various tortures and dies many times in many ways. Graphically speaking, Phoebe Zeit-Geist looks like a bizarre mixture of early 1940s comics and Liechtenstein’s pop-comic-art, as the authors didn’t introduce many significant new elements to it. The plot of this comic book intended to satirize violence in contemporary living. This, I believe, is only partially achieved.

In the US mainstream, Jim Steranko added precious and innovative op-art graphic details to the American comic industry, making his ‘Nick Fury, Agent of the S.H.I.E.L.D.’ one of the finest Marvel comics ever. His influence led to a sort of ‘new wave’ of US comic art.

In 1965, Madrid-born Esteban Maroto created one of the best SF comics ever. Cinco por Infinito, published in the US as Zero Patrol. This series was far ahead of its time, introducing interesting psychedelic graphic elements ahead of the breaking wave. The comic was slaughtered by Warren Publishing editor Neal Adams, who applied heavy ‘corrections’ to it, despite Maroto’s growing popularity in the US. The original version only survives in Spanish.

In the second half of the 1960s, eroticism replaced action as the main subject for comic strips. Georges Pichard, a former art teacher from France, started to draw adventure comics as early as 1963, but switched to erotica in 1967, creating Blanche Epiphanie, the saga of a chaste girl who is continuously abused by ruthless men. Blanche is a girl who expects life to be better than what it is. Very different is the other famous character from Pichard, Paulette. Created in 1969/70, Paulette is a spoiled rich girl who spends money to offset boredom, always looking for new kicks. Drawn in a rich black and white style, Paulette has beautiful Art Nouveau frames and psychedelic graphics.

There is much more to be said about 1960s comics. Take this as it is: a sort of ‘taster’ of the whole phenomenon. Hope you readers liked it and – maybe – would like to know a bit more.

Here’s a string of names and books for you. The rest is action.

Max Galli

Max Galli was born in Rome in 1969, the son of a photographer and a housewife. Illustrator, graphic designer and writer, he embraced the culture and the aesthetics of the Sixties more than two decades ago. Max published three novels, an anthology of short stories and four comic books, and contributed to several magazines ( “Storie”, “Vintage”, “Blue” and “Misty Lane”). During the years he realized loads of cartoons, pin ups, record and cd covers and posters for Italian and European bands. He lived in London from 1998 to 2003, joining in the London Mod scene, from which he took inspiration for his work. His comic books “The Beatnix” and “The Adventures of Molly Jones” reached international success, especially in United Kingdom and USA.

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June 5, 2015 By : Category : Comics Design Picks Vintage Tags:, ,
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60s Comics: A Brief History (Part 2)

This entry is part 2 of 3 in the series MaxComics

60s Comics: A Brief History by Max Galli – PART 2


As the mid-Sixties gave space to new experiments in graphic arts, so comics evolved into a new age. Italian architect Guido Crepax – already famous for illustrating jazz records covers in the late 50s, published his carachter Valentina on the new comic magazine Linus in 1965. Originally named ‘Neutron’, starring a man with extraordinary psycho-cinetic powers hidden in the features of American art critic Philip Rembrandt, Valentina was intended to be only Neutron’s girlfriend, but things turned out to be a bit different. The girl, a professional fashion photographer with Louise Brooks-like haircut, was potentially a sexy character, so Crepax set about making Valentina sexier and sexier, also introducing new elements in the very way to draw comix – a new film-like cut of frames, close to Michelangelo Antonioni’s sense of visuals, ‘fetish’ details, the confusion between reality and dream. Every single page of Valentina was a piece of art, as the ‘comic’ orthodoxy was transcended. At the end of 1967, Valentina completely replaced Neutron as the main character of the story.  A curiosity: Valentina is also remembered for being one of the very first graphic characters to get older as time passes.

If italians did their best to join in the cultural revolution, the French didn’t sleep at all. Belgian-born illustrator Guy Peellaert created Jodelle in 1966, a swingin’ chick with more than a resemblance to pop singer Sylvie Vartan. Set in a rather funny and surrealistic ancient Rome, Jodelle lives together with his boyfriend, a bizarre young guy studying to be a druid (?!?), who gets angry quite often and occasionally sports a pair of long and sharp vampire-like teeth. Published by Eric Losfeld, the king of  French sexy comics, Jodelle is widely recognised as the first pop-art comic.

In 1967 Peellaert invented another pop-art comic strip, Pravda ‘la survireuse’ (one who lives day-by-day). If Jodelle was all about fun and a bit of optimism, Pravda is a cynical, disillusioned girl with an anarchic attitude. She hates almost everything and everyone, and she’s never satisfied with anything. This time, the model for Peellaert’s artwork is Francoise Hardy, and the story of Pravda is not even a story, but a mix of various episodes.

