Showing posts with label coloured vinyl. Show all posts
Showing posts with label coloured vinyl. Show all posts

Haymaker / Split


''Who are the Nazis and who are the rats?
(Mixtape 1 Side A)

Sleeve - Front
Sleeve - Back


Sleeve Folded Out - Front: Hitler Youth Rally & 'Rat Catcher'







Sleeve Folded Out - Back: The Rats




Stats:

General:
Tracks: Fucked Up @ Signal To Noise Studio 7/22/02 B/W Haymaker @ The Music Gym 2/31/02
Released: Feb 2005
Label: Deep Six Records DS#52

Matrix A: FUCKED UP R-19103 DEEPSIX#49-F
Matrix B: HAYMAKER R-19104 DEEPSIX#49-H

Pressing Info:
1st Press - 1000  (Comprising 200 White and 800 Black vinyl)
2nd - 500 Grey vinyl
3rd - 1000 Clear vinyl, labels on wrong side of disk
4th - ? Translucent 'camo green' vinyl, plain black labels
5th - ? 'Marbled'
6th - ? Green

Variants: 
Different vinyl colours as picture below.

Inserts:
No regular insert. 
Someone at Deep Six missed the memo about not doing variants...

Top L-R: White, Black, Grey (1st & 2nd press)
Middle L-R: Clear, Camo, Marbled (3rd, 4th & 5th press)
Bottom: Green (6th press)



Notes:

Fucked Up Tracks recorded 3 years earlier in July 2002, during the same recording session as ''Police''. The notes below are copied are cropped from a  2010 LFG Blog Post about the band's first CIUT session in 2001 and hopefully relate to three of the tracks on this record...
1) THE LURKING FEAR Ok I have no idea what this song was about, but the title comes from and HP Lovecraft short story. We weren't horror or literature fans really back then, but we were totally into the idea of urban paranoia so much that pretty much every song in this set sounds like the insane ramblings of an urban planning dropout turned homeless beggar, which is pretty close to the kind of person I was in 2001. Damian was still Damian, and so was still even then an expert in putting a stick in my craw. Here we were on our first radio session ever about to play the most revelatory political hardcore the world had ever seen and he's making a reference to some dumb band Simon and Ewan had for one summer before either of us started going to shows.Often I would write lyrics and music at the same time, and Damian would change the lyrics when we started practicing. This song very quickly became "Red" which was about his girlfriend at the time. He got the title from that Red White and Blue film trilogy. This song actually appears on Epics in Minutes somehow.
3) FOLLOWING What did I saw about urban paranoia before? This song got it's name from the movie that the guy did before he did Memento (which was the one he did before Batman), which was about someone being paranoid about getting following around some bleak urban setting. This song later appeared on our split with Haymaker and changed names and lyrics. Don't bother looking it up tho, because all the song titles on the Haymaker split are fake.
6) LAND OF NOD This song became "Last Man Standing" and is actually pretty good considering it was written in 1998, when human-kinds influence by bandana-thrash was at it's all time perigee. As has been stated before, this song was written for my old band Rxxxxxxxxx, but was rejected and became a Fucked Up song. The original title refers to the original concept, which was a metaphor for the human race being asleep in the face of oppression, paranoia and all that other stuff. Here is the extent to which we were still kind of a trash band in 2001: the song was entitled "slow" on our setlists when we played it, as in "all our songs are so fast, the one that is marginally less fast is so different conceptually that we have to make a specific note of it by referring to it as 'slow'". The liner notes for this song were to come with the obvious Baudrillard quotes (our favourite guy back then) and made reference to this POEM:

THE LAND OF NOD by Robert Louis Stevenson 
From breakfast on through all the day
At home among my friends I stay,
But every night I go abroad
Afar into the land of Nod.
All by myself I have to go,
With none to tell me what to do--
All alone beside the streams
And up the mountain-sides of dreams.
The strangest things are there for me,
Both things to eat and things to see,
And many frightening sights abroad
Till morning in the land of Nod.
Try as I like to find the way,
I never can get back by day,
Nor can I remember plain and clear
The curious music that I hear.
(1)

Sleeve Notes:

The Rats
Nazi propaganda portrayed the Jews as rats. See also 'The Eternal Jew'

The Rat Catcher
This is (probably) a reference to the Pied Piper of Hamelin, who cleared the rats from the town, then lead all the children away.

