Music and
art will always go together, as artwork can be as much a part of a record as
the sound.
Tony
Bennett said of the marvelous album covers of the 50s that, when you bought a
record, “you felt like you were taking home your very own work of art.” Indeed,
artwork can be as much a part of the identity of a record as the sound.
Billions of music fans over the past century have taken pleasure from looking
again and again at old album covers.
The name
“album” comes from a pre-war era when it literally referred to the album that
contained the 78rpm shellac disc, held in a drab heavy paper sleeve with only a
title embossed on the front and spine. Sometimes the discs were contained in a
leather book, similar to a photographic album.
Early pioneers
The first
signs of change came in the 30s, from pioneering designers such as Alex
Steinweiss, whose illustrated covers – for singers such as Paul Robeson, or the
classical records of Beethoven – led to huge increases in sales. However, it
was the advent of the long-playing 33⅓rpm record that changed everything. The
heavy paper used for 78s damaged the delicate grooves on LPs, and record
companies started using a folded-over board format sleeve. The format was ripe
for artistic experimentation and ultimately led to covers such as The Rolling
Stones’ Sticky Fingers – something unimaginable in more conservative times.
A landmark
artwork that first attracted mass attention in America was the Capitol Records
design for Nat King Cole’s The King Cole Trio album – a lively abstract image
featuring a double bass, a guitar, and a piano keyboard under a gold crown. The
four 78rpm records housed inside made history, topping the first Billboard Best
Selling Popular Record Albums chart, on 24 March 1945. The King Cole Trio spent
most of the rest of the year on the bestseller list, with many of its singles
reaching No.1.
There was
no turning back. Nat King Cole showed that cover design was going to be a
massive cultural influence; it was one of the few mediums which reached
millions of people in the golden age of radio and before television had become
king. Moreover, the music sales industry had a global impact, because it
provided designers with a way to express their creativity and originality to
the whole world. A host of renowned artists, including Andy Warhol, Roger Dean
and Burt Goldblatt, kick-started amazing careers by designing album covers.
Capitol
Records have a proud history of album art, utilizing talented individuals such
as painter Thomas B Allen and costume designer Donfeld (Donald Lee Feld), whose
first job, after graduating from college, was as a designer and art director at
the company. Donfeld was the man behind the cover of Aaron Copland’s Billy The
Kid album, and he went on to design the iconic Wonder Woman costume.
Jazz-era
designs
Many of the
greatest covers of all time are associated with the post-war jazz and bebop
era. Jim Flora, who had trained at the Chicago Art Academy, worked in
advertising before transforming RCA Victor’s art department in the 50s. “I was
hired because I was the jazzman,” he said. Flora paid tribute to Steinweiss’
genius and his role as the man “who invented the record jacket… we called the
old sleeves ‘the tombstone’ and we got rid of them as soon as possible.”
Flora’s
distinctive drawing style was a light-hearted blend of caricature and
surrealism, with humorous juxtapositions of physically exaggerated characters,
some with Picasso-skewed eyes. His celebrated portrayals included Louis
Armstrong and Shorty Rogers. Flora came up with monthly masterpieces,
including
the album covers for Bix + Tram and Kid Ory And His Creole Jazz Band. He used
pigmentation to make Benny Goodman, Charlie Ventura, and Gene Krupa look like
bedspread patterns.
As a jazz
fan, Flora adored working closely with the musicians. He went to a recording
session to sketch Duke Ellington, recalling: “Duke was always a very affable,
wonderful man. He would come over, check on me, and say, ‘Oh that wasn’t a very
good profile. I’ll give you a full face.’” Asked about his magnificent work,
Flora said simply: “All I wanted to make was a piece of excitement.”
Groundbreaking
photographers
Art was
closely intertwined with jazz in this era, something that pleased not only
designers and customers but the musicians themselves, as Tony Bennett noted.
Records were little cultural artifacts. Hawaii-born graphic designer S Neil
Fujita worked at Columbia Records from 1954 to 1960 and designed covers for
Charles Mingus, Art Blakey, and Miles Davis, among others. He brought modern
art, including his own paintings, into the equation, for example in his cool
design for Dave Brubeck’s Time Out album, which showed the influence of Picasso
and Paul Klee.
It wasn’t
only designers who played a part in this era; photographers became a key
component of the process. Many of the best-known Impulse! covers were by
designed by art director Robert Flynn and photographed by a small group that
included Pete Turner (who shot many great covers for Verve and was a pioneer of
colour photography), Ted Russell, and Joe Alper (a man who went on to take some
iconic Bob Dylan images).
