Tag Archives: Simon Robinson

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

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

by Mike Goldstein, AlbumCoverHallofFame.com

Greetings from Chicagoland. It’s “awards season”, what with the Grammy Awards, BAFTAs, Writer’s Guild and Independent Spirit Awards and, to end the month with a bang,  the Oscars (followed, in a few months, by another flurry including the Billboard, Tony and BET Awards shows). I don’t know about you, but I’m growing a bit overwhelmed by the sheer number of these shows and am somewhat confused as regards their relevance beyond the steady stream of production-related income enjoyed by the folks that stage them…Of course, people should be proud of what they do and want to praise the best examples of work within their respective fields of artistic endeavor, but I find it somewhat sad that some of the most-talented people – those working behinds the scenes, with their credits listed well-down from the top (you know, the part that’s sped through at an impossible-to-read pace during on-screen credit rolls) – are only mentioned in passing or, as we saw during the Oscar telecast, relegated to their own sparsely-attended and covered award ceremonies. Trust me, I understand why this is the case. I mean, who wouldn’t rather see a popular musician’s acceptance speech than hear from the recording engineer or the music video director (or the team that created the group’s logo and album cover), so that’s what sponsors and fans expect to see during an award show telecast. I guess that we fans of cover art can only take solace in the fact that you’ll probably see many more people wearing Dark Side of the Moon t-shirts than clothing emblazoned with a photo of Katy Perry thanking her fans, the label, her manager and her accountant for their support…

In this month’s summary, you’ll continue to be impressed with the stories about the talented people working to produce great visuals for clients in the music business. You can be sure that the galleries, publishers, curators, etc. who support and promote these works will continue to promote these good works and will share what they do with the rest of us. There continues to be a number of articles about album cover art/artists in daily the news cycle, adding items of interest and fascination to the ongoing stream of articles, interviews, museum and gallery show information you’ll read on a wide range of related topics.

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) You know his work and, beginning March 11th at the University of Brighton (UK), you’ll be able to tour through an exhibition culled from his 50+ year portfolio of work as a world-class designer, illustrator and, alongside his commercial practice, educator. George Hardie’s credits include work he did while part of the Hipgnosis team for clients including Pink Floyd, Led Zeppelin, Alan Parsons, Genesis and many other classic acts and then, working independently and in collaborations since the early 1980s (with design firms including Pentagram, The Partners and Trickett & Webb), Hardie provided his talents to a wide range of clients and garnered widespread recognition for his stamp designs for the Royal Mail, including the Channel Tunnel commemorative stamps in 1994, the Millennium stamp (for which he won a D&AD design award) and the Magic stamps in 2007.

An experienced educator, Professor George Hardie taught postgraduate students of graphic design at the University of Brighton’s Faculty of Arts and Architecture from 1990 until his retirement in 2014. He has run a number of design workshops world-wide and was a visiting professor at the University of Nagoya, Japan in 2006. In 1994, Hardie became a member of the Alliance Graphique Internationale (where he served as International Secretary from 2007-2010) and was elected as a Royal Designer for Industry by Britain’s Royal Society of Arts in 2005, an award given to design professionals who have shown “sustained excellence in aesthetic and efficient design for industry”.

His work has been exhibited extensively, including shows at the University of Brighton (1993′s “George Hardie Works”), Barcelona and in Ljublijana in 2008. His books – Available in Other Colours: the Illustrations of George Hardie: A Book of Scraps (1993, and winner of the graphic design section of the Pantone International Color Award that year). Denouement (1996) and Colour Atlas (1997) have been included in design exhibitions at the Pentagram Gallery and in Nagoya, Japan.

This new show at the University of Brighton’s University Gallery in Grand Parade will include a display of the original artwork for one of his best-known album covers – the dirigible-covered Led Zeppelin – the size of which, to fans of record art, will come as a bit of a surprise, much like the first time you see the Mona Lisa (it’s smaller than you think). Hardie shares a bit of the story behind that cover  in an intro article by Andre Rhoden-Paul   on The Argus (UK) web site – http://www.theargus.co.uk/news/15099162.A_stairway_to_heaven_for_fans_of_record_covers/

The “George Hardie: 50 Odd Years” exhibition will be on display through April 7th, with more info available on the following web sites – https://www.brighton.ac.uk/about-us/news-and-events/news/2017/02-14-george-hardie-%e2%80%93-50-odd-years.aspx

University Gallery info – http://arts.brighton.ac.uk/whats-on/gallery/gallery-exhibitions-2017/march-2017/george-hardie-fifty-odd-years

b) This past month marked the launch of a newly-curated rock photo show at the prestigious Shelburne Museum in Shelburne, VT titled Backstage Pass: Rock & Roll Photography that, as you’ll read in the article recently posted on the New England Cable News site (which also gives you a nice video tour of the show along with an interview with the show’s curator – and the museum’s director – Tom Denenberg), gives fans a lot to see during their visits. Over 250 photos, including both well-known and little-seen images shot by a virtual “who’s who” of photographers from the world of music, features work by a number of people who’ve contributed photos for album covers including George DuBose, Bob Gruen, Lynn Goldsmith, Laura Levine, Jim Marshall, Baron Wolman and many others.

Fans will remember Denenberg’s original staging of the “Backstage Pass” show several years ago at the Portland (ME) Art Museum and, for this updated showing, they’ll be able to take home a new souvenir catalog – published by Yale University Press – that includes over 100 of the images on display, along with essays by Greil Marcus, Glenn O’Brien, Laura Levine and Kate Simon.

http://www.necn.com/news/new-england/Backstage-Pass-to-Exhibit-Photos-of-Music-Icons-413437183.html

For more information on the show, which runs through May 7th, visit the museum’s site at https://shelburnemuseum.org/exhibition/backstage-pass/

c) Chicago-native Jim Marshall moved at an early age with his family to the Fillmore District in San Francisco, and purchasing a camera while still in high school, began his career by capturing the musicians and artists working  in the Bay Area on film. In 1964 he covered performances at the Newport Folk Festival and then moved back to San Francisco later that year. From that point forward, he was given unprecedented access to most of the iconic events in the history of popular music, shooting The Beatles’ final concert at Candlestick Park (the only photographer allowed backstage) in 1966, the Monterey Pop Festival and the pre-eminent acts performing during the “Summer of Love” in 1967 (Santana, Grateful Dead, Janis Joplin, Cream, etc.), Johnny Cash at Folsom Prison in 1968, Woodstock, Johnny Cash “flipping the bird” at San Quentin and adding his images to the album covers for The Allman Brothers Live At The Fillmore East, Moby Grape and Commander Cody’s Country Casanova.

The 1970s found Jim continuing his streak of award-winning images, many of which graced the covers of Rolling Stone and LIFE magazines, including photos of the Rolling Stones, Willie Nelson, T-Rex, Joni Mitchell, jazz greats Carmen Mcrae and Dizzy Gillespie and Karl Malden and Michael Douglas on the set of the TV series Streets of San Francisco. In 2004, Jim received the Lucie Award for “Outstanding Achievement in Music Photography” and a book, titled Jim Marshall: Proof, which provided a rare look at the creative process, was published. In 2005, he was the recipient of MOJO magazine’s 2005 “Honours List Image Award”.

Two photo shows that chronicle the late photographer’s life titled Jim Marshall: 1967 – one at San Francisco City hall (Ground Floor Exhibition + North Light Court Banners) now thru June 17th, with a separate show in Los Angeles at the Grammy Museum’s  Special Exhibits Gallery on the second floor beginning March 10th (and running through May 14th) – are available for public consumption and, for a recent article that introduces us to these shows and how they were organized, the team at Juxtapoz Magazine interviewed SFAC Director Meg Shiffler as well as several other well-known chroniclers of the Bay Area music scene, the results of which can be read via the link at https://www.juxtapoz.com/news/magazine/jim-marshall-s-1967-an-all-access-pass/

d) For a new installation at two venues in downtown Los Angeles (FigAt7th and the Bank of America Plaza) that premiered February 10th and runs through the end of March, psychedelic art legend John Van Hamersveld has produced several monumental images in vinyl that will serve as centerpieces to a show of his works from the late 1960s to present day. Titled Signs of Life, you’ll get a chance to get up close and personal with examples of artwork produced by the talent responsible for some of your all-time favorite album covers, including Magical Mystery Tour for The Beatles; Blondie’s Eat To The Beat; Hotter Than Hell for KISS; The Rolling Stones’ Exile on Main Street and many others.

Produced by the Arts Brookfield organization, you can learn more about the show on their site at http://www.artsbrookfield.com/event/signs-of-life/

Events that will be taking place in conjunction with this exhibition run from a special, psychedelic-themed Valentine’s Day party to a series of luncheons that will be held every 2nd and 4th Friday in February and March, during which you’ll be entertained by musicians from the Los Angeles Chamber Orchestra (LACO) who’ll perform music by each iconic musician (Beethoven, Mozart, John Lennon, and Jimi Hendrix) portrayed on the windows of Bank of America Plaza.

e) On February 8th, 2017, the New Museum in NYC opened a major exhibition focusing on the work of artist Raymond Pettibon. Presented on three full floors of the museum, “Raymond Pettibon: A Pen of All Work” is the largest curated show of Pettibon’s work to date and features more than 700 works he’s created, from the 1960s to the present. One of the best-known artists to emerge from the LA-area punk rock scene of the late ’70s-early ’80s, Pettibon – the brother of Black Flag guitarist/song-writer Greg Ginn – rose to fame creating the minimalist and hand-drawn images for the band and their label, SST Records. Pettibon’s album cover credits include Introducing The Minutemen and Post-Mersh, Vol. 1 for The Minutemen; Life – A Tiny Twofer; Mike Watt – Hyphenated-Man; Black Flag – My War, Jealous Again, Slip It In and The Process of Weeding Out; Sonic Youth – Goo; Foo Fighters – One By One; Off! – Off! and Wasted Years and Saccharine Trust – Past Lives.

The museum’s show was curated by Gary Carrion-Murayari, Kraus Family Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director. Visitors and fans will be able to purchase an illustrated catalog of the show (co-published by the New Museum and Phaidon Press Limited), and following its run at the New Museum (on display through April 9th), the exhibition will travel to the Bonnefantenmuseum in Maastricht, the Netherlands, where it will be on view from June 1–October 30, 2017.

http://www.newmuseum.org/exhibitions/view/raymond-pettibon-a-pen-of-all-work

Writing for Juxtapoz Magazine, Carlo McCormick also provides a bit of an art world overview in this recently-published article on the magazine’s web site – https://www.juxtapoz.com/news/magazine/raymond-pettibon-the-pen-for-these-times/

f) The popularity of themed cruises – particularly among Baby Boomers, who quickly snap up cabins on the several music-themed excursions that feature name acts performing for, and then mingling with, appreciative audiences – continues to grow, but this one’s the first I’ve seen that also included an exhibition and gallery of notable music imagery as well as the featured artist – in this case, Roger Dean – on board to help promote the sale of his works.

Departing from Tampa, FL this past February 7th and headed out on a fun-packed four-day cruise to Cozumel, Mexico, classic rock fans on the “Cruise To The Edge” were treated to a schedule of performances by musical acts including YES, Kansas, Steve Hackett, Focus, Spock’s Beard, Mike Portnoy, Pat Moraz and many others. In between sets, album art fans were able to head on over to the Diamond Club on Deck 13 to view the exhibition mounted by Dean and his U.K. fine art dealer, Trading Boundaries and, when so motivated, purchase one or more of the many prints that were on sale there. Dean was also selling collectible doodles and produced a special-edition Cruise To The Edge 2017 print just for tour participants. Details on this sold-out cruse are posted on gallery’s site at https://therogerdeangallery.smugmug.com/Exhibition-Dates as well as on the cruise line’s site – http://cruisetotheedge.com/

Now that they’ve returned to dry land, I’m able to point you to an article posted by Elmore Magazine’s Ira Kantor who, as a traveler on that cruise, was able to report back on what he experienced on board, from all of the music he was able to eat to an overview of the Dean exhibit, where he met Roger and shared his love of the album that kicked the artist’s career as a record cover designer into high gear – Afro-Pop band Osibisa’s self-titled 1971 debut, which featured flying elephants that would become the band’s signature visuals ( side note – after Dean did the band’s first 2 covers,  the group brought in another fantasy-inspired artist – Mati Klarwein of Santana/Miles Davis album cover fame – to do their third record’s cover). He also walked away with a personalized print of one of Dean’s wonderful covers for YES – Tales from Topographic Oceans. Lucky guy.

http://www.elmoremagazine.com/2017/02/music-news/cruise-to-the-edge-diary-day-3

 2) Artist interviews/profile articles –

a) Jamaican-born (but now Los Angeles-based) artist and photographer Neville Garrick has enjoyed a long association with the late, great Bob Marley (and several other well-known reggae music acts), having produced record covers, stage props and the like for his clients, so it would only make sense that, as they extended their brands into new areas, he’s be brought on to help design promo imagery/packaging for these new efforts as well.