Hitler Youth Rally
This image shows the control of Hitler over his people and appears on the same side of the fold-out sleeve as the rat catcher.

Fake song titles:
As mentioned above, the song titles below relating to the FU tracks are fake:
Black Iron Prison
Dove of Wood
Dove of Wood
The Black Rats
Surrounded by Boys

Black Iron Prison
This references a concept  in the book 'Valis' by Philip K Dick:

Wikipedia: The Black Iron Prison is a concept of an all-pervasive system of social control postulated in the Tractates Cryptica Scriptura, a summary of an unpublished Gnostic exegesis included in VALIS.
Once, in a cheap science fiction novel, Fat had come across a perfect description of the Black Iron Prison, but set in the far future. So if you superimposed the past (ancient Rome) over the present (California in the twentieth century) and superimposed the far future world of The Android Cried Me a River over that, you got the Empire, as the supra- or trans-temporal constant. Everyone who had ever lived was literally surrounded by the iron walls of the prison; they were all inside it and none of them knew it.

Philosophical and cultural references
Theology and philosophy, especially metaphysical philosophy, play an important role in VALIS, presenting not just Dick's (and/or Horselover Fat's) own views on these subjects but also his interpretation of numerous religions and philosophies of the past. The most prominent religious references are to Valentinian Gnosticism, the Rose Cross Brotherhood, Zoroastrianism andBuddhism, as well as Biblical writings including the Book of Daniel and the New Testament epistles. Many ancient Greek philosophers are discussed, including several Pre-Socratics (Pythagoras, Xenophanes, Heraclitus, Empedocles andParmenides) as well as Plato and Aristotle. More recent thinkers that are mentioned include the philosophers Pascal andSchopenhauer, the Christian mystic Jakob Böhme, the alchemist Paracelsus, the psychologists Carl Jung and Sigmund Freud, the Romanian historian of religion Mircea Eliade, and the author and psychologist Robert Anton Wilson. In Wilson's autobiographical Cosmic Trigger (released shortly before Dick commenced work on VALIS), Wilson describes similar musings concerning the 'Sirius Connection', contemplating the idea that alien entities are sending out waves of information that we can tune in on.

The action of VALIS is set firmly in the American popular culture of its time, with references to the Grateful Dead, Frank Zappaand Linda Ronstadt as well as the fictional rock musicians Eric Lampton and Brent Mini. However, the novel also contains a number of high culture references such as the poets Vaughan, Wordsworth and Goethe, and the classical composers Handeland Wagner. In particular, the novel contains several extended discussions about Wagner's metaphysical opera Parsifal.


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Commodity Fetishism:

Test press from first press

Test press, probably for one of the later presses, with 'Psychotic Little Man' hand-drawn cover by Jeff Beckman (Haymaker)



(1) LFG Blog 2010 Re CIUT session 2001

''Litany''


MADE TO BE PLAYED OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AND OVER AGAIN 
(Message on reverse of sleeve)

Sleeve - Front (Test Pattern)
Sleeve - Back (Test Pattern)
The sleeve opens up to poster -size:  Left hand panel shows lyrics below Art Nouveau  swan motif, overlaid onto cemetery image.
Reverse of sleeve - poster of collage by 10K.
 Central Ouroborus (cyclicality) and Scarab beetle (rebirth & regeneration), over microchip, over crucifixion, with western 'imagery' radiating out, also includes man working on circle of bolts and another man with chains. All bordered top and bottom by narrow strip of nature -sun set / rise over coast. Sun looks a bit like a light bulb, probably a coincidence. 


Could you explain the collage that's in "Litany"?

Marbles: Its supposed to be a visual representation of the song. The images in the center symbolize repetition; the man doing work, mouse on a treadmill, a maze, an ouroborous, and a scarab, and Jesus on the cross. The images radiating ourward are the things that we reproduce; work, struggle, chaos, death. Sunrise and Sunset.






