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Album Cover Hall of Fame News Update and Summary – September/October, 2019

Album Cover Hall of Fame News Update and Summary – End of September/October, 2019

By Mike Goldstein, AlbumCoverHallofFame.com

Dear Readers – This month’s summary will be perhaps my most-truncated effort ever, and for that I must apologize. Sometimes Life really gets in the way of doing what you love, and when you’re caring for a relative with profound dementia, it can be a bit overwhelming, as it is today.

With that as my excuse for this month’s abbreviated summary, let’s take a look at my digest of what’s happening/happened lately in the world of album cover art and the people that make it:

New Exhibitions/gallery shows –

a) The Mr. Musichead Gallery in Los Angeles will be sponsoring and hosting a special fund-raising event this coming Thursday, October 3rd that will be built around a 30-year career retrospective of noted rock photographer Chris Cuffaro – https://www.mrmusichead.com/events/2019/10/3/puppies-and-pearl-jam-photography-exhibition-amp-fundraiser? 100% of the proceeds will benefit the Wags & Walks charity, an organization that provides new homes for rescue dogs and much happiness to the people who adopt these animals.  https://www.wagsandwalks.org/our-story

b) Warhol comes to the Art Institute in Chicago – A show that’s drawn crowds and received rave reviews since it’s premiere at the Whitney Museum – Andy Warhol From A to B and Back Again – will open at Chicago’s Art Institute later this month (October 20th, running through January 26, 2020) with a newly-curated collection of hundreds of the pop art master’s most-impressive works. And yes, there will be a small collection of his album covers included in the display. I’ll be touring through the show soon after it opens and will share that coverage with you post-haste. Until then, you can learn more about what will be on display by visiting the museum’s site at https://www.artic.edu/exhibitions/2937/andy-warhol-from-a-to-b-and-back-again

ONGOING Exhibitions/Gallery Shows –

a) Previously posted 9/13/19 – Sunday, September 15th was the launch date of the Fall Open House at Mana Contemporary (888 Newark Ave in Jersey City, NJ) and the talented folks from Gary Licthenstein Editions are hosting a show of new works by a whole host of artists whose work they produce, including several who are well-known to fans of album cover/music-related imagery, such as Cey Adams, Bob Gruen, Eric Orr and others (I’m particularly excited to see works by noted artist/film director Charlie Ahearn, whose Wild Style documentary is required-watching for fans of hip-hop culture). I’m told by GLE’s Melissa Marr that the exhibition will be on display for at least a month. For those of you who would be visiting the venue for the first time, Mana Contemporary is a few blocks away from the Journal Square Path Train Station in Jersey City, NJ.

https://www.manacontemporary.com/event/fall-2019-open-house/

b) While not specifically an album cover art show, there is a new show at the Grammy Museum in Los Angeles that opened September 12th featuring the portrait work of Richard Ehrlich, a photographer whose five-year project meant to capture the emotional expressions of music-makers enjoying their favorite music – a project called “Face The Music” – was originally shared via several videos and a book of the same title that was published in 2016. According to the museum’s advance PR, Face The Music showcases Ehrlich’s artful shots of 41 musicians in a variety of musical genres. “To showcase these portraits, the GRAMMY Museum® proudly announces Face The Music, a new photography exhibit showcasing 41 legendary musicians including Quincy Jones, Ringo Starr, Herbie Hancock, Dave Brubeck, Wayne Shorter, Iggy Pop, Esperanza Spalding, Herb Alpert, Sir Graham Nash, Sheryl Crow, RZA, Philip Glass, Emmylou Harris and many more, each who were photographed while listening to three pieces of music of their choice.” The samples I’ve seen are truly stunning examples of just how deeply music can touch anyone/everyone, so I hope that you’ll take the time to visit the exhibit during its run (through January 6, 2020). More details of the show are available on the museum’s web site –  https://www.grammymuseum.org/exhibits/traveling-exhibits/face-the-music – with more examples from the photographer’s portfolio available on his own site (including some of the aforementioned video clips) – https://www.ehrlichphotography.com/facethemusic; https://www.ehrlichphotography.com/face-the-music-video

BTW – Mr. Ehrlich does indeed have an album cover credit – he shot the cover for Steve Tibbet’s 2010 jazz/rock album titled Natural Causes – so I feel much better now about including this item in my summary.

c) There’s an exhibition that opened on Saturday, July 20th at  the Westmoreland Museum of American Art in Greensburg, PA that I urge any fan of great design – particularly in the realm of album/poster art – to make a beeline to ASAP. Era of Cool: The Art of John Van Hamersveld (running now thru Sunday, October 20, 2019) includes a selection of Van Hamersveld’s album covers, poster designs, drawings, mural designs, photography and paintings. His portfolio of music-related artwork is legendary – Exile on Main Street for the Rolling Stones; Hotter Than Hell for KISS; The Beatles’ Magical Mystery Tour; Blondie’s Eat To The Beat and Autoamerican; Skeletons From The Closet for the Grateful Dead and many others for Steve Miller, Van Morrison, Jefferson Airplane and more. If you’ve been to Fatburger, you’ve seen his work (that’s his logo). And that “Endless Summer” artwork you see on t-shirts, beach bags and on a poster that hangs in the lobbies of many beachfront hotels – it’s his work as well. Quite the portfolio, you have to admit…

Nice interview with JVH by Bonnie C. West, the curatorial assistant at The Westmoreland – https://thewestmoreland.org/blog/

For more information on this exciting new show featuring one of the best-recognized album cover artists/graphic designers in the business, click on over to the museum’s web site at https://thewestmoreland.org/exhibitions/era-of-cool-the-art-of-john-van-hamersveld/

Local reporter Lisa Cunningham, writing for the Pittsburgh City Paper, provides us all with more background on John and this news show – https://www.pghcitypaper.com/pittsburgh/artist-behind-hundreds-of-iconic-album-covers-debuts-first-solo-show-at-westmoreland-museum-of-art/Content?oid=15431122

John’s work has been featured many times in many different articles on the ACHOF site. I’m a proud owner of several of his works of art and had the pleasure of meeting him (and his wife, Alida), interviewing him and, back in the day, selling his works in my gallery, so you can imagine how happy I am to see such a retrospective made available to fans of great art and design. Go, Go, Go!

d) A show at the Cranbrook Art Museum in Bloomfield Hills, MI looks to be a must-see for students of the art of the album cover. According to the press release for the show, “For the Record: Artists on Vinyl mines a unique vein of creative expression, the design of the record album cover and the use of phonographic recordings by artists as a vehicle for creative expression…This exhibition features more than 50 designs, many of which are paired with artworks, drawn from our permanent collection, by the same artist.” Most readers of this site know how often it is that now-famous artists either got their start in the album cover art business (Andy Warhol and Drew Struzan are prime examples of this) or, as musical and graphical artists are often on the same wavelength, how many successful collaborations there have been between music and art makers.

For the Record: Artists on Vinyl is organized by Cranbrook Art Museum curator Ian Gabriel Wilson, the Jeanne and Ralph Graham Collections Fellow, with the assistance of Frank M. Edwards, with many of the artworks on display drawn from the collection of Mr. Edwards. Previously, Mr. Edwards and his wife, Ann M. Williams, who serve on the museum’s board, were the principal sources for another Crankbrook exhibition – Warhol On Vinyl The Record Covers, 1949-1987+ that was on display there June 21, 2014 – March 21, 2015. Artists in the show include: Banksy, Jean-Michel Basquiat, Harry Bertoia, Salvador Dalí, Richard Diebenkorn, Keith Haring, Roy Lichtenstein, Robert Motherwell, Claes Oldenburg, Yoko Ono, Robert Rauschenberg, Bridget Riley, Frank Stella, Andy Warhol, among many others.

For the Record: Artists on Vinyl can be found in the museum’s deSalle & Lower Level Galleries – now through April 19, 2020 – https://cranbrookartmuseum.org/exhibition/for-the-record-artists-on-vinyl/

e) Let’s begin with a fun fact – although Linda McCartney had great talent with the camera and had the last name Eastman, she was NOT, as was widely thought, a scion of the Eastman family associated with the Eastman-Kodak company (her dad was, in fact, a copyright attorney). Nevertheless, after graduating from high school in Scarsdale and then becoming an Art History major at the University of Arizona, where her love for nature motivated her to purchase a Leica camera and stud the photography of horses under the tutelage of Hazel Larsen Archer (and then marrying/divorcing cultural anthropologist Melville See, with whom she had her first child, daughter Heather, in 1963), Linda and her daughter moved back to New York City, living off an inheritance her mother had left her and take a job as a receptionist/editorial assistant for Town & Country Magazine in 1965.

A romantic relationship with photographer David Dalton allowed Linda to study how a professional shooter works and, soon after, she began to manage her own photo sessions, using her knowledge, good looks and ability to communicate with even the most-difficult subjects to secure gigs featuring people in the music business. She became a house photographer at Bill Graham’s Fillmore East venue and, over time, she’d shoot music superstars including Eric Clapton, The Doors, Bob Dylan, Aretha Franklin, Jimi Hendrix, Janis Joplin, the Rolling Stones, Neil Young (one of her photos of Young performing in 1968 at Canterbury House would later become the cover of a record called Sugar Mountain) and others – in fact, her photo for Rolling Stone Magazine’s May 11, 1968 issue was the first cover taken by a female photographer to appear in that magazine – and so when she met Beatle Paul McCartney while covering the release of the band’s Sgt. Pepper’s Lonely Hearts Club Band LP and married him a couple of years later, it marked the beginning of a long and productive creative relationship as well – one that ended, sadly, with her death in 1998.

