Design at Duke Street No.2: Alice Rawsthorn

Following David Pearson's lecture we returned once again to Duke Street for 'The Culture and Business of Good Design' – an event organised by Richard Denyer of Norwich University College of the Arts and Lucy Marks of Norfolk Network.

Tonight's guest speaker was international design critic Alice Rawsthorn who was joined later by an industry panel featuring packaging design guru Nick Farrow (Farrows), product designer Alastair Kingsland (Minima), Head of Design School Hilary Carlisle (NUCA) and Tim Lynch, Marketing Services Manager of Britvic. And the chair in charge of the tea party was brand purposer Simon Middleton - so in all, a rum bunch to feed our brains.

Alice knew her stuff. Opening with an image which featured football hooligans throwing plastic chairs, she declared that the public's broadest understanding of good design was the chair – as we can all judge if it is comfortable, attractive to the eye or merely functional. Or getting straight to the point, ask how ethical is its design – unfortunately for the bruised and battered chairs thrown by the boys on the terraces, these products are indestructible and will be massed in landfill for thousands of years.

The technology industry is driven by the new and the innovative, creating a need for products which are arguably inessential (it reminded me of a great Paul Weller comment that before mobiles we used to manage, now everyone has to have one). But times change and we grow to rely on these new products, but where do they go when they die? This grim reality was defined by an image of a rubbish tip of computer hard drives and monitors – once desirable but now lifeless and resistant to decay. However, Alice likes the iphone as it bundles several products into one and reduces space when it's tossed into the twilight zone of disposal. Whether it's a chair or a sleek iphone, brands of the future will have to design and manufacture their products with a clear conscience.

Printed graphics weren't touched on, but it brought to mind the latest Bernard Matthews campaign which is endevouring to restore consumer confidence after being savaged by Jamie Oliver and his loathing of turkey twizzlers. You can clearly see that they are trying to communicate a message which is considering health, taste and even employee pride. They've even re-branded as Bernard Matthew Farms to make it more rural and green. Still makes me wonder if they've improved their farming methods though.





After having to decide whether a honey comb vase or a chair made from ice was the most efficient (the bees won Studio fans), Alice had another surprise up her tailored sleeve. Have you heard the one about the car made of fabric? I hadn't but here it was, created by BMW and it's a real marvel. Its fabric skin, reminicient of an ancient World War One bi-plane is stretched over a light weight frame, the engine accessed via a clean line similar to a surgical incision. So it's renewable, dent proof but what about safety? Great concept though. I would love to know what my engineering client Active Technologies makes of it.

You now know that the theme was responsibility not recession. As a delegate later said, 'we've heard enough about that'. But I think there is another event there which could discuss the importance of design and delivering a clients message effectively when times are tight. And celebrates great work and client product and service too.

It was an enjoyable evening, and thought provoking stuff for students, design professionals, and the Norfolk Network members – all representative of a variety of industries – everyone was buzzing in the reception area afterwards. Plus, it was great seeing Alice Rawsthorn – she has superb taste in shoes you know.

More events like this please.

For more information on Norfolk Network and future events, click here.
Plus Studio recommends Alice's blog, here it is.

Design at Duke Street No.1: David Pearson

In collaboration with Andy Campbell at NUCA (and with a little help from our friends) Studio had been planning this since the Summer – inviting book designer David Pearson to the Norwich University College of the Arts to give a lecture on his valuable work for Penguin and beyond.

And like a much desired Routemaster - we also had the treat of another design luminary, visiting the Duke Street lecture theatre on the same day – the design critic Alice Rawstorn (more on Alice's lecture in a bit). So with great anticipation, Andy and I had our very own design festival (with better catering and no portaloo's).

David learnt his typographic craft under the watchful eye of Phil Baines at Central St.Martin's, which soon earned him an exciting work placement at Penguin Books. And here is where David's talk began, with an image of Penguin's archive – endless rows of every book it ever published. The holy grail is probably buried somewhere here, not that would interest David – he was too busy archive raiding and consuming Penguin's rampant design invention.