No inserts, but this one arrived with a patch, which looks the same as the one that went with the  ''Triumph of Life'' Newcastle version, so maybe this copy was picked up on that tour?

Stats:

General:
Tracks - A: Litany / What Could Have Been  B: Colour Removal / Reset The Ride
Released: 2004
Label: Test Pattern Records TPR 108 (1st & 2nd Pressings) Havoc Records TPR 108 (Later Pressings)
Matrix A: TEST PATTERN-108A - MPWMSLECQRYPQQAPCC
1st Press Matrix B: TEST PATTERN-108B 3=R

Pressing Info:
TEST PATTERN Version:
First Press of 1000 Mar 2004
Second Press of 500 Feb 2005
Third Press of 1000 Nov 2005
8Test Pressings.
6 on Shampoo coloured vinyl (1)

HAVOC Version:
Black Vinyl:
First (4th) press of 3000 May 2006. 
Second (5th) press of 2000 May 2007
Third (6th) press of 1000 Nov 2011
10 Test Pressings
At the bands request there is no limited version of this record. (2)

Inserts:
No regular insert
    Variants:
    White vinyl (Test Pattern)
    Black vinyl (Havoc)
    Shampoo colour vinyl (Test Pattern)
    Limited Reptoid (Havoc)


    Sleeve Variations:
    Front Covers - Left: Test Pattern (Cream paper, No Logo), Right: Havoc (White paper, Logo bottom RHS)
    Back Covers - Left: Test Pattern, Right: Havoc (Record company details on bottom edge)

    Vinyl Variations:
    Vinyl - Side A: Test Pattern did the first two pressings on white vinyl.  Subsequent pressings by Havoc on black vinyl
    Vinyl - Side B: As above


    Limited 'Reptoid' Version:
    From the owner of copy # 3/3: ''I bought it from Felix Havoc of Havoc Records at Chaos in Tejas in 2006. I was standing at his merch table, browsing with a friend, when the guy next to us asked if there was any special edition of the Litany ep repress that Havoc had just released. Felix responded that there wasn't, at the band's request, and the guy said that was too bad because he'd buy it if there was. Felix pulled out a Sharpie, and wrote "LIMITED REPTOID PRESS #1/1" on the record and sold it to the guy for three bucks. My friend Mike and I indicated that we were now interested as well, so he numbered ours 2/3 and 3/3, respectively. So, strangely, the numbering goes 1/1, 2/3, & 3/3 for this "edition". The band had no knowledge of this taking place and, to my knowledge, it's the only "limited" version of the Havoc pressing of Litany that exists. The reason behind the reptoid business is because Felix was in the middle of driving the Swedish hardcore band The Victims around on tour and they'd been discussing and joking about the reptoid/reptilian/anunaki conspiracy in the van.''
    One wet weekend it occurred to me to contact Felix and find out if he'd get the sharpie out and indulge a weird guy from the UK... It turns out he's The Best; here's his reply:
    Ok, sure thing, I don't remember doing this, but it sounds like the kind of thing I would do when bored at a merch table.          

    5/5 available HERE.


    Notes:

    Record has third part of coded message etched into vinyl (see matrix info above).


    From FU online store:
    5th official release by the band and our first real EP. 4 tracks about repetition and cyclicality with more than willing nods to early UK punk and possible motorcycles. Most impressive, the sleeve folds out into a massive 12 panel collage pieced together by 10k Marbs a la Crucifix/Crass/Winston Smith. One of the most substantial singles in the discography. (3)

    Related artwork from 'Epics in Minutes' CD compilation:







    litany

    Pronunciation: /ˈlɪt(ə)ni/

    noun (plural litanies)

    • 1a series of petitions for use in church services or processions, usually recited by the clergy and responded to in a recurring formula by the people.
    •  (the Litany) a litany contained in the Book of Common Prayer.
    • 2a tedious recital or repetitive series:a litany of complaints









    Commodity Fetishism:

    Shampoo / clear vinyl
    Newer pic of shampoo vinyl (6 copies)

    Test Press (Test Pattern)

    Test Press (Havoc)
    Note initials on sleeve giving clue as to which band member traded this





    (1) Looking For Gold Blog
    (2) Havoc site
    (3) FU Webstore

    Triumph of Life

    ONE FOR THE ROOK, ONE FOR THE CROW, ONE TO DIE AND ONE TO GROW
    (Message on reverse of sleeve)


    Sleeve - Front (Jade Tree version)
    Sleeve - Back (Jade Tree version)
    Vinyl (Jade Tree version): These are on pink vinyl, the shade varies a little as indicated in the picture above, which shows two different records. Most have a light marbled pattern as can be seen on the left-hand disk.



    Vinyl: Peter Bower / Vice Variants:
    Bottom: First Euro press on black
    Top: Second Euro Press on purple and purple w/ black splatter



    Stats:

    General:
    Tracks: Triumph of Life B/W Neat Parts
    Year: 2006

    North American Version:
    Label: Jade Tree - JT1116
    Matrix A: 8532-JT1116-7(A) R-19997 xar
    Matrix B: 8532-JT1116-7(B) JT1116 R 1999 8 ner

    European Versions:
    Label: Peter Bower / Vice - VRC-001 PBR-015
    Matrix A: 64802H2/A PBR015 A
    Matrix B: 64802H2/A PBR015 B


    Pressing Info:

    Jade Tree Version:

    1000 on Pink vinyl

    Peter Bower / Vice Versions:
    1966 on Black
    1000 mixture of plain purple and purple with black splatter, 75 of these have a ‘tour cover’

    Inserts:
    • Jade Tree version does not have a regular insert
    • Peter Bower / Vice versions have single-sided insert, with photocopied ‘two naked men’ image (the black vinyl usually has an A5-size insert on white paper, the purple variants usually have an A4-size insert on coloured paper. Colour of paper depends on ‘what was available at the time’)
    • Some PB / Vice versions have a small card copy of a gig flyer (various images), added by one of the distributors.
    Variants:
    • Pink Vinyl – Jade Tree 
    • Black Vinyl – Peter Bower / Vice 
    • Purple Vinyl - Peter Bower / Vice (Variable sleeves – see below) 
    • Purple Vinyl - Peter Bower / Vice (Variable sleeves – see below) 
    • Tour Sleeve (see below)
    • Newcastle Version (see below)


    Inserts - Peter Bower / Vice Variants:
    Front:
     Small white insert - usually comes with black vinyl (First Euro press)
    Back: Large coloured inserts - usually come with purple vinyl variants (Second Euro Press)
    Some of the Euro Press versions also had a small card 'Show Poster' image, kindly added by one of the distributors. There are various images




    Euro Sleeve Variants:
    For the Euro Press there are two variants of the 'regular' sleeve:
    • Peter Bower / Vice Sleeve
    • Peter Bower Sleeve
    The first Euro press on black vinyl was a joint venture between Peter Bower and Vice. The second press on purple and purple w/ splatter was done by Peter Bower and a new cover was produced omitting Vice. However, there were a number of covers remaining from the first press, so a lot of the coloured vinyl comes with the earlier sleeve. The new sleeves with the Vice logo omitted often come with the splatter variant, but many were packaged randomly.
    Euro Sleeve Variants: Front
    Left: Peter Bower ‘with’ Vice version - has white border below bird image on bottom edge of sleeve, similar to Jade Tree version
    Right: Peter Bower ‘without’ Vice version - does not have white border on bottom edge
    Euro Sleeve Variants: Back
    Left: Peter Bower ‘with’ Vice version has Vice logo on bottom RHS
    Right: Peter Bower ‘without’ Vice has Vice logo omitted





    'Tour' Sleeves
    These are black and white fold-out sleeves, made for the second press purple and purple w/ splatter. According to email correspondence, the sleeves were made for the last copies of the second press; a good year after the actual tour.