Being as it is that a major component of the Rastafarian religion is the consumption of cannabis, the Marley family name has, for some time now, been used to brand a line of cannabis products sold in the U.S. called “Marley Natural” which, according to their site, “celebrates Bob Marley’s appreciation for the healing power of nature, the beauty of the earth and the relationship we all share with it.” As it is that Garrick is also one of the founders and Executive Director of the Bob Marley Museum in Kingston, he’s brought his in-depth knowledge of both the musical legacy and ongoing promotion of pot-related activities to task by coming up with the package designs for the brand’s first Anniversary product line, which you can find out more about in this recent article by Oscar Pascual on the SFGate.com site – http://blog.sfgate.com/smellthetruth/2017/02/21/bob-marleys-album-cover-artist-now-designs-music-legends-cannabis-packaging/

Each of the four designs created by Garrick was greatly inspired by Herb (and not the “Peaches &” variety)…

b) To offer local musical acts “something special” when it came to album cover design/packaging, designer/art director David S. Blanco took it upon himself to expand his service offering a bit further than most. In fact, he created a record label – called Blank Editions – which creates and sells limited-edition music packages, recorded on vinyl and cassette tape, that incorporate Blanco’s biggest design influences, including architecture, minimalist art and the design aesthetic promoted in the 1970s by the Sainsbury grocery chain.

Writing for the Creative Boom site, Emily Gosling profiles David and the London-area company he launched in late 2011, showing off a number of his eye-catching packages he’s created for the three lines of projects he publishes – the Solo Series, which are limited-edition vinyl singles sold in handmade packaging; the Blank Tapes series, “mini albums”, EPs and experimental work from local acts which are released on cassette tape; and The Blank Community,  which is, according to the label’s site, “an open ended series to service more official work by local bands and artists.”  Artists who’ve worked to release music through Blanco’s label include Thurston Moore from Sonic Youth, Douglas Hart from The Jesus and Mary Chain, Yuki Tsujii from Bo Ningen, Ted Milton from Blurt and several others. An in-demand designer/illustrator, Blanco has also done work for happy commercial clients such as The Guardian, Independent and Observer news organizations, Porter Air, Marquis Vodka, Nat Boyd and other record labels including All Saints, Heavenly, Polyvinyl, RCA and Universal Records.

Read more about this multi-talented (and greatly committed) artist via the link at http://www.creativeboom.com/inspiration/david-blanco/

c) “I always thought music and art went hand in hand together” is a quote from U2 bassist Adam Clayton as he talks with Francis Outred, Head of Post-War and Contemporary Art for the Christie’s auction house prior to a sale that includes works by the late Pop artist jean-Michel Basquiat, about his passion for Basquiat’s work (which he collects) and about how the creative spirits of artists and musicians are similarly applied and how and when they intermingle, what comes out the other side…

Like his mentor/friend Andy Warhol, Basquiat also produced some notable album art work, including the fascinating covers for the Beat Bop series for Tartown/Profile Records, The Offs and German jazz musician Peter Kowald, but it was the painter and graffiti artist’s ability to easily mingle with both the fine art and hipster crowds of his era that impressed Clayton the most  –  http://www.christies.com/features/U2-Adam-Clayton-on-Basquiat-8034-1.aspx?

d) In a recent episode of Oregon Public Broadcasting’s State of Wonder radio show, host April Baer and reporter Matt Drenik interview two local artists who’ve made names for themselves in the world of album cover design – Orion Landau, whose impressive work as a graphic designer and art director for the metal music label Relapse has provided stunning designs for company’s acts such as Pentagram, Pig Destroyer and Red Fang (along with many others) for over 15 years, and local design legend Aaron Draplin of Draplin Design Co, who has produced impressive record package and merchandise designs for musical acts including Richmond Fontaine, Dawes, Conor Oberst, Danava, the Old 97s and Dinosaur Jr. (among others) and other notable work for commercial clients including Nike, SubPop Records, Timberline, Target, Bernie Sanders and more.

You’ll learn more about what it takes to deliver impressive designs these days in a field where consumers are looking for imagery for covers (and related items, such as tour posters and merchandise)  that (in Landau’s case) must appeal to a metal fan’s over-the-top expectations while guiding his clients away from “me-too” cover ideas (and producing great art on sometimes-meager budget), while Draplin is constantly challenged to create memorable work for clients who often don’t realize that they need to impress fans with quality graphics now because, quite honestly, “how many records are your really going to make in your life?”

You can listen to “What It Takes To Design An Iconic Album Cover” via the link at http://www.opb.org/radio/programs/stateofwonder/segment/chloe-eudaly-portland-winter-lights-festival-tony-furtado-sallie-tilsdale/

The interviews begin at around the 17:30 mark in the stream…

e) Photographer Piper Ferguson is one busy person these days! The LA-based shooter, well-regarded for her work over the years for a host of clients in the music business (from classic acts such as Merle Haggard, David Crosby and Kenny Rogers through the Backstreet Boys, Kasabian and the Shins to breaking acts such as Capital Cities and Bad Flower) continues to impress with projects that show off her talents as both a photographer and video director. I just received an email from Piper in which she lists some of her most-recent accomplishments, including several new music videos and some really well-shot commercial gigs (Zenni Eyewear and promo imagery for the 2017 Backstreet Boys “Larger Than Life” show in Las Vegas).

I’ve been a fan of Piper’s for a number of years now (she got me hooked with her great portraits of Merle Haggard standing in a swamp and Joe Strummer just sittin’ on a porch), so I’d invite you to take a look at her latest via this link to the web version of her recent email – http://us1.campaign-archive1.com/?u=13a601b2c2b2ac92204379c01&id=48b49da285&e=3b62189452

f) Over the years, I’ve written several articles about the interesting fact that there are many people working as musicians who were either serious student of the visual arts or amateur image-makers, as evidenced by paintings, sculptures and the like produced by rock music luminaries including Ringo Starr, Paul McCartney, David Bowie, Bob Dylan, Jimi Hendrix and many others. In some cases, however, these musicians-turned-artists have gone on to do double-duty or switched their career focuses altogether to work first and foremost as a designer, art director, photographer, etc. (e.g., Dean Torrence of Jan & Dean fame comes to mind).

In a recent article posted on The Week (U.K.) web site that excerpts from Francesco Spampinato’s interview of Sonic Youth’s Kim Gordon done for the new Art Record Covers book by Taschen, you can read about this artist’s ongoing efforts to participate fully as an artist of both the musical and graphic arts persuasions, beginning with her training at the famed Otis Art Institute in Los Angeles (and some time spent later on working at various art galleries in NYC’s Soho art district), writing for several art scene publications and, along the way, curating art shows and presenting her own works in curated events. She’s also produced album artwork for records by acts she’s been involved with including Sonic Youth, Thurston Moore and Free Kitten as well as Essential Logic and Mirror, among others, and used her connections to the NY art scene to secure the participation of major artists such as Gerhard Richter, Mike Kelley and Raymond Pettibon to produce memorable album art for her own records (well done!).

http://www.theweek.co.uk/80781/art-record-covers-kim-gordon

 3) Sales/Auctions –

a) In case you weren’t aware – mid-February was Grammy time (!!) and, as part of the boatload of Grammy-related activities, fans and collectors were able to help support the organizations two charitable arms – The Grammy Foundation and MusiCares – by participating in their annual signed memorabilia auction, which this year featured a number of album art-related offerings including a selection of artist-signed album presentations featuring noted Grammy Award noms and winners (Adele, Coldplay, Lady Gaga, Hall & Oates, Linda Ronstadt, Carrie Underwood, The Weeknd, Stevie Wonder and many others). Bidding ended February 19th and, on some of the items, was quite hot and heavy… While the original set of items has been snapped up by lucky collectors, there is a post-award show collection that’s now available that includes several items signed by Grammy show participants, as well has a number of items – including a 2018 Grammy Award Show VIP Experience package (with bidding starting at $5,000) now up for bid , so why not take a look and add something wonderful to your collection as you simultaneously give your support to these charities’ great work.

http://www.ebay.com/rpp/grammy/59th-awards/signed-memorabilia

b) In celebration of Black Sabbath’s return (and final) engagement in their hometown of Birmingham, England at the Genting Arena on Saturday, February 4th, the folks at St. Paul’s Gallery are offering album art fans an opportunity to buy a very limited-edition print (one of 195) of the Hipgnosis-designed Technical Ecstasy cover – hand-signed by both artist Storm Thorgerson and Sabbath guitar legend Tony Iommi.

This album – a Gold-selling record that rose to #51 on Billboard Magazine’s Pop Album chart – featured the somewhat-controversial cover art that showed, as Ozzy would put it, “two robots screwing on an escalator.” As always, the Hipgnosis team arrived at a very-interesting way to graphically-depict the record’s title, and with less than 200 copies available world-wide (and fewer-still featuring Iommi’s signature), right-minded fans might want to click on over to the gallery’s site to grab one before they’re gone – http://www.stpaulsgallery.com/album-prints/storm-thorgerson-black-sabbath-print.asp?

I first saw the band play at the Auditorium Theater in Chicago in 1971 (I think it was ’71, but might have been ’73. Wishbone Ash was the opening act…) and it was awe-inspiring for a kid in his teens. Lots of cool album art over the years, with Hipgnosis adding their unique stylings to both the 1976 Technical Ecstasy cover and the 1978 Never Say Die! cover with the two plugged-in pilots (the last studio record featuring all of the original members). Sad to see the end of their reign as the Godfathers of Metal Music, but they had a great run…

4) New Print/Book Publishing –

a) In advance of my long-form interview with Taschen’s Julius Wiedemann about his new book on the art of the album cover called Art Record Covers (which will soon be available on the ACHOF site ), I did want to point you to several nice articles on the book that, in varying degrees, help both introduce the book and the stunning works found between its covers:

– The first was posted recently by Stephanie Strasnick on the Architectural Digest site and provides you with a bit of an intro, along with some nice examples of art taken from the book. The book’s cover is Andy Warhol’s seemingly neon-inspired work for John Lennon’s Menlove Avenue record, the posthumous 1986 album of unreleased music recorded during the Walls & Bridges and Rock ‘n’ Roll sessions, so with a cover like that, you’re bound to find much to interest you on the inside –  http://www.architecturaldigest.com/gallery/proof-that-artist-designed-album-covers-are-better-than-the-rest#

– In The Guardian (UK)’s Art & Design section, the editors have selected works created by several of the world’s better-known artists and designers and have provided a bit of text, too, to go along with the large, colorful examples on display. You’ll find covers done by noted artists such as Ai Weiwei, Ed Ruscha and Keith Haring along with those by newer talents such as Ryan McGinley, Albert Oehlen and the Dutch design team Metahaven, among others – https://www.theguardian.com/artanddesign/gallery/2017/jan/20/sound-art-album-artist-record-covers-taschen-ai-weiwei-ed-ruscha-keith-haring-takashi-murakami

– In Mungo Glaysher’s recent brief article on the topic for the Middle East edition of Esquire Magazine (based in Dubai), a somewhat different selection of covers are highlighted, such as those for musical acts including the Yeah Yeah Yeahs, Tyler The Creator and Blondes, with art by Urs Fischer, Mark Ryden and Guyton/Walker, respectively.