And if you love paperback books, but more importantly judge a book by its cover, you'll be familiar with Penguin's commitment to producing challenging book cover designs which inspire new generations of readers. Even the most casual observer could re-collect the classic characteristics of a Penguin paperback – the iconic parallel orange bars, the bold black san-serif typeface and the curious symbol of the Penguin standing to attention, but distracted by something over his right shoulder.

Penguin began in 1933 by founder Allen Lane, who knew the importance of publishing good writing for the masses but also the value of it's book jacket, stating "I have never been able to understand why cheap books should not be well designed – for good design is no more expensive than bad". And Penguin attracted many great designers – Jan Tschichold practising his new typography in the late 1940's, produced a whopping 500 book designs in three years. In keeping with post-war austerity, his design method relished the challenge of working within limitations such as using black and one other colour and consistent positioning of title, author's name and that distracted Penguin motif. Later, if there was a famous author, perhaps one more colour could be added to the palette.

Influenced by US sales figures and their extravagant full colour front covers, Penguin flirted with imagery too. Coming to life in the 1970's with the design work of David Pelham – this lucky chap actually used photography which would have alarmed Allen Lane and his accountant.



You can appreciate, when David began at Penguin he was following in the foot steps of some design greats. But his work soon had a lasting feel of quality – classic typography but still mixing modern styles, which are explored in his 'Great Ideas' series. Complimentary illustration pops up in the 'Great Journeys' series, but you can imagine Penguin's founder wincing at the sight of the many colours applied throughout the collection. I love the 'Penguin Classics' range (£2 each - buy them while you can) which celebrates consistent copy positioning and colour restriction. You can sense Mr Tschichold nodding with approval.



It was a pleasure meeting David and seeing not only his inspirational work but the timeless legacy of Penguin Books. Just imagine those dusty volumes at rest in the Penguin archive – I'd love to explore it one day. Before I sign-off I feel a tangent coming on – I must apologise if David was distracted by some idle student chatter from the back row – they obviously know it all. But being a Seinfeld obsessive I was reminded by this scene and how to silence disruptors at the cinema. We could have used George Constanza at David's talk. But then, maybe not.

Find more of David Pearson's work here.

With thanks to Matty and Jason Hyde X

Enzo Discovers The Lost Levels

Studio enjoys the occasional opportunity to design record sleeves. This year, we've been working with the Lost Levels, producing two designs which had a 'Roxy Music' theme. If you are familiar with their iconic sleeves, you'll know what I mean.

For their latest single, the Levels commissioned Steve Jones, a graduate from the Games course at Norwich University College of the Arts. And boy has he created something special. The animation follows the adventures of games character, Enzo the Explorer who escapes his colourful 2D environment into the real world.



The animation took a mighty four months to complete, but it's been worth the effort. It's already created a buzz in the creative industry and has been profiled by Computer Arts Projects (the real 'how-to' guide - recommended reading) and The Guardian.

Studio wishes all the best to Steve with his future career - on this form he will do very well.

Visit the Guardian Blog for more details and download the track for free here.

Peter, Richard and a Blueprint for Living

I've been recently talking to students at NUCA about which examples of design inspire me. Or as a friend of mine put it, 'a desert island' selection of design.

My first exposure and understanding of design were the Two Tone sleeves by Jerry Dammers and David Storey. And that economic approach to design is also evident in my love for sleeves by Reid Miles for Blue Note. But 'Power, Corruption and Lies' by Peter Saville is a design masterpiece which continues to intrigue. So it was smashing to find this short film of Peter talking about what inspires him.

As part of the Tate Shots series, Peter explains his fascination with 'Toaster' by the pop artist Richard Hamilton and how it can be seen as a blueprint of his work for Factory. And it's clear to see why - clean, understated and textural - an experience which draws you in. Only to read promotional text from Braun advertisements. Apparently, the work reflects Richard's love of Braun's product designer, Dieter Rams. I wonder what he would of made of the iphone?