So, while she might not be with us, her portfolio lives on and is the subject of a show which has toured the world for the past 5+ years, with stops in Vienna, Montpellier and Seoul and is launching today at the Kelvingrove Art Gallery in Glasgow, Scotland – it’s first display in the U.K. and is on display now through the 12th of January, 2020 (Editor’s note – I’m hoping to tour this show during my visit to Glasgow later this month – photos to be shared upon my return). Simply titled “The Linda McCartney Retrospective,” the show was curated by the photographer’s husband, fellow musician Paul McCartney and their two daughters, Mary and Stella, and, according to the pre-show press, “It brings together dozens of Linda McCartney’s photos—from famous portraits of 1960s rock icons to more personal snapshots of her quiet home life with Paul—as well a trove of archival materials being shown in public for the first time, including cameras, her personal magazine collection, and even a diary from the ’60s.” More info is available at https://www.glasgowlife.org.uk/event/1/linda-mccartney-retrospective

Linda was also credited with a number of well-known-and-loved album cover photos, including the shot of Paul and his newborn daughter Mary taken in Scotland that was used on the back cover of Paul M’s solo debut album in 1970 titled McCartney. Available in the museum’s shop – quite the nice souvenir – is a limited-edition (one of 12), 20” x 24” fine art print of that photo (signed by Mary, who is now old enough to sign her name), priced at only £4,200.00  https://shop.glasgowlife.org.uk/mccartney-album-cover-scotland-1970-limited-edition-print. Get one for someone you love.

More details also at https://www.lindamccartney.com/the-linda-mccartney-retrospective/

f) Also in the UK (London), the Design Museum has put on a display of the nominees and winners of their annual “Beazley Designs of the Year” competition. Now in its twelfth year, the Beazley Designs of the Year is an annual celebration of “the most original and exciting products, concepts and designers across the globe today.” New this year was the addition of designs nominated by the public.

The last time an album cover was given one of these prestigious awards was back in 2017, when designer Jonathan Barnbrook won for his memorable package for the late David Bowie’s Blackstar album (being crowned “Graphic Design of the Year”). I’ve seen some impressive work this year, so let’s hope the judges are as impressed as I’ve been…

https://designmuseum.org/exhibitions/beazley-designs-of-the-year;

g) In addition to the photo portrait shows covered here previously, the busy curators at the Grammy Museum launched a show this past August built around memorabilia – album and advertising art, clothing, tour documents and lots of photos – taken from the archives of one of the music industry’s best-known concert promoters/artist managers, Jerry Weintraub and Concerts West – the man/team responsible for a number of memorable shows by  musical acts including John Denver, Elvis Presley, Frank Sinatra, The Carpenters, Neil Diamond, Bob Dylan, Rick James, Beach Boys, Led Zeppelin, Bad Company, The Commodores, the Bee Gees, The Moody Blues, Stevie Wonder, Paul McCartney and many others. While he’d begin his rise to the top of the entertainment business in the early 1970s, he’d expand his empire to include a long list of successful film/TV productions, including hits such as Oh, God!, Nashville, Diner, the Karate Kid movie franchise and the Emmy Award-winning TV documentary on global warming – Years Of Living Dangerously – among many others. This expansive look into the career of one of the best showmen in the business runs through early December, and you can learn more on the Grammy Museum site –  https://www.grammymuseum.org/exhibits/current-exhibits/jerry-weintraub-presents; https://www.grammy.com/grammys/news/jerry-weintraub-presents-exhibit-coming-grammy-museum

h) Some of you might recall that I was honored a few years back to write an article for Rockwell Museum curator Jesse Kowalski’s “Illustration History” site about album cover design and production (which you can find at https://www.illustrationhistory.org/essays/producing-album-cover-art-for-clients-in-the-music-business). As we corresponded recently about a VR-based initiative the Museum is involved with (people love their little screens these days, right?), Jesse shared some info on a new show he’s got up that focuses on two hot topics this year – the 50th anniversaries of the Woodstock Art & Music Festival and Man’s landing on the Moon – along with everything else that made the year 1969 a memorable one in our history. Running now through October 27th, “Woodstock to the Moon: 1969 Illustrated” fills two of the museum’s galleries and, according to the show’s PR, “those galleries are well provided for and cover a lot of range. A display relating to Sesame Street, which debuted on public television that year, is an implicit reminder that Woodstock was by no means the most important cultural event of 1969. An early draft of the screenplay for Easy Rider sits near a poster for the movie version of Hello, Dolly!…In a nice nod to another Massachusetts museum, the show includes artwork for ‘The Very Hungry Caterpillar’ (yes, published in 1969), whose author-illustrator is the namesake of the Eric Carle Museum, in Amherst.” The show also includes a number of famous concert posters (including Arnold Skolnick’s iconic Woodstock poster) groovy examples of mind-bending psychedelic found on the album covers and other materials from bands such as Led Zeppelin, The Who, and the Grateful Dead. I do hope that you’ll visit https://www.nrm.org/2016/12/woodstock-to-the-moon-1969-illustrated/ to plan on your trip to see this show, and if you’d like to read a recent review on it as seen in the Boston Globehttps://www.bostonglobe.com/arts/art/2019/07/10/illustrating-year-when-rad-met-trad/8PUuaMrm3FOREZV0PoONkL/story.html

Artist News and Interviews –

a) NEW, BUT NOT REALLY – Noted designer/illustrator/album cover artist Stefan Bucher has re-launched his daily video journal called the Daily Monster, where each day he takes you through the steps of creating a  monster with the hopes that he’ll inspire you to create monsters of your own – https://www.youtube.com/channel/UCNGRtjBO4IFMWWuzJ1spS4w

b) Previously posted 9/27 –  With all of the recent excitement (and articles a-plenty) about the celebration of the 50th anniversary (on September 26th) of the release of the Abbey Road album by The Beatles, I wanted to simplify your approach to reviewing the memorable album art via this recent with the designer who was tasked with putting together the original package for this recording – the immensely-talented Mr. John Kosh (or, as he prefers, simply “Kosh”). Two recent interviews with the 75-years-old-but-still-working-like-a-madman designer were published this past week – one in Forbes and one in the NY Post –  about his work on Abbey Road

Forbes – https://www.forbes.com/sites/davidchiu/2019/09/24/beatles-abbey-road-album-cover-design-john-kosh/#6a4fec7d1c07

NY Post – https://nypost.com/2019/09/25/inside-the-story-of-the-abbey-road-album-cover/

and to mark the occasion, I’d like to share a photo of myself (see below) with two items that arrived in the mail today – my copy of the 50th anniversary edition (remixed by Giles Martin and Sam Okell) 2-CD set and, because I realized this week that I’d never added the book to my personal collection, my copy of Aubrey Powell’s generously-illustrated 2017 book Vinyl.Album.Cover.Art: The Complete Hipgnosis Catalogue which, I can assure you, will provide me with much to be happy about this weekend as I read it (while listening to the Abbey Road CDs, perhaps). Both items contrasted nicely with my Abbey Road in silhouette t-shirt, don’t you think?

 

 

 

 

 

 

 

If you’d like to read my own interview with Kosh about his work on another well-remembered (and honored, as it won a Grammy) cover – Linda Ronstadt’s 1984 recording of her takes on classic big band tunes titled Lush Life – I’d invite you to click on this link and you’ll be whisked right there –  https://albumcoverhalloffame.wordpress.com/2014/05/09/interview-with-kosh-linda-ronstadts-lush-life-album-cover/

Bonus anniversary mention – Not quite as old as Abbey Road, but sporting a cover photo that is perhaps as well-known (to a slightly younger crowd) –  this year (December, actually) marks the 40th anniversary of the release of The Clash’s London Calling album which featured photographer Pennie Smith’s photo of Joe Simonon’s frustrated bass-smashing on stage in NYC – Fox5 NY posted a video interview this week with Smith and Rolling Stone’s Anthony DeCurtis on the topic – https://www.fox5ny.com/news/the-clashs-london-calling-album-cover-photo-turns-40

c) One of the best-known photo-journalists covering the Seattle/grunge scene is Charles Peterson (guests of the Hotel Max in the city will find his work incorporated into the hotel’s décor). Here’s a recent interview on the UDiscover Music site about shooting Soundgarden covers – https://www.udiscovermusic.com/stories/charles-peterson-soundgarden-photos-interview/

New Products (Books, Prints, Other) –

a) The folks at KnuckleBonz continue to impress as they expand their 3D album cover sculpture line to include Pantera’s Vulgar Display of Power and Aerosmith’s Toys In The Attic to their line – (shipping this fall, pre-orders accepted now) – https://www.yahoo.com/entertainment/pantera-iconic-vulgar-display-power-181409936.html

Miscellaneous Items – 

a) Sir Peter Blake, who created the cover for The Who’s Face Dances 1981 LP (along with covers for The Beatles, Eric Clapton, Paul Weller and many others) was commissioned once more by Misters Daltrey and Townshend to create the designs for their upcoming album for The Who titled, quite controversially, Who. The designs were premiered at the opening for the new Pace Gallery in NYC, with special guests (guess who? No, not the Guess Who) there to play an acoustic set – https://petetownshend.net/news/the-who-perform-acoustic-set-and-reveal-new-album-cover-at-pace-gallery-in-nyc

b) Kerrang Magazine just had to publish this article about 12 albums with really-embarrassing album covers –  https://www.kerrang.com/features/13-amazing-albums-with-embarrassing-covers/

Perhaps one day I’ll publish a piece about 12 magazine articles about album cover art that were really embarrassing…that’ll show ‘em.

c) Perhaps this article on the Yardbark site about the “most-iconic album covers of all time” will make the cut?  – https://www.yardbarker.com/entertainment/articles/the_most_iconic_album_covers_of_all_time/s1__30083705#slide_1. Or how about this one from the editors at the UK’s Radio X on the “Most Boring Album Covers” – https://www.radiox.co.uk/features/x-lists/most-boring-album-covers/

d) Here’s a new review of the latest in heavy-metal album art design – https://www.treblezine.com/shadow-of-the-horns-metal-album-covers-have-come-a-long-way/

e) Part of the process of making album art – working hard to produce designs, only to have them rejected by your clients – is illustrated nicely here in this article which uncovers a rejected design for AC/DC’s Black Ice LP – http://www.alternativenation.net/new-acdc-album-cover-finally-leaks-years/

f) RIP – Previously posted on 9/11/19 – It’s my sad duty to inform my readers that photographer Robert Frank, perhaps best-known to rock album art fans for his contributions to the Rolling Stones’ classic 1972 double album Exile On Main Street, has died at the age of 94. Born in November, 1924 in Zurich, Switzerland to Jewish parents whose Swiss citizenship kept the family relatively safe while the War raged on around them, Robert Frank saw how Nazism oppressed individual expression and, rather than focus his attentions on business, decided to dedicate himself to expressing himself through photography and studied the subject with several photographers and designers. He took his talents to the United States in 1947, working first as a photographer for Harper’s Bazaar magazine, leaving a short while later to tour the world and returning in 1950 when he met famed photographer Edward Steichen and was asked to participate in his group show at NYC’s Museum of Modern Art.