    'Tour' sleeve, with purple vinyl. Borrowed from Kyle Whitlow's blog
    Looks like there was a tour insert as well...
    Tour sleeve with purple / splatter vinyl




    Notes:

    Announcement on LFG (Jan 28 2006):
    "Triumph of Life", the first single from the upcoming "Hidden World" 2xLP, will be released first in the UK in April of 2006 to coincide with the Fucked Up UK tour (April 13-23). The single will later be released in North America with a different bside, with the album shortly following.

    Spot Rusherz interview with Damian, posted on LFG (Jun 13 2006):
    10. What did you write triumph of life about?
    I didn't write it.... it's a Mike jam so it is no doubt about gardens or magic.

    Scenepointblank.com interview, posted on LFG (Nov 14 2006):
    10,000 Marbles:  I had militarism in mind when I wrote "Triumph of Life," ... but I like being discreet, you know?


    Scenepointblank.com interview, posted on LFG (Nov 14 2006):
    Scene Point Blank: "Neat Parts" seems like an account of being disillusioned with certain varieties of politics ("empty slogans they just fall on my left and deaf ear"). The question of Fucked Up and politics has always been fairly complex and uncomfortable for some; how does this fit in?

    10,000 Marbles: Pink Eyes wrote "Neat Parts" about girls, I'm pretty sure. "Neat Parts" and "Reset the Ride" - that shit is about women.

    Pink Eyes: "Neat Parts" really is two different songs in one, I guess. The first verse is definitely meant to be an attack on the sloganeering of punk. Where bands talk about being anti-racist only to turn around and have totally misogynistic views (or homophobic and classist) thereby totally ignoring the intersectionality (sic?) of systems of oppression. Or most of the time they do talk about being anti-oppression it is on a very surface level; like I'm anti-Nazi therefore I'm anti-racist, totally ignoring how deep these problems truly go. And it totally boils down to some idiot with a microphone telling us how to live so they can feel that they have somehow had a positive effect on the world. The other half of the song is about people subverting science to re-enforce systems of oppression. For me these two things are linked because they are both examples of people taking things and twisting them to serve their will. Both are totally different but both are equally self-serving.




    Sleeve Notes

    The following is copied from a LFG post (Dec 27 2010) regarding FU cover art work:

    Triumph of Life 7"
    Here is another cover with a subtle but powerful message. It's pretty much just a picture of a bird (The extinct Black Mamo) but then when you look closer you see that what makes the picture and the bird significant is the flower it's standing on, who's petals are perfectly formed to fit this birds beak, and no other. This holds with the syncretic message that most FU songs are about, our "anti-dualism" vibes. In 2006 I was mostly finished being interested in university and was taking biology and botany classes for fun and was learning about symbiosis in nature as it relates the evolution of species. It turns out that competition between two species, be it an antelope and a cheetah, or a bird and a flower is what drives evolution, since the constant battle between opposing forces makes each better and stronger and challenging the opponent. But since it's happening on both sides, its a positive feedback loop and allows new traits in each species to develop and strengthen the species as a whole. It's kind of like Marx/Hegels theory of the dialectic in society except that in nature it makes cheetahs that can run 100 mph, and in society it just makes Walmarts and Russian billionaires. I got the image from a huge picture book of extinct animals, and this was I believe the first time we ever used a colour photo on a 7" cover. I kind of tried to make this record like the part in The Wizard of Oz where all of a sudden everything was in colour. This 7" was kind of like a departure in style for us, and seemed appropriate for things to start being in colour.


    Nazi Imagery?

    Below is a screenshot from LFG, showing the first part of the post dated Jan 28 2006, announcing the forthcoming release of the 7''. The  image was reproduced on the inserts shown above and on FU Shirts. Some of its previous usages are outlined further down.






    Pre-Nazi Usage:

    ‘’Die Germanische Glaubensgemeinschaft’’ Pamphlet (1921). 
    This pamphlet was extracted from a Ludwig Fahrenkrog book, to promote Germanische Glaubensgemeinschaft (GGG) (Germanic Religious Community). 