Here's what Peter makes of 'Toaster':



'Toaster' was created in 1967 - a year later, Richard Hamilton was commissioned to design the white album by the Beatles. An obvious minimalist classic and a reaction to Peter Blake's Sgt. Pepper. I love the story of Paul McCartney watching Hamilton at work - building up the collage which made up the poster found inside the sleeve. It was a visual treat for Beatles fans, featuring candid shots of the Beatles at home, at play - you get the idea. But rather than reveal more, Richard was masking-off areas of the composition with sheets of white paper - creating complimentary space. I've always thought it was very cool of Paul McCartney to trust the practise of artists such as Richard and not allow his ego get in the way.



We never tire of what inspires us the most, plus it's the reminder for us to create great work ourselves.

See more of Richard Hamilton's work at Tate Britain

New Studio Lectures at NUCA

It's October and autumn already. A new year has begun at Norwich University College of the Arts (formally NSAD) and over the last two weeks, Studio has contributed four lectures across all three years of the FDa/BA Graphic Communication course.

I love talking design, even over a quick cup of tea (I promise, I'm great company) so it's been an irresistible opportunity to raid the Studio think tank on subjects ranging from an introduction to typography, agency structure and branding. That last subject is probably the most discussed across all sectors of industry. And to grab the attention of Year One, my first slide featured the symbol of the cross; illustrating that with no title or description, these two converging lines communicate belief, values and an offering. This was then further explained by the branding of Apple Computers - what does their logo mean to you? If it's cool design, modernity and temptation - great! Me too. In conclusion, it takes more than a snazzy logo to capture the imagination and investment of any brand audience. The unique product or service must be right first.



Year Two were presented with 'Brands Which Challenge Our Way of Thinking', which featured interesting examples such as the challenge from Volkswagen in the sixties to convince american drivers to give up their petrol guzzling Buick's in favour of the beetle (or the bug as it was known in the US). And this was achieved by classic advertisements such as, 'Lemon', which had the daring to make fun of the product, but as a result made a virtue of its perceived deficiencies.



Controversial imagery was explored by looking at posters from Amnesty International and it's raising of human rights issues in China after the Olympic games. Gory stuff. Plus, examples of Oliviero Toscani's work for Benetton was shown. I'm not so keen on the shock tactics of these advertisements. To his credit, they stimulate debate and get the name of the brand out there, but I can't get past the fact that it's all for knitwear. And hey, they show the product too!

We closed by examining the promotion of the current US presidential campaign between John McCain and Barack Obama. There is great work to be found over there. The artist Shepard Fairey of Obeygiant has produced a series of superb posters for the Obama camp, and in each the candidate appears dependable and statesman like. The confidence embodied in each portrait is supported by simple one word headlines such as, 'hope', 'progress' and 'change'. These have also been ripe for political satirists, where the image of McCain has been paired with the title, 'Dope'. That can't make Sarah Palin very happy at all.

They are managing to capture the youth vote too by running poster competitions to help galvanise interest in the importance of the election. Plus, comedians like Sarah Silverman are producing their own viral campaigns to help gain support in states which crucially swing the vote. Please take a look, but avoid if easily offended. It's potty mouthed Sarah after all.



Our next talk on publishing is in November, but until then, it's back to the Studio for our latest design projects and watching the outcome of the election. Come on guys, don't mess this up.

Please visit see more of Shepard Fairey's work here, plus loads on Obama's campaign here.

Branding a City and Talking Design With Peter Saville

Last Friday morning at the Studio had been the busiest of the week, with clients calling more than usual and working toward getting a major project to print. Plus, I was due to catch a 2pm train to London to see Peter Saville speak at the V&A that evening. With all my work complete and arrangements made, I headed-off to town.

The event was staged in the Lecture Theatre of the V&A, an impressively ornate victorian space with a double-height ceiling. As you enter, you have the feeling of being watched because as you choose where to sit, you're flanked by a portrait gallery of artists and scholars. Rather fitting as you're about to face a softly illuminated setting, imagining the many figures from history who would have spoken beneath the vast half-dome high above.

As we patiently awaited the arrival of tonight's guest, idol chatter disturbed the stillness of the auditorium - then he arrived, dressed like a scruffy Bryan Ferry - the designer who contributed classic work for Factory Records, who for me were as much an art movement as they were a record label. And now it too has past into history.

