Post-punk in print: nine posters from the new wave era
From the rebellious sounds of Chelsea’s self-titled debut album to the avant-garde innovations of Public Image Ltd.’s "Metal Box," this collection captures pivotal moments in music history. The Clash's daring first American tour, The Raincoats’s eclectic debut, and The Mo-Dettes’s feminist punk ethos are all here. This collection also features rare promotional materials from Echo & the Bunnymen’s critically acclaimed Ocean Rain, Liquid Liquid’s influential live performances, and the innovative collaboration of Andy Summers and Robert Fripp on Bewitched. Additionally, Chris Isaak’s Silvertone, which gained fame through David Lynch’s film Blue Velvet, adds a touch of cinematic history to the mix. These posters are not just advertisements but artifacts offering a tangible connection to the post-punk movement's dynamic continuing legacy.
1. Chelsea. Chelsea. London: Faulty Products, 1979.
Offset lithograph; slightly soiled; dampstains; chipping at bottom left and top right corners.
This is a promotional poster for Chelsea, the self-titled debut album by British punk rock band Chelsea. It was recorded during two weeks in early January 1979 and released by Step-Forward Records on 29 June 1979.
2. Public Image, Ltd. Metal Box. London: Virgin Records, 1979.
Two small tears; moderate edgewear.
This is the 1979 Virgin Records promo poster for the release of Metal Box, Public Image’s second studio album. The album did not come with a lyric sheet, so a similar advertisement was printed in the music press.
3. The Clash. The Clash “Give ‘em enough rope” First American Tour 1979. New York: CBS/Epic, 1979.
34 ¼” x 20”; lacking top and tail right corners; heavy edgewear; with blank venue snipe.
A promotional poster for English punk band, The Clash, and their first American tour, known as the Give 'Em Enough Rope Tour. The tour was funded by Epic/CBS Records. The original
name for the tour had been the Pearl Harbour Tour, however, Epic/ CBS Records refused to fund it as they felt it completely inappropriate.
4. The Raincoats. The Raincoats LP. London: Rough Trade, 1979.
Offset lithograph; creasing along folds; slightly soiled; torn pinholes in each corner.
Poster released in conjunction with The Raincoats self-titled debut album. The image of children singing and a boy with an accordian was taken from Pang Hsiao-Li’s book Pictures by Chinese Children [Beijing: Foreign Languages Press, 1976]. It was also used [in color] on the album cover. Very scarce.
5. The Mo-Dettes. Paint It Black. London, UK: n.p., 1980.
Offset lithograph; 30” x 40”; light creasing; slightly soiled; torn at bottom right corner; chips along left edge.
The Mo-dettes were an English all-female post-punk band, formed in 1979 by guitarist Kate Korris, an original member of the Slits and brief member of the Raincoats, and bassist Jane Crockford, former member of Bank of Dresden. Ramona Carlier (vocals) and June Miles-Kingston (drums) completed the line-up. This poster was issued with the single “Paint It Black,” a cover of the Rolling Stones tune. The B-side was “Bitta Truth.”
6. Echo & the Bunnymen. Ocean Rain. New York: WEA Records, Ltd., 1984.
35” x 25”; small tear; light creasing at corners.
This is an original promotional poster for Echo & the Bunnymen’s fourth studio album, Ocean Rain. It was released on 4 May 1984 by Korova and reached number four on the UK Albums Chart, number 87 on the United States Billboard 200, number 41 on the Canadian RPM 100 Albums and number 22 on the Swedish chart.
7. Liquid Liquid. Liquid Liquid Live au chic cabaret les Foufounes électriques. Paris: Les Foufounes Électriques, 1984.
Right tail corner creased.
Liquid Liquid is an American no wave and dance-punk group, originally active from 1980 to 1983. They are best known for their track "Cavern," which was covered—without proper permission or attribution—by the Sugar Hill Records house band as the backing track for Melle Mel's old school rap classic "White Lines (Don't Don’t Do It)." The group released a series of extended plays, including the acclaimed 1983 12” EP Optimo.
8. Summers, Andy; Fripp, Robert. Bewitched. Santa Monica, CA: A & M Records, 1984. Small tear along tail edge.
The second collaboration between Andy Summers and Robert Fripp, Bewitched, resulted in a pop-sounding record. According to Summers, this time the album was about two highly skilled and educated guitarists “meeting on a different mountain and learning how to work together. So much of guitar playing in this sort of situation is human psychology. How do I get the very best out of Robert Fripp in the studio? And we did it. It’s a balanced record.” The only single from the album, "Parade", was supported by a music video but it failed to chart.
9. Isaak, Chris. Silvertone. New York: Warner Brothers Records, 1985.
Light edgewear.
Silvertone is the debut album by American musician Chris Isaak, released in 1985, and named after his three-piece backup band, though only one of the members actually appears on the album. The album was not a hit until the song “Gone Ridin” was featured in the 1986 David Lynch film Blue Velvet.