ACHOF’s Mike Goldstein interviews Grammy-winning art director Darren Evans about the All Things Must Pass 50th Anniversary Album Package for George Harrison – Darren Evans, Dhani & Olivia Harrison, Art Directors – winners of the Grammy Award “Best Boxed or Limited-Edition Package” at the 64th Annual Grammy Awards show (2022).
Posted August 26, 2022 by Mike Goldstein
Throughout each year, the many members of the professional organizations related to the entertainment industry gather together to review the work product of their peers (or, in the case of several prominent media organizations, projects done by those they track and report on), select the best examples of that work and then honor those who produced and/or performed those works with awards that symbolize these achievements. Some awards are quite niche-oriented, perhaps representing a great example of creativity in a particular aspect of the work produced (like a product manufacturer’s award for best use their products), while others are much broader in scope and meant to bring a sense of great accomplishment, value and joy to both the winners and their fans. In the recorded music business here in the U.S., some of the most-coveted and highly-valued awards are those handed out by the Recording Academy, AKA “the Grammy organization”, with Grammy Awards handed out each year in dozens of categories, including three in the “Packaging” category.
Posted onMarch 15, 2022|Comments Off on Album Cover Hall of Fame Breaking News for March 15, 2022 – Award Show Update
The winners of the Making Vinyl Packaging Awards have been announced, and they are…
Posted March 15, 2022 by Mike Goldstein, AlbumCoverHallofFame.com
After a several-month-long organizing, reviewing and voting process, the folks behind the Making Vinyl Packaging Awards have just announced the winners of the most-recent competition and, as both a participant in the process and as a fan of great work in the field of record packaging, I have to say that this year’s list (in the 15 categories represented) is an impressive and inspirational one. What’s all the more enjoyable to see is that musical acts and record labels both large and small have been included in the ”Best X” selections and that art producers both famed and up-and-coming will have their works admired by fans all over the world.
I’m going to highlight just a few of the winners here and then invite you all to click on over to a page on the Making Vinyl Packaging Awards site where you’ll find the complete list and all of the details on the winning designs – https://pro.evalato.com/3875/submissions?round_id=5257
posted November 26, 2021 by Mike Goldstein, AlbumCoverHallofFame.com
Announcing the 2021 Inductees into the Album Cover Hall of Fame
Chicago, IL-based organization celebrates its 10th Anniversary with the announcement of its latest class of honorees in the 6 major categories – as voted on by a world-wide panel of music, art and marketing experts in the area of album cover art & packaging – which represents a “who’s who” of creative and production talent, including many recognized names of craftspeople working in the worlds of fine art, graphic design and photography.
Since officially launching the site in 2012, we’ve previously enshrined nine classes of Inductees based on the results from the group’s yearly surveys, with the voting panel considering the creative output of all producers active any time since 1960. Dozens of additional biographies were added for consideration by the esteemed panel of writers, curators of galleries (retail and online) that focus on album cover imagery, art/design museum curators and music marketing experts.
Interview with Annie Stoll and Meghan Foley on the making of the Grammy-winning package for Weird Al Yankovic’s Squeeze Box box set
By Mike Goldstein, AlbumCoverHallofFame.com
Posted July 28, 2021
For the past several years, I’ve served on the judging panel for the revitalized Making Vinyl Awards competition and, as part of that effort, I’ve had the chance to review hundreds of different entries in the various categories up for MVA consideration – a truly eyeball-testing experience. While I must admit that, after a while, I found myself glossing over a number of the entries (corrected, luckily, by coming back to the viewings after much rest and a commitment to limiting each session to about an hour’s time), there were a number of entries – particularly, in the box set-related categories – that were so ingeniously done that I knew that they’d be hits with both the other judges and the buying public. Back in early 2019, one of those nominees was a package put together by Sony Music built around the 40+ year output of the seemingly never-aging musical satirist “Weird Al” Yankovic and called, quite appropriately due to the accordion-focused nature of many of Weird Al’s performances, Squeeze Box.
