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The Inner Sleeve: Philip Jeck
Hortense Ellis - I Am Just A Girl (Studio One 12" 1979)
Unknown Designer
“Johnny Mathis advances the art of remembering. The place is yours or mine, it is eight, nine, ten o'clock or two... you’re alone or part of a crowd... in Chicago or St Petersburg...". Part of Mort Goode’s sleevenotes for Johnny Mathis’s 1972 All Time Greatest Hits double LP. Notes that I have continued to recycle or rewrite for my own occasional sleevenotes, and as part of installations. There are many brilliant, good and bad sleevenotes from the 1950s onwards – I miss their passing. But the Mathis album doesn't have a good cover, except for an inner black and white headshot, and by the way I like listening to him even more now than then.
I bought my first records in the early to mid-60s: a Spencer Davis Group single I think was first, on Fontana with a long 'F' in the logo, but it might have been The Beatles – the memory's not what it was. Buying an album was a rare event, too expensive. The first sleeves that really caught my eye were the then ‘new’ Decca and Deram releases: well designed but somehow old looking, simple bold prints, a big spiral towards the centre label. And new labels like Track (featuring Hendrix) and Reaction (featuring The Who).
From there, via The Small Faces, to being a kind of Mod, and dancing to soul records at the local youth club. I used to find records on Atlantic and Stax which I can only remember as having white sleeves (or in Polydor sleeves?). Stax’s logo – a stack of records on a blue background – changed to the famous finger-snappin' hand, but I still prefer the original “Stax” in its unframed simplicity. At that youth club, I first heard bluebeat and ska as well as many releases on the Island, Blue Beat (Melodisc), Pama and offshoot labels, all with simple printed logos. Every week someone would arrive with a new find.
With their rough, bold printed labels, Jamaican imports, direct from each producer’s studio, seemed to be countless at the time. The sleeve I've chosen is a Studio One release, a 12” single of Hortense Ellis singing "I Am Just A Girl", backed with a dub and Papa Michigan & General Smiley toasting "Come When I Call". A heavy grey card sleeve, cut so you can see the label with its rough black and white print of the 1STUDIO logo and artist/song info. The grey card printed with “DISCO 45” in black – no confusion, to the point, but a kind of magic lies within. The card used is an inside-out Excelsior Cream Cracker box from the Jamaica Biscuit Company Ltd, a recyled offcut. I have several other Jamaican records which are examples of recycling. They are mostly other record sleeves turned inside out, one being the White Witch LP by The Andrea True Connection, encasing an Augustus Pablo LP. Each chance appearence startingly effective. Hidden art before the hidden track ever appeared.
"... Songs are not for the over-the-hill. They are... for going back to last night or a day before yesterday, tomorrow. Pick your own time and place and circumstance." Thanks, Mort.
Unknown Designer
“Johnny Mathis advances the art of remembering. The place is yours or mine, it is eight, nine, ten o'clock or two... you’re alone or part of a crowd... in Chicago or St Petersburg...". Part of Mort Goode’s sleevenotes for Johnny Mathis’s 1972 All Time Greatest Hits double LP. Notes that I have continued to recycle or rewrite for my own occasional sleevenotes, and as part of installations. There are many brilliant, good and bad sleevenotes from the 1950s onwards – I miss their passing. But the Mathis album doesn't have a good cover, except for an inner black and white headshot, and by the way I like listening to him even more now than then.
I bought my first records in the early to mid-60s: a Spencer Davis Group single I think was first, on Fontana with a long 'F' in the logo, but it might have been The Beatles – the memory's not what it was. Buying an album was a rare event, too expensive. The first sleeves that really caught my eye were the then ‘new’ Decca and Deram releases: well designed but somehow old looking, simple bold prints, a big spiral towards the centre label. And new labels like Track (featuring Hendrix) and Reaction (featuring The Who).
From there, via The Small Faces, to being a kind of Mod, and dancing to soul records at the local youth club. I used to find records on Atlantic and Stax which I can only remember as having white sleeves (or in Polydor sleeves?). Stax’s logo – a stack of records on a blue background – changed to the famous finger-snappin' hand, but I still prefer the original “Stax” in its unframed simplicity. At that youth club, I first heard bluebeat and ska as well as many releases on the Island, Blue Beat (Melodisc), Pama and offshoot labels, all with simple printed logos. Every week someone would arrive with a new find.
With their rough, bold printed labels, Jamaican imports, direct from each producer’s studio, seemed to be countless at the time. The sleeve I've chosen is a Studio One release, a 12” single of Hortense Ellis singing "I Am Just A Girl", backed with a dub and Papa Michigan & General Smiley toasting "Come When I Call". A heavy grey card sleeve, cut so you can see the label with its rough black and white print of the 1STUDIO logo and artist/song info. The grey card printed with “DISCO 45” in black – no confusion, to the point, but a kind of magic lies within. The card used is an inside-out Excelsior Cream Cracker box from the Jamaica Biscuit Company Ltd, a recyled offcut. I have several other Jamaican records which are examples of recycling. They are mostly other record sleeves turned inside out, one being the White Witch LP by The Andrea True Connection, encasing an Augustus Pablo LP. Each chance appearence startingly effective. Hidden art before the hidden track ever appeared.
"... Songs are not for the over-the-hill. They are... for going back to last night or a day before yesterday, tomorrow. Pick your own time and place and circumstance." Thanks, Mort.
Posted 02/11/09
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