Peter Saville is also blessed (or cursed) with having to re-tell its story. But it's one I'll never tire of hearing; the coming together of seemingly ordinary individuals in Manchester who created extraordinary music, graphics, events and buildings. But maybe the biggest achievement was transforming their shabby home environment into something vibrant and inspirational to the rest of the world. And of course, it happened as a result of seeing the Sex Pistols at a locally organised event which revealed that anything was possible. That art, creativity or self-improvement doesn't have to be the preserve of the upper classes.

I had seen Peter speak before at the Norwich School of Art and Design and wondered if it would be a re-run of that lecture. He did detail his design background but there was much more. Interviewed by critic Alice Rawsthorn (wearing fantastic shoes) she did ask him about his iconic work for the music and fashion industries, but also his more recent role as Brand Consultant to Manchester City Council. This proved to be great stuff - how do you brand a city? And the trick for a city to communicate is through what it does, whether it's culture, heritage, architecture or sport. But there is also the challenge to improve the cities environment - setting a brand profile and living up to it. Or as Peter put it, 'make it better'.



Post-war Manchester was a shadow of the progressive, industrial city of the late 1800's. A place which had created inventions such as the computer (and freaky dancing). Peter's suggestion was to brand Manchester as the 'first original modern city' - and encourage its citizens to be just that. This positive endeavour also saw the launch of the Manchester International Festival in 2007 and its celebration of the work of new artists with a focus on the issues and stories of our time.



The Factory spirit of originality and confidence is still evident today in city projects such as these and an example for wherever we live. There was one more story, which was not planned for this evening and it came from a question from the audience regarding Peter's involvement with the Pennine Lancashire identity. Peter had been encouraged to get involved by the late Tony Wilson, and act as creative director to the Manchester agency Creative Concern for the project. This lead to Peter and Tony spending two days together, driving around to explore the Pennines for inspiration. And it proved to be the last time Peter saw Tony, as he sadly succumbed to cancer, shortly after.

Tony was truly proud of his city, and gets the last word,

"Your city cannot be a derelict shit hole, if the young people of your town believe themselves to be the equal of Cardiff or Birmingham, but believe themselves (in what is most important in the world: the creation of popular culture) to be better than Paris, Tokyo and L.A. – And if you've got that pride in the central feature of your town - that is something to build on."

Click here for more information on the Manchester International Festival and Pennine Lancashire plus, Manchester: Original, Modern

Studio at D&AD Xchange

I was out and about again this week, accompanying Andy Campbell (Course Leader of the FDa/BA Graphics Communication, NUCA) at the D&AD Xchange.

If like me, you were disappointed by the lack of Summer and your holiday wasn't long enough, then you probably need to re-charge your batteries by hearing from some creative minds. And Andy and I found plenty (twelve to be exact) at this exclusive two day event which featured leading speakers from varied areas of expertise such as, graphic design, branding, advertising, the inter-web and photography. And as the lights went down we heard details about their work, how they got there and how we can inspire our current art students.

I had my faves. I really enjoyed Alan Young, Creative Director of St.Lukes - laid back because he had recently broke his leg (stepping onto a skateboard!). We could have sat together round a log fire, cradling a fine whisky as he shared his wisdom - he wants to see work that makes him fearful. Work that possesses an emotional energy which challenges the 'old thinkers who are set in their ways'. God he was scary - Imagine presenting to the guy. But how I wished I had worked for him.

Andy was very moved by Janet Kestin, (Co-Chief Creative Officer of Oglivy Toronto) and her work on the Dove soap campaign. It stirred quite a debate with its campaign for real beauty and its challenge to our visual perceptions - is this model fat or fab? - tick the box. But the whole challenge is best summed up by the example below. This was indeed thought provoking work which didn't state the obvious about the product. Selling a point of view as well as the brand.



The typographer and letterpress legend Alan Kitching touched everyone with tales of his career (he was even too choked to speak when he remembered another friend who had passed on). Alan was more than old school. He had started back in the fifties, arranging metal letterpress type for layouts inspired by the 'new typography' of Jan Tschichold. At this point I wasn't making notes, I was sketching his poster layouts!