http://www.esquireme.com/content/19491-sound-art

– Over on the It’s Nice That site – Rebecca Fulleylove writes with an eye towards that site’s design and art-oriented readers/viewers, displaying even more of the covers included in the book, adding images by Robert Mapplethorpe, Jean-Michel Basquiat, David Shrigley and Banksy, among others – http://www.itsnicethat.com/articles/taschen-art-record-covers-040117

b) In early 1965, cartoonist/caricaturist Gerald Scarfe was visiting the Twickenham Studios set where The Beatles were shooting segments for their film Help! and had the opportunity to sketch the band-members while they were in costume. When he was finished, he had the lads sign the work he’d created (which was later published in London Life magazine) and added it to his personal collection. Now, all these years later, Scarfe has asked the folks at the San Francisco Art Exchange to help him find a new home for this rare and unusual work. For well-heeled collectors who might be interested, click on over to the special page that’s been set up on the gallery’s site (more info on this effort is coming soon – stay tuned) –

http://www.sfae.com/announcements/2017/scarfe_beatles/

If you are, perhaps, looking for a somewhat more-affordable Scarfe-designed option, there is another Beatles-themed print currently for sale on the illustrator’s personal web site. This particular print – produced on archival matte paper in a signed and numbered edition of 100, approximately 13″ x 19″ – is of a drawing from Gerald’s book and exhibition titled, Heroes & Villains, that was held at the National Portrait Gallery in London in 2003.

http://www.geraldscarfe.com/shop/discount/the-beatles/

You’ll note that Mr. Scarfe’s work will also be included in the upcoming Pink Floyd art-related extravaganza opening on May 13th of this year at the V&A Museum in London (called Their Mortal Remains – more details forthcoming).

c) In 2013, author/broadcaster Jon Kirkman produced a gift for YES fans built around his 35+ year involvement with the band – a limited-edition book titled Time And A Word: The Yes Interviews. The autographed art book was priced for collectors, but now, working with Simon Robinson’s Stereo33 books, he’s re-worked the tome (including some updates) and is now offering the much more affordably priced, 260-page book with a new name – YES Dialogues – which features cover art, and interviews with, long-time YES collaborator Roger Dean. The new version also adds interviews with the late YES bassist Chris Squire, YES/ASIA keyboardist Geoff Downes and some members of a band named Mabel Greer’s Toyshop, the group that, in 1968, would evolve into the first iteration of YES. Learn more about this new release on the publisher’s sites – https://stereo33books.com/yes-dialogues/ and

http://www.ekmpowershop28.com/ekmps/shops/easyontheeye/yes–dialogue-full-order-292-p.asp

d) With the Grammy Awards taking place this past month, it’s important for fans of album cover art to understand the sometimes long-lasting impact that certain Grammy-winning album cover designs have had on the art and music scenes, and what better way to illustrate that than to report on the recent success of a new, limited-edition book offered by the U.K. publishing house Genesis Publishing that celebrates the work of the multi-talented illustrator Klaus Voorman for 1967’s Grammy winner for “Best Album Cover – Graphic Arts”, that being Revolver by The Beatles.

In 1965, the band began to experiment with what had been, to that point, a pretty standard-issue, photo-based approach to album cover imagery when they released Rubber Soul with a cover that was pretty “trippy” and used psychedelic lettering and contained NO MENTION of the band’s name (!!). The next year, when they began the efforts to select an approach for the cover for their new album Revolver, they turned to their chum (and occasional bass-player) Voorman to apply his talents to creating an illustration that would ultimately incorporate photos that the band supplied and would go on to free other album cover art directors to try out some of their more-experimental ideas for their own clients hoping to compete for the buying public’s eyeballs going forward.

According to the publishing company’s promotional materials about the now-fully-subscribed (that means SOLD OUT) art book, “Voormann is working with Genesis Publications on a limited, Grammy Anniversary edition of a book he has created, entitled REVOLVER 50. Including new artwork, photos, and introductions by Paul McCartney and Ringo Starr, the book offers a fascinating insight into the making of the legendary cover artwork. The commemorative REVOLVER 50: THE GRAMMY ANNIVERSARY EDITION is limited to only 500 copies. Each book comes with a signed original drawing by the artist; a one-of-a-kind artwork, from a selection Voormann has curated exclusively for this anniversary edition, as well as a special Grammy Anniversary 12-page commemorative booklet.”

As I noted previously, the two versions – a “Deluxe” edition of 67 copies (of 500 total in the edition) and priced at £325.00 and a “Collector’s” edition (#s 68 thru 500) – sold out in 12 days. Congratulations to all of you who managed to grab a copy, but for all of us who weren’t so lucky but who’d still like to go over the details (we can dream, can’t we?), here’s a link – http://www.genesis-publications.com/revolver-50-birth-of-an-icon-by-klaus-voormann/default.htm

e) Fans of minimalist-inspired album artwork ala that created by ACHOF “Early Influencers” Alex Steinweiss, Saul Bass and S. Neil Fujita and others including Josef Albers and Andy Warhol should really get a kick out of a new series of prints being offered by LA-based label/retailer Daylight Curfew, who recently collaborated with artist/designer Mick Watson who, working under the moniker Smartesgiant, has created art inspired by some of Hip-Hop’s classic albums. According to Daylight Curfew’s PR, the team chose “some of our favorite hip hop records, ones that inspire us daily, and those we classify as instant classics. Each are reinterpreted and abstracted in minimal form. Being huge fans of minimalism, abstract expressionism, and hip hop, we figured you may enjoy the collection as well.”

Included in the offering are wonderful re-interpretations of covers from musical acts including Nas, Outkast, Run DMC, Run The Jewels, Salt-N-Pepa and Kanye West.

Priced at only $45.00 unframed and $95.00 framed, each giclee’ print is sized at 18×24″ (unframed) and has been produced to museum-quality standards. They’re printed on 310gsm fine art matte cotton rag and printed with Roland eco archival inks on a bleach-free, soft-textured surface.  To see the entire collection and learn more about what’s available, click on over to https://www.daylightcurfew.com/blogs/daylight-curfew/smartestgiant-x-daylight-curfew

5) Other articles of interest –

a) While Spoon’s newest album – Hot Thoughts – might not be hitting shelves until later in March, fans can get a head-start on their immersion into the new music package by spending some time with a new app called the Aura Reader that will allow you to make your own album cover image. The first step is to click on over to the special site they’ve created – http://aura.spoontheband.com/ – and then begin the process by creating a Spotify playlist of 10 songs that “describe yourself”. The app will then analyze your playlist and…well, since I’m an old person and can’t name 10 Spoon songs, let alone 10 that describe me, I’ll have to let one of my readers go through the process and then share the results with the rest of us.

Exclaim.ca’s Brock Thiessen recently published a brief overview of the app that helps explain things a bit – http://exclaim.ca/music/article/you_can_now_make_your_own_album_cover_for_spoons_hot_thoughts#  Maybe if I get the time, I’ll be able to see what color my aura is but, in the meantime, enjoy yourself.

b) I hope that all you professional and aspiring album art/packaging designers/art directors saw my recent posting regarding the last date you were able to submit your work to the 2016-17 A Design Award international design competition (that being this past Tuesday, February 28th).

This huge competition – with a judging panel of over 160 scholars, professors, designers and members of the press – covers great design in hundreds of categories and, in the packaging category – everything from works for distilled beverage companies, seeds, frozen foods, cosmetics and other goods to CD and DVD sleeves and boxes. If you’d like to see the submissions turned in by the individuals and teams from around the world that beat the deadline (best of luck to you all), you can click on over to http://www.designaward.com,  where winning designs will be highlighted later this year. More info at  #adesignaward

c) Grammy Award Show Results – In case you didn’t get a chance to see them…during the pre-telecast “Premiere Ceremony” event on the Sunday afternoon prior to the recent award show in Los Angeles, the winners for the two design and packaging related Grammy Awards were announced, and they were:

For “Best Recording Package” –  Jonathan Barnbrook (art director) for Blackstar, performed by David Bowie and released on ISO/Columbia Records, and

For “Best Boxed Or Special Limited Edition Package” – Gérard Lo Monaco, art director for Edith Piaf 1915-2015, with music by Edith Piaf and released on the Warner Music France label.

Although not album image-related, I would like to congratulate album note writers Ken Bloom and Richard Carlin for their Grammy-winning work on the liner notes for  Harbinger Record’s Sissle And Blake Sing Shuffle Along.

Congratulations to both the winners and this year’s other nominees for their continued great work in the field of album art and packaging design and production.

d) One of the tributes that was performed during the recent Grammy Awards telecast was in honor of the late David Bowie, so it’s nice to be able to report that one of this year’s Grammy-nominated works (and the eventual winner – Jonathan Barnbrook’s titillating cover for what would turn out to be Bowie’s final album – Blackstar ) was also recently honored with one of this year’s “Beazley Designs of the Year” awards, announced by London’s Design Museum in advance of an exhibition of all of the nominated and winning designs that was on display at the museum through February 16th.

In its ninth year, the Design of the Year awards celebrate design that promotes change, enables access or captures the spirit of the year. Previous winners have included the London 2012 Olympic Torch and the Barack Obama “Hope” poster. Barnbrook’s design was the top vote-getter in the Graphics category, while the overall winner was a project that produced the “Better Shelter”, an easily-transported, flat-packed housing module whose design team included the IKEA Foundation and the United Nations High Commissioner for Refugees (who currently has over 30,000 of these tiny homes in use) and which, according to the item’s info page, “works to create more robust and appealing shelters for refugees” and which, while not solving the crises, “goes a long way to accelerate innovation, challenge unacceptable norms and communicate respect.”

So while an album cover design isn’t solving a humanitarian crisis, it is a fitting tribute to an artist who used his considerable public visibility and personal resources to support a number of charities, including Save The Children, Witness, War Child and many other groups that do.

https://beazleydesignsoftheyear.com/#/project/blackstar

e) Last year, when U.K. utility company Smart Energy GB set out on a country-wide effort to install “smart meters” in every home (with each meter including a small, in-home display that shows users their consumption stats), they turned to noted designer Sir Peter Blake (of Pepper’s fame) to help design and illustrate promotional materials for that effort. Now, in an example of generosity to one of the country’s charitable organizations, Sir Peter has donated one of only 30 signed prints of his The Arrival of the Smart Meters to People United in Canterbury, U.K.

A recent article by Tom Pyman on the Kentnews.co.uk web site gives us the details and the very happy and grateful reactions of all parties involved – http://www.kentnews.co.uk/news/dartford_pop_artist_sir_peter_blake_who_designed_cover_of_beatles_album_sgt_pepper_donates_unusual_homage_to_smart_meters_to_kent_charity_1_4869813

f) While we were all saddened recently by the passing of actress/feminist icon Mary Tyler Moore, it was something of a comfort to see this article posted by reporter James Reed on the Los Angeles Times web site in which we’re introduced to some of the work MTM did as a model for late 1950’s album covers, including several for a label called Tops, who included a young Ms. Moore’s youthful visage (and dancer’s physique) on records with titles such as Latin Favorites (by Miguel Lopez), Organ Favorites (by Steve Philips) and not one but two Gigi records – one for Gordon Fleming and the other for the Norman Leslie Orchestra. Included in the story is a link to a RateYourMusic.com page where you can find these covers and choose your favorites. While these early works don’t give us much of a clue as to how Ms. Moore would grow into the portrait of the intelligent, independent woman – one that didn’t rely on her looks to make it in “a man’s world” – they certainly help illustrate how the products released by record labels of the era most-certainly reflected the societal norms of the period.

http://www.latimes.com/entertainment/music/la-et-st-moore-album-covers-20170126-story.html

g) Those of you who’ve been following my writing over the years know just how impressed I’ve been about the long-lasting nature of some of the imagery that’s been created to help both promote a band’s music and to create symbols that fans immediately are drawn to (think the Lips & Tongue logo for the Rolling Stones, the Skull Fiend image for the Misfits, etc.). And whether you’re a fan of their music or not, you cannot deny that, since its first appearance in 1980, there have been very few icons that have so consistently identified a musical act as Iron Maiden’s “Eddie” (AKA “Eddie The Head”).