    Ludwig Fahrenkrog
    (The following is quoted from ‘’Brown Shirt Princess’’ By Lionel Gossman):

    His (i.e. Fahrebkrog) basic article of faith, he had written then, was ″Gott in uns″: ″If God is in everything, hence not only in me, then I am also the Other. If, however, God is in me, then his law is also in me and I have no need either of written law or of a Mediator. Likewise I cannot expect to achieve salvation otherwise than in and through myself.″ His ″new-won view of the world″ could be summarized, Fahrenkrog explained, in three short phrases: ″God in us – the Law in us – self-redemption.”... Later still, he proposed...”It is. The All is in me and I am in the All. [...] All things spring from the same original source. There is no difference between God-All and human soul. Man is part of the Totality, a particular being. And yet he is also God.″ According to Fahrenkrog, the immediate, incontrovertible experience of the indwelling of God in the human soul is the essence of all true religion: ″Whoever does not find these propositions self-evident is not truly religious. They refer to fundamentals. Neither faith nor dogma plays any role here.″ (1)

    The GGG under the Third Reich (From Wikipedia):
    When the Nazis came to power in 1933, they outlawed almost all other groups not affiliated with the party. The GGG, however, was not forced to disband, partly... "because of Fahrenkrog's international status as an artist." Nevertheless, some of its activities were limited. They could no longer hold public meetings, and after 1938 could no longer use the swastika, which the GGG had been using as its symbol since 1908.


    Nazi Usage: 

    Fe y Acción (1938)"Faith and Action" 
    This publication was an official text of indoctrination to the Hitler Youth, published by the NSDAP. It is a “Book of Virtues,” discussing the ideal traits of Nazi youth. A Nazi era review noted that this was a good book for those who wished to give their children something better than “the Jewish myths of the Old Testament.” The author was in charge of military education for the Hitler Youth. 

    The above text is paraphrased / copied from the introduction to a translation of the publication HERE





    Post-Nazi Usage

    Going back to the screen shot above, the image appeared under the title: 'Give Dust To Life' and with the caption, 'One for the rook, one for the crow, one to die, and one to grow'. The song lyrics are also included in the post.

    See separate page about use of FU logo to subvert religious / state imagery. (If it gets written later). In the meantime the replacement of the swastika with the FU logo and its subsequent usage was probably to do with selling records and T-shirts and maybe converting fans to Nazism, rather than anything weird like extending the alchemical themes of the record to distil and separate the pure elements from the muck associated with the image.

    See also section in ''Brown Shirt Princess'' regarding Julius Hart’s Triumph des Lebens (Triumph of Life) poem.












    Commodity Fetishism 

    Triumph of Life 'Newcastle'  This picture shows the armband and patch, some had a button badge. The armband was placed around the first press (black vinyl) record, as shown in the picture below. The record was numbered on the back (25 copies) and sold at the Newcastle show (without the band's involvement).
    Packed up - there were two variants to the armband; the one shown above and another that had a black logo on red fabric, shown below.



    Test Press - Peter Bower / Vice - Euro Press: These had white labels with 'side A' stamped  on. The 'B' side label was blank
    As above
    Test Press - Jade Tree - North America Press:
    A few of these were given away by Jade Tree as competition prizes:
    Left: Cardboard mailer packaging (JT116 is the record code)
    Right: White blank labels, small-hole vinyl

    Test Press - Jade Tree









     (1) GOSSMAN, Lionel. Brownshirt Princess: A Study of the “Nazi Conscience”. New edition [online]. Cambridge: Open Book Publishers, 2009 (generated 10 February 2014). Available on the Internet: <http://books.openedition.org/obp/399>. ISBN: 9781906924027.  HERE


    ''Let Likes Be Cured By Likes''


    Sleeve - Front (First Press)
    Sleeve - Back (First Press)
    Vinyl: First Press. The above picture shows the two main variants.  Both were pressed with black labels on clear vinyl.  The record is single-sided; the ones with the logo have the label painted white on the blank side.  

    Sleeve Opened - Front
    Sleeve Opened - Back
    First Press Inserts: The first press records often have a small flyer advertising Schizophrenic releases.
    The pictures above and below show the front and back of one. There may be other designs.



