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Bad Cover Version (Home Made Punk Record Sleeves)

List Price: $30.00
SKU:
9781963814408
Quantity:
Minimum Purchase
25 unit(s)
Expected release date is May 11th 2027
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  • Branding: minimum 50 pieces (add’l costs below)
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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
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  • Product Details

    Author:
    Paul Burgess, Russ Bestley
    Format:
    Paperback
    Pages:
    124
    Publisher:
    Blurring Books (May 11, 2027)
    Imprint:
    Blurring Books
    Release Date:
    May 11, 2027
    Language:
    English
    ISBN-13:
    9781963814408
    ISBN-10:
    1963814401
    Weight:
    12oz
    Dimensions:
    6.69" x 9.06"
    File:
    CONSORTIUM-Metadata_Only_Consortium_Customer_Group_Metadata_20260814161710-20260814.xml
    Folder:
    CONSORTIUM
    List Price:
    $30.00
    Country of Origin:
    China
    Pub Discount:
    65
    Case Pack:
    3
    As low as:
    $23.10
    Publisher Identifier:
    P-PER
    Discount Code:
    A
  • 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.