What’s interesting about this particular character is that, unlike many bands who’ve had only one or two artists responsible for the basic “look and feel” of a character, in Eddie’s case, there have been at least 8 artists who’ve all produced their own take on this key player, from Derek Riggs’ original adaptation of what was originally a mask used as a stage prop through the newest iterations created by Melvyn Grant and Mark Wilkinson. In this recent article by Joe DiVita for the Loudwire.com site, the author takes you through a timeline and overview of the 25 covers that have been produced for the various albums the band has released and, to add insult to injury, actually has the nerve to rank them (leaving, of course, a lot of room for discussion and online ranting and raving about the other guy’s stupid list).

http://loudwire.com/iron-maiden-studio-live-album-cover-artwork-ranked/

While I won’t be so bold as to rank them myself, I will go on record saying that, personally, I’m a bit partial to Mr. Riggs’ originals, along with Hugh Syme’s disturbing take found on The X Factor

h) While the idea behind the long-running “Sleeveface” site – where folks from all over the world worked to create interesting photographs by (according to the site’s definition) “…obscuring or augmenting any part of their body or bodies with record sleeve(s) causing an illusion” – has continued to inspire creative types to one-up each other via some really-entertaining displays of visual artistry, I was really impressed with a new music video just released by electronic music artist Corey Regensberg (working under the name Moon Bounce) in which he walks into a record store to find all of his favorite records now picturing his own image on the cover.

Realized by the talented music video director Peter English (working alongside animator/art director Raymo Ventura), Regensberg’s video for his song “Drugs” shows him appearing on the jackets for records such as …and, in some cases, bringing those images to life with himself as the main character. You’ll also get a kick out of how the production credits for this video are presented – nice job, people!

Nathaniel Ainley shares an intro to the project in this recent posting on the Creator’s Project blog –

http://thecreatorsproject.vice.com/blog/corey-regensburg-iconic-album-covers

That’s all for now – look for updates every week (typically, on a Friday) on our news feed –https://www.facebook.com/AlbumCoverHallOfFame – we’ll be back early next month with another summary for you.

All text Copyright 2017 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 News Summary For August, 2016

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ALBUM COVER HALL OF FAME’S ALBUM COVER NEWS RECAP FOR THE MONTH OF August, 2016

It’s the beginning of September, 2016, with Labor Day upon us, marking the “official” end of this year’s Summer season. If you’re done packing your kids off to school and find yourself with a little extra “me-time” during the day, I’d like to propose that you spend a little time catching up on your album cover art/artist-related news which, as you all know by now, you’ll find nicely-summarized in my weekly and monthly recaps.

In this month’s summary – continuing on in the much-appreciated “less talk, more info” format I launched several months back – the people that make our favorite album imagery continue to make news with their ongoing contributions to the field of album art/packaging, contributing to the ongoing stream of articles, interviews, info on museum and gallery shows and the like on a wide range of related topics. Enjoy the read and let me know if you have any questions or comments:

1) Upcoming, recently-launched and just-closed show/exhibitions –

a) Launching September 1st at the San Pedro (CA) First Thursday Art Walk is an exhibition at the huZ Gallery featuring a selection of the photo portraits taken over the past 40+ years by photographer Peter Figen, a man who has produced stunning promo images of top talent including George Harrison, Bonnie Raitt, Doc Watson, Townes Van Zandt along with album package photos for David Grisman, Robert Earl Keen, Chris Hillman, Carl Verheyen and many others. With a career that was jump-started while shooting at an early 1970s Hot Rise show in California and being spotted by the art director for Frets Magazine, who asked him to submit his shots after the show, Figen has used his passion for folk/roots music to create confidence in his abilities as a photographer in his well-known subjects, with the results now on display during this gallery show. Writer Kathy Leonardo posted this profile on the artist recently on the Huffington Post site – http://www.huffingtonpost.com/kathy-leonardo-/music-and-photography-sha_b_11298832.html – while those interested in seeing and learning more about this new print collection can click on over to the gallery’s site at http://www.huzgalleries.com/ . The gallery has also teased visitors with the fact that they’ll also be unveiling several new photo prints of a ready-to-be-discovered young musician named Elvis Presley taken by an Air Force photographer during a performance in Lubbock, TX in 1955…

b) Running now through September 10th at the Gabba Gallery on Beverly Boulevard in West Hollywood is a show featuring over 80 real and not-so-real album cover works created by a whole host of well-known and soon-to-be-well-known artists that’s called Cratedigger: The Lost Art of Album Cover Art. According to the gallery’s press, the exhibition “celebrates one of the twentieth century’s most influential art forms – the record sleeve cover. Curated by (gallery owner and accomplished artist in his own right) Jason Ostro, the exhibition showcases the work of 85 local and international artists. Each artist has imagined a cover design for a real or fictional album. Just like classic record covers, every piece in the show is 12” x 12”…

The gallery also shows music-related works by artists including Joey Feldman, Jules Muck and photographer Jeff Kravitz, so there will surely be a lot to take in during your visit. More info on the album art show is available on the gallery’s site – http://www.gabbagallery.com/cratedigger

c) Photographer Gerald Fearnley cemented his place in rock and roll album art history with the shot he provided for the cover of David Bowie’s debut record, but the folks at the Snap Gallery in London didn’t stop with just that image when they organized a show built around a recently-unearth cache of ’66 – ’67-era photos of the soon-to-be-recognized creative force that was Mr. Bowie. Fearnley was introduced early on to Bowie through his brother, bassist Derek Fearnley, who played in Bowie’s early backing band The Buzz, and used that access to arrange for a series of photo shoots that produced what looks to be a fascinating collection for fans of the era’s music and fashion. You can read an intro on the show – which runs through September 24th – via Tom Pinnock’s quicky posting on the Uncut site – http://www.uncut.co.uk/news/david-bowie-exhibition-feature-unpublished-photographs-86903 and get further details directly from the Gallery via this link – https://www.snapgalleries.com/exhibitions/bowie-photographs-by-gerald-fearnley/

d) The Buddy Holly Center in Lubbock, TX is where you’ll find a major collection of photos of rock’s best-known female stars taken by shooter (that takes on a new meaning in TX, no?) Anastasia Pantsios, an artist who’s been busy taking great photos for rock music clients including AC/DC, Journey, Eric Clapton, Michael Stanley and many others over the past 40+ years. Titled ” “Girls on Film, 40 Years of Women in Rock”, the show was originally organized several years ago and has been updated to include both some of Pantsios’s earliest works (e.g., Grace Slick with Jefferson Airplane in 1969, Deborah Harry in Blondie and mid-70s Patti Smith) and later examples including Gwen Stefani, Nelly Furtado and Shirley Manson of Garbage. While no longer working with clients in the music business (what, you want to get PAID to do your work?), Anastasia can look back proudly on her contributions to several Cleveland, OH-area publications including The Plain Dealer (where she also contributed as a writer) and alt weeklies including The Free Times and Cleveland Scene. More info on this show, running now through September 11th, via this article on the LubbockOnline.com site – http://lubbockonline.com/filed-online/2016-07-30/kerns-buddy-holly-center-displays-photo-exhibit-influential-women-rock#

e) What a combination – a prime collection of wonderful paintings and prints of worlds beyond our own put on display in a museum located on a mystical island! From now until the 19th of November, visitors to the Manx Museum – a National Heritage organization on the U.K.’s Isle of Man – can tour a collection of works by the impressively-talented Roger Dean, best-known to album cover art fans for his contributions to the visuals for bands including YES, Uriah Heep, Asia, Osibisa and many others.

With a portfolio that includes not only album cover imagery but (both alone and working with his talented brother Martyn) stage designs, architecture, calendars and a wide variety of merchandise, Dean’s work continues to impress and astound fans with its ability to take you to the farthest reaches of your imagination. You’ll find works in many media, including several models of designs he’s done for living spaces you can only dream you’d be able to live in. An article on the Isle of Man web site provides an intro – http://www.isleofman.com/News/details/80357/islands-and-bridges-the-art-of-roger-dean  while additional details are available on the museum’s site – http://www.manxnationalheritage.im/whats-on/detail/islands-and-bridges-the-art-of-roger-dean/

f) Since the time of the Woodstock Festival at the end of the 1960s, the exhibition of fine art with music has gone hand in hand, with everyone from poster/merch designers, painters, fabric artists and many other disciplines plying their wares and providing the visual backdrop for attendees at these festivals. One of the latest examples of this was on display recently during the Panorama festival held on Randall’s Island in New York City (as seen via the AFP-penned article that appeared on the ArtDaily.com site – http://artdaily.com/news/88984/For-New-York-s-new-festival–an-immersion-in-art).

Organized by the same team that puts on the popular Coachella festival (i.e., Goldenvoice), the festival features an area called The Lab which, according to the promoters, is an “interactive experience which features installations that combine technology, artistry, and design, created exclusively by New York-based artists for display only at PANORAMA.” Inside The Lab is “The Dome”, which is a huge dome that accommodates up to 400 people at a time and provides a 3D Virtual Reality display using music, animation and other forms of “immersive media”. The works of 11 studios combined to make this experience a fun and fascinating one, providing festival-goers with a place to take a break from the performances by acts including the Alabama Shakes, Arcade Fire, Kendrick Lamar, LCD Soundsystem and the act which has produced a number of very interesting album covers the past couple of years, FKA Twigs.

g) Friend of ACHOF Emily Smeaton of the UK’s Hypergallery was kind enough to share the details of an upcoming event that should be of great interest to anyone interested in both seeing a superb collection of album art prints and hearing from two of the most-respected designers in the field. Beginning on September 26th in lovely Henly-On-Thames outside of London, our chums at Hypergallery will host a pop-up exhibition called “The Art of the Album Cover” that will feature ” prints by Literary Festival speakers, from the days when all music was vinyl, and album covers became an art form of their own.” On the last day of the event – Sunday, October 2nd, at 5pm local time, in the Town Hall venue – two of rock music’s design greats – Aubrey (Po) Powell, the co-founder of the celebrated design studio Hipgnosis (best known for their covers for Pink Floyd, Led Zeppelin, Black Sabbath, Peter Gabriel/Genesis and many others, and author of a book on his studio’s work titled Hipgnosis Portraits) will be joined by Richard Evans (who, in addition to his many well-known album art credits both with the team at Hipgnosis and on his own, was author of The Art of the Album Cover book) where, according to Emily’s note, “the two artists will be sharing anecdotes from the time they spent at the epicenter of the rock and roll tornado of the late 1960s and 1970s.” After the event, Hypergallery will host a book signing and exhibition of the authors’ design work in their print room, just across from the Town Hall. You’ll be able to meet the authors, have a drink or two and view the great collection of works that will be on hand.

Advanced tickets for the event are now on sale via the link – http://tiny.cc/hlf_artofthealbum  and you can visit the gallery’s site at https://www.hypergallery.com/event_hlf/  for more details. Of course, I will work to get hold of any photos, transcripts or videos that emerge from this event, so stay tuned. I am, of course, immediately jealous of anyone who’ll be able to attend this event…

h) Having just celebrated his 75th birthday (Happy Birthday, John!), graphic design superstar John Van Hamersveld marked the occasion with the launch of a new exhibition (running now thru October 16th, at the Manhattan Beach Art Center in Manhattan Beach, CA) titled Contemporary Post Future! The Dichotomy of Design and Art – John Van Hamersveld which, according to the gallery’s PR, ” presents past and present artworks where John Van Hamersveld explores the connection between art, design and commerce.” The centerpiece of the display is a 47-panel modular black and creme-colored collage/mural JVH created that surrounds the building with his talents. Inside, two galleries showcase a number of examples of both his commercial design work and his striking and imaginative fine art designs, so if you’re in the area or need a destination for an art-filled excursion, I’d suggest a trip on over to see this show, with details available via the link at http://www.citymb.info/city-officials/parks-and-recreation/cultural-arts/exhibition/creative-arts-center-exhibitions#ad-image-1

i) Just as a tease, the folks at the V&A Museum in the U.K. just announced that they’re going to stage a new exhibition beginning in May 13th, 2017 built around the imagery of one of Britain’s most-valuable exports – that being the rock band Pink Floyd. According to the press (as exemplified in this BBC Entertainment & Arts section article recently published – http://www.bbc.com/news/entertainment-arts-372284960 ) the show – to be titled “The Pink Floyd Exhibition: Their Mortal Remains” – promises to offer “an immersive, multi-sensory and theatrical journey through Pink Floyd’s extraordinary world which will chronicle the music, iconic visuals and staging of the band, from the underground psychedelic scene in 1960s London to the present day”. With over 350 examples of Floyd-related visual imagery, including a whole host of album cover artwork created over the years by Storm, Po and the team at Hipgnosis, there will certainly be a lot to take in. Advance tickets are now on sale on the Museum’s website at https://www.vam.ac.uk/exhibitions/pink-floyd

2) Artist interviews/profile articles –

a) When a long-time fan of a musical act – in this case, South Carolina-based artist Dave Beard – has the opportunity to provide design services for that act – in this case, the Beach Boys – great joy ensues, as is evidenced by this recent article by Andrew Stark for the Fort Mill Times (as shared with the HeraldOnline.com site). The article tracks Beard’s path from fan to fanzine editor/designer to Dean Torrence (of Jan & Dean fame) design cohort to a 2014 commission by the Beach Boys to create what Beach Boy Mike Love called “In the 54 years of touring and (a) multitude of concerts and concert programs, the new Beach Boys’ 2015 Official Tour Program is far and away the best I’ve ever seen.”