Today, Alan is famous for his letterpress - and the typo is stunning. This is where design becomes art. He brought along a few prints for us to get up close and feast our eyes upon. How I wish I could afford to buy the poster, 'Electricity Kills Darkness - candlelight illuminates it.'



Andy and I had a great time – especially watching the delightful Rosie Arnold (BBH) and her work of wit and joke telling as seen in campaigns for Lynx, Pretty Polly and my favourite below. As Rosie said, the best work explores truth, humour and our life experience. Think on.

The Art of the Poster in Amsterdam

During a recent visit to Amsterdam, I spent most of my time taking snaps of their superb poster art.

And it got me thinking. Why isn't there more of this kind of thing in my own town of Norwich? Amsterdam has various dedicated poster sites, promoting many local events – each poster an absolute visual treat and complimentary to the local landscape. I love poster design; it's similar to the 12" canvas of the record sleeve and the ideal format for the designer to express themselves and spread the word of their client.

The only trouble is, once you've completed your fabulous poster there is no where to display it. I can understand Norwich Councils' dislike of fly-posting - but my reason is that many of them look awful. I like DIY design by talented amateurs, as long as it's good. The cut and paste designs (or anti-design) of Linder Sterling and Jamie Reid are good examples of design which doesn't have to be highly finished. So all you designers for clubs and live gigs, please up your game.

I would love for us to have poster sites like Amsterdam - but it would also be a result for the Council to run regular pitches or competitions which promote local events with effective and stimulating design. And judged by the local design community. These posters could be genuinely creative and not have to be slaves to brand culture. Just great design art which communicates the message.

Wouldn't it be cool to see someone from Amsterdam taking snaps of our posters?

Please see some great examples of dutch posters here.

Studio Visits The Factory

It was one of those 'pinch me' moments. No, I hadn't just met Paul Weller. This was something altogether more holy and closer in spirit to the art of design. It was meeting the makers of the work that has inspired me for the last 25 years.

Along side my work with the Studio, I've been working as a part-time tutor for the Graphic Communications at the Norwich University College of the Arts. It's a great, industry-focused course with a busy work experience schedule, organised by my esteemed colleague Rod Green. Rod is a geezer - he likes my shoes. But more importantly, he knows of my fascination for the history of Factory Records and the design work of Peter Saville.

Peter has two studios - one in London and a second, unbelievably located 8 miles from Diss in Norfolk. It's run by Howard Wakefield, and his partner Sarah Parris and it's here that Rod had placed Connie, one of our students who had recently finished a successful two month work placement. Rod planned a visit to follow-up on Connie's progress - and he invited me along.

Having been picked up from Diss train station, we soon arrived at a barn conversion, in the middle of a field where three horses grazed lazily in the sun. Once welcomed and offered tea, conversation turned to New Order and the abysmal CDs that London Records had packaged in the 90s. Howard and his team are now re-packaging these valuable recordings and restoring the detail and tactile quality of Saville's original designs.

Howard has worked with Peter since 1991 and continues to play an important role - producing memorable work for artists such as Suede, Pulp and of course New Order. And let's not forget his part in the pioneering 'Waste Painting'. projects. It was a pleasure to meet him and Sarah and be treated warmly as a guest with a lively interest in all things Factory. And he spoke about this work with equal affection and enthusiasm.



Once invited upstairs to their design Studio, we were firstly shown the superb box set that they had designed last year for the Joy Division re-issue series. I've only previously seen expensive copies on ebay, to hold one felt precious. And then we saw the CD mock-ups for the New Order re-issues which are not expected in the shops until 2009. Connie had been fortunate to work on these, and Sarah had taught her the valuable method of replicating these packs from A3 colour run-outs. Not only that, she had also contributed ideas for a proposed run of t-shirts, all featuring a twist to Saville's original designs. Howard was particularly interested in her input to the creative process and her role in the Studio.



The visit was obviously magical for me, but must have been a valuable gateway for Connie to the rest of her career. What a great start. Plus an accolade for the Rod's work for the students on the Graphics Communications course.