    Stats:


    General:
    Tracks: 1. Generation 2. Colour Removal 3. Black Iron Prison 4. No Pasaran 5. The Light That Never Comes On 6. Last Man Standing 7. Zezozose 8. Circling The Drain 9. Police
    Year: 2004
    Label: Schizophrenic Records SCHIZ 21
    Matrix 1st Press: SCHIZ 21
    Matrix 2nd Press: PIRATES PRESS SCHIZO 021 A 66126E1/A

    ----------------------------------------------------------------------------------------------------------------------------------
    Pressing Info:
    Figures based on the info on Toxic City, because the numbers seem to stack up better there, than on Discogs

    First Press (2004):

    Sleeves - 500 Total:
    500 Brown paper with brown ink

    Vinyl - 500 Total:
    444 w/ FU logo
    66 without - 8 had label painted white

    Second Press (2006):

    Sleeves - 850 Total:
    630ish in brown ink sleeve
    200 in black ink sleeve
    Less than 20 in rejected sleeve

    Vinyl - 850 Total:
    400 on black / blue 'inside out'
    400 on blue/orange split
    50 w/ blue vinyl w/ black splatter

    The 200 black ink sleeves contained all 50 of the blue w/ black splatter vinyl and 150 of the blue / orange
    The 630 brown ink sleeves contained  250 blue / orange split  and  400 black / blue 'inside out'
    The above figures are approx; the rejected sleeve contained a mixture of the colours.
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    Inserts:
    1st Press - Variable, mostly small inserts, see above
    2nd press - Variable - see below
      Variants:
      Sleeve and vinyl variants - see below.




      Sleeve Variants:
      The 'regular' sleeve has three variants; one for the first press and two for the second.

      Top: First Press - Brown print on brown  heavy-stock paper (500 copies)
      Bottom Left: Second Press - Brown print on white heavy stock paper (approx 630 copies)
      Bottom Right: Second Press - Black print on mixture of heavy and stock and thin paper (200 copies)



      Vinyl Variants: 

      First Press - 500 Total
      Left: 'Clear' (66 copies)
      Right: 'Clear With Logo' (444 copies)
      (Approx numbers - 8 or so have white painted label, but no logo)


      Second Press - 850 Total:
      Top Left: Blue, black inside out (400 copies)
      Top Right: Orange, blue split  (400 copies)
      Bottom: Second Press - Blue with black splatter (50 copies)

      Second Press Flip-side
      The second press is double sided and has the same recording on both sides

      Blue / Black 'inside out'
      Pictured above are three examples of this variant.


      Second Press Inserts:
      Second Press Big Inserts - Front: A lot come with the large Schizoprenic insert shown above. These come on different types of paper.
      Second Press Big Inserts - Back: The backs are variable; they are mostly the same layout, but have different images, reflecting available Schizophrenic stock
      Second Press Small Inserts: 
      Some of the second press have a small insert, an example is shown on the right of the picture above.
      On the left is a gig flyer; this copy was bought at the gig.


      Black-Ink Sleeves

      Black - Ink Sleeves: These come on different weights of paper, some have a row of circles along the bottom edge, which looks like something to do with the hanger attached to the original artwork transparencies. Some of the black covers seem to be  printer's proofs - i.e. tests on different papers, for print quality. The one on the left at the bottom is on heavy shiny paper and the print quality is patchy - the record it came with also had a second sleeve,  which is one of the ones with rings on.



      Notes:

      ''Let Likes Be Cured By Likes'' 
      Recording has backwards messages at start and end of record.

      Title reference 1:The band also released the Let Likes Be Cured By Likes live 12" (the title being a reference to one of homoeopathy's dicta, the "Law of Similars"). (Everything2.com)

      Title reference 2:
      Taking the Law of Similars one step further, there is a similar quote by Paracelsus about similar things. The Latin Phrases on which they're based are even more similar:
      (Wikipedia)
      Paracelsus pioneered the use of chemicals and minerals in medicine. His hermetical views were that sickness and health in the body relied on the harmony of man (microcosm) and Nature (macrocosm). (Wikipedia)



      Sleeve Notes:

      Homunculus (Wikipedia)
      Homunculus (masculine, Latin for "little man", plural: "homunculi"; from the diminutive of homo) is a term used, generally, in various fields of study to refer to any representation of a small human being. Popularized in sixteenth century alchemy and nineteenth century fiction, it has historically referred to the creation of a miniature, fully formed human.