Wouldn’t it be nice to learn more about this story? Don’t worry, baby – here’s the link – http://www.heraldonline.com/news/local/community/fort-mill-times/article91728932.html

b) Fine artist Filipe Molina has been showing his works in top-notch galleries throughout his career, but when he was contacted by the folks at Capitol Records in 2014 to come up with artwork for the Counting Crow’s then-upcoming record titled Going Under Wonderland, he saw it as an opportunity to be able to share his work with potentially millions of the band’s fans and proposed that he create a unique work for each song on the album, greatly multiplying the “collection” each record’s owner would acquire. He then went on to create a really nicely-done multi-media light show that the band used during their 2015 World Tour. As I’m working on adding Molina’s bio to the ACHOF site, Felipe shared a link to a 25 minute video on YouTube that gives you an overview to the artist and the wonderful images he created for this record package – https://www.youtube.com/watch?v=xz-Gj33Kg0g

To see more of the artist’s works, you can also visit his website at http://www.molinaart.com. Once there, you’ll find more about some of his other projects, including a “Wine Art Music” project (inc. custom labels for proprietary blends released by Standing Sun Winery) and The Outlaw Roadshows (indie rock music festival staged in Nashville and NYC) where Felipe both exhibits his artwork and is one of the event’s five producers.

c) Fascinating article by writer Anna Buksowicz for the British Journal of Photography on art director Samuel Burgess-Johnson that focuses on his most-recent work for the latest record by The 1975, with neon signs placed in unusual locations that are used to illustrate each of the album’s 10 song titles. It’s certainly a testament to the value of a proper budget for stunning album cover work, but I wonder if they paid whoever was hired to come up with the record’s title by the word – I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It.

Burgess-Johnson also spends a fair amount of time sharing his feelings about what makes for a good album cover and why it’s still an important part of any new record release, so if you’d like to read more of the insights of one of the busier art directors working in the music business these days, click on over to http://www.bjp-online.com/2016/08/how-samuel-burgess-johnson-snapshots-music-through-art-direction/

d) I’ve written previously about the mega-exhibition (“Exhibitionism“) currently in London featuring a heaping helping of Rolling Stones art, photography, music and memorabilia, but fans of notable album cover imagery are in for a treat if you bop on over to this interview article posted on the Clash Music site featuring the wonderfully-talented photographer Gered Mankowitz, someone with several shots included in the show, including his cover photo for Between The Buttons and a portrait of the band’s metronome, drummer Charlie Watts.

While the interview provides an in-depth look at Gered’s relationship with the band, their management/record label and then touches on his other well-known subjects, including Jimi Hendrix (the iconic “Smoking” shot) and newer acts such as Oasis, Mankowitz does go on record with the lament that the first album package image he took of the band – the artsy alleyway shot used on their Out of Our Heads record back in 1965 – was NOT included in the show. “This will be the last time” (or, based on the total control the band has over its image, maybe not)….  http://www.clashmusic.com/features/gered-mankowitz-shooting-the-stones

e) While most album artist profile articles are cobbled together by writers (such as yours truly) asking the subject questions about themselves and their work, today I’d like to point you to one that presents an artist profile that’s been provided by one of the (late) artist’s better-known clients, by whom I mean guitarist Steve Miller, sharing his recollections of working with the famed art director/photographer Storm Thorgerson. One of Storm’s last record cover commissions was for Miller’s 2010 release titled Bingo, with the photo impressing Austin Chronicle writer Raoul Hernandez so greatly that he tracked down Mr. Miller to get his take on the collaboration with Thorgerson that produced such a memorable image.

Armed with a list of what he needed (logo, cover and a new take on a “Space Cowboy” image) and a rather nice budget for these elements, Miller got all he wanted and more and was left with what I’m sure you’ll agree was a long-lasting impression of what it was like to work with a talent such as Storm, even late in his career and having faced a stroke and cancer as obstacles. Really quite the talent…

http://www.austinchronicle.com/daily/music/2016-07-29/adult-play-storm-thorgerson-by-steve-miller/

3) Sales/Auctions –

a) The folks at the WA-based Visual Gallery have announced a sale on a select grouping of limited-edition album art prints that I thought you might want to check out. You’ll find promo pricing on prints including Cream’s Disraeli Gears (a Martin Sharp masterpiece), Sgt. Pepper’s Lonely Hearts Club Band by The Beatles, a Charlie Watts-signed Bridges To Babylon print and others. They’re also offering some nice deals on posters by Ioannis, Bob Masse and others, so click on over to see what’s on sale before it’s too late – http://www.visualgallery.com/

b) Works by the late artist Frank Frazetta have fed the fantasies of many a young science fiction/adventure fan as well as musical acts including Molly Hatchett, Nazareth, Yngwie Malmsteen and Wolfmother (who chose to use Frazetta paintings on the covers of several of their record albums), so it was interesting and exciting to see that one of the artist’s best-known paintings – titled At The Earth’s Core and used on the cover of the 1978 paperback release for famed writer Edgar Rice Burrough’s first Pellucidar novel – sell for over a million dollars during a recent Heritage Auction event in Dallas, TX (the actual selling price was $1.075 million, the most ever paid for a Frazetta work). You can click on over to this recent article on the Fine Books & Collections Magazine site in which the details are shared about both this impressive purchase, along with other big-ticket illustration art items that found new homes post-auction – https://www.finebooksmagazine.com/press/2016/08/world-record-for-frank-frazettas-painting-used-as-paperback-cover-art.phtml

c) Kanye West‘s design company – DONDA Design – pulled out all of the stops when they created an animatronic sculpture featuring 12 of the era’s most-recognized celebrities lying naked in a large bed, a prop then used in one of the musician’s latest music videos. Now, Mr. West has entrusted the Los Angeles-based gallery Blum & Poe to find a collector who’d be willing to spend $4 million to take the sculpture – complete with platform bed, bed linens and batteries – home for their very own. Made from silicon (a substance most-widely used for other purposes in today’s entertainment business), the work shows life-like models of Pop Culture icons such as Taylor Swift, Anna Wintour, Donald Trump, George W. Bush, Bill Cosby and others all asleep, lying alongside West and two of his family members – wife Kim and Caitlyn Jenner. The gallery held a brief showing recently and is actively seeking a buyer among its contact list of well-heeled collectors and museums, so we’ll keep an eye out to see if/when/where it lands. For more details on the work, you can read NY Times writer Adam Popescu’s late-breaking story via the link – http://www.nytimes.com/2016/09/01/arts/design/gallery-hopes-to-sell-kanye-wests-famous-sculpture-for-4-million.html? or see more on the gallery’s site at http://www.blumandpoe.com/exhibitions/kanye-west

4) New Print/Book Publishing –

a) If you were impressed with the 50+ “variant covers” that Marvel produced last year which were creatively-reworked versions of well-known examples of hip-hop album cover art, you’ll be happy to read the details of a new series scheduled for this year, with the details provided to us in an article by Fuse‘s Zach Dione. Characters who’ll be featured in the first of this new series include Black Panther, Doctor Strange and Mosaic, built around designs originally found on records by King Mez, Infinite Mind War and Earl Sweatshirt. Keep ’em coming, folks!

http://www.fuse.tv/2016/07/marvel-hip-hop-variant-comic-book-covers-second-wave

b) While I’ve been working hard gathering and organizing the materials for my own book, I look on with great envy as author Ramon Martos Garcia shares the details of his latest release – a thoroughly-revised edition of his critically-acclaimed book on Heavy Metal album art/artists that’s titled And Justice For Art: Stories About Heavy Metal Album Covers (Vol.2). The book, in a signed, limited-edition release (only 270 copies will be produced), is now available for pre-order ($39.99 plus shipping), with shipping set to commence next week.

According to the author, ” This new revised edition has many, many changes—some of them more significant than others, but equally important. Although the new book has the same number of pages (264) and a similar layout, I added a few new images that weren’t available at the time I published the first edition and exchanged some artworks for similar ones with much better quality.

Some parts of the text have also changed, in some cases dramatically. It’s not something you will notice at first sight, but once you go deeper, there are things that are unequivocally different. There are also new comments or interviews with bands and artists I interviewed after the first edition came out. Also, the color reproduction is richer and closer to how the original artworks look like. It took a lot of time and effort.”

If you, like me, are a fan of the many styles of art found on your favorite metal music recordings and you haven’t seen this book before, I’d suggest visiting the publisher’s site now to see more and order your own copy. Here is the pre-order link – http://andjusticeforart.bigcartel.com/product/and-justice-for-art-stories-about-heavy-metal-album-covers

c) The folks at UK print publisher The Flood Gallery recently emailed with some info and imagery about the latest in their series of releases featuring album cover fine art prints of designer/photographer Carl Glover‘s cover images for Marillion’s 2006 LP titled Marbles. In addition to the provocative cover shot, prints of the equally mind-bending graphics that were featured on the record label, CD and inner sleeve are also being offered, with collectors able to preview and purchase any/all of these memorable works via the link – http://www.thefloodgallery.com/search?q=marillion Fans can also check out the prints available for two more Glover-produced Marillion covers – Somewhere Else and Radiation – the latter image being a crafty combination of two photos taken 14 years apart!

5) Other articles of interest –

a) Writing for the DJ Booth site, writer Yoh has put together an interesting look at album cover designs that don’t show the musical acts on the cover. Its an interesting thing to see young writers looking at this as if it were something unusual, considering the number of covers that have been produced over the years that didn’t show the acts or, as evidenced very early on, were hesitant to show the acts for a variety of reasons (e.g., not showing black artists for fear of losing sales to predominantly white audiences or, in the case of some early American acts looking to hop on the British Rock invasion, adopting English names and clothing styles).

In the hip-hop world, where it tends to be important to look tough/rich/street-smart/etc., fans will typically find their favorite musical acts pictured prominently on the cover, so it seems that usually only the well-establish artists (Kanye, Jay-Z, etc.) are the ones willing to take a chance and show off their graphic design inspirations. Here’s hoping for more…  http://djbooth.net/news/entry/2016-07-22-album-covers-no-face

b) For an article posted recently on the Austin Chronicle‘s web site titled “Adult Audio Coloring Book Sampler”, several of the publication’s writers were asked to pick their favorite illustrated album covers and album cover artists and let readers know why they feel these examples were stand-outs in their field. The people and images selected represent a very broad range of talent, including artists such as Roger Dean (YES, Uriah Heep, Asia, etc.), H.R. Giger (best-known for ELP’s Brain Salad Surgery, Debbie Harry’s cheek-pierced Koo Koo and the monsters in the Alien films) and Daniel Johnston, among others with works created for musical acts including Pink Floyd, Ramones, Miles Davis, The Beatles and Chance The Rapper. Whether you’re a fan of the hyper-realistic artwork of Mati Klarwein or the trippy, comic-inspired R. Crumb cover created for Big Brother & The Holding Company’s Cheap Thrills, you’ll find a hand-drawn example you’re sure to appreciate.

http://www.austinchronicle.com/music/2016-07-29/adult-audio-coloring-book-sampler/

c) Washington Post columnist John Kelly recently posted a profile of Ken Orth, a retired urban planner/Beatles fan extraordinaire who travels the Beatles-related gatherings circuit putting on display selections from his 2000+ item collection of spoofs of Beatles record covers. Orth has been collecting these works of art since the early 1980s, and included in his collection are examples of well-known parody covers such as Frank Zappa & The Mothers’ We’re Only In It For The Money (a satirical take on the collage found on the Sgt Pepper’s LP) alongside lesser-known items such as Floyd Domino’s take on the Abbey Road street crossing scene, re-staged using four toddlers in diapers.