In the UK, Jenny Butterworth & Pat Tourret created Tiffany Jones around 1965. Tiffany Jones comes to London from ‘up north’, and sets up a new life at her cousin’s flat – evolving from a plain provincial chick to a fashion model, having a go to all those cool jobs that epitomised Sixties youth. Here, our girl looks like a bit of a do-gooder, although  representing (in part) the typical cultural zeitgeist of  the era.

Lovely Tiffany is basically a good girl who only wants to do the best she can in life, but without being particularly ambitious or original. All the other characters are just there to frame to Tiffany’s adventures: neither completely square, nor completely hip, just  somewhat  in the middle.

That said, let’s talk about the artwork – The drawings are captivating and much passion for the ‘Swingin’ London’ is included in every single frame. I should say that the beauty of this comic strip resides in its drawings and (pop) graphics.

In the US, the nascent counterculture was generating new horizons in comic design. Robert Crumb created Fritz the Cat in 1964, named after his own cat Fred. Fritz had nothing to do with the usual Disney or Warner Bros animal characters. He had all the human attitudes you can imagine, as he liked to smoke (both cigarettes and pot), drink, and have sex with his fox-like girlfriend and many other female characters. Fritz continued throughout the Sixties and lasted till 1972, when director and cartoon animator Ralph Bakshi made a film out of it. Robert Crumb – it must be said, with very rare coherence – didn’t like his underground cat going mass-media, so answered back with a bitter end, killing Fritz in an almost forgotten episode, stabbed to death with an ice stiletto by his last, ostrich-like, girlfriend.

Crumb also created another funny character, Mr Natural, a sort of  tricky guru who liked to annoy a certain ordinary guy called Foont.

(continued in Part 3)

Max Galli

Max Galli was born in Rome in 1969, the son of a photographer and a housewife. Illustrator, graphic designer and writer, he embraced the culture and the aesthetics of the Sixties more than two decades ago. Max published three novels, an anthology of short stories and four comic books, and contributed to several magazines ( “Storie”, “Vintage”, “Blue” and “Misty Lane”). During the years he realized loads of cartoons, pin ups, record and cd covers and posters for Italian and European bands. He lived in London from 1998 to 2003, joining in the London Mod scene, from which he took inspiration for his work. His comic books “The Beatnix” and “The Adventures of Molly Jones” reached international success, especially in United Kingdom and USA.

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June 5, 2015 By : Category : Comics Design Picks Vintage Tags:, ,
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The Short Happy Life of Joe Colombo

Modern life and the future in the vision of an enlightened designer

This year, 2011, is the 150th anniversary of the unification of Italy.

But in the very same year there’s not only one anniversary to take notice of: Forty years ago, Joe Colombo – one of the top Italian industrial designers of all times – died of heart attack, aged only 41.

This coincidence (1971-2011) brings to light an age when Italian design – along with the Finnish one – represented the aesthetics of a whole cultural phenomenon, which I personally would like to call Modernism.

Born in Milan, 1930, Cesare ‘Joe’ Colombo had a vision of the future dominated by an almost childish dream of re-building people’s living spaces and everyday life. Childish, I said, therefore incredibly serious (who said that children’s games are easy?), while paying attention to the smallest details. In his vision, simple objects like tables, armchairs and even ashtrays, clothes and shoes had to become something more. More appealing to the view, but also more practical, like a late Sixties science-fiction film (2001: A Space Odyssey was Colombo’s favourite film – you can easily perceive what interiors, volumes and general aspects that he wanted to highlight in his own work).

His contribution to the most important Italian furniture design houses was (and still is) immense. During the 60s, his revolutionary ideas and concepts were realized in an industrial quantity by the likes of Kartell, Zanotta, Oluce, Boffi, Arflex and Alessi, to name but a few.

Joe Colombo loved being photographed, often comfortably seated on one of his creations, with a grin and his pipe, a proper living-trademark of his own style. A white Elda armchair with its soft black or brown leather padding would have been fine for that, as he lived his design, like every user – he imagined – was supposed to do.

Contemporary life, from the early Eighties till now, demonstrates how mass cultural philosophy changed from the ‘design for living’ concept of the late Fifties to early Seventies to the ‘living for design’ ethos that explains – so far – how the more recent culture of brands replaced the whole concept of ‘life improvement through design’.