One of the
most renowned photographers was Charles Stewart, responsible for cover shots on
more than 2,000 albums, including his wonderful portraits of Armstrong, Count
Basie, John Coltrane, and Miles Davis. He was introduced to the record industry
by his college friend Herman Leonard and never looked back. Leonard himself is
one of the most respected jazz photographers of all time, to the extent that
Quincy Jones remarked that “when people think of jazz, their mental picture is
likely one of Herman’s.”
Bold
typography
Sometimes
it was just bold use of typography – as in Reid Miles’s design for Jackie
McLean’s It’s Time – that produced a simple yet eye-catching triumph. Miles
said that in the 50s typography was “in a renaissance period.” Sometimes
companies chose an iconic symbol or look that would define their output – as
Impulse! did with their trademark black, orange, and white livery and striking
logo.
This
post-Second World War era was when the edgy modernism of bebop began to guide
the innovative output of Blue Note. The label had some remarkably talented
designers working for them, including Paul Bacon, whose many great covers
included Thelonious Monk’s Genius Of Modern Music and Dizzy Gillespie’s Horn Of
Plenty. Bacon went on to create the iconic first-edition design for Joseph
Heller’s novel Catch-22.
As well as
gifted designers, Blue Note co-owner Francis Wolff’s own powerful photographs
of musicians (playing music and relaxing off stage) also helped forge the
label’s instantly recognizable identity. His photograph for John Coltrane’s
Blue Train, showing the saxophonist looking anxious and lost in thought, is
like a journey into a genius’ psyche. The practice of using powerful
photographs of the musicians has survived, and can be seen in the simple yet
arresting photograph of Norah Jones on the 2002 album Come Away with Me.
“Everything
went photographic”
According
to Flora, 1956 was the year “everything went photographic,” and it was during
that year that a landmark photograph was taken for Ella And Louis. The pair
were so famous by then that they did not even have their names on the album
cover, just the gorgeous image taken by Vogue photographer Phil Stern, known
for his iconic studies of Marlon Brando, James Dean, and Marilyn Monroe. The
image-cementing photograph of rock stars would later play a major part in some
of the great 60s and 70s album covers.
David Stone
Martin sometimes drew his covers with a crow quill pen, something he did for
the iconic Verve album Charlie Parker With Strings. Martin, whose work has been
on show at the Smithsonian and the Museum Of Modern Art, did so many great
album portraits for the Jazz At The Philharmonic albums in his distinctive
solid black-ink lines (including likenesses of Charlie Parker, Ella Fitzgerald,
and Count Basie). He developed a serious and sensual image of jazz.
When Norman
Granz started his Jazz imprint at Mercury Records, it was to Martin that he
turned for many of the designs that graced Clef, Norgran, and, later, Verve’s
records. His prodigious output is awe-inspiring: it has been estimated that
there are around 400 albums for Granz bearing Martin’s signature, including the
Parker series and those for Billie Holiday. Other cutting-edge record labels,
such as Prestige and Riverside, also featured his superb covers, such as
Relaxin’ With The Miles Davis Quintet.
When the
new 12” format came along it was Reid Miles, a 28-year-old designer who had
worked for Esquire magazine, who came to prominence. His debut for Blue Note,
as co-designer with John Hermansader, was a cover for a 10” album by the Hank
Mobley Quartet in late 1955. But the first album to carry the sole name Reid K
Miles was far from modern – a Sidney Bechet release a few months later.
Reid, who
also took photographs for covers, was paid only around $50 per creation, and
often did it all as extra weekend work – and occasionally farmed out work to a
young Andy Warhol. Over a decade he created some of Blue Note’s most brilliant
designs, including output from Kenny Burrell and numerous gems for the Blue
Note 1500 Series. Miles, who would later create covers for Bob Dylan and Neil
Diamond, went on to make celebrated television commercials.
John
DeVries would have been celebrated if he did nothing other than the one
stunning illustration of Billie Holiday for a Commodore Record in 1959. DeVries
had a real affinity for the music he was representing visually. Before moving
into the album world, he designed a famous flyer for a 1942 Fats Waller concert
and was also a noted song composer. Along with Joe Bushkin – a member of the
Tommy Dorsey band – DeVries co-wrote the hit “Oh! Look at Me Now,” a song that
helped launch the career of a young Frank Sinatra.