We didn't get to meet Peter, but I am going to a talk that he is giving at the V&A next month - watch out for my post in September. Until then, treat yourself to one of the Joy Division CD re-issues - they are remarkable.

Visit the Saville Parris Wakefield site here

Studio Maps Out SCVA Safari

Sainsbury Centre for Visual Arts recently staged a family fun day - in the centre of activities such as Fabulous Beast Face painting and an opportunity to make your own jungle drum was the Gallery Safari - and Studio were pleased to design and sponsor a unique map for this special event.

Children used the Safari Map to discover the many animal exhibits located around the collection and decorate the map with stickers once found. And along the trail, learn interesting facts (did you know Boars can leap 4 feet in the air?) while being distracted by word searches and pics to colour-in. Complimented by illustrations by Gary Laidlow, it was a real treat for the children taking part - as tested and approved by my two kids Billy and Evie.



The theme of the day was linked with the city wide summer art project Go Elephants! and despite it being too wet to play outside, the event was a great success and the map proved to be an interesting new way for kids to explore the Robert and Lisa Sainsbury Collection.

If you missed the event, don't worry - there is a superb Constructivist exhibition at SCVA which runs until December, plus Kabir Hussain's Mapping Norfolk exhibition is worth a visit too, pick up your Studio designed Gallery Guide and enjoy, but get a move on - it ends 31 August.

Photos by Andi Sapey.

Dancing In The Streets: Norwich Vs London. You Decide.

Here at the Studio, we've enjoyed watching London based Road Sweeper, Zbigniew Colbecki cutting a rug with his Michael Jackson dance moves.

According to NME.com Zibgniew, or Ziggy Dust as he is now known, is currently gaining 21st Century styled fame and taking the net by storm. The boy is a mover at no mistake, but how does he measure up to our very own local legend, the Puppet man?

I walked through town recently with my son Billy, and there was the Puppet Man, his right leg moving madly like a cross between Joe Strummer and a young Paul Weller. His hand puppets, bug eyed in all their Bez like glory. I gave my son a nudge and told him that this guy was a genius.

Anyway pop pickers, here is Norwich's favourite son, the Puppet Man. The pavement truly lights up, just like in the Billie Jean video every time he ventures out. I propose a dance-off between our man and Ziggy then let the shoppers decide.

Stay with-it.

This man?



Or this man?

Adieu NSAD. Viva the Degree Shows.

"Games or Graphics?", decides my daughter Evie at this years’ Norwich School of Art and Design degree show exhibitions.

Our design studio created the exhibition signage system, together with promotional invitations to the Alumni. Always great to be involved with our local art college, whether its commissions such as these or part-time tutoring on the FDA/BA(hons) Graphic Communication course.

The show ends Wednesday July 2nd, so hopefully you've had an opportunity to get down there and survey the fantastic work on display. Plus there are changes in store, as NSAD has been granted university college status and from August 1st transforms into the 'Norwich University College of the Arts'.

Does that mean more dancing and less art? Who knows. But we are looking forward to the new identity and as The Jam eloquently stated, amidst stuttering feedback, 'this is a new Art School'.

Is This The Best Creative Pitch ...Ever?

Thank god it's Summer. The weather is getting better and there's a new Paul Weller LP in the shops. And it's ace. Only trouble is there is nothing on telly. And one thing that got me through the Winter months was the superb TV series, 'Mad Men'. A drama which finally made the advertising industry convincing entertainment. And boy, do I miss it.

The real master stoke was setting it in New York right at the cusp of the sixties - where every chain-smoking copy writer and art director looks like Cary Grant and lusts after doubles of Grace Kelly with misogynist glee. It can be quite uncomfortable to watch at times, but at least it signifies that at least we've come a long way.

But I'm not about to harp on about the battle of the sexes. For me this series captures the ad industry brilliantly and none more so than in this clip, featuring Creative Director Don Draper pitching to a potential new client. His presentation is inspirational, and attempts to elevate his client's product to something invented by HG Wells. And while he's at it, reduces one of his account executives to tears. Which must be a good thing.