According to Colombo, design was the way to morally and physically make human life more enjoyable, in an age – the Sixties – when the term ‘future’ was about to be dominated by modular furniture and compact, all-purpose spaces that could have been taken from popular TV series like Star Trek or UFO, Joe Colombo had the intuition to turn ‘space age’ shapes, concepts and materials into normal life objects, with a fairly optimistic view of what the years to come should have looked like. The future is in your hands, the future is now.

But such a revolutionary man did not survive to his creations and had no time to see that the Seventies – aesthetically speaking – were about to be pretty much the way he imagined them. A good visual proof is the 1971-1976 seasons of European and American TV series, wherein interior design, furniture and accessories echoed Colombo’s vision.

What remains of Joe Colombo’s concept of the future? In an age – the twenty-first century – with a strong emphasis upon dull square/cubical shapes (probably suggested by the lack of creativity of designers and users); there is still a need for more rounded, compact environments. They now call it ‘vintage’ or ‘retro’ furniture, just to dismiss that very idea and bury it into an indefinite past, but – as we know – it couldn’t be more modern than that.

It’s neither vintage, nor retro. It’s not past at all.

It’s the future.

By Max Galli

Max Galli

Max Galli was born in Rome in 1969, the son of a photographer and a housewife. Illustrator, graphic designer and writer, he embraced the culture and the aesthetics of the Sixties more than two decades ago. Max published three novels, an anthology of short stories and four comic books, and contributed to several magazines ( “Storie”, “Vintage”, “Blue” and “Misty Lane”). During the years he realized loads of cartoons, pin ups, record and cd covers and posters for Italian and European bands. He lived in London from 1998 to 2003, joining in the London Mod scene, from which he took inspiration for his work. His comic books “The Beatnix” and “The Adventures of Molly Jones” reached international success, especially in United Kingdom and USA.

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June 5, 2015 By : Category : Design Objects Tags:, ,
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FocusOn: Max Galli

Max Galli was born in Rome in 1969, right in the middle of the ‘space age’, the oldest of two children of a photographer and a housewife.

From a very early age he always had a passion for drawing, inspired by various forms of art (painting, graphics, music), comics and television, and – obviously – from the many photographs of his father, a true, immediate source of inspiration as they were always at hand.

Precocious in learning, at the age of five he knew already read, write and draw. His early drawings used to be always inspired by the shapes of planes, trains and helicopters, while occasionally venturing into the representation of people.

At the age of ten he won the first prize in a competition about painting, sculpture and graphics for children organized by CIAS-UNESCO, an association connected with culture, art and school education. In the same period he started to write short stories.

As a teenager, thanks to a strong female presence that accompanied him until adulthood (aunts, cousins, friends, acquaintances) and a huge collection of vintage photos of his father (especially those of models and actresses of the period 1954-1972), began to draw female figures, while approaching to comic strips.

In 1991 he made his first, proper comic book, “Journey to Bilovar”. Published as a limited edition book three years later, “Journey to Bilovar” is a psychedelic and surrealistic tale around the theme of adventure, illustrated in pen and ink, with an eye to 60s american “underground” comics and inspirated to the Franco-Belgian style of drawing (Moebius, Caza, Bilal).

In the second half of 1991 Max joined the Roman Mod-60s Scene until 1994, creating an impressive number of illustrations, graphics and “optical motifs, all related to the visual arts of the Sixties.

From 1994 to 1997 he worked with local and national magazines, writing articles and producing illustrations for their features and working on commission for many private clients.

In 1998 he moved to England, in London, where he lived until the second half of 2003. During this “English” period, Max joined the London Mod-60s club scene, that soon became a constant source of inspiration for his illustrations. Several of his works were exhibited in group and personal exhibitions in the London area. In 2000 attended a college course in computer graphics and web design in central London, and produced posters and record and CD covers for local bands.

He returned to Italy in 2003, specializing in Sixties-style pin-up illustration, while appreciation for his works rose to international level.

In 2004 he was interviewed by Italian erotic magazine “Blue”, which published some of his works.

From 2005 to 2008 he worked as a graphic and web designer for “Ultrapop”, a small, 60s-oriented publishing company, for which produced an industrial quantity of graphics, posters and three pin-up calendars.

In 2010 he was interviewed in Greece, from the mod-60s Athenian magazine “Belle Vue Press”.

In october 2010 Max celebrated 20 years of illustrations.