DeVries
produced designs for some of New York’s legendary jazz clubs along 52nd Street,
most notably The Famous Door. In the 70s, he designed the interior of the final
incarnation of Eddie Condon’s on West 54th Street. He encapsulates why so many
jazz album covers were special: the people making them had a sense of integrity
to the music and dedication to the performers. DeVries moved with the times,
too. He was working on illustrations up to his death in 1992 – aged 76 –
including covers for CDs by Clark Terry and Teddy Wilson.
“The
rock’n’roll revolution”
It wasn’t
just jazz that was undergoing an album revolution in the 50s. At the start of
the decade, most rock music was sold as cash cow 45rpm singles; albums were
primarily used to collect hits together in one package. The marketing was
usually tied to cinema releases, and the imagery for many albums – especially
soundtrack ones – came from film posters, such as Jailhouse Rock. Sometimes the
albums were just stunning photographs with lettering, such as William V “Red”
Robertson’s picture of Presley for the RCA album of 1956. There was also a
plethora of what has been called “Technicolor retouched grins”, with covers
featuring full-size pictures of the faces of young crooners such as Frankie
Avalon.
There were
innovative people at work in the popular music industry in that decade. At
Capitol Records, Ken Veeder, who was head of the photographic department for
more than 20 years, designed a number of impressive covers, including Gene
Vincent’s 1956 album Bluejean Bop!. Other designers blended black-and-white and
color images, as in Decca’s Little Richard LP. Some used striking images, as in
the lone wolf illustration for Howlin’ Wolf’s 1958 Chess album Moanin’ In The
Moonlight. Topical concerns also sometimes featured, as in the mushroom cloud
photograph on the cover of The Atomic Mr. Basie.
Breaking
the mold
In the 60s
it became fashionable for bands to commission covers from artists and art
school friends. The Beatles famously worked with Peter Blake and Richard
Hamilton; The Rolling Stones with Warhol and Robert Frank. Young designers who
were interested in the music began developing the imagery that is still
associated with rock’n’roll. In London, rock music intermingled with the worlds
of fashion and fine art.
The
Beatles’ Revolver album of 1966, featuring the work of Klaus Voorman, was a
stepping stone – and With The Beatles was another memorable cover – but nothing
quite matched the impact of the Blake/Jann Howarth cover for Sgt Pepper’s
Lonely Hearts Club Band. That cover truly broke the mold, not least for being
an album where music and visuals began to meld as one creative entity.
One
musician who has taken a keener interest than most when it comes to album
covers is John Mayall, who left a career as a graphic artist to form The
Bluesbreakers. “I always excelled in art and went to junior art school,” Mayall
said. “I still use my artistic experiences to design album covers, posters, and
things that are related to my musical career. They now run hand in hand,
really. Of more than 50 or so albums I’ve recorded, I designed at least a third
of the covers.” One of his most famous was Blues Breakers With Eric Clapton,
which became known “The Beano Album” because Clapton, who later admitted he was
in an “uncooperative mood” during the photo-shoot, started reading a comic. Mayall
decided to use that shot.
Colin
Fulcher (better known by his legally adopted name Barney Bubbles) cut his teeth
on the satirical magazine OZ, and, later, his designs for Hawkwind, Brinsley
Schwarz, and Nick Lowe were hugely influential. He was a genuine original and
adroit at blending imaginative typography with art. His cover for The Damned’s
1977 album Music For Pleasure features a pastiche of Kandinsky paintings that
spells out the band’s name. Lush, witty artwork was a feature of his work for
Elvis Costello And The Attractions. Bubbles also worked with Ian Dury (who had
studied graphic design and been an art school teacher himself), creating the
Bauhaus-influenced logo for Dury’s group The Blockheads.
Coulthart,
who created three Hawkwind covers, said: “Barney Bubbles and a handful of
others turned vinyl packaging into a real art form. The windows of record shops
were like a street-level art gallery, constantly delivering new surprises.
Barney was at the forefront throughout, even if we didn’t always know it – a
true Pop Artist.” Esteemed designer Peter Saville calls him “the missing link
between pop and culture.”
The Rolling
Stones broke ground with their covers in the 60s. The band were never short of
self-belief, which shows in the bullish poses for Nicholas Wright’s photograph
for their debut album, which contained no mention of the band’s name on the
cover. For the follow-up, 1965’s The Rolling Stones No.2, they used a cover
shot taken by the celebrated David Bailey, with Mick Jagger stuck at the back
of the group. Bailey said: “With The Rolling Stones I had a connection. And I
liked the idea that they dressed like people on the street.”