      In Alchemy
      Paracelsus is credited with the first mention of the homunculus in De homunculis (c. 1529-1532), and De natura rerum (1537).

      The homunculus continued to appear in alchemical writings after Paracelsus' time. The Chymical Wedding of Christian Rosenkreutz (1616) for example, concludes with the creation of a male and female form identified as Homunculi duo. The allegorical text suggests to the reader that the ultimate goal of alchemy is not chrysopoeia, but it is instead the artificial generation of man. Here, the creation of homunculi symbolically represents spiritual regeneration and Christian soteriology.

      Carl Jung believed that the concept first appeared in the Visions of Zosimos, written in the third century AD. In his commentary, Jung equates the homunculus with the Philosopher’s Stone, and the "inner man" in parallel with Christ. 


      Ritual image:
      ''Ritual'' By Lynd Ward





      Image From 'Rejected Artwork' Sleeve:

      This engraving, by the 17th century English artist John Payne, is the frontispiece to The Mirrour Which Flatters Not. Dedicated to their Maiesties of Great Britaine, by Le Sieur de la Serre, Historiographer of France. Enriched with faire Figures. (1639), a book of poetry by Jean Puget de La Serre, translated into English by Thomas Carey. The epigrams beneath the engraving read O that they were Wise, that they understood This, that they would Consider their Latter End! Deut. 32:29 and –Mors sola fatetur Quantula sint hominum corpuscula, a line from Juvenal’s tenth satire, which translates roughly to Only death reveals what a nothing the body of man is.





      Commodity Fetishism:

      White Painted label, without logo (8 copies)

      Second Press 'Rejected Artwork' Sleeve - Front (Less than 20 copies)
      Second Press  'Rejected Artwork' Sleeve - Back

      Test Press (First Press)
      From Craig at Schizophrenic:
      they were made with old record sleeves turned inside out and the FU logo was screened on it. There are maybe 5 of these.

      Test Press (First Press)
      Picture taken from LFG Blog; maybe the blue-text covers were a 'band only' thing?









      Test Press (Second Press) - 'What God Means To Me' Package (See pictures below)
      From Craig at Schizophrenic:
      What god means to me were large cardstock envelopes that were roughly 12x14. They were hand screened and contained the let likes be cured by likes testpress. the package also contained the rejected sleeve and two stickers. What god means to me and a take off from the Fuck ups 7". There were 10 copies made of the test press package.

      Screen Printed Envelope - Front
      Screen  Printed Envelope - Back
      Test Pressing - Came in Rejected Sleeve
      Test Pressing - Vinyl - 'A' Side
      Test Pressing - Vinyl - 'B' Side
      The stickers (Placed loose on stamped dust sleeve for picture)







      Fuck Ups 7"
      Germs 7" 
      From Mixtape 3 Notes: 
      We have worked with Craig Caron from Schizophrenic records before. He runs a great label and put out a liver 12" for us that turned out great. When he asked us to be on a cover tribute comp of the "YES LA" LP, I secretly went "groan" because I hate cover comps. Here is a section of the cover that resulted. I hooked my ipod speakers into my guitar pickups and played the actual Germs original, and started running it through various effects and looping pedals. What a disaster. Didn't ever hear back from Craig about the song, and the comp never came out...






      Exceptions To the Rule

      Pictured below are a few 'odd' ones

      Exception 1 - This one arrived with the 'Looking For Gold' insert. Maybe its synchronicity #2 or maybe it just got misfiled
      Exception 2 - This 'Inside out' pattern vinyl with black-text sleeve
      Exception 3 - 'What God Means To Me' cover, with regular vinyl