PVC Record Sleeves -A warning
1 week ago
|Coupe De Ville, a coupe, and a pub.|
|Melbourne tour poster.|
|Another sleeve variation, front...|
|It was cheap...|
|A variety of sleeve colours exist, this black and white one is unusual.|
|Warning: The "Wanking" credit role does not appear to match the credit list|
|Clint Small: "Photography by Wyvern (Yes, We Found Him!) Parsons"|
The main difference with the remix was we turned off Dennis’ hi-hat microphone, because at that stage he didn’t realise you were supposed to clamp the hat down when you did a drum roll, so you have the cymbals spilling out over everything!
|Jump Vision collared, from Inner City Sound.|
We used a children's toy rubber stamp set to label each of the paper sleeves individually. In fact, as we had only bought a couple of sets there weren't even enough letters to spell out the band's name and the song titles so we had to leave a couple of gaps and fill in the missing letters later (we also stamped those ones with a different colour).
|Many copies have the band name and one of the song titles on one side.|
|We love the spelling mistakes, part I...|
...and part II.
|Television ADD/ADHD. A particularly cool variation which came from James Baker - note the different typeface. Perhaps done as a test run - a literal proto-type.|
|Sounds, 6 May 1978|
|All afflictions catered for: here, double vision|
I used to play bass in high school bands. The End started in late 1979, I had just bought my first electric guitar. I had a friend called Andrew Massey who was a bass player and he lived in my street. He came over and asked me if I wanted to join a band. I said as long as it wasn't with the guy down the road. I used to hear him playing Led Zeppelin songs!The guy was drummer Colin Barwick, who with Massey on bass and Murray Davis on keyboards formed the first line-up of The End. Barwick was re-educated. Myers :
I wasn't into jamming, so to play anything I had to teach them all these Velvets songs. We played lots of parties, but we'd finish an average of about one song out of ten. It was a real thrash but it was coming from a different direction to everyone else. In those days no one was playing the sort of music I liked. If there had been another band playing it, I probably wouldn't have started.In the end though, there was.
We used to do a lot of Stooges stuff as well, and New York Dolls. Then I saw the Fun Things and they were doing that stuff really well, so we stopped.The new, "wimpy" End, started exploring space and dynamics rather than power. In most cases such a development would have us running fast in the other direction, but if there was one guitar player whose non-obvious choices we enjoyed the challenge of watching through the eighties, it was Mr Myers. The End took on Malcolm Cole on violin and keyboards, and swapped Massey for Johnathon Liekliter on bass. Their only single is a sometimes tentative, sometimes assured venture. We like its indirectness, though will champion their more powerful tracks like Birthday Boy, which saw release on a posthumous cassette that Citadel were due to issue on CD last decade before the arse wore out of the pants of the reissue market.