//Framed sketches for CLASH 2nd Songbook with copies of the published work//
//Specially designed by Boshier for the show, Art ‘Til You Drop tote bags and badges will be available along with copies of the monograph Rethink/Re-entry//
The installation of Rethink/Re-entry, the exhibition at central London gallery Flowers showcasing important works by Derek Boshier from the 1970s as well as collages and films made in the last year, is all-but complete.
These shots were taken yesterday as co-curator Guy Brett and I worked with the Flowers team on sequencing and final selection for the show, which opens tomorrow (October 7).
//Three sketches for sleeve of David Bowie’s 1979 LP Lodger//
Two of Malcolm McLaren’s t-shirts from the very first production run of I Groaned With Pain – the notorious text design produced with Vivienne Westwood in 1974 – will be featured in Eyes For Blowing Up Bridges, the exhibition I am co-curating with David Thorp at Southampton’s John Hansard Gallery this autumn.
I Groaned With Pain is named after the first four words of the paragraph of text McLaren lifted from beat writer Alexander Trocchi’s erotic novel Helen And Desire (published in 1954 by Olympia Press under the pseudonym Francis Lengel).
//Sketch for songbook cover, 13 x 9″. Derek Boshier 1979 courtesy Flowers Gallery//
While interrogating materials for Rethink/Re-Entry – the monograph of artist Derek Boshier I am editing – I’ve come across many delights, including these sketches in the Flowers Gallery archive for one of the most visually striking documents of the post-punk era, CLASH 2nd Songbook.
//Richard Hell + Jake Riviera, outside the Chelsea Arts Club, London, Feb 2014//
I’ve had few, if any, lunches as enjoyable as last week’s hook-up with Richard Hell and Jake Riviera for a piece I am writing for GQ magazine.
Richard and Jake first met outside CBGB in March 1976, having been introduced by photographer Roberta Bayley, who was working the club door that night.
With Dr Feelgood’s Lee Brilleaux, Jake had witnessed Richard in performance the night before with Johnny Thunders in the first – and soon to disintegrate – line-up of the Heartbreakers at Max’s Kansas City.
We dined less than half a mile away from Chelsea embankment, where Richard and the rest of his next band the Void-Oids spent a pretty miserable-sounding sojourn on a leaky boat when in the UK on tour with The Clash in 1978.
As Richard recounts in his fabulous memoir I Dreamed I Was A Very Clean Tramp, he and Jake have shared a series of adventures over the years, some of which I will be covering in my GQ feature which should be out in the summer.
I Dreamed I Was A Very Clean Tramp is out in paperback this week; buy here.
//Exhibition cards and private view invitations, 1973 to date//
I’m assembling materials for Rethink/Re-Entry, the long-overdue monograph of the great British artist Derek Boshier I am currently editing.
The book takes its title from the early Boshier painting which inspired rock’s ultimate art-directed star Bryan Ferry to choose the name Remake/Remodel for the first track on Roxy Music’s game-changing debut LP.
Junior Murvin – who has died aged 67 – will forever be associated with the rebel cool of his 1976 Lee Perry-produced single Police & Thieves. Yesterday morning’s BBC Radio 4’s Today news programme displayed it’s trademark ham-fisted approach to pop culture when eagerly proclaiming the song his shining achievement by managing to misname Paul Simonon “Mick Jones” in an interview introduction and rushing to gush unconvincingly over an excerpt of The Clash’s version.
Personally, I favour another Lee Perry collaboration from the same period, the epic single B-side Memories.
I bought the UK 12inch mix on a shopping spree in a record shop tucked away in an Earl’s Court side street one late afternoon in 1977 on the recommendation of the shop assistant.
At 8mins 45secs, Memories is not only a sonic adventure to match the very best of 70s dub, but also a sweet, romantic song, the yearning, regretful theme over Perry’s bubbling cauldron of rhythms perfectly matched to Murvin’s falsetto whoop (I found Police & Thieves too preaching, which I guess is why it made sense for The Clash – always complaining about being told what to do, they tended towards dictating to their audience).
The flip, Tedious, is pretty good, as were other Black Ark explorations such as Closer Together, but nothing in my view in Murvin’s body of work touches the tenderness of Memories.
//"Sunglasses Ron" Fahey, top right, leads the applause onstage at the Rainbow, Finsbury Park, London, spring 1977. Photo: Neal Purvis//
The photograph above – taken by a friend, Neal Purvis – captures one of the leading lights of London’s Ted scene at the height of his rabble-rousing powers.
Here is “Sunglasses Ron” Fahey taking to the stage of north London venue The Rainbow during The Sun Sound Show, which ran on the nights of April 30 and May 1 1977 and featured rockabilly giants Charlie Feathers, Buddy Knox, Jack Scott and Warren Smith.