The stark,
in-your-face approach, continued with Out of Our Heads (1965) – shot by Gered
Mankowitz because Bailey was unavailable – and did not really change until a
couple of years later with the 3D artwork for Their Satanic Majesties Request,
when psychedelic poses and quirky costumes were all the rage in the year of Sgt
Pepper. A 50th-anniversary deluxe box set reissue brings that original artwork
back to life.
By the end
of the 60s, graphic designers such as Wes Wilson, Alton Kelley, and painter
Stanley “Mouse” Miller were key members of the San Francisco psychedelic music
scene. The West Coast scene was having its own creative flowering, and Grateful
Dead albums began to reflect the artworks they were housed in. Mouse, who had
made his name in hot-rod art and painting T-shirts at custom car shows, played
a key role. Miller was responsible for the “skull and roses” logo that became
the Grateful Dead’s enduring hallmark. Miller, a born iconoclast, copied a
block print image on a poem he found in the San Francisco Public Library. “I
thought, ‘Here’s something that might work for the Grateful Dead,’” he
recalled.
Mouse
designed many of the fantastic albums and posters that so appeal to the legions
of Deadhead fans, and his work adorns many classic albums, including
Workingman’s Dead and American Beauty. Art and imagery were powerful tools for
the Grateful Dead, and Mickey Hart even had custom-painted drum kits.
The 60s was
also an era when album covers were becoming more defiant and raunchier. The
cover for The Velvet Underground And Nico featured a bright yellow banana print
from Warhol, contrasted against a clean white background. Original pressings
featured the banana as a sticker, complete with instructions to “peel slowly
and see.” If you did this, a suggestive flesh-colored banana was revealed. But
creating the artwork was too time-consuming and expensive – each sticker had to
be hand placed – so the sticker ideas were abandoned for later pressings. On
the cover of The Rolling Stones’ 1971 album, Sticky Fingers, there is simply a
photograph of a man’s crotch – albeit covered by jeans. (Again, first pressings
were interactive: the jeans’ zipper could be drawn to reveal underwear.)
Album art
as concept
Album art
as a concept was the new thing, and British designers Storm Thorgerson and
Aubrey Powell were at the forefront with the firm Hipgnosis. Some of their
designs have become symbols of music in the 20th Century, such as the giant
inflatable pig over London’s Battersea Power Station which graced the cover for
Pink Floyd’s Animals (1977); or the disturbing image of blonde-haired, nude
children climbing the Giant’s Causeway for Led Zeppelin’s Houses Of The Holy
(1973). Thorgerson said they wanted to encapsulate in art what bands were
trying to say in their music: “Pictures of a band, like The Beatles, or Take
That, what do they tell you? They tell you what they look like, but nothing
about what’s in their hearts, or in their music,” he said. “If you were trying
to present an emotion, or a feeling, or an idea, or a theme, or an obsession,
or a perversion, or a preoccupation, when would it have four guys in it?”
Hipgnosis
used photography to powerful effect and seemed to have a constant stream of
ideas. They became especially known for their association with Pink Floyd –
especially their cover for The Dark Side Of the Moon. Dave Gilmour called them
his “artistic advisors” and Powell said his relationship with Thorgerson worked
because “I had a vision to build a company, he had the intelligence to create
an art-house – and that’s exactly what Hipgnosis became.”
They suited
an era when prog rock musicians were keen on overblown and fantastical album
covers. With their ability to mix sex, surrealism, and suburban alienation,
Hipgnosis became key artistic inspirations in that era. So did artist,
publisher, and designer Roger Dean. Quickly becoming to Yes what Hipgnosis were
to Pink Floyd, Dean provided artwork for the band for nearly five decades,
including for their 2014 live set Like It Is.
Renowned
for the dreamy scenes he created for Yes, and also for bands such as Asia,
Budgie, Uriah Heep, and Gentle Giant, Dean called his work “otherworldly
scenes” but insisted, “I don’t really think of myself as a fantasy artist but
as a landscape painter.” Some of the landscapes were ambitious and imaginative.
His cover for Steve Howe’s first solo album, Beginnings (1975), for example,
was partly based on the landscape seating he designed for Ronnie Scott’s Jazz
Club in 1968.
In the same
way that Dean became synonymous with Yes, Hugh Syme’s name – and art – is
closely associated with prog legends Rush. He designed the artwork for their
third album, Caress If Steel, and went on to create the band’s iconic “Starman”
emblem.