The entire parody sub-set of album art collecting is an interesting one, with a number of collectors doing a great amount of researching and Ebay purchasing in order to find prime examples of imagery inspired by classic album art. Ken’s working on gathering the nitty-gritty information on every original Beatles album cover so, with any luck, I hope to be able to share some of that with you when its made available. In the meantime, click on over to https://www.washingtonpost.com/local/beatles-album-parody-art-he-loves-it-yeah-yeah-yeah-yeah-/2016/08/09/b90e66fc-5dcb-11e6-8e45-477372e89d78_story.html  to read more about Ken and his most-interesting of album art collections.

Related content – if you’re really wanting to see a broad selection of parody covers – including hundreds of examples of “re-imagined” covers inspired by designs for the packages of records from the soundtrack for The Sound of Music to The Who’s Live At Leeds, you must pick up a copy of the 2011 book compiled and written by Jan Bellekens and ACHOF chum Simon Robinson titled Covered. The gall of some musical acts is truly mind-blowing (and, most-often, quite hilarious) – https://www.amazon.com/gp/product/095614392X/ref=as_li_ss_tl?

d) Leave it to the writing team on the Ultimate Classic Rock site to treat us to album art-related stories with a twist (or, in this case, with a piss). Author Nick Deriso recounts the story told by photographer Ethan Russell about “the making of” the cover image for one of The Who’s best-remembered records – 1971’s Who’s Next – which, you’ll recall, features a shot of the band having seemingly just relieving themselves on a concrete tower found along the motorway in Sheffield. In fact, only one of the stains resulted from a much-needed pit stop, with the others craftily created by the photographer, so if you’d like to get to the bottom of this story, click on over and the truth will be revealed – http://ultimateclassicrock.com/whos-next-album-cover/

That’s all for now – look for updates every week (usually, on Friday) on our news feed –https://www.facebook.com/AlbumCoverHallOfFame – we’ll be back early next month with another summary for you.

All text Copyright 2016 Mike Goldstein and AlbumCoverHallofFame.com – All Rights Reserved.

Album Cover News Summary for July, 2016

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ALBUM COVER HALL OF FAME’S ALBUM COVER NEWS RECAP FOR THE MONTH OF JULY, 2016

By Mike Goldstein, AlbumCoverHallofFame.com

It’s the first day of August, 2016. What’s new, you might ask. Well, assuming that you’re not outdoors (too much sun) or aren’t taking shelter from freak storms (or from the gusts of hot air emanating from your TV sets these days), I’m thinking that you’re enjoying the summer overall and are sharing your love of whatever drives your passions with your friends and family. All of us lovers of album cover imagery are a bit of a family, wouldn’t you agree (albeit a sometimes-dysfunctional one, with yours truly as your “arty” Uncle Mike (and NOT your Wicked Uncle Ernie – apologies to all un-wicked Ernies).

In this month’s summary – continuing on in the new and much-appreciated “less talk, more info” format – the people that make our favorite album imagery continue to impress us fans, critics and other observers of the art form with their collective output, contributing to the ongoing stream of articles, interviews, info on museum and gallery shows and the like on a wide range of related topics:

1) Upcoming, recently-launched and just-closed show/exhibitions –

a) While the extremely-well-attended Ramones-centered art/memorabilia show at the Queens Museum may have closed this past weekend (July 31st), the kind folks at local public TV network WLIW/Channel 13 have posted a 7 minute video presentation on their Metrofocus web site – http://www.thirteen.org/metrofocus/2016/07/ramones-exhibit-rocks-queens/ – that includes a brief tour through the show, where you’ll see photos by George DuBose, Roberta Bayley and others (including various iterations of Arturo Vega’s iconic presidential seal-like logo for the band) along with interviews with Joey’s brother Mickey Leigh, Johnny’s widow Linda, the band’s former tour manager Monte Melnick and the exhibition’s curator, Marc Miller, a fellow with a long history of producing punk-based art/music shows. Hey ho, if you can’t go, watch the video…

b) Up for a brief run (mid-July through July 30th) at the Paul W. Zuccaire Gallery on the campus of Stony Brook University on Long Island, NY was an album art show featuring over 1000 record covers on loan from local collectors and the archives of the school’s own radio station (WUSB).

ON THE RECORD: ALBUM COVER ART was presented in conjunction with the Stony Brook Film Festival at the Staller Center for the Arts at Stony Brook University, a venue that has also hosted performances by many of the musical acts (including local talent such as Bob Dylan, Blue Oyster Cult, Cyndi Lauper, Lou Reed and others) whose record albums are on display in this show.

One of the people that curated the exhibition – Karen Levitov, the gallery’s Director – was kind enough to share some additional background info, exhibit details and some photos of the display with me, which I’ll now share with you – “Last summer we had a Vintage Film Poster show during the Film Festival that got a terrific response, so we wanted something just as fun and appealing this summer. Our campus radio station, WUSB 90.1 FM was relocating and packing up its vinyl archive, so we decided to collaborate with them to put this show together. The gallery has a playlist of songs from the albums in the gallery and a documentary video on album cover art…We have over 1000 albums:  811 album covers on the walls and in display cases, plus over 200 playable vinyl records in our listening lounge and children’s area.

Album cover artists represented in the show include famous graphic designers, photographers and artists including Andy Warhol, Shusei Nagaoka, Robert Rauschenberg, Damien Hirst, Brian Duffy, Irving Penn, Robert Mapplethorpe, Jean-Michel Basquiat, Kehinde Wiley, Banksy and many more. Rare and unique albums include The Beatles’ Yesterday and Today with the original cover known as the “butcher cover”; The Rolling Stones’ Their Satanic Majesties Request (with its 3D cover); John Lennon and Yoko Ono’s Two Virgins nude cover and The Rolling Stones’ Sticky Fingers cover by Andy Warhol  – with a real zipper!”

The festivities were kicked off with a special Q&A session with one of the founding members of Blue Oyster Cult, drummer Albert Bouchard, so if you missed the show, you can still learn more about it on the gallery’s site at http://zuccairegallery.stonybrook.edu/2016/07/on-the-record-album-cover-art/   

c) London’s Somerset House gallery is hosting an exhibition of art – both well-known and newly-created just for this show – inspired by the films of director Stanley Kubrick (from now until August 24th, sponsored by Canon). Included in the show’s display catalog are several works and work-related materials produced by airbrush artist Philip Castle, creator of memorable imagery for album covers and promotional efforts for artists including David Bowie, Pulp, Sir Paul McCartney, Metronomy and The Cars (see the item in Section 2, below, regarding a profile on the artist and his work). More info on the show is available online at http://www.somersethouse.org.uk/visual-arts/daydreaming-with-stanley-kubrick

d) In late 1950s – early 1960s London, three upstart young photographers – Brian Duffy, David Bailey and Terence Donovan – were on hand to both document and participate first hand in the rapidly-modernizing changes in the fashion and entertainment scenes. In addition to capturing memorable portraits of stars who arose from within the scene – actors, designers, artists and musicians (you’ll recall Duffy’s shots of David Bowie, including the famous cover for his Aladdin Sane LP, along with Bailey’s psychedelic cover image for the Rolling Stones’ Goats Head Soup), it was arguably Donovan who presented the broadest portfolio of artistically-crafted photos (and, later on, videos), including some that served to help launch the careers of his subjects.

While Bailey and Duffy have had a number of books and museum/gallery shows chronicling their careers, it wasn’t until now that Donovan’s contributions have been given the honor of a major retrospective. Now running at the Photographers’ Gallery in London is a show presented in association with camera manufacturer Ricoh (running through September 25th) titled Terence Donovan: Speed of Light that will include, in addition to a stunning collection of photos, a nice collection of related materials, including contact sheets, notes, diaries, sketchbooks and many previously-unseen items.

The Telegraph‘s Robin Muir gives us a preview of the show, along with some background on the photographer whose subjects have included everyone from Twiggy to Yassir Arafat.

http://www.telegraph.co.uk/photography/what-to-see/terence-donovan-the-man-who-launched-a-thousand-stars/

Find out more about the show at the gallery’s site – http://thephotographersgallery.org.uk/terence-donovan-speed-of-light-2

On a related note, being published immediately after this show closes is a new book of Donovan’s most-beautiful portraits titled, quite appropriately, Terence Donovan Portraits. The book’s authored by Philippe Garner, a Director and International Head of Photographs and of 20th Century Decorative Art & Design at the Christie’s  auction house. Released this month in Europe (and due to hit the streets in the U.S. on September 27th), the 176-page book is being published by Damiani, with more details available on the company’s web site – https://www.damianieditore.com/en-US/product/579

e) Just a reminder that the “Fine Art of Rock” exhibition – featuring the album cover works of Ernie Cefalu, Joe Garnett, Ingrid Haenke, Drew Struzan and the other talented artists that made up the roster of famed album art design studio Pacific Eye & Ear – launched in July at the Memphis Rock & Soul Museum for a run that will continue there through November 20th. On display will be original illustrations, paintings and working materials created for records by bands including Black Sabbath, Iron Butterfly, The Doors, Aerosmith, Grand Funk Railroad and many others. There’s a nice preview article by writer Bob Mehr that’s been posted on The Commercial Appeal: Memphis that also includes comments by Ernie – http://www.commercialappeal.com/entertainment/music/features/the-fine-art-of-rock-pays-tribute-to-album-cover-images-at-memphis-rock-n-soul-museum-376179b5-0e8b–386706541.html and for more info about the venue, click on over to their web site at http://memphisrocknsoul.org/

On a related note – The folks at the Memphis Rock & Soul Museum recently alerted me about a selection of photos posted on the Facebook page of classic rock aficionado John Gable taken during his visit to the Fine Art of Rock exhibition currently on display at the museum, so if you’d like to take a brief tour of some of the notable album art on display there, click on over to John’s gallery at https://www.facebook.com/photo.php?fbid=10206818128717266&set=pcb.10206818132277355&type=3&theater

f) Designer/blogger extraordinaire Simon Robinson recently posted an article on his ST33 site that introduces readers to a new exhibition which launched on the 14th of July that includes a display of over 500 album covers created for musical acts of the Jewish faith – in a wide variety of musical styles – that is currently on display at the Jewish Museum in London, UK. According to the museum’s site, the show – titled “Jukebox, Jewkbox! A Century on Shellac and Vinyl” (gotta love the name, no?) celebrates “the history of Jewish inventors, musicians, composers, music producers and songwriters.”

In addition to being able to view examples of early phonographs and gramophone (which, by the way, was invented and patented, along with the first phonograph record, in 1887 by Emil Berliner, a German-Jewish immigrant to the USA), visitors can track the growth of recorded music through the 20th Century to the present, “from Jewish folk music to Yiddish theatre songs, from Broadway musicals to rock‘n’roll via the rebels of punk and psychedelic rock. Hear personal stories from artists, musicians and collectors. Explore the art of the record sleeve and enjoy a display of 500 records including iconic sleeves from Amy Winehouse, the Ramones, Bob Dylan, and Barbara Streisand.” The show runs through October 16th.

Read Simon’s intro to this interesting, historic display on his site at https://st33.wordpress.com/

More info on the show is also available on the museum’s site at http://www.jewishmuseum.org.uk/jukebox

g) Billboard Magazine contributor Gail Mitchell just posted an intro article about the newest exhibition that just launched at the Grammy Museum in Los Angeles that should be a treat for Beatles fans. This show, curated by the Grammy Museum and Fab Four Exhibits, has been entertaining audiences all across the US since it opened up in NYC in 2014 (setting attendance records wherever it stopped), has now “come home” to the LA-based museum and will be appearing there through September 5th.