Max Galli

Max Galli was born in Rome in 1969, the son of a photographer and a housewife. Illustrator, graphic designer and writer, he embraced the culture and the aesthetics of the Sixties more than two decades ago. Max published three novels, an anthology of short stories and four comic books, and contributed to several magazines ( “Storie”, “Vintage”, “Blue” and “Misty Lane”). During the years he realized loads of cartoons, pin ups, record and cd covers and posters for Italian and European bands. He lived in London from 1998 to 2003, joining in the London Mod scene, from which he took inspiration for his work. His comic books “The Beatnix” and “The Adventures of Molly Jones” reached international success, especially in United Kingdom and USA.

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June 16, 2015 By : Category : Art Comics Design Vintage Tags:, , ,
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Top Of The Pops

Top Of The Pops: Mock Rock Going Cheap

I can still picture the tableau vivant; it’s around forty years ago, I’m in Woolworths trying to decide which particular slice of pounding glam rock I’m going to spend my ten bob on, when I spot an album, that not only features a bunch of tracks I like but is (just) within my meagre pre-teen budget. I seize the disc, there’s a chick in a yellow leotard on the cover, but that’s not going to do much for me for a couple of years yet. If I buy this, I can get ‘Hell Raiser’, ‘Walk On The Wild Side’ and ‘Can The Can’, plus a bunch of other stuff. I look at the back of the album and a dim bulb comes on somewhere in my young brain. Why is this so cheap? There has to be something fishy. A line of blurb about ‘Britain’s best session musicians playing the best current tunes’ connects with my uncertainty. I have no idea what a ‘session musician’ is, but they make it sound like a good thing. It’s probably the recordings from the Thursday night TV show or something. So I make the leap.

Once I’ve given the album a spin, it occurs to me that some of these songs sound a bit different to how they did on the radio. Still, ‘Hell Raiser’ rocked and whatever the hell ‘Also Sprach Zarasthustra’ is supposed to be, it’s bloody funny. It’s my first album, and it would soon be joined by others of its kind, plus such esoteric titles as Hot Hits. All adorned by – for some reason – girls on the cover. Why don’t they have pictures of the bands like those K-Tel albums?

Of course, I soon wised up to the fact that these were, well … knock offs. That was why the K-Tel/Ronco albums cost more – they had the actual bands and for some reason that’s why they’re more expensive. I became more discerning, graduating to buying whole albums by the same band within a matter of months. Thus, the four or five Top of the Pops albums began to gather dust, nestling at the back of my growing collection until they were conscripted into service as ad hoc clay pigeons when someone obtained an air rifle around the middle of the decade.

Of course, I wasn’t the only one buying these albums – at the peak of their popularity they sold more than 250,000 copies per edition. Produced by Pickwick, who held weekly meetings to decide which rising singles were to be covered for the next album, the tracks were often recorded and mixed in under a week. Such alacrity meant that there wasn’t always time to perfect every nuance of the material covered, ‘There were varying degrees of success,’ explained former Pickwick producer Bruce Baxter. ‘Some were very close to the original – virtually indistinguishable, but some left a bit to be desired. We never had an awfully good Mick Jagger, though a few people had a go.’

Looking back, the Top of the Pops albums were wholly consistent with the disposable nature of a lot of the glam rock and bubblegum pop that populated their grooves. Once punk kicked in the whole concept started to look decidedly creaky. Session man Tony Rivers was a Top of the Pops regular, but by 1977 he found himself faced with the task of reproducing Johnny Rotten’s seditionary sneer for Volume 60 of the series. ‘I was sitting at the control desk, and suddenly I heard a voice,’ he recalls. ‘It was Paul McCartney. He said, “It sounds great – can I have a listen?” He came back in with Chris Thomas, who produced the Sex Pistols. He was in stitches – I did it like Norman Wisdom.’

A further surreal attempt at recreating the Lydon tones on Volume 74, saw ‘Death Disco’ sung very much in the manner of Albert Steptoe, and marvellously ludicrous versions of tracks such as ‘Wuthering Heights’, ‘Going Underground’, and ‘Say Hello, Wave Goodbye’ eroded what tiny crumb of marketability the series maintained, and aside from a half-hearted mid-eighties resurrection that featured Page 3 model Linda Lusardi on the cover, the whole series was consigned to a bygone age of innocence by the end of 1982.

Which is a shame, as like Aztec Bars, Cresta and Smith’s Savoury Pickle crisps, the early 70s Top of the Pops albums and their ilk were a slice of my childhood. Fortunately, in the digital age, nothing remains ‘lost’ for long and there are compilations out there available for anyone interested in sampling the Warholian delights of these reproduction hits.



June 16, 2015 By : Category : Articles Design Kitsch Nostalgia Tags:, , ,
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