Posted onMay 28, 2021|Comments Off on Interview with Lawrence Azerrad about his Grammy Award-winning vinyl package for Wilco’s Ode To Joy
By Mike Goldstein, Album Cover Hall of Fame.com
Posted May 28, 2021 – It’s called “Album Cover Art”, so what I take from that name is that it is something created by artists (artisans?) who create the products we see by hand, using their innate talents and abilities to deliver something unique and appealing (and, in the case of product packaging, something that sells and makes the people that buy these products happy with their purchases). In the case of box sets and limited-edition “special” packages, it’s all the more important that the artists/artisans working on those products “get it right”, as the products are typically more expensive, as collectibles are expected to be, so the value proposition (OMG – I’m back in Marketing!) has to appeal to fans who are being asked to spend (often, many) hundreds of dollars on a product that there may only be a few hundred copies made. Additionally, the designers of these products have to be sure that their client(s) is/are ultimately happy, since the packages are typically the latest/best expressions of their music or, even more often lately, career retrospectives that are attempting to put the totality of the featured musical acts’ musical and lyrical (and, in most cases, visual) output out in a comprehensive package. To do that well, there must be an effective collaboration between the design teams and their clients, with the best examples of those successful collaborations garnering positive critical/fan reviews and, in special cases, special recognition from their industry peers, such as the Grammy Awards that were handed out earlier this year to musician Jeff Tweedy and designer/art director Lawrence Azerrad for Wilco’s Ode To Joy limited-edition set that they produced and released in late 2019 on the dBpm label.
Posted onMarch 14, 2021|Comments Off on ACHOF Breaking News – Here Are The Winners of the 2020 Grammy Awards for Packaging
ACHOF Breaking News – Here Are The Winners of the 2020 Grammy Awards for Packaging
Posted 3/14/21 by Mike Goldstein, AlbumCoverHallofFame.com
2020 Grammy Awards special update – Having been delayed until today due to precautions taken because of the COVID-19 pandemic, the Grammy Awards in the Packaging category were presented during the GRAMMY Awards Premiere Ceremony® that took place today beginning at 12:00 p.m. PT (3:00 p.m. EST) and streamed live internationally via GRAMMY.com. Preceding the 63rd Annual GRAMMY Awards® telecast tonight, the Premiere Ceremony have been hosted by current three-time nominee Jhené Aiko and feature a number of performances by current GRAMMY nominees.
And now, here are the details of the winners in each of the three Packaging categories:
Screen shot of 2020 Making Vinyl Packaging Awards ceremony on Zoom
UPDATED WITH FULL RESULTS 2/26/21
At a ceremony hosted on Zoom (see link, below to watch a replay of the presentation) by renowned album cover art director Craig Braun, the producers and judges for the 4th annual Making Vinyl Packaging Awardsannounced the winners in each of the 16 categories included in the competition, with the top prize – the “Best In Show” award (formerly known as the “Alex Steinweiss Award”, named after the legendary “father of the modern album cover”) – going to Matt D’Amico (VP of Global Marketing and Product Development for Universal Music Enterprises – UME) and his team for their work on the humongous and impressive Flaming Pie Archive Collection Collector’s Edition box set for Paul McCartney.
Announcing the 2020 Inductees into the Album Cover Hall of Fame
November 20th, 2020
Here’s the latest class of honorees in the 6 major categories as voted on by a world-wide panel of music, art and marketing experts in the area of album cover art & packaging. This list represents the “who’s who” of creative and production talent, including many recognized names of craftspeople working in the worlds of fine art, graphic design and photography.
Interview with 2020 Grammy Winner Masaki Koike on his 62nd Annual Grammy-winning (for “Best Boxed Or Special Limited Edition Package”) work for Rhino Records on the now-sold-out Woodstock – Back To The Garden: The Definitive 50th Anniversary Archive.
Posted March 9, 2020 By Mike Goldstein, Album Cover Hall of Fame.com
I was only 13 years old when the Woodstock festival was staged. I’d already collected several rock and roll recordings, mostly coming from my grandfather, who worked at a newsstand in the building that housed WLS Radio in Chicago and was tight with several of the DJs there (I was the only kid on the block who had albums stamped “Demo Copy: Not For Sale”!). My tastes at the time ran to music by The Turtles, Gary Puckett & The Union Gap, Iron Butterfly and the Moody Blues, but I’d read that there were some great new bands who’d wowed the crowd and so I was eager to learn more. The newspapers and magazines at the time made a big deal about the performances given by acts like Santana, Crosby Stills Nash & Young, Joe Cocker, Ten Years After, Sha-Na-Na and many others (two of my favorite bands – Iron Butterfly and the Moody Blues – were originally supposed to play at the concert but, for various reasons, didn’t make it) but, since I lived hundreds of miles away and couldn’t convince my parents to take me (something about “having to work”), I had to be satisfied with whatever was shown on TV (mostly aerial shots of the crowds) and then, a couple of years later, getting to revel in what I got to see when the concert film was shown in a local theater.