3 May 2007
The Naked Ass on Stereo/Porno 
Ginny Clee, on her own website, ginnyclee.com, explains how she became to be the cover star of FAC 198 Stereo/Porno by Vermorel:

"My publishing company of the time Warner-Chappells put me together with a writing duo called The Vermorels. They were a husband/wife team who had made their name as pop commentators having written a book on the Sex Pistols. I could talk for hours about this partnership as it was almost the end of me but this page isn’t long enough. The good that came out of it was a single on Factory Records called Stereo Porno. It wasn’t a hit but it did end up in The Victoria and Albert Museum in their Best Record Covers of all Time exhibition. The designer was Peter Saville, the photographer Fred Vermorel and the naked ass... mine!"

For Steven and Frank.

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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column