“In no
other circumstances would that happen”
Just as
Blue Note was inextricably linked with the names of designers such as
Hermansader and Miles, Peter Saville’s name will forever be associated with
Factory Records and his brilliant work in the late 70s and 80s. Saville
recognized as one of the world’s foremost graphic designers, said he was
intrigued by album sleeves from the moment he bought the British version of
Kraftwerk’s 1974 album Autobahn.
Four years
later, he approached Tony Wilson at a Patti Smith gig, and together they
launched Factory Records. Many of the designs on which Saville’s reputation
rest were from this period, including the diagram of a pulsar’s radio waves on
the cover of Joy Division’s Unknown Pleasures, and the appropriation of Henri
Fantin-Latour’s painting A Basket Of Roses that adorns New Order’s Power,
Corruption And Lies.
Part of
what made his work so exciting was that the bands gave him a completely free
hand to design. “I was left to my own devices and it turned out that I had my
own agenda,” he said. “In no other circumstances would that happen. If I’d gone
into any other kind of design practice, forget it.” Though he created
pioneering work, it was for a limited time. After turning 30, Saville said he
had no interest in the “dead art” of album design. He went on to have an
amazingly varied career, including, in 2010, designing the England football
team’s shirt.
Along with
Factory Records, another label that enjoyed a symbiotic relationship with a
designer was 4AD with Vaughan Oliver, via his two design studios, 23 Envelope
and v23. Oliver created classic album covers for Cocteau Twins, Ultra Vivid
Scene, His Name Is Alive, Throwing Muses, The Breeders, Lush, This Mortal Coil,
Scott Walker, and Bush.
However,
his most lasting design relationship was with Pixies. For over three decades,
Oliver’s vivid and erratic typography, and witty – and sometimes bleak – imagery
has appeared on their album covers, while his work with 4AD was partly
responsible for defining the look of British post-punk music. 4AD founder Ivo
Watts-Russell gave Oliver the artistic freedom to create the graphic identity
of the label, and he responded with a remarkable body of work. Oliver has
offered an intriguing explanation of the appeal of designing album covers,
saying: “I like working in the medium of music sleeves. I enjoy the
collaboration with the music kind of working in tandem with it. The goal we’re
[graphic designers] aiming for is to reflect the music; the sleeve should be a
gateway into what the music is about without defining it but also providing a
suggestive mood and atmosphere.”
Still
pushing the envelope
Showing
that jazz labels still know how to push the envelope, the German independent
record company ECM (Edition Of Contemporary Music) has received widespread
acclaim for its unique cover designs. There have been art gallery shows of ECM
covers in Europe, and there are two books devoted to the label’s visual
presentations of music. Over the years, the collaboration between Manfred
Eicher, the label’s founder and producer, and designers – including Barbara
Wojirsch, Dieter Rehm, and Sascha Kleis – has produced some startling covers.
Among the best are those for Eberhard Weber and Keith Jarrett. Sometimes a
musician is directly involved in the look of the album. On Jarrett’s Sleeper,
the red title typeface comes out from a black background, with creepy horror
undertones. “The first impulse came from Keith,” Eicher said about the red
lettering, “and then we developed it.”
As we have
seen with Mayall, many creative musicians like to have a big say over their own
album covers, either by providing the artwork or by helping with the concept
and guiding it through. Among those whose paintings have adorned covers are Cat
Stevens, a former student at the Hammersmith School Of Art in London, who drew
the cover for Tea For The Tillerman’; Captain Beefheart (many of his later
album covers); Dylan (Self Portrait); John Lennon; and John Squire of The Stone
Roses. Joni Mitchell, who studied at Calgary’s Alberta College Of Art and
Design, has referred to herself as “a painter derailed by circumstance.”
Album cover
art has attracted some seriously talented people, and though the number of
artists whose work has featured on covers is too long to list, it includes
luminaries such as Stanley Donwood (Radiohead), Warhol and Banksy – and Jeff
Koon’s steamy cover for Lady Gaga – in an artistic heritage that stretches back
to Salvador Dalí’s design of the cover for Lonesome Echo for his friend Jackie
Gleason. Swiss surrealist artist and sculptor HR Giger created the disturbing
album art for Emerson, Lake & Palmer’s Brain Salad Surgery in 1973, and, eight
years later, for Debbie Harry’s debut solo record, KooKoo. In between, he won
an Oscar for designing the famous creature in the movie Alien.
Celebrity
photographers
In the 70s,
the era of “celebrity photographers” began to hold sway in certain rock and pop
circles. Robert Mapplethorpe’s image of Patti Smith for her debut studio album,
Horses – shot in natural light with a Polaroid camera at his New York apartment
– remains a high-water mark in simple yet stunning music imagery.