Here at the Studio we're thrilled to have won our second pitch. We've created the new identity for the University of East Anglia, Jubilee Project - which promotes awareness of the 50th anniversary in 2013 and will raise funds for charity along the way. There were no tears during our presentation and thankfully Darren is no Don. But he does want to dress like him.

Mad Men Season One is available on DVD now.

Studio Pick of the Pops '08… so far

Yes, we love design - a lot. But we also love music lots too.
Here is a list of the top tunes which have kept us inspired and distracted in the best possible way.
And of course it's not always Weller Live bootlegs either (that's just in the mornings).

Cat Power - Jukebox


Paul Weller - 22 Dreams


Nick Cave and the Bad Seeds - Dig, Lazarus Dig!!!
Portishead - Third
Fleet Foxes - Sun Giant EP

Goldfrapp - Seventh Tree


Spiritualized - Songs in A&E
The Fall - 50 Year Old Man
Elbow - One Day Like This
Bon Iver - For Emma, Forever Ago

If you haven't heard these records yet (and I can't recommend Cat Power enough, because as you see, she's amazing) plus you urgently need life enhancement, seek them out and enjoy!

Stay with-it.

The Third Post

Have you heard the new LP from Portishead? It's extraordinary.

And as this is my third Studio post and this superb record is entitled 'Third' what better way to celebrate than to include their recent appearance on Later… with Jools Holland.



Plus, keep an eye out for the box set, which features double vinyl and an etched 12" copy of their single 'Machine Gun'. You'll also find this vital recording stored digitally for your MP3 listening pleasure on a 'P' shaped memory stick. Weird. Prefer the vinyl myself. But you will find a few films on there too. All this and a print from artist Nick Uff.

It's limited to 10,000 copies. Buy it.

Blue Monday Owners’ Club

Do you own an original 12" copy of Blue Monday by New Order? Then you too can join the Blue Monday Owners’ Club.

There must be a fair few of us, because it was the biggest selling 12" single of all time.

But it has to be the version released in 1983, with the elaborate die-cut design which referenced the thin, flexible computer floppy disks originally invented by IBM. And the legend goes that it cost so much to manufacture that it wiped out any profit that the group made.

That Peter Saville, eh? Give him an inch and he'll specify a special fifth colour - no, he'll make it a metallic silver. Which he did on a second print run which left off the expensive die-cuts. Tony Wilson at Factory Records must of had a right laugh when he picked up the bill for that one. But what a designer.

Anyway, back to the Blue Monday Owners’ Club. It's put together by the artist Spencer Graham, whose latest project is to create a photo collage of the many owners of Blue Monday worldwide, all pictured proudly holding this amazing disc.

Simply get a snap of yourself taken and visit the site here

God Save The SCVA – 30th Birthday Celebrations

Saturday 5th April 2008

As an occasional record selector, I was thrilled to be asked to provide background music for the Sainsbury Centre’s 30th Birthday Reception.

It's not often you get a chance to play records in such modernist surroundings as this superb Norman Foster building. And there I was, positioned in the exhibition area much like an art installation – Will I qualify for next years Turner Prize? Marooned along side the current Cloth and Culture Show, I was thankful I was granted permission by its owner that I could have a glass of wine or two.

As the SCVA opened its doors in 1978, the record selection policy was strictly seventies – so the well dressed arty crowd were treated to such folky delights as Tim Buckley and John Martyn to glamed -up David Bowie and Roxy. This was no exercise in guilty pleasures, as David Essex made a glorious appearance after the speeches. Rock on.

An appearance of Olivers Army persuaded a brave few to cut a rug. And later, feeling a bit cheeky, I played the Sex Pistol’s God Save the Queen. Sadly, it did not provoke scenes of spitting or pogo-ing. It is the stately SCVA after all.

There were no requests for ABBA, though I was prepared with The Name of The Game. The Bee Gees sat on the substitute bench just in case of demands for Disco. Perhaps appetite’s were sated with Donna Summer’s lascivious, I Feel Love.

As the last of the wine was consumed, the evening was brought to a dignified close, in typical Daz fashion with Neil Sedaka and The Last Waltz by The Band. Nice.

Happy Birthday SCVA!

Love and thanks to Kate Carreno and Sally Goldsmith