According to the museum’s press, “Ladies and Gentlemen…The Beatles!” brings us back to the early ‘60s when rock & roll was re-energized–some say saved–by four lads from Liverpool. The exhibit covers the period from early 1964 through mid-1966—the years Beatlemania ran rampant in America. During this time the band affected nearly every aspect of pop culture, including fashion, art, advertising, media, and, of course, music. On display are many Beatles-related pop culture artifacts from the period, as well as correspondence, instruments, posters, photographs, interviews, interactive displays, and an oral history booth in which visitors can leave their own impressions of The Beatles. Screenings and a series of talks reveal the continuing impact of the Beatles.”

Based on the show’s description and photos, there will be a lot of items on display that will be of interest to record art fans. Related events include one that vinyl lovers will have enjoyed – a specially-produced “Record Theater” event on July 18th which featured the music from the band’s 1966 release Revolver – the record featuring Klaus Voorman’s fantastic psychedelic ink drawing on the cover.

To read Gail’s article online, click on over to the Billboard site – http://www.billboard.com/articles/columns/pop/7431018/beatles-exhibit-grammy-museum

and, for more information on the show and all the related screenings, discussions and events, visit the museum site at

http://www.grammymuseum.org/exhibits/traveling-exhibits/ladies-and-gentlementhe-beatles

h) As part of the kick off festivities surrounding the “Chunk of Punk” photo exhibition which launched July 8th at the High Street Gallery at the Uncorked Wine Bar in Akron, OH (featuring the works of Jill Furmanovsky, album cover contributor extra-ordinaire), the Akron Art Museum hosted a special talk about the local rock music scene that featured both Ms. Furmanovsky and local music legend Chrissie Hynde of The Pretenders. Chunk of Punk was part of Punk Week in Akron, which celebrates the genre via a series of events including concerts, film screenings and related displays of artistry. More on this event can be found on the Museum’s web site at

https://akronartmuseum.org/calendar/artist-talk-jill-furmanovsky-with-chrissie-hynde/10486

Up-to-the-minute updates of this exhibitions can be found on the gallery’s Facebook page – https://www.facebook.com/22HighStreetGallery/

i) The Panopticon Gallery in Boston, MA has a new group photography show running now through September 13th that they’re calling Music To Our Ears and which features a fine collection of photographs – portraits, concert photography, etc. – by a dozen respected shooters including Charlie Sawyer, Roger Farrington, Marc Lacatell, Rowland Scherman and others, as well as shots from Ron Pownall, the man responsible for album package shots for a number of renowned musical acts including Joe Perry, Rick Derringer, Aerosmith, Ted Nugent, Rainbow and many others.

According to the gallery’s site, the exhibition will also include “some music posters courtesy of our friends at the International Poster Gallery and some new guitars by Booches Custom Guitars.”

Prior to the launching of this event, Pownall was interviewed by Jody Feinberg for the Abington Wicked Local web site – http://abington.wickedlocal.com/entertainment/20160610/rock-n-roll-photography-on-display-at-cohasset-arts-event    There, you’ll learn about highlights from Ron’s career, including a photo taken in 1976 capturing the then 19-year-old Charlie Baker – now the Governor of Massachusetts – at an Aerosmith concert in Providence…

2) Artist interviews/profile articles –

a) 20 years ago, a young photographer named Jonathan Mannion was hired by Rocafella Records to shoot a photo for the cover of the debut record (titled Reasonable Doubt) by a rapper named Shawn Carter who was looking for someone who’d present him to new audiences as someone who’d already established himself as the best in his profession. Shawn Carter went on to become music mogul Jay-Z and, as part of the festivities held to celebrate the record’s 20th anniversary, Mannion’s intimate photos from that session were presented in a “pop-up” exhibition called, quite reasonably, “PROPHECY”. A total of 22 images were shown at the private event – Vibe‘s Josias Valdez was on the guest list, talked to Mannion about how everything came together then and what’s next in this nicely-crafted illustrated interview – http://www.vibe.com/2016/07/jonathan-mannion-interview/

Just received an email from Mr. Mannion in which he details some of the latest things he’s been working on, including album covers for 2 Chains (College Grove), Dj Khaled (Major Key) and Gucci Mane (GUWOP). He’s also just teamed with  retailer PINTRILL to release a series of pins based on album art images Mannion’s done for Jay-Z, including some that celebrate the anniversary of their working together on Reasonable Doubthttp://www.pintrill.com/products/mannion-pin-pack?variant=21301575300

b) Houston-based artist Kevin Peterson received a call from someone on April Fool’s Day saying that they wanted to use a painting of his on the upcoming Red Hot Chili Peppers’ record The Getaway. Of course he thought it was a joke…that was, until he was assured that front man Anthony Keidis had seen the work – an ultra-realistic painting titled “Coalition II” of a young girl strolling down a graffiti-marked street along with a bear, a raccoon, a fox and a black bird – and felt that it would perfectly-represent (according to Patrick Flanary’s interview with Peterson recently posted on the Billboard.com web site – http://www.billboard.com/articles/news/7408793/red-hot-chili-peppers-album-cover-choice) “the strength that it takes growing up in the world today, those traumas that it takes to get through it, and to survive and thrive.” Like Keidis, Peterson is a recovering drug user himself who found a new beginning in the Arts, so there’s some poetic justice in how the two found each other for this project.

c) After meeting artist Andy Warhol in the late 1950s while he worked as a waiter in a NYC restaurant (to supplement his starving artist career at the time), the two formed a tight bond that ultimately led to both a romantic and creative relationship that would last 10 years and out of which would spring “The Factory”, a place where strange and wonderful things took place. That person – Billy Name (originally, William Linich, Jr. ), one of the last few of the original cast of characters who called The Factory home, died recently at the age of 76.

While he spent the rest of his life post-Factory as a poet, Name’s photographs were included on the famous packaging for The Velvet Underground and Nico (the band’s  Warhol-produced debut album, as well as their self-titled third record, where he’s also a character who knows right from wrong (“…But, Billy said, both those words are dead”) in the group’s  song from that record called “That’s the Story of My Life”.

You can read Name’s obituary in The Guardian via the link – https://www.theguardian.com/artanddesign/2016/jul/18/billy-name-andy-warhol-factory-photographer-dies-76

d) Man Booker Prize-winning author Marlon James – best-known for his 2015 novel A Brief History of Seven Killings – is featured in a recent interview with Jason Parham on TheFader.com site in which he recounts his earlier career as Creative Director (and album art producer) for top-selling Jamaican musician/recording artist Sean Paul. The two attended the same college in Jamaica before meeting professionally via Sean Paul’s manager in 1999 (while James worked as an independent writer/designer for commercial clients) to collaborate on the musician’s Stage One record. In the interview, you’ll learn more about James’ influences (Bjork and Pen & Pixel – quite the range!) and some additional details on several of the other covers he created for his famed fellow alum –

http://www.thefader.com/2016/07/12/sean-paul-album-covers-marlon-james

e) See item in Section 4 about a recent interview in The Guardian with acclaimed artist/musician Klaus Voorman’s regarding his just-released graphic novel about his time with The Beatles.

f) Interesting profile of artist Philip Castle in a recent posting on The Guardian‘s site by reporter Jonathan Jones. Album art fans will recall Castle’s contribution to the cover art featuring Brian Duffy’s memorable photo of David Bowie found on the Aladdin Sane LP (Castle created the silver teardrop found on Bowie’s shoulder, while film poster fans will recall his campy artwork crafted for Tim Burton’s Mars Attacks. While both of those efforts earned Castle many fans in the entertainment world, it was his artwork for Stanley Kubrick’s 1971 futuristic crime masterpiece A Clockwork Orange – now included in a show at London’s Somerset House gallery called “Daydreaming with Stanley Kubrick” – that cemented his place in Pop Culture history. Kubrick’s very hands-on, detail-oriented work ethic had him send Castle art and sculptures used in the film for use in his prep for the poster work (leaving him with great souvenirs!), and Castle would go on to work with Kubrick again on the art for his celebrated war feature Full Metal Jacket. Read all the details via the link at https://www.theguardian.com/artanddesign/2016/jul/07/stanley-kubrick-and-me-designing-clockwork-orange-poster

For some additional insight into this artist and, in particular, his album cover artwork, you might also want to spend a few minutes watching this 2011 video interview with London-based photographer Steve Mepsted posted on YouTube – https://www.youtube.com/watch?v=KbEAb2HoLVc

g) Another “local boy done good” feature was recently posted on the Somerset Live (UK) site that reminds us of the great talent of fantasy artist Rodney Matthews, who recently licensed one of his works for use on the cover of the latest compilation record by the Rolling Stones (Another Time, Another Place II). Matthews’ art has been featured on scores of books, posters and a number of album covers, including those for Asia, Hawkwind, Barclay James Harvest, Nazareth, The Scorpions, Thin Lizzy, Uriah Heep and Rick Wakeman, but in this case, it was an image he’d done 40+ years ago while working for the famed Big O poster house – one that had caught the eyes of the Stones’ production team and, miraculously, ended up being used – without Matthews’ consent – on a U.S. tour poster for the band that the new record’s publisher requested be used on the recent release – this time, with credit and, I’m assuming, some compensation. Good work always wins out in the end…

http://www.somersetlive.co.uk/8203-paulton-artist-designsthe-rolling-stones-album-cover/story-29453182-detail/story.html

h) When two collaborators in music both hold degrees from Boston’s School of the Museum of Fine Arts, you’d have to think that they’d be looking for just the right images to grace the covers of their records and, in the case of the band Quilt and co-founding members Shane Butler and Anna Fox Rochinski, you’d be right! For the cover of their 2016 release Plaza, after they came upon an image of a 1992 illustration by the late artist Ken Price (who also provided the cover art for The Paperhead’s 2014 release titled Africa Avenue) and realized that the artwork would be perfect for their upcoming record, they contacted the artist’s estate (managed by his son Jackson), made an impassioned plea for a license, and were rewarded with the permission they sought.

In Katherine Turman’s recent article for The Village Voice, you’ll meet these two talented young people and learn more about their ongoing efforts to “stitch together music and visual art”, much to the pleasure of their fans – http://www.villagevoice.com/music/perfect-cover-for-their-latest-album-quilt-stitch-together-music-and-visual-art-8768833

i) The works of legendary hip-hop photo specialist Ernie Paniccioli were featured recently in a rather-cool new project launched in Edmonton, Canada called the “Knowledge is Pow Wow” (which according to the project’s site, “will explore religious pluralism and social justice through inclusive conversation and creative expression …young adults from Edmonton’s downtown communities will hear from leaders representing Indigenous, Catholic, Jewish and Muslim faiths and culture.”). Paniccioli, a Cree Native American who grew up in Brooklyn, NY, got his start in photography in the streets of his neighborhood, capturing images of the graffiti culture that reigned in the 1970s. His images got him a lot of attention, particularly from the artists in the emerging hip-hop/rap music scenes there and he was asked by a number of the soon-to-be-stars of the time – Queen Latifah, Public Enemy, Snoop Dogg, Jay-Z and many others – to provide them with shots for their album packages and promotions.

For an interview with Ernie done prior to the exhibition that was posted recently on the CBC News web site, click on over to http://www.cbc.ca/news/canada/edmonton/famed-cree-hip-hop-photographer-s-work-on-display-in-edmonton-1.3652907

j) One of the design groups most-responsible for the over-the-top, bling-filled covers found on many of the rap genre’s best-known acts of the 1990s – 2000s was a Houston-based firm called Pen & Pixel, founded by two brothers (Aaron and Shaun Brauch) and whose work was featured on three-quarters of a billion albums, including 38 gold and 12 platinum-selling discs. The firm grew quickly and expanded their client list to include mainstream musical acts including Cher, Destiny’s Child, Lyle Lovett, Chris Rock and ZZ Top only to become victims of the many changes that rocked the music business, with the brothers leaving to start other careers – Aaron as a serial entrepreneur and business development consultant while Shaun continued on as an executive/creative director for several creative services companies.