The right
album cover has a huge impact on a singer’s fortunes – something evident in the
work that French illustrator and graphic designer Jean-Paul Goude did for Grace
Jones. The elegant aerobics of Island Life – a photograph that was made into a
collage in a pre-digital era – helped transform Jones into an international
superstar. Some photographs help define an album – such as Bruce Springsteen’s
Born In The USA or Fleetwood Mac’s Rumours – and it was no wonder that artists
such as Suede, Christina Aguilera and Madonna have used fashion photographers
to take the shots for album covers. Music as fashion shoot is usually good for
business.
Logos and
mascots
Though
beautiful album covers are desirable for their own sake, memorable ones do help
commercially. In the 70s and 80s, bands began to realize how to make themselves
highly marketable. The rise of merchandising – and the special logos groups
adopted – helped turn bands into brands. Among those at the forefront of this
were Chicago, Led Zeppelin, Santana, Def Leppard, and Motörhead.
Motörhead’s
demonic skull logo was designed by Joe Petagno in 1977 after agreeing on the
idea with frontman Lemmy during a drink at a pub in London. The Rolling Stones’
famous tongue and lips logo, designed by an art student, was so iconic that the
original drawings were later purchased by London’s Victoria & Albert
Museum. In addition, heavy metal bands place a huge emphasis on imagery and
mascots help to define a band. Among the most well-known examples are Vic
Rattlehead (Megadeth) and Eddie The Head (Iron Maiden).
The vinyl
resurgence
Though
vinyl has made a sustained comeback in the past decade (LPs have not lost their
cultural status for designers or customers), the end of the 20th Century and
the start of the 21st marked a challenge for bands: how to make cover artwork
in the age of the CD (a 4” x 4” artwork for a plastic sleeve) and the download
era, when details can be lost in a flurry of rapid scrolling, as album covers
appear as tiny blips in the corner of a smartphone screen. 4AD designer Vaughan
Oliver even described the technological revolution as “my bête noire” because
it “took my tools away.”
As the
music business changes – with customers no longer going into record shops and
lingering over the visuals before they buy an album – the cover is just one
element of a larger branding and marketing campaign, often involving a
promotional photo-shoot, videos, and merchandise.
Consumers
still want detailed information about the songs and the band members on the
album they have bought – a function filled by the PDF “digital booklet” – and
new opportunities may arise in an interactive era of smartphone and tablet
applications. Some musicians have a positive attitude about music design in the
digital age. Hugh Syme believes that what has been lost in terms of size offers
different creative possibilities in terms of fold-out booklets, in what he
calls “a whole new era of iconographic thinking.”
One example
of innovative thinking was Beck, who helped devise the interactive nature of
The Information in 2006 – which was issued with a blank sheet of graph paper
for a booklet, and one of four different sheets of stickers for fans to make
their own album art.
Appealing
to collectors
Music fans
are also often avid collectors, and one interesting development in album art
and presentation has been a growing market for the deluxe box set market. The
artwork and packaging in this field has grown more inventive, sometimes tipping
a nod to the original creative process. Soundgarden’s third studio album,
1991’s Badmotorfinger, was reissued in a seven-disc edition with a 52-page
booklet and extras that included a 3D Lenticular lithograph of the
Badmotorfinger icon, an iron-on patch, and, impressively, a revolving
battery-operated saw.
Sometimes
the box set is just classy and full of interesting reproduction mementos – the
Louis Armstrong Ambassador Of Jazz collection, contained in a small replica
suitcase, is a good example. Motörhead’s The Complete Early Years came complete
with a skull with red light-up eyes.
All these
innovations are breathing new life into the album artwork scene, while advances
are also being made in motion graphics and kinetic typography. A whole new
world of music new-media awaits.
And, of
course, the renewed popularity of vinyl means a return of album art design in
its original form. Modern superstars such as Kendrick Lamar, Lorde, Stormzy,
and Evanescence are among 21st-century musicians whose albums showcase
interesting album art.
Perhaps the
next few decades will produce something to match The Beatles’ iconic “White
Album” package, Carly Simon’s sensual black-and-white Playing Possum; Sex
Pistols’ bold yellow-and-pink Never Mind the Bollocks… cover or any of the
masterful Blue Note covers of the post-war era. Music and art will always go
hand in hand.
- By Martin
Chilton. udiscovermusic.com
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