That same year, he met and married his wife Mary (a fellow artist) but, after a few years of life in the U.S., Frank was bothered by society’s pace, intense focus on capitalism and, to Frank, a lingering loneliness he felt there. Looking for an escape, he embarked – with his wife and two young sons – on a tour of the world, returning to NYC in 1953. He took on freelance work for a number of fashion and news magazines and, along with several other photographers (such as Diane Arbus, Walker Evans and others) became part of what was called at the time “The New York School of Photographers”.

In 1955, supported by a Guggenheim fellowship, he began a journey across the United States, looking to photograph people and places from all walks of life and in all parts of the country. From the nearly 30,000 photographs he took over the next two years, he selected 83, which became the basis for a book he titled “The Americans”.  After completing this work, Frank decided to put his still camera away and focus his talents on film-making, with one of his best-known works from this time being his 1959 film titled Pull My Daisy and featuring many of the best-known “Beat” artists, writers and poets of the generation.

After Frank and Mary’s marriage ended, he then married sculptor June Leaf and, in 1971, the couple moved to a community on Cape Breton Island, Nova Scotia, Canada. Family tragedies struck hard when his daughter Andrea was killed in a plane crash in Guatemala in 1974 and his son Pablo was later hospitalized for a mental disorder and later (in 1994) took his own life, moving the artist to create the Andrea Frank Foundation, an organization that supports artists with grants.

His introduction to music industry clients came in 1972 when he was hired to document the Rolling Stones while they were on tour. So accurate was the portrayal of the band (and its excesses and, notably, the loneliness of their lives on the road) that the band and its management demanded that the resulting film – Cocksucker Blues – not be shown in theaters in the U.S.. The band and Frank reached a settlement that allowed for the movie to be shown only 5X per year (with Frank required to attend the showings) and the photographer was then asked to supply the photographs that were used on the group’s famed Exile On Main Street record cover. He continued throughout his life s to work on a wide variety of projects (spending time both in Canada and back at his loft in NYC) and had directed several music videos. Notable album cover credits in his portfolio included Kraftwerk’s Radio Aktivitat; Philip Glass – Hydrogen Jukebox; Jerry Garcia – Shady Grove; John Hiatt – Greatest Hits: The A&M Years ’87 – ’94 and Chronicles; New Order – Item; The New Lost City Ramblers – 50 Years: Where Do You Come From, Where Do You Go? and Tracy Nelson – Tracy Nelson Country.

There have been a number of showings of Frank’s art over the years, including a 1994 retrospective at the National Gallery of Art in Washington, DC, a 2004 show at London’s Tate Modern Museum, shows in 2008-9 in Germany, a 2012 show at Moscow’s Multimedia Art Museum along with a 2014 exhibition at Stanford University. In 2009, The National Gallery of Art organized a large exhibition that went on to tour both the San Francisco Museum of Modern Art and The Metropolitan Museum of Art in New York City.  The same gallery has also assembled what they call “the largest repository of materials related to renowned photographer and film-maker Robert Frank”, ready in its entirety in time for Frank’s 90th birthday in November, 2014.

Upon hearing of his death on September 9, 2019 at the age of 94, the Rolling Stones issued the following statement – “We’re very sad to hear the news that the visionary photographer and filmmaker Robert Frank has died. Robert collaborated with us on a number of projects including the cover design of Exile on Main Street and [he] directed the Cocksucker Blues documentary. He was an incredible artist whose unique style broke the mould. Our thoughts are with his family and friends at this time.”

Learn more about this artist at http://www.nga.gov/content/ngaweb/features/robert-frank.html

On a related note, I’d like to invite you to read my May, 2010 interview in Goldmine Magazine with designer John Van Hamersveld, who worked with Frank on making of the Exile cover – https://www.goldminemag.com/articles/the-rolling-stones-exile-on-main-street-and-the-artwork-by-john-van-hamersveld

g) The National Portrait Gallery recently added a photo portrait of pop goddess Beyonce to their collection. Here’s an interview with the talented shooter – Tyler Mitchell – who took the photo – https://www.latimes.com/entertainment-arts/story/2019-08-07/beyonce-vogue-cover-smithsonian

h) The editors at Juxtapoz Magazine have added three new entries to the magazine’s “Sound & Vision” album art series:

  1. Takashi Murakami’s cover work for Kanye West’s Graduation album – https://www.juxtapoz.com/news/music/sound-vision-kanye-west-s-graduation-by-takashi-murakami/
  2. Eric Timothy Carlson’s most-recent assignment to create the artwork for Wisconsin-based rockers Bon Iver’s i,ihttps://juxtapoz.com/news/music/sound-vision-an-interview-with-eric-timothy-carlson-the-artwork-behind-bon-iver-s-i-i/
  3. Miles Davis chose his “best friend”, Corky McCoy, to create the colorful cartoon-style artwork for his 1972 album On The Cornerhttps://juxtapoz.com/news/music/sound-vision-miles-davis-on-the-corner-and-1970s-releases-by-corky-mccoy/ He’d go on to create the covers for several more albums by the legendary jazz trumpeter.

That’s all for now – stay tuned and be on the lookout for timely news alerts on our news feed –https://www.facebook.com/AlbumCoverHallOfFame – we’ll be back when we can with another monthly summary for you.

Unless otherwise noted, all text and images included in this article are Copyright 2019 Mike Goldstein and AlbumCoverHallofFame.com – All Rights Reserved. All of trade names mentioned in these summaries are the properties of their respective owners and are used for reference only.

Album Cover Art and Artist News Summary and Preview for April/May, 2019

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Album Cover Hall of Fame News Update – April/May, 2019

Posted May 1, 2019 by Mike Goldstein, AlbumCoverHallofFame.com

Although last Sunday’s snowstorm dumped several inches of powder on my just-popping-open tulips, it looks as though that might have been the last of it and we can now look forward to Spring and all of the joy it brings us. My regular scours of the Internet also pointed me to a number of newly-hatched stories about our favorite subjects – album cover art and the work of the people that make it – and so here’s a quick summary about some of the new exhibitions, artist appearances, book releases and other stories that I think you’ll enjoy:

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Album Cover Hall of Fame’s 2018 Holiday Gift-Buying Guide

Holiday Gift Suggestions for the Album Cover/Vinyl Record Lovers in your Life

 

Works offered for sale by (above, left to right) – Snap Galleries, UK, Vinylux and KnuckleBonz

As suggested by Mike Goldstein, Curator, AlbumCoverHallofFame.com

Holidays, 2018

Well, it’s been five years since I published the first of what were supposed to be annual overviews of “artistical” things that, in my opinion, might make nice gifts for anyone who is a fan of album cover art and packaging. Of course, I could come up with several excuses as to why I’ve back-burnered this until now – my book project, my move from Portland to Chicago or my heavy drinking since November, 2016 – but suffice it to say that it wasn’t because I didn’t want to provide this information to you. So, if you’ll accept my apology, let me continue with what I hope is some valuable information in this update.

As I’m sure you all know, getting just the right gift for your loved ones at Holiday time can be such a puzzle – what with all of the advertising that bombards you from every direction and “Black Friday” now beginning sometime in mid-late July – that you’re left with little time and inclination to search for just the right thing when all you want to do is “get this over with”…

And, while I’ve been told never to buy “art” for others, because of the link between music and art, buying a gift for lovers of album cover art has never been so simple. As you’ll see by the list of companies that specialize in album cover-related items of all types (and fitting all budgets), with a little research (“Hey Honey, who’s your all-time favorite band?”) and perhaps a phone call or two, I’m feeling pretty confident that you’ll be able to locate and secure a gift that will be long-appreciated by its recipient. Who knows, maybe it will start a tradition in your family!

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Album Cover Artist And Art News Summary And Preview For July/August, 2018

 

ALBUM COVER HALL OF FAME’S ALBUM COVER NEWS RECAP FOR THE MONTH OF JULY, 2018, WITH PREVIEWS FOR AUGUST.

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BY MIKE GOLDSTEIN, ALBUMCOVERHALLOFFAME.COM

Greetings to you all. Work continues on updating the biography section of the ACHOF web site and so, as I noted last month, this month’s news summary is an abridged one, with less commentary from me and a somewhat-reduced number of stories featured in each section. Even so, much work continues in this area, and there’s a lot to review – interviews, profiles, news about new books and prints, etc. – that I think you’ll appreciate and enjoy. As you’ve seen in my previous news summaries, if you simply read the summaries I’ve written and click the links provided, you’ll get the details from sources from around the world on items featuring many of your favorite – or soon to be favorite – album art creators.

I am pleased to announce that the first part of a two-part article I’ve written about album cover art, artists and album art production has been added to the Illustration History web site – https://www.illustrationhistory.org/essays/producing-album-cover-art-for-clients-in-the-music-business

A project of the esteemed Norman Rockwell Museum (Stockbridge, MA), the Illustration History site serves as an educational resource for fans, students and teachers of the fine arts of illustration and design, so it’s an honor to be able to share some of my research and writing on a subject – album cover art – that features so many great examples of work by the talented people who’ve contributed to the visual side of the music business since the 1940s. Part 2 is due soon but, in the meantime, hope you’ll take a look and share this with your friends. I’d like to thank curator Jesse Kowalski for this opportunity and hope that you’ll spend some time digging through the site’s impressive archives, too.

Also earlier this month, I posted a special alert letting you know that, for the second year in a row, album packaging creators from all over the world are being invited to submit examples of their best, most-recent works for consideration by the esteemed judging panel for the 2018 “Making Vinyl Packaging Awards”. According to the show’s advance press, they’re “now accepting submissions in 14 categories that highlight why packaged media is still important in the digital age. Entries may come from record labels, pressing plants, brokers, packagers, printers, mastering facilities, artists, and distributors from anywhere in the world. Submissions will be judged online by award-winning art directors in the U.S. and Europe. In late August, the winners will be selected from the finalists at the offices of AIGA, the prestigious design organization, and receive their prizes at a ceremony at the MAKING VINYL conference in Detroit on Oct. 1st.”