New York Times contributor Will Stephenson recently posted a “Letter Of Recommendation” article that chronicles the firm’s rise and fall and how their designs established – at least for a while – the design guide for the proper proportions of cars, jewelry, money and scantily-clad women that should appear on any self-respecting rapper’s latest release.  http://www.nytimes.com/2016/07/10/magazine/letter-of-recommendation-pen-pixel.html?

k) Not sure how I missed this when it aired a couple of months back, but Rene Montagne of NPR Radio’s “Morning Edition” did a very nice interview with one of the best-known artists to work in the Bay Area since the mid-1960s – that being, Wes Wilson, the guy credited with crafting the trippy, balloon-y fonts that became a mainstay of gig poster designs from that era (he’s also applied his talents to album art of the day, most-notably on the cover for Cream’s Disraeli Gears LP). Samples of Wilson’s posters were included in the grand re-opening exhibitions staged when the San Francisco Museum of Modern Art threw open its doors after a major renovation and there are more examples of his work in the museum’s permanent collection – https://www.sfmoma.org/artist/Wes_Wilson

Listen to Wilson as he recalls how and why he got into the field, what motivated and shaped his work and how he hoped that his works would show, during the time when the war in Vietnam was raging, that “things are going to get better”. http://www.npr.org/2016/05/13/477900499/psychedelic-font-how-wes-wilson-turned-hippie-era-turmoil-into-art?

l) One of the most-impressive gallery collections of rock music-related fine art prints I’ve had the pleasure of seeing was on display at the San Francisco Art Exchange and, during my last visit, I had the pleasure of meeting the staff there, including the co-owner, Theron Kabrich. For those who haven’t seen the gallery’s collection (available online on their site at www.sfae.com), you’ll find editioned prints by many of the masters of album cover imagery, including designers Roger Dean and Storm Thorgerson and photographers Joel Brodsky, Elliott Landy, Gered Mankowitz, Mick Rock and others – usually presented in collections that will appeal to lovers of the imagery of rock’s foremost musical acts.

In his most-recent “Art Dealer Show” audio interview/podcast, art world veteran Danny Stern (who got his first gallery job at SFAE) talks to his mentor Kabrich about his start in the business – having transitioned from a career in the fields of psychology and mental health to his career in the art world after, according to his site bio ” he had traveled throughout Australia, New Zealand, Southeast Asia, Nepal and India, collecting art and objects along the way. This set a new chapter in motion from a career in clinical psychology to one as a fine art dealer.” Today, along with his co-owner Jim Hartley, Kabrich presents his gallery’s clients with fine examples of the works of the people that have produced many of the world’s best-known images from the world of Popular Culture, so it’s a rare opportunity to be able to listen to him discuss a whole range of topics with his learned cohort.

The 67-minute-long podcast is available via streaming/download, etc. – http://artdealer.show/004-theron-kabrich/

m) Ask six designers about their favorite/most-inspirational album cover designs and, of course, you get six completely-different stories, but in this recent article on The Guardian (UK) site built around interviews by Kathryn Bromwich, Imogen Carter and Katie Forster, I was particularly-intrigued by the appearance of several “classic” record covers in the answers proffered by some of these young-but-talented design pros. Included in the list of influential designs are covers by bands such as Sparks (their 1975 record Indiscreet is a favorite of Bedwyr Williams), The Human League (Inspiration, their 1979 record which profoundly impressed Julie Verhoeven) and Pink Floyd, whose 1969 record Ummagumma suggests the compositions of the Dutch Masters to Alice Anderson.

Always interesting to learn more about what goes on in the heads of today’s most-creative designers, I think…

https://www.theguardian.com/music/2016/jun/26/art-on-your-sleeve-artists-album-covers-juergen-teller-lynette-yiadom-boakye

n) Orange County, CA has produced a staggering number of talented people who’ve left their marks on the entertainment business – Steve Martin, Bob Deal (AKA Mick Mars) of Motley Crew and Gwen Stefani are just a few we can mention – but few have contributed as influential and long-lasting an item as the logo design created by Westminster High School graduate Gerard Huerta – that being the AC/DC lettering and logo that has graced the covers, sleeves, t-shirts, tattoos, posters and other memorabilia purchased by millions of fans since its introduction in 1976. Huerta began his career at CBS Records in New York designing album covers and creating letterforms for Boston (see the article on this cover later on in this posting), AC/DC, Ted Nugent, Blue Oyster Cult, Stephen Stills and Foreigner. He started Gerard Huerta Design in 1976 and has been drawing custom letters and logos ever since.

OC Register staff writer Peter Larsen recently posted a profile on the ever-busy artist at http://www.ocregister.com/articles/huerta-720158-westminster-lettering.html

I had the pleasure of interviewing Gerard several years back about his work on that iconic logo and so I invite you to take a gander at that article on my old archive site –

http://rockpopgallery.typepad.com/rockpop_gallery_news/2007/07/cover-story—a.html

o) Record covers have always reflected the fashions of the day, so leave it to the writers from Vogue Magazine to track down and interview a person that many of us classic album art fans know, but only from the waist down to his knees! Of course, I’m talking about Corey Grant Tippin – make-up artist, model, actor and Andy Warhol muse/chum, whose mid-section was featured prominently on the un-zippable album cover created for the Rolling Stones’ Sticky Fingers record, released in 1971.

In this article by Laird Borrelli-Persson that serves to introduce the relationship between Tippin and famed 70s illustrator Antonio Lopez (whose works are the subject of a new show on display at the new El Museo del Barrio “Antonio Lopez: Future Funk Fashion”), the interviewer questions Tippin about Lopez, his career as an in-demand make-up artist and working with Warhol and the team that created the acclaimed and controversial record cover –

http://www.vogue.com/13448063/corey-grant-tippin-interview-antonio-lopez-andy-warhol-sticky-fingers/

p) Writer Vikki Tobak’s new interview series for the Mass Appeal web site launches with an interview with one of the best-known photographers who has covered emerging music scenes over the past several decades – Janette Beckman. Ms. Beckman’s credits in the album art world include cover shots for The Police (Outlandos D’Amour, Reggatta De Blanc, Zenyatta Mondatta and Every Breath You Take: The Singles); Squeeze (Six Of One); Gang Starr (No More Mr. Nice Guy); Grandmaster Flash & The Furious Five (On The Strength) and Salt-n-Pepa’s A Salt With A Deadly Pepa and Push It, among others, as well as the subject of this recent interview – an iconic image taken of British rapper Slick Rick during a Def Jam press shoot in NYC for The Great Adventures of Slick Rick album in 1989.

The interview dives into “the making of” this and other shots from her career and provides camera nerds with the details of the equipment she employed to make the magic happen – http://massappeal.com/contact-high-the-stories-behind-hip-hops-most-iconic-photographs/

3) Sales/Auctions –

a) St. Paul’s Gallery, one of the premiere publishers/galleries that specialize in album cover art prints, just informed me of a sale they’re running in conjunction of the recent opening of the world-traveling “Bowie Is” exhibition at the MAMbo – Museo d’Arte Moderna di Bologna – in Spain (see http://davidbowieis.it/en/ for more details). From now until this Friday, August 5th, the nice people at St. Paul’s are offering a 10% discount (via the promo code LIDNI231 entered at check-out) on any of the fine Bowie-related art prints they have available, including prints (some of which have copies also on display as part of the Bowie Is show, organized by the V&A Museum) by acclaimed artists/photographers such as John Rowlands, Celia Philo & Philip Castle, Terry Pastor and others. Some of the prints were co-signed by Mr. Bowie prior to his sad death this past January, making them all the more collectible. To see the entire offering (prints, limited-edition books, posters, sculpture, etc.), follow the link to the gallery’s site – http://www.stpaulsgallery.com/prodtype.asp?strParents=&CAT_ID=264&numRecordPosition=1

b) The team at Gotta Have It Rock & Roll auction house have just released a summary of the prices paid for items that were included their recently-held auction, with bidding closed on Saturday, July 30th. Fans of unique, album art-related items will find several examples of items that found new homes with collectors who participated in the “Rock and Pop Culture Auction – July 2016” event, including several groups of photos of the late artist formerly known as Prince (each of the three sets sold for a mere $100) and an abstract painting done by singer Alanis Morissette, which sold for $5363, well above the $4000 top pre-auction estimate.

Collectors seemed to be holding on tight to their purses/wallets as many items went unsold, including a set of photo proofs/negatives done for records by Steven Van Zant, artwork for Journey’s Time 3 box set (autographed by singer Steve Perry), a pair of photos offered up by the estate of Herb Worthington that were used on covers for Fleetwood Mac and Lita Ford (although, a Worthington-owned RIAA Platinum LP plaque for Stevie Nicks’ Bella Donna did sell for $587, near the top of the estimated value range) and an art board featuring a 16 x 20″ Neal Preston photo shot for the cover of Bruce Springsteen’s Live 75 – 85 record album. If you’d like to see more of the results, click on over to https://www.gottahaverockandroll.com/Category/Artwork-206.html   Congratulations to all who found something nice to add to their personal collections.

c) Lovers of the artwork of the late Rick Griffin were in for a treat this past month with the announcement of a special auction of his works hosted by the Psychedelic Art Exchange. Griffin, who created the now-famous artwork for the cover of the Grateful Dead’s trippy 1969 album AOXOMOXOA, along with covers for musical acts including Kerry Livgren, Cold Blood, MAN, The Packards, Darrell Mansfield and others, was also a celebrated poster artist, creating hundreds of designs for acts playing at Bay-area venues. In the late 1960s, Griffin teamed up with several other celebrated local artists, including Alton Kelley, Stanley Mouse, Victor Moscoso and Wes Wilson to start an agency specializing in psychedelic posters called Berkeley Bonaparte and, in the list of over 100 posters that were included in this auction, you’d have found wonderful examples of this work, along with images he created for his other loves, such as surfing, comic books and religion.

Take a look at what curator Glen Trosch has put together for you to look at in this month’s new auction and, if you’re so inclined, add to your collections, via the link – http://auctions.concertpostergallery.com

4) New Print/Book Publishing –

a) There’s a new Klaus Voorman book (a graphic novel) that tells the story of his relationship with The Beatles beginning with his first encounter with the group in 1960 in a Hamburg, Germany bar. Birth of an Icon: Revolver 50 includes the story about his Grammy-winning illustrations done for the cover of Revolver for The Beatles. In a recent interview with Robin Stummer for The Guardian web site, Voorman shares some of his recollections (“I created the Revolver cover. It was on the third floor of a house, in a little attic apartment, it was in the kitchen. Parliament Hill, Hampstead. I was staying there. I went back there recently, the building is exactly the same.”) which remain quite vivid even after all these years.

Trained as both a graphic artist and a musician, Voormann and his girlfriend, the photographer Astrid Kirchherr, met the band early in their career (the Pete Best/Stu Sutcliffe days) and inspired their looks at the time (black clothes, leathers and low-cut bangs). Astrid spent hours shooting the band (some of her best-known shots were used on the album packages for the band and several solo LPs, including George Harrison’s Wonderwall Music and John Lennon’s Signature Box compilation). Voormann went on to spend much of the 60s and 70s alternating stints on the pop and rock circuit, playing bass with Manfred Mann, George Harrison and John Lennon – including on Lennon’s Imagine – with his work in graphic design and fine art. Did covers for the Bee Gees (Bee Gees 1st and Idea, more for Beatles-related projects (inc. 1995’s Anthology compilation and Ringo’s Ringo), his own 2009 solo album A Sideman’s Journey (featuring guest appearances by former Beatles Paul McCartney and Ringo Starr, Yusuf Islam, Jim Keltner, Joe Walsh and others) and, more recently, a quite-Revolver-like illustration for the cover of Japanese rockers Glay’s 2014 release titled Music Life.

https://www.theguardian.com/music/2016/jul/23/beatles-revolver-cover-klaus-voormann

Book info on Voorman’s site (set for an early August release) – http://www.voormann.com/shop/birth_of_an_icon_revolver_50

b) The works of one of the “Early Influencers” of record album artwork – artist David