++++++++++++ LISTEN UP FOLKS – PROGRAMMES & PRIZES NEWS! ++++++++++++
This year we have some new fandango programmes, kindly sponsored by Carling. We will be selling them for £3 each or two for £5. The more we sell, the more money goes to Midlands Air Ambulance, plus, what a great souvenir of your weekend!
The best thing is, each programme will be numbered and on Sunday at 18.30 on the main stage we will have a prize draw. So, if your number is called out – you’re a winner! But you’ve got to be in it to win it. Here are the prizes (also kindly donated):
* 2 limited edition framed pieces of artwork by Steve ‘Krusher’ Joules *
Krusher has worked as a freelance designer in the music industry since 1976 producing work for the likes of AC/DC, Robert Plant, Deep Purple, Motorhead, Blondie, Anthrax, Sammy Hagar, Uriah Heep, Hawkwind, Girlschool, Gary Moore, Japan, Magnum, and The Sex Pistols to name a few.
He has designed album sleeves for Iron Maiden 'Live After Death', Ozzy Osbourne 'Diary of a Madman', 'Speak of the Devil' and 'Bark at the Moon', Hawkwind 'Live ’79', Gary Moore 'Dirty Fingers' and 'Live at the Marquee', Japan ‘Tin Drum’ and Black Sabbath 'Born Again'. He was also the Art Director of KERRANG! magazine between 1982 and 1992, has presented shows for both the BBC and ITV as well as touring America twice with Ozzy Osbourne as the MC/DJ on the Ozzfest.
‘BORN AGAIN’ Limited edition of 200 prints, hand signed and numbered.
The story of this print, inspired by Black Sabbath’s ‘Born Again’ album sleeve, is a long one and it goes back to legendary rock manager Don Arden who ran the affairs of Sabbath for some considerable time. His daughter, Sharon had followed him into the family business and was given the task of looking after the day to day affairs of original Sabbath singer Ozzy Osbourne, who was also managed by Don, and at the time was in the middle of a fantastically successful solo career. And, of course, she didn’t just look after him but she fell in love with him and eventually married him and as a wedding present from her father she wanted him to not only drop managing Ozzy so she could take over, but she also wanted him to drop him from his record label Jet Records so she could get him a deal with another label. Anyway, things didn’t initially go to plan as obviously Don wasn’t prepared to give up one of his big money makers and it resulted in Don and Sharon having the most massive of fall outs that lasted over 20 years, but with the help of a good lawyer Sharon severed all Ozzy’s links with Don, took over as his manager and got him a deal with Epic records. Nonetheless, Sharon was still contractually obliged to deliver two albums to Don, which she did with Ozzy’s ‘Speak Of The Devil’ double album.
After ‘Speak Of The Devil’, I knew Ozzy’s next release was going to be ‘Bark At The Moon’ and I wanted to stay in Sharon’s good books, especially as I’d designed the sleeve for not only ‘Speak Of The Devil’ but also Ozzy’s second solo album ‘Diary Of A Madman’ and I really had my heart set on ‘Bark At The Moon’, in fact I’d been exchanging ideas for it with photographer Fin Costello who was commissioned to take the pics for it.
Don decided to revive Sabbath, so he got Tony Iommi and Geezer Butler on board along with the return of Bill Ward. To take over on vocals, he signed Deep Purple’s Ian Gillan. And I got the call to go to the office to discuss designing the album cover.
I actually got the call from Don’s son, David, another member of the family business, who told me that his dad would actually be at the meeting, which was a rarity as he spent most of his time living in the US spending money, so I realised this was a really big deal. I went to the meeting with my Jack Russell dog, Bullseye. Once in the office, whilst I’m having a quick chat with Lyndsey the receptionist, I let Bullseye off the lead as he’d been there with me many times before, everybody knew him and he was a sociable little dog who liked the attention of human beings. As I’m merrily chatting away to Lyndsey Don suddenly storms out of one of the offices, he looked like Marlon Brando in The Godfather, had the same kind of presence, especially as he had a very large gun in his hand and was screaming: “Whose ******* dog is this? If somebody doesn’t get it out of my office NOW, I’ll ******* shoot it.”
To my relief, Bullseye came back when I called him. I put him back on his lead and gave him to Lyndsey to look after and by this time David had come over to tell me his dad was always like that and not to worry as he took me by the arm and led me into the gates of Hell, better known as Don’s office, to discuss the album cover, but by then I had decided I didn’t want to do it. Any dog owner will tell you that they’re never going to feel good about somebody who has threatened to shoot their dog and I didn’t want to be around Don the potential dog killer ever again.