Last year’s judging panel included a number of album art industry notables, including Spencer Drate, Judith Salavetz, Sylvia Reed, Gail Marowitz, Sean Mosher-Smith, Stefan Bucher, Craig Braun and Making Vinyl founder, PR guru/journalist/educator Larry Jaffee. The 2017 Awards, given then in 8 categories, showcased the talents of both well-established designers, such as Lawrence Azerrad, who lead the efforts to create the fantastic Voyager, 40th Anniversary Edition box set and Shepard Fairey, who was nominated for an award in the same category for Blondie’s Pollinator, alongside emerging talent such as the team of young designers/art directors at Third Man Records (Rex Runyeon and Ryon Nishimori), who took home an award in the “Best Record Art” category for their captivating photo-based cover for their label’s release titled The Monks, Hamburg Recordings 1967. You may recall that last year’s “Best Overall Package” category featured a tie between creators of the packaging for AKATRE’s BLCK RCK and Pet Symmetry’s Vision, and now that this year’s top prize has been re-named “The Alex Steinweiss Award” in honor of the noted record packaging innovator, the nominees in this category should be extra proud to be in the running.

For 2018, there are two new categories being added for CD packaging, an award for best use of sustainable materials, one that recognizes the special limited-edition products that are created for the annual Record Store Days and two awards being proffered (one vinyl, one digital) called “They Said It Couldn’t Be Done” which, according to the award show’s producers, “Recognizes innovation in structural design that takes into account the use of new machinery or materials or folds or printing processes that stretches the boundaries of album packaging that previously existed.“ I can’t wait to see whether packages are submitted that were made on 3D printers. One more addition to the 2018 awards process is the addition of a highly-esteemed writer, researcher and self-described expert on album cover packaging to the panel of judges reviewing submissions prior to the final voting, with that person being ME! I’m quite honored to have been asked and look forward to being able to review all of the work being submitted.

The deadline to enter your online submission(s) with digital photos is Wednesday, Aug. 15, 11:59 pm (EST). Eligible works include packages offered for sale between the dates Sept. 1, 2017 to Oct. 1, 2018. There’s a page on the Making Vinyl site that provides anyone interested with all of the info they’ll need (submission formats, costs, etc.) to send in their work – https://makingvinyl.com/awards-2018/

I’ll be updating this story as more info comes in and, of course, will be announcing the winners immediately after they’ve been given their honors. As always, it’s my plan to be able to interview one or more of the honorees about “the making of” their winning works, so stay tuned for more.

As always, I ask that you please share this info with everyone you know who are fans of great album cover-related talent and, of course, your comments and feedback are quite welcome.

1) UPCOMING, RECENTLY-LAUNCHED/CURRENTLY RUNNING AND JUST-CLOSED SHOW/EXHIBITIONS –

a) There’s a truly-impressive Michael Jackson-inspired art show now on view at the National Portrait Gallery in London from now through October 21, 2018 that features works by Andy Warhol, Keith Haring, Kehinde Wilde and a whole host of word-class artists who’ve been inspired by the late King of Pop.“Michael Jackson: On the Wall” includes works by 48 artists and includes a number of works from private collections that have never been put on public display before.

After the show wraps up in London, it will travel to Paris, Bonn, and Espoo in Finland, with more details provided in Henri Nuendorf’s exhibition overview as seen on the ArtNet News site –https://news.artnet.com/exhibitions/michael-jackson-npg-london-1310123?

One of the items included in this show is Mark Ryden’s memorable cover for MJ’s 1991 hit album Dangerous, with the story behind this gorgeous cover provided in one of Eben Benson’s recent Juxtapoz Sound and Vision  articles – https://www.juxtapoz.com/news/music/sound-and-vision-michael-jackson-s-dangerous-cover-artwork-by-mark-ryden/

b) In mid-July, the San Francisco Art Exchange launched a show based on photographer Jim Marshall’s portfolio of images of country music legend Johnny Cash, with gallery visitors being treated to a number of rare and never-before-seen photos, including a series taken during the performer’s storied concert recorded 50 years ago at California’s Folsom State Prison.

According to the gallery’s press release, “These photographs include images of Cash onstage and touring the prison grounds, along with several from the legendary sound check at San Quentin when Cash so famously ‘flipped the bird’ for Marshall. These new photographs and a selection of the estate editions released in 2011 will be featured in our upcoming exhibition along with several extremely rare and highly sought-after signed photographs from Jim Marshall’s personal archive of prints.”

The gallery also announced that collectors who purchase one of the prints made available during the show will also receive a free copy of the soon-to-be-released book of Marshall’s photos titled Johnny Cash at Folsom & San Quentin Photographs by Jim Marshall , due to be published by Reel Art Press  later this summer.)  PLEASE NOTE: Collectors who purchase any Jim Marshall photograph during the exhibition will receive a complimentary copy of the new book coming out later this summer.

Fans can view a PDF version of the exhibition’s catalog of the artwork via this link – http://www.sfae.com/index.php?pg=400162

c) Juxtapoz also provides us with the details of another gallery show that ended July 21st that would have been of great interest to anyone drawn to great examples of the intersection of music and art. While not specifically album cover-centric, the sheer number of musical and visual creatives who teamed up to create both this show and the coffee table book it’s derived from has forced my hand… https://www.juxtapoz.com/news/painting/nick-cave-tom-waits-swoon-and-many-more-collaborate-for-children-s-literacy/

The Corey Helford Gallery in Los Angeles hosted the show built around the music and art created for the book Waxploitation: Stories For Ways & Means, a nearly 10-years-in-the-making effort that resulted in a 350-page book featuring stories written by famous musicians (Frank Black, Nick Cave, Tom Waits and others), all illustrated with artwork by a number of artists that Juxtapoz readers will be familiar with (Joe Coleman, Anthony Lister, Swoon and many others). A portion of the proceeds from both the show and the book are being donated to several worthwhile charities, with more details available on the gallery’s web site at http://www.coreyhelfordgallery.com/shows/waxploitation-stories-for-ways/the-devouring/

d) I promised to bring you news of album cover artists working all over the world, and today’s no exception. Here’s an article about a Malaysian artist named Mustaffa Ahmad Hidzir, who works under the pseudonym “Tapa”, who has spent the last 40 years designing/producing over 300 album covers and who last year released an award-winning coffee table book that was published by the Institut Terjemahan dan Buku Malaysia Bhd. 12×12 Album Cover Design offers up almost 200 of his covers, along with the stories behind them, and beginning on August 4th, fans and lovers of album art will be able to take in a week-long exhibition of his works in a show at the Penang House of Music during the George Town Festival. If you happen to be at the venue a 3PM on August 5th, Tapa will be on-hand to lead a lecture about his career as an album cover designer.

For more info on the artist and his career, click on over to this recent article in the local Sun Daily newspaper – http://www.thesundaily.my/news/2018/07/06/drawing-attention

And to see more about the festival and Tapa’s show there, please visit – https://georgetownfestival.com/programmes/12-x-12-album-cover-design

2) Artist interviews/profile articles –

a) To read my recent mini-interview with Ashley Simerman of KnuckleBonz about their new series of 3D album covers, please scroll down to Section 4 of this news summary

b) Here’s a link to a video posted by YouTube star/fashion and lifestyle blogger Karen Yeung (IAMKARENO) of an interview and photo session during which famed photographer Marcus Klinko works with the not-very-camera-shy blogger poses to try and re-create the look of his famous Beyonce Dangerously In Love album cover – https://petapixel.com/2018/07/13/hanging-out-with-the-photographer-of-beyonces-diamonds-album-cover/

Klinko tries to make it all sound so scientific for the Petapixel reader (“I use top end modifiers from Broncolor and Elinchrom, with custom adapters I built… all the lights in the video are by Flashpoint/Godox….I use a combination of 600Pro, and H1200 for all of my studio and location setups, and occasional use the Evolv200 as well”), but Karen’s just having fun pretending to be Mrs. Jay-Z for a while….

c) Almost slipping past my Google Alert web was this recent interview by Eric Skelton on the Pigeons & Planes site with photographer Nick Walker about his recent work with Playboi Carti for the cover of the rapper’s Die Lit album. The cover image works to bring a very punk-inspired aesthetic to the singer’s “against the grain” approach to his music-making – https://pigeonsandplanes.com/in-depth/2018/05/die-lit-playboi-carti-cover-photo-nick-walker-interview

Walker’s worked with many of the top names in the R&B and Rap world – from Beyonce to Nikki Minaj and FKA Twigs, along with a number of other artists on the Interscope label, so the pairing of the two talents seemed both inevitable and a really good idea, I think you’ll agree…

3) Sales/Auctions –

a) This just in – the nice folks over at the Psychedelic Art Exchange just sent me a note about their current poster auction (on now through August 9th) that peaked my interest and, therefore, I’m duty-bound to share the news with you as well. As you know, many of the people who’ve made some of your favorite album cover images – Stanley Mouse, Alton Kelley, Victor Moscoso, Lee Conklin, Rick Griffin and many others – began their careers creating posters for some of the now-famous concert promoters and venues on the West and East Coasts – The Fillmores, The Avalon Ballroom, Winterland, etc. – and as the years go by, the original posters these artists created are becoming increasingly-rare and valuable, so when a collection of posters are presented that include some of the rarest and finest-quality examples available, doesn’t it make sense to go and take a look?

The highlight of the offering is, what I’m told, the finest example of what’s known to collectors as “FD-26-OP-1”, better-known to us mortals as the “Skeleton & Roses” or “Skull & Roses” poster Mouse & Kelley did for the Grateful Dead’s September, 1966 appearances at the Avalon Ballroom. The same basic design was also featured on the band’s 1971 2-record live album titled Grateful Dead (which became their first gold-selling record). This poster will sell for a load of money (it’s current bid, as we go to press, is $19,000). The auction company people go on to tell me that there are many other posters available that would, on any other occasion, themselves be headliners, and a quick look at the offering certainly backs up their claim, so why not take a few minutes sometime soon and visit the online catalog at https://auctions.concertpostergallery.com/Catalog.aspx  Happy bidding – buy yourself something nice!

b) Earlier in July (on July 6th, to be precise), I did a special posting about Gotta Have Rock & Roll’s latest Rock & Roll Pop Culture Auction that was scheduled to take place beginning July 11th and ending July 20th, so now that the bidding’s over, I wanted to get back to you with some of the results on the key items I’d highlighted in that preliminary posting.

