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- Bad Cover Version (Home Made Punk Record Sleeves)
Bad Cover Version (Home Made Punk Record Sleeves)
| Expected release date is May 11th 2027 |
- Availability: Confirm prior to ordering
- Branding: minimum 50 pieces (add’l costs below)
- Check Freight Rates (branded products only)
Branding Options (v), Availability & Lead Times
- 1-Color Imprint: $2.00 ea.
- Promo-Page Insert: $2.50 ea. (full-color printed, single-sided page)
- Belly-Band Wrap: $2.50 ea. (full-color printed)
- Set-Up Charge: $45 per decoration
- Availability: Product availability changes daily, so please confirm your quantity is available prior to placing an order.
- Branded Products: allow 10 business days from proof approval for production. Branding options may be limited or unavailable based on product design or cover artwork.
- Unbranded Products: allow 3-5 business days for shipping. All Unbranded items receive FREE ground shipping in the US. Inquire for international shipping.
- RETURNS/CANCELLATIONS: All orders, branded or unbranded, are NON-CANCELLABLE and NON-RETURNABLE once a purchase order has been received.
Product Details
Overview
Bad Cover Version features over 100 images of home-made punk record sleeves over 120 pages. Made by the fans and lovingly presented for the first time by Paul Burgess and Russ Bestley. Punk's embrace of autonomous, do-it-yourself artistic production has been widely documented as a key element of the punk explosion. From home-made fanzines that merged cut-and-paste and collage with typewritten text and photocopied reproduction to extremely limited record and cassette releases on independent labels run out of bedrooms and kitchens, the mythology of an authentic DIY punk practice and aesthetic runs deep in our cultural memory.
Since the creators of most of these examples of home-made fan art are long lost to the mists of time, and in any case they display little in the way of artistic merit or sophistication, they occupy something of a hinterland between desirable artifacts and mutilated detritus.
They do, however, offer a fascinating insight into the ways in which a set of stylistic visual conventions relating to punk filtered down to punk fans and were emulated by amateur designers. Imitation may be the sincerest form of flattery, but the raw and ready nature of these graphic objects - usually acting as pastiche or homage, rather than offering any sense of parodic intent - might help us to understand the essential nature of a punk visual aesthetic, at least in the United Kingdom at a certain moment in time.