The meeting was done entirely with the gun in the middle of his desk, which was somewhat unnerving. Anyway, after being told what the album was going to be called, which was ‘Born Again’ I said that I would do some rough designs and send them over as soon as I’d finished them, but as I’m walking out of Don’s office I’m thinking: How can I get out of this?” Once I got home and did a bit of pondering I realised that if I did the worst design I could, they would turn it down, I’d get a nice rejection fee and we could all go our separate ways and I wouldn’t be part of Don’s Sabbath gang and my relationship with Sharon would still be intact; in fact, she’d probably be pleased with me.
So, the worst idea I could think of was an image of a baby that I found on the front cover of a 1968 magazine called ‘Mind Alive’ that my parents had bought me as a child in order to further my education, so in reality I say blame my parents for the whole sorry mess. I then took some overexposed black and white photocopies of the image, stuck the horns, nails, fangs into the equation, used the most outrageous colour combination that acid could buy, tweaked a bit of the Olde English typeface, sat back, looked at it and shook my head and chuckled because I was sure they would never go for it. However, that pleasure turned to dismay when I got the call saying they absolutely loved it. Geezer Butler, so I’m reliably informed, looked at it and in his best Brummie accent said, “It’s s***… but it’s ******* great!”
So suddenly I find myself having to do the cover. Max Cavelera
(Sepultura, Soulfly) and Glen Benton (Deicide) have both gone on
record saying that it is their favourite album sleeve and I believe
Kurt Cobain was fond of it too. And that my friends, is the story of
Black Sabbath’s ‘Born Again’ cover, now let’s put that baby to rest
once and for all. When I designed the ‘Born Again’ cover I used the
design again, although it was quite small on the back cover, but I
redesigned Henry so that he was actually flying towards you and this
time I incorporated my favourite rock/metal colours red, yellow and black.
Since then I’ve used the design on a limited-edition Halloween card, which was a run of 200 signed and numbered by myself and which have sold out. I changed the Runes to read ‘Happy Samhain’. Samhain is a Gaelic festival marking the end of the harvest season and the beginning of winter or the "darker half" of the year. Traditionally, it is celebrated from 31 October to 1 November, as the Celtic day began and ended at sunset. This is about halfway between the autumn equinox and the winter solstice.
So, I've had quite a bit of mileage out of this design, sadly the original black and white artwork has been lost in the sands of time, which is a shame, because as I said at the beginning this is one of my favourite designs.
* Limited edition print of Slash from rock photographer Paul Harries *
‘Slash’ limited edition of 50 prints signed by Paul Harries
* 2 x full weekend tickets for 2019’s festival *
HAPPY SAMHAIN’ Limited edition of 200 prints, hand signed and numbered. This design, one of my favourites, was originally used on the cover of the second programme that I designed for Black Sabbath’s ‘Heaven and Hell Tour’ which was done specifically for the
final 13 UK dates of what had been a very long tour which had started on the 7th April, 1980 at the Aurich City Hall, Aurich, Germany (Ronnie James Dio’s first live show with Sabbath) and finished on the 2nd February, 1981 at the Cornwall Coliseum, St Austell.
That particular design was black and white and I’d incorporated Henry the Black Sabbath mascot into it along with Runes that said Black Sabbath, but just to make sure that people understood what they said I also hand lettered the words Black Sabbath in capitals. If you’re a Black Sabbath fan, especially a long-time one, you’ll have seen Henry many times, as he’s the ‘flying devil’ or ‘flying angel’ logo that’s been in use for a long time. He’s a little bit like Iron Maiden’s ‘Eddie’, although Henry has never appeared live on stage. The earliest I can remember seeing him was on the cover of the 1978 single ‘Never Say Die’ taken from the album of the same name.
Paul Harries is a renowned London-based music photographer most known for his work with a wide range of bands - over the course of more than two decades, if a group has emerged that are loud and proud of it chances are its members have stood in the frame of this man’s lens. Armed with a valid passport, his faithful Canon and a keen eye for detail, Paul Harries has amassed a portfolio that amounts to nothing less than a music fan’s dream. As a respected freelance photographer (working for the likes of Kerrang! Magazine), Paul has closed his shutter on such luminaries as Nirvana, Muse, Green Day, Metallica, Biffy Clyro, Ozzy Osbourne, Red Hot Chili Peppers, Blink 182, Slipknot and recently James Bay, Craig David, Tinie Tempah, Johnny Marr, to name just a few. Over the past few years Paul has exhibited his photographs in prestigious venues in London, Manchester and Los Angeles.