From the Larry Vigon collection – most everything sold for prices that were the opening bids for the items up for auction (good deals, overall, with several exceptions), such as the paintings he did for the front and back covers of Eric Clapton’s 1985 record Behind The Sun (listed with opening bids of $3,000 and $2,000, respectively and sold at those prices) and the comps, including George Hurrell’s hand-tinted photographs, of the cover art he created for Fleetwood Mac’s 1982 hit record Mirage (opening bid, $3,000; sold for the tidy sum of $9,422!). In addition, bidding on his hand-drawn lettering  created for the cover of Fleetwood Mac’s album Rumours ($2,000 to start) sold for $2,000, whereas several other production elements (photos, drawings, etc.) for other Fleetwood Mac records – as well as some of the band members’ solo album efforts – sold for prices ranging from $1,289 for photos of Lindsay Buckingham from Law and Order to $2,000 for Helmut Newton shots from Christine McVie’s Songbird.

Also available were the original cover painting Vigon created for Chicago’s 1984 record titled Chicago 17, a rather unique take on the well-known John Berg/Nick Fasciano band logo-based covers, this time with the logo seemingly popping through a brown-paper wrapper (art director credits to the talented Simon Levy), with starting bids accepted over $3,000 (sold for $3,000). Pat Benetar fans were be able to bid on a nice archive of 20 photos (B&W and color) and layouts for records including her 1987 hit Seven The Hard Way ($1,000 opening bid; sold for $1,000), while fans of the Counting Crows placed bids to own the artwork Vigon created for the debut record August And Everything After ($1,000 opening bid; sold for $1,000).

Other album art-related items available in this auction included drawings by artist/illustrator Greg Hildebrandt done for Black Sabbath’s Mob Rules and composer/TSO founder Paul O’Neill’s rock opera Beethoven’s Last Night (surprisingly, all unsold), while further items of interest, including original drawings by Michael Jackson (sold for $2,200 – $3,500), a John Lennon/Yoko Ono-signed photo from their 1969 “Bed-In” protest in Montreal  album ($15,000 asked opening bid – unsold) and CD/LPs signed by Nirvana (unsold) and Led Zeppelin (also unsold).

There were over 900 items in the auction, so if you’d like to go and see what was available and sold, you can now head on over to the company’s auction site – http://gottahaverockandroll.com/#

4) New Print/Book/Product RELEASES –

a) Some of you who might remember my old gallery days will recall that I sold items from a line of intricately-crafted sculptures of iconic rockers/rock imagery made by a company called KnuckleBonz and, I’m glad to report, they’ve recently announced that they’re going to be manufacturing a line of limited-edition album cover art recreations they’re calling “3D Vinyl”. The first two items they’ve announced are stunning renditions of two great albums – Guns N Roses’ Appetite For Destruction and Pink Floyd’s Wish You Were Here, both of which are perfectly suited for a 3-dimensional sculpture.

https://knucklebonz.com/product/pink-floyd-wish-you-were-here-3d-vinyl/

They’ve produced a nice intro video on this new Pink Floyd-based item that you can view at https://vimeo.com/276302319

https://knucklebonz.com/product/guns-n-roses-appetite-for-destruction-3d-vinyl/ will take you to the page on their site with all of the details on the AFD 3D Vinyl product, with the promo video available at https://vimeo.com/276296813

I’ve reached out to the talented team of designers and marketers who’ve created these new products and hope to bring you an update on their efforts soon.

UPDATE/INTERVIEW – Earlier in July, I shared the initial information about the intriguing new series of 3D album cover art pieces that the talented folks over at KnuckleBonz have begun producing and now, as a follow-up, I’m happy to be able to   parcel out a bit more on the subject based on a brief interview I did recently with one of the founders of the company, Ashley Simerman, whose excitement for these new products is pretty evident from the answers she’s provided…

Mike Goldstein, ACHOF – Hello again, Ashley. Nice to be in touch with you again. I was thrilled to read the preliminary info on your 3D album cover sculptures and, as you might imagine, I was eager to learn more about them and your work on making them so I can share this info with my readers. Let’s start with a bit more about your decision-making process. I know that all of your products are licensed collectibles, but I’d be curious as to how you chose the first two covers to produce. Were these your first choices, or did they come as the result of existing or new relationships with the musical act/management/record label/licensing companies?

Ashely Simerman, KnuckleBonz – Hi, Mike. Thanks for checking in and for featuring us! Our first two projects we announced for our new KnuckleBonz 3D Vinyl® are:

1) Guns N’ Roses, Appetite for Destruction – This is an obvious choice for KnuckleBonz to lead with this album as we announce this new category that pays homage to the great album art over the last several decades. Appetite for Destruction is undoubtedly one of the greatest debut albums in rock music history. Not only was the album successfully from the standpoint of album sales, but Guns N’ Roses went from nothing to touring with the Rolling Stones as a result of the success of this album. Artistically, it is a great fit , as well. The skulls and subtle detailing make this 3D Vinyl® stand out.

2) Pink Floyd, Wish You Were Here – Pink Floyd undoubtedly mastered combining amazing visuals for all their album covers. Launching with this particular album is a more personal choice for us here at KnuckleBonz. This is an album that we love to just put on here at the studio and listen to in its entirety. This is a favorite, for sure, just because the music is so amazing. But add the robot handshake on the cover and that was a project we all were very excited to recreate in 3D. Wish You Were Here is a perfect fit for 3D Vinyl®, after all, we intend for these collectibles to pay tribute to the most iconic and artistic album covers over the last several decades.

Mike G – How did you guys approach the creative aspects of the projects – meaning, how did you determine what would be 3D, what would be on the back cover, etc.? Did you work with anyone from the original design team in order to make these choices, or were they your decisions to make?

Ashley S – Everything we do creatively for these 3D Vinyl® designs are done internally here at KnuckleBonz. We are long-time fans, just like our customers. We are simply interpreting what would be cool for each project. Ultimately, what we come up with is a design we would like to have on our own wall on display shelf. Once we get that point, we share with the artist or band and we do have to get approval. Then we hope fans around the globe agree that it is a proper tribute to the original album. We only make a finite number of each; typically we limit the production to less than 2000 of each 3D Vinyl® project, making these highly collectible and exclusive.

Mike G – So, of course I must ask you –  Any hint of what’s coming next or later?

Ashley S – We have quite a few coming later this year – including the two KISS albums we’ve announced*- so stay tuned to knucklebonz.com or follow us on FaceBook for new product news. Everything we do is officially licensed so we can’t reveal any projects just yet, but I think rock music fans will be excited about the line-up. We certainly are thrilled to be working on these amazing projects.

* their debut album titled KISS, along with Destroyer.

Learn more and place your pre-orders on the KnuckleBonz site at https://knucklebonz.com/product-category/3d-vinyl/

b) There’s been a lot of recent press about Madonna’s efforts to raise money for, and awareness of, her charity called Raising Malawi that works to improve the lives of children in that country (since 2012, she’s built 12 schools that have served nearly 10,000 students in the area). In this article on the Bored Panda site, you’ll learn about French fashion photographer Vincent Flouret’s imaginative efforts to add to the fund-raising efforts by selling prints of photos he’s taken of his beloved dog Max. What makes these images unique (and of interest to us album cover fans) is that he’s made up and costumed Max so that he appears as Madonna did on the covers of several of her best-known albums – Ray of Light, Music, Like A Virgin, True Blue and more – along with scenes lifted from some of the Material Girl’s most-famous music video. “Maxdonna” is a very attractive Golden Retriever, so these recreations, while a bit campy, are still quite nice-looking.

https://www.boredpanda.com/iconic-madonna-scenes-recreation-maxdonna-vincent-flouret/?

You can also find Vincent’s Maxdonna photos on display from now until the 16th of August in Arles, France at  L’AGENCE ARLESIENNE, 26, place Paul Doumer, 13200 Arles.

https://www.instagram.com/p/BkC6JY4FNXs/?taken-by=max_et_vincent

In French, but you’ll figure it out….

c) Fans of the band Rush will find a lot to like here…While perhaps best-known for his drumming skills, Rush’s Neal Peart was also the band’s lyricist and, therefore, quite handy with words, as was evidenced in his co-authoring (with sci-fi writer Kevin J. Anderson) of the novel Clockwork Angels. Skip ahead six years since the book’s 2012 (no, not 2112) debut and what do you find but a new version of the book, done this time as a graphic novel (published by Insight Comics) and featuring a cover by life-long Rush cover artist Hugh Syme. Writer and long-time Rush fan Skip Owens gives us a preview in this article on the GeekDad site  – https://geekdad.com/2018/06/clockwork-lives-is-now-a-graphic-novel/

5) Other articles of interest –

a) A couple of months ago, I introduced you to Juxtapoz Magazine’s weekly series called Sound and Vision that, with each article, shares the details behind the making of some of your favorite album covers. Since that time, Managing Editor Eben Bensen has stayed true to his promise to give us a new story every week, with the most-recent articles summarized below:

– My Bloody Valentine’s 1991 Loveless cover, featuring a stylized photo of a guitar done by photographer Angus Cameron –

https://www.juxtapoz.com/news/music/sound-and-vision-my-bloody-valentine-s-loveless-cover-photography-by-angus-cameron/

– Stanley Donwood’s cover for Radiohead’s The Bendshttps://www.juxtapoz.com/news/music/sound-and-vision-stanley-donwood-on-the-making-of-radiohead-s-the-bends-cover-art/

– Robert Mapplethorpe’s striking photo of Patti Smith for the cover of her 1975 debut album Horseshttps://www.juxtapoz.com/news/music/sound-and-vision-patti-smith-s-horses-cover-photo-robert-mapplethorpe/  (Am I the only one who always thinks of Gilda Radner when I see this image?)

I’ve since contacted Eben B. and asked him more about the origins of this series in Juxtapoz – whose founder Robert Williams himself has several album cover credits on his impressive resume, including the original (banned) robotic rapist-based cover for Guns N Roses’ Appetite For Destruction – and I’ll soon be posting the text from a mini-interview I did with him about his interest in the subject. I was very pleased to see someone representing “Millennials” with such knowledge and wisdom and so I look forward to sharing this with you soon.

b) I’m hoping that many of you have had, at one time or another, the opportunity to attend one of the world’s premiere art-related events, that being the celebrated “Pageant of the Masters” in Laguna Beach, CA, where the folks that put this extravaganza on every summer amaze audiences with their recreations of famous works of art built around live models placed in meticulously-recreated sets. I was lucky enough to live in Laguna for a number of years many years ago and, although the throngs of tourists made driving difficult for locals, we always made sure to see at least one performance of the POM each year.

This year, I’m proud to say, one of the masterpieces that will be given the POM treatment will be the famous 1964 theatrical poster for the film Endless Summer, created by one of the design world’s most-respected artists, that being John Van Hamersveld, who also holds a special place in the hearts of album cover art fans for the covers he created for The Beatles, KISS, Rolling Stones, Blondie and many others. I can’t think of a better way to honor JVH’s contributions to the art/design world than by having one of his best-known works presented in a bill (with this year’s theme being “Under The Sun”) that also includes paintings by Masters such as Claude Monet, John Singer Sargeant, Paul Gauguin and other modern masters – https://www.facebook.com/photo.php?fbid=10155665181841444&set=a.10151014367531444.424291.612486443&type=3&theater

They finish off each year’s performance with a recreation of DaVinci’s Last Supper, which I think would only be cooler-looking if they included JVH himself in the scene (or, at least, someone wearing his trademarked round glasses). In any case, congratulations to one of our own Modern Masters!

c) Southern California is one of the world’s most-visited tourist destinations, with one nice stretch of road – Laurel Canyon Drive, in Laurel Canyon – on most maps due to the number of celebrities from the music, film and TV industries who’ve made their homes there over the years. For the last six years, residents of the area have celebrated just how lucky they are to live (or have lived) there via an annual festival called the Love Street Fest, and this year’s festivities drew a good crowd due to the fact that they were honoring two men – Henry Diltz and Gary Burden – who’ve contributed greatly to the music business by producing photos and designs for a number of famous album covers. You can take a look at some of the photos taken a couple of week’s back during this year’s celebrations on the group’s Facebook page – https://www.facebook.com/lovestreetfest – where you’ll find pix of the throngs of attendees, including surviving members of The Doors Robby Krieger and John Densmore, whose fellow band-member Jim Morrison wrote a song about the Drive called “Love Street”.

d) Last month, I wrote a bit about a surprise visit Paul McCartney made to his old home town of Liverpool and the sense of joy and happiness that followed him wherever he went and, in another article I saw recently, Maca worked his magic again as he hit the zebra crossing in front of Abbey Road studios again, 49 years later – https://www.nme.com/news/music/paul-mccartney-crosses-abbey-road-49-years-iconic-album-cover-shoot-ahead-intimate-gig-2358292  I believe that he kept his shoes on this time…and he’s still not dead.

e) In all the years I’ve been a music fan – a fan of most all genres of music, but with a particular love of hard rock, Prog rock, jazz-rock fusion, punk rock and pretty much anything put out by a Beatle (including Billy Preston and Jeff Lynne) – I’ve only on occasion found myself out of my element, with that taking place when I talk to fans of two genres – jazz and metal – where I often find fans with an intense passion for music/musicians in those genres and an intense dislike for those on the outside. Once again, I felt a bit of this attitude in Jon Wiederhorn’s recent Loudwire Magazine article about album covers that “look metal, but they’re not” – http://loudwire.com/14-album-covers-look-metal-but-arent/

In the mix, you’ll find examples of those who truly don’t belong – Lady Gaga, Grateful Dead, ELP and DMX – while others were from bands that seemed to be on the cusp (Demon, Uriah Heep, Necro, Nazareth and others) but who at least, according to the author, didn’t achieve the level of metal-ness required to be included as a “true” metal act (at least, on the featured record). Whether you agree or disagree with whether they belonged on such a list or not, you have to give each of them a bit of credit for wanting to express themselves so heavily.

f) Hoping to “shed a little light” (you’ll see how clever I am when you see the cover image) on the story behind the Nick Cave album cover for his 2013 release Push The Sky Away which featuring his wife, model and fashion designer Susie Bick, in the buff in a photograph taken at the couple’s home by Dominique Issermann- https://faroutmagazine.co.uk/the-perfect-story-behind-nick-caves-naked-album-cover-starring-wife-susie-bick/

The French fashion photographer was on hand to capture this image as part of an assignment for a French fashion magazine, which only goes to show you…how to save money on an album cover shoot?

g) Finally, if you find yourself with a few minutes to kill this weekend and want to challenge your knowledge of album-related artwork – particularly, band logos – I’d invite you to take this quiz you’ll find on the Topix.com site – Not meaning to brag (too much), but I got 40 out of 40, although I did have to guess on one of them, but got it right, lucky me! – https://offbeat.topix.com/quiz/17911/  In this brand-driven society, it’s nice to see that I’ve been thoroughly penetrated by the power of these iconic images.

That’s all for now – stay tuned and be on the lookout for timely news alerts on our news feed –https://www.facebook.com/AlbumCoverHallOfFame – we’ll be back early next month with another monthly summary for you.

Unless otherwise noted, all text and images included in this article are Copyright 2018 Mike Goldstein and AlbumCoverHallofFame.com – All Rights Reserved. All of trade names mentioned in these summaries are the properties of their respective owners and are used for reference only.

Album Cover Artist And Art News Summary And Preview For June/July, 2018

ALBUM COVER HALL OF FAME’S ALBUM COVER NEWS RECAP FOR THE MONTH OF JUNE, 2018, WITH PREVIEWS FOR JULY.

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BY MIKE GOLDSTEIN, ALBUMCOVERHALLOFFAME.COM

Music and art have been proven to be able to bridge the divides between people of different cultures, upbringings, lifestyles and mindsets while, at the same time, improving our creative competencies and our abilities to understand and appreciate different perspectives. I’ve recently experienced two examples of this that fortified – at least for me – the veracity of the elements included in my opening statement. The first was my recent purchase of an oil painting of a scene (a small compound of houses and outbuildings seen on the horizon of a field of green – “Early Spring” by artist Gary Stretar) that makes me smile and yearn for a more idyllic life (something our current political situation makes me dream for even more). The second example – much less personal than the first – was the posting of late night host James Corden’s “Carpool Karaoke” segment filmed in Liverpool with “the cute one”, Paul McCartney, during which they toured Paul’s boyhood/teenage haunts around the city, including Penny Lane (and the barbershop there), his childhood home and a local pub he and his chums played at early on in their careers. The faces of EVERYONE the pair encountered – young and old, conservatively-dressed and tattooed, etc. – showed the pure bliss people experienced both seeing the former Beatle out in the open and, at the end, hearing him play some of his best-known songs with his current band in an intimate setting. Anyone watching that segment was, at least for the moment, caught up in the joy of the whole thing and could remove themselves, however briefly, from all of their/our daily woes and contemplations of the future.

I begin this month’s summary with the news that, at least for the next several months, my news summaries will be more frequent but shorter in length and the number of stories featured. The reason for this is simple – there is a lot of research and writing that needs to be done for the ACHOF site in order to bring it up-to-date. I have, for the past 2 years, amassed the raw data for a huge number of artist bios I’d like to add to the site, and now is the time to turn my attention full-time into editing that information and posting it on the ACHOF site. I’ll also need to make some changes to the site’s navigation and search engine in order to make it easier for visitors to find and read those bios, so I do hope that you’ll be patient as I add these things to the site because, at the end, it’ll most-certainly be worth it, making the site’s content (and finding it!) all the more useful, easy and enjoyable.

For now, I invite you to dig through the treasure trove of news releases and articles were made available on the exhibitions, interviews, artist profiles, book/print publications and other album cover art/artist-related topics. As you’ve seen in my previous news summaries, if you simply read the summaries I’ve written and click the links provided, you’ll get the details from sources from around the world on items featuring many of your favorite – or soon to be favorite – album art creators. I would like to have you pay special attention to a new article just-published in the renowned arts and culture publication Ragazine written by – guess who – why ME of course! It’s an updated version of my interview with Elton John’s favorite art director and designer, the talented David Langham, about his work on the wonderful packaging for the now 40-year-old classic EJ record, Goodbye Yellow Brick Road –  http://ragazine.cc/2018/07/covering-elton-johns-gybr-mike-goldstein/

As always, I ask that you please share this info with everyone you know who are fans of great album cover-related talent and, of course, your comments and feedback are quite welcome.

1) UPCOMING, RECENTLY-LAUNCHED/CURRENTLY RUNNING AND JUST-CLOSED SHOW/EXHIBITIONS –

a) The downside of writing and editing a monthly news service is that, sometimes, things that I report on are here and gone before I can share the info with you. When something takes place that is extremely time-sensitive, such as the reporting of a death in the industry or a “surprise” sale, I’ll do my best to release a flash news update via social media. There are cases, though, that I have learned about an event too late to share it in any meaningful way, and so I’ll just resign myself to having to report about it after the fact. Such is the case with the recent Markus Klinko photo exhibition held at the Mouche Gallery in Beverly Hills, CA for the two weeks from 6/15 thru 6/30/18.

One of the most sought-after shooters in the world of celebrity photography, Klinko is perhaps best-known for the output stemming from his long-term creative collaboration with the late rocker David Bowie, including the cover for his 2002 album Heathen and a number of other well-known portraits. He’s also produced the memorable album cover/packaging images for mega-stars including Beyonce (Dangerously In Love), Mariah Carey (The Emancipation of Mimi), Mary J. Blige and dozens more, and for this recent exhibition – titled simply 2000’s – the curators gathered a fine collection of photos that, according to the gallery, depicted “a variety of pop culture milestones that have truly defined the decade of the early 2000’s.”

The show was sponsored by FUJIFILM North America and also put on display a collection of cameras and lenses Klinko used over the years as he moved from using traditional photographic equipment and tools into the world of digital post-production, being an early adopter and experimenter and helping set trends in the then-new world of digital photography.

You can take a look at what was on display via this link to the Mouche Gallery web site – http://mouchegallery.com/event/markus-klinko-2000s/

b) Photographer Brian Griffin continues to bring his impressive portfolio, along with the tales on how they were created and his take on how and why his images continue to impress music/art fans all these years later, to exhibitions around the world, most-recently at the Crescent Arts Centre as part of the Belfast Photo Festival, which was on display from June 17th through the 27th.

Complete coverage of this show, along with an interview with this world-renowned talent, can be found on the Irish Times web site at https://www.irishtimes.com/culture/music/beats-shoots-and-sleeves-the-art-of-the-album-cover-1.3527959

c) While I’ve reported on a couple of Guido Harari-curated rock photo shows since the beginning of the year, a show of Harari’s own photos, organized in an exhibition called “Wall Of Sound”, opened this past June 28th at the Galleria nazionale dell’Umbria, from June 28 to August 23. Curated by Marco Pierini, director of Galleria nazionale dell’Umbria, and organized in collaboration with Solares Fondazione delle Arti from Parma, Umbria Jazz and Trasimeno Music Festival, the show presents a wide and eclectic overview on 40 years of Guido’s music photography output, with over 110 photographs included from Harari’s extensive archive, featuring important music acts including Pink Floyd, David Bowie, Bob Dylan, Bob Marley, Bruce Springsteen, the Rolling Stones, Peter Gabriel and many, many more. The show runs through the 23rd of August, and there’s information on the show on the Gallery’s web site (in Italian) – https://gallerianazionaledellumbria.it/exhibition/guido-harari-wall-of-sound/

d) With a portfolio that contains a number of album cover photo credits in the Jazz, Reggae and Funk genres, including shots for records by jazz greats Stanley Clarke, Alice Coltrane, Chick Corea and Herbie Hancock; funkmaster George Duke, singer Marvin Gaye and hit makers Earth Wind & Fire, it’s exciting to see that the Grammy Museum in Los Angeles recently launched an exhibition titled Bruce W. Talamon: Soul, R&B and Funk Photographs 1972 – 1982 that will give fans “a revealing look into the untold and unknown moments that happened off the stage and outside the recording studio, showcasing a period in musical history as seen through the eyes of a young African-American photographer at the start of his career.”

On display now through the first of August and curated by Nwaka Onwusa, music art/photo fans are now given the chance to appreciate the fascinating imagery that Mr. Talaman captured at a number of the venues and events that helped introduce fans of all stripes to the best talent working in those genres in that time span, including Isaac Hayes at the Wattstax Music Festival, backstage at the legendary Soul Train television studio and performances by James Brown, Aretha Franklin, Marvin Gaye, Al Green, the Jackson Five, Chaka Khan, Diana Ross, Donna Summer, Barry White and many others. The show is sponsored by Taschen Publishing, who has also just released a book by the same title that contains nearly 300 photographs selected from Talamon’s archives.

Bruce went on to work as a contract photographer for Time magazine in the 1980s, with his works also gracing the pages of publications including Ebony, People, Rolling Stone and Vanity Fair magazines.

More info about what’s on display during the Bruce W. Talaman show at the Grammy Museum can be found on their web site at – https://www.grammymuseum.org/exhibits/bruce-w-talamon, while more info on the corresponding book/catalog is available at https://www.taschen.com/pages/en/catalogue/photography/all/05340/facts.bruce_w_talamon_soul_rb_funk_photographs_19721982.htm

2) Artist interviews/profile articles –

There have been quite a few interview and/or profile articles published in the past couple of months, featuring talent from every area and genre within the music business, so I think it’d be most-beneficial to you simply to point you in the direction of these missives and let you go at it at your own pace…

a) Photographer Mark Seliger describes the work behind a number of his best-known portraits, including those of  LL Cool J and Kurt Cobain plus comedian Jerry Seinfeld, artist Cindy Sherman, former president Barack Obama and others in this nice article on the Artsy site by Molly Gottschalk – https://www.artsy.net/article/artsy-editorial-celebrity-photographer-mark-seliger-stories-8-iconic-portraits?

You can follow that article up with another on the always-popular Mr. Seliger, with this one being an interview with NPR’s Ari Shapiro posted on the All Things Considered page –  https://www.npr.org/2018/05/22/613032671/get-something-that-no-one-else-has-gotten-says-photographer-mark-seliger during which he tells some insights on how he works to differentiate his work from the mainstream (“get something no one else has gotten”) and elaborates a bit about his new book called Mark Seliger Photographs which, according to the article, “collects some of the best images from his last 30 years, including presidents, actors and rock stars.”

b) Here’s a new profile/interview article on the PosterHouse web site with artist David Byrd, one of the premiere poster artists employed by the Bill Graham organization (primarily at the Fillmore East in NYC) but who also gained national recognition with his original designs for the Woodstock festival and for The Who’s first staging of their rock opera Tommy in New York and who would go on to use his talents on projects for clients on Broadway and elsewhere in the music business – https://posterhouse.org/from-woodstock-to-broadway-the-poster-art-of-david-byrd

His artwork was also featured on a number of album covers, including Get Yer Ya-Ya’s Out for the Rolling Stones in 1970, Lou Reed’s Sally Can’t Dance in 1974 and others for Country Joe & The Fish, The Frost, Essra Mohawk and several others.

c) OMG – it’s been 40 years since the release of Bruce Springsteen’s Darkness on the Edge of Town record and our first catching sight of photographer Frank Stefanko’s  shot of The Boss leaning on a doorframe and looking out at all prospective purchasers of this LP, so it’s with great interest and more than a bit of nostalgia that you’ll enjoy EW writer Sarah Sahim’s recent interview with Mr. Stefanko on making of this memorable cover portrait – http://ew.com/music/2018/06/08/bruce-springsteen-darkness-on-the-edge-of-town-cover-frank-stefanko/

d) I’d somehow missed this interview with illustrator and painter Sam Spratt, posted in March on the DJBooth.net site – which gives the details of his work on covers for Logic and a detailed look into his development process – https://djbooth.net/features/2018-03-09-sam-spratt-interview-covered

e) Profile of Cleveland, OH-based artist James Quarles and his work for hip-hop artists Muamin Collective’s latest release titled The Hues Brothers…the clever lads who began calling themselves that homonym early on relied on James to bake in some imagery derived from the works of famed film directing/producing pair Albert and Allen Hughes (AKA The Hughes Brothers, makers of Menace II Society, Dead Presidents, etc.) – http://www.cleveland.com/entertainment/index.ssf/2018/05/creating_the_cover_behind_the.html

f) Writer Jack Boyle’s recent HighSnobiety.com profile of and interview with Cary Fagan, the Texas-based photographer/art director who’s the one responsible for A$AP Rocky’s newest album cover called TESTINGhttps://www.highsnobiety.com/p/cary-fagan-asap-rocky-testing-album-cover/

g) A lover of art, music and skateboarding who grew up in Philadelphia and studied graphic design at the prestigious Tyler School of Art, Dewey Bryan Saunders chose to best express himself creatively via works of collage art built from images he hand-cut from popular magazines. Now busily working in Los Angeles, Saunders has become an in-demand designer for cutting-edge (sorry) musical acts such as Anderson .Paak and Lil Uzi Vert, introduced in greater detail to us here in William Emmons’ recent article in the UC Santa Barbara news service The Daily Nexus –  http://dailynexus.com/2018-04-26/dewey-bryan-saunders-the-artist-behind-your-favorite-album-cover-art/

3) Sales/Auctions –

a) The Gotta Have Rock & Roll “Rock & Roll Pop Culture Auction” scheduled to commence this coming July 11th (ending on July 20th) features several items that should be of interest to album art collectors, including several originals from the collection of noted designer Larry Vigon (who’s notable album cover credits include – The Rembrandts – The Rembrandts; Bonnie Raitt – Nick of Time; Sparks – Pulling Rabbits Out Of A Hat; Rick Springfield – Rock of Life; Fleetwood Mac – Mirage, Greatest Hits and Tusk; Stevie Wonder – Secret Life of Plants; Oingo Boingo – Deadman’s Party; Thomas Dolby – Close But No Cigar and Astronauts & Heretics,  plus many others), such as the paintings he did for the front and back covers of Eric Clapton’s 1985 record Behind The Sun and the comps, including George Hurrell’s hand-tinted photographs, of the cover art he created for Fleetwood Mac’s 1982 hit record Mirage. The preliminary info online also states that other items from Larry’s collection that will be on offer include “his hand drawn artwork for the cover of Fleetwood Mac’s album Rumours as well as several drawings for their famous Penguin logo and Mick Fleetwood’s solo albums.” Also pictured in the preliminary auction documents is the original cover painting Vigon created for Chicago’s 1984 record titled Chicago 17, a rather unique take on the well-known John Berg/Nick Fasciano band logo-based covers, this time with the logo seemingly popping through a brown-paper wrapper (art director credits to the talented Simon Levy). No minimum opening bids have been posted, but I’d assume they’d be richly priced…

Although the official online preview isn’t up until July 4th, preliminary info I’ve been able to glom shows that other items of interest include original drawings by Michael Jackson, a John Lennon/Yoko Ono-signed photo from their 1969 “Bed-In” protest in Montreal, album and CD art signed by Nirvana and Led Zeppelin and quite a bit more (over 900 total items). If you’d like to see and learn more, I’d suggest that you pop on over to the company’s auction site – http://gottahaverockandroll.com/# – after the 4th of July Holiday to take a gander and then get your credit cards ready for action!

4) New Print/Book/Product RELEASES –

a) Some of you who might remember my old gallery days will recall that I sold items from a line of intricately-crafted sculptures of iconic rockers/rock imagery made by a company called KnuckleBonz and, I’m glad to report, they’ve recently announced that they’re going to be manufacturing a line of limited-edition album cover art recreations they’re calling “3D Vinyl”. The first two items they’ve announced are stunning renditions of two great albums – Guns N Roses’ Appetite For Destruction and Pink Floyd’s Wish You Were Here, both of which are perfectly suited for a 3-dimensional sculpture.

https://knucklebonz.com/product/pink-floyd-wish-you-were-here-3d-vinyl/

They’ve produced a nice intro video on this new Pink Floyd-based item that you can view at https://vimeo.com/276302319

https://knucklebonz.com/product/guns-n-roses-appetite-for-destruction-3d-vinyl/ will take you to the page on their site with all of the details on the AFD 3D Vinyl product, with the promo video available at https://vimeo.com/276296813

I’ve reached out to the talented team of designers and marketers who’ve created these new products and hope to bring you an update on their efforts soon.

b) Modern Rocks Gallery has announced the availability of several new images that should be of great interest to album cover art collectors, including a print of unique B&W treatment of Vic Singh’s fisheye lens-made masterpiece featured on the cover of Pink Floyd’s debut record  Piper At The Gates Of Dawn (https://www.modernrocksgallery.com/featured-prints/pink-floyd-vic-singh)  and an expanded collection of renowned British photographer Robert Whitaker, best known internationally for his many photographs of The Beatles, taken between 1964 and 1966 – including the covers for hit records by the band – including the images used on the covers for their notorious Yesterday & Today LP, AKA “the Butcher Cover” , as well as his photographs of the rock group Cream, which were used in the Martin Sharp-designed collage on the cover of their 1967 LP Disraeli Gearshttps://www.modernrocksgallery.com/robert-whitaker-photographer .

c) I’ve written several times over the years about companies that have licensed album cover art and imagery to be used to make a variety of merchandise, including notebooks, clothing, clocks, mugs and the like, but I was really taken by the line of “official music wallpaper” and murals offered by the UK company Rock Roll that, for the rock art nerd looking for something memorable and stylish for use in their next home decorating project, is just about the coolest thing out there.

According to their promo materials, “’Rock Rolls’ official music wallpaper and wall murals have been designed in collaboration with some of the world’s biggest bands. We’ve partnered with musicians from Black Sabbath, The Who, and Guns n’ Roses to Rolling Stones and Green Day to create high-quality music wallpapers featuring some of rock’s most memorable artwork.” These officially-licensed products come in rolls measuring 500mm (approx. 19.7 inches) in width and 10 meters (32.8 feet) in length and are printed on thick, poster-quality (180gm) paper, with each roll priced at £70 (approx. $92). Murals based on the same basic designs come in sizes starting at 3.29 x 2.5 meters (10.8 feet  x 8.2 feet) up to 4.23 x 2.5 meters (13.9 feet x 8.2 feet) and are priced from £250 ($328) – £350 ($460), plus postage and handling.

Patterns available include cover imagery and logos from the previously-mentioned acts, including the iconic Lips & Tongue logo from the Stones, the “bullseye” logo for The Who, My Chemical Romance’s great spider logo and album art from Appetite For Destruction, Sabbath Bloody Sabbath, Black Parade, Never Mind The Bollocks… and Quadrophenia, among others.

Now’s your chance to add some class to your man/woman caves. It’s OK to cover up your old beer logo art with these modern masterpieces, I swear  – https://rockroll.co.uk/

More coverage in this article – https://www.homesandproperty.co.uk/home-garden/interiors/design-news/the-worlds-first-licensed-album-art-wallpaper-by-rock-greats-including-the-rolling-stones-the-sex-a121316.html

5) Other articles of interest –

a) Juxtapoz Magazine has started a weekly series called Sound and Vision that, with each article, shares the details behind the making of some of your favorite album covers. According to the editors, “Album artwork is one of the primary ways that musicians and visual artists are able to collaborate, and many iconic album covers are simultaneously iconic pieces of pop art,” and that’s the motivation for these new features, with a new one released every Sunday. The first was   a feature on the making of the cover for the 1998 hip hop classic Aquemini which, according to the author, “cemented OutKast, and Southern hip-hop in-general, as a force to be reckoned with. The album features a number of skits and classic tracks, centering around Big Boi and André 3000s’ giant personalities and showcases their incredibly symbiotic relationship. The cover was designed to showcase that same thing.”

https://www.juxtapoz.com/news/design/sound-and-vision-outkast-s-aquemini-and-an-interview-with-creative-director-dl-warfield/

The article is built around an interview with the album’s art director, DLWarfield, who shared the basic idea behind the cover’s look – that is, to remind fans of 1970’s “blaxsploitation” films and those groovy old posters painted on black velvet…The second posted article was about  Andy Warhol’s famous “banana cover” for his favorite band at the time, The Velvet Underground & Nico – https://www.juxtapoz.com/news/design/sound-and-vision-the-velvet-undergound-nico-s-the-velvet-undergound-nico-cover-artwork-and-production-by-andy-warhol/

While the most-recent posting brings us the details about Raymond Pettibon’s work for the first record released (in 1979) by punkers Black Flag, an EP titled Nervous Breakdown. Pettibon, who’s last name was originally Ginn (he decided early on to change his name to “Pettibon,” a re-working of a nickname -“petit bon” – given to him by his father), was the brother of the band’s founder and guitarist Greg Ginn, and it was Raymond’s in-your-face (“get any closer and I’ll clobber you with this”) imagery that helped define the band for fans, along with, ultimately, those of other stable mates on his brother’s SST Record Label. Enjoying that creative work greatly, he went on to use his prodigious self-taught skills as an illustrator for punk and other anti-establishment groups in the LA area, creating many designs for gig posters, merch and album covers.

https://www.juxtapoz.com/news/music/sound-and-vision-black-flag-s-nervous-breakdown-cover-artwork-by-raymond-pettibon/

Eager to see where this series goes as it continues…

c) Did you ever buy a record solely on the basis of loving its album cover image? That’s the question posed by writer Jeff Terich in his recent article titled “Shadow of the Horns: The Art of the Metal Album Cover” found on the Treble (“Music for the Bleeding Edge”) web site – https://www.treblezine.com/art-of-metal-album-cover-shadow-of-horns/

He does bring up an interesting generational difference, noting that the music consumer today rarely if ever buys music without having first heard it – easy to do online, vs. “the olden days” when fans would trek to their retail location of choice and then begin the process by scanning what was on display on the wall and the aisle end caps before finally digging through the bins to see what looked interesting. As I’ve mentioned in previous articles on the subject, the first record I bought without knowing both the band and their music was “The Best of the Sir Douglass Quintet”, a record that featured a cover photograph shot in such a way that the musicians were in shadow and looked, to the untrained eye, like the quintessential British band. Putting the needle down on the first cut – “She’s About A Mover” – showed me otherwise, but I loved the record anyway….

d) Bruce at Vinyl Connection (Australia) posted a 2-part article on album covers from down his way –

https://vinylconnection.com.au/2018/05/01/8-aussie-album-covers-part-1/

https://vinylconnection.com.au/2018/05/08/8-aussie-album-covers-part-2/

I love Bruce’s articles as he always includes great examples of cover work for a wide variety of acts, from the one’s that became international stars (Midnight Oil, INXS, etc.) along with the many Aussie bands that I’ve never heard of and now must research (a good thing). Thanks again, Bruce!

e) Oasis What’s The Story long-lost shoot image – The long-time photographer of Oasis has said he was thrilled to have unearthed a never-before-seen unprocessed picture from the shoot for the band’s (What’s The Story) Morning Glory? cover. Just when you thought you’d seen everything, here’s something more…https://www.tv3.ie/xpose/article/entertainment-news/269787/Oasis-photographer-unearths-unprocessed-Morning-Glory-picture-from-1995

f) Here’s a recent news video posted by the ABC affiliate in Los Angeles about design great John Van Hamersveld’s recent efforts that resulted in the production of a HUGE mural on a water tank in El Segundo – http://abc7.com/society/iconic-album-cover-artist-creates-mural-in-el-segundo/3582634/   JVH was an El Segundo HS alumnus…The amount of thinking, preparation and coordinated production effort that resulted in this masterwork is truly inspiring (design students, pay attention here!).

More related coverage can be found online at – https://www.prnewswire.com/news-releases/legendary-artist-john-van-hamersveld-honors-the-city-of-el-segundo-and-local-surf-legends-with-massive-mural-300637193.html

g) Prog art/music fans will find this one of particular interest…artist Burton Silverman’s son Robert shares the story behind the sad fact that his father’s art was sold for a pittance to be used on what would end up being one of the music industry’s most-recognized album cover images – that being the watercolor image of a decrepit old man (an idea based, as it’s been reported, on band-leader Ian Anderson’s photo of a homeless man walking near London’s Thames River) on Jethro Tull’s 1971 concept LP Aqualung.

“In 1971, Terry Ellis, the co-founder of Chrysalis Records, paid him a flat $1,500 fee for the three paintings which would comprise the album’s artwork, consummating the deal with nothing more than a handshake. No written contractual agreement was drawn up, and, much to his eventual dismay, nor was any determination made about future use.” Continuing with “The money and the physical paintings are long gone, but what remains for dad still has immense value: the ability to reclaim the narrative and say what really happened.”

As we’ve seen time and time again – as you’ve seen in my earlier articles on Robert Crumb, Gerard Huerta, Karl Ferris and the multiple artists who claim credit for the Lips & Tongue logo for the Rolling Stones! – for other examples of working arrangements/agreements that paid little to the artist while reaping in millions for the folks that commissioned the works , it always pays for visual artists to spend the time to work out iron-clad agreements when working with clients in the music business…

https://theoutline.com/post/4490/jethro-tull-aqualung-cover-artist-burton-silverman?zd=1&zi=nxc7ka4n

That’s all for now – stay tuned and be on the lookout for timely news alerts on our news feed –https://www.facebook.com/AlbumCoverHallOfFame – we’ll be back early next month with another monthly summary for you.

Unless otherwise noted, all text and images included in this article are Copyright 2018 by Mike Goldstein and AlbumCoverHallofFame.com – All Rights Reserved. All of trade names mentioned in these summaries are the properties of their respective owners and are used for reference only.

Album Cover Art and Artist News Summary for the Month of April 2017

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ALBUM COVER HALL OF FAME’S ALBUM COVER NEWS RECAP FOR THE MONTH OF APRIL, 2017

Happy May 1st to you all. While the weather here in the Chicago area has certainly swung towards Springtime (a day spent in the gardens at the nearby Baha’i Temple found the magnolias and spring flowers in full bloom), it hasn’t quite “stuck the landing”, but I’ve gone ahead and planted basil on my balcony and can vouch for the fact that there are trees with leaves on them as I look out my office window as I write this month’s summary and continue to work on my book.

Speaking of which – I’ve scripted my presentations for my upcoming crowd-funding project and, with any luck, will have something for you to look at quite soon. As I mentioned before, I’m mostly focused on deciding what to/not to include in this first collection (that’s been the toughest part, because I want to share everyone’s stories), but it looks like this will be a 400+ page book, so fans will most certainly find things in it relating to many of their favorite album cover creators. I also finished my inventory of the premiums (art prints, mostly) that will be used to incentivize you to support me at various funding levels, so I do hope you’ll take a look at my offering once it’s up and running. More to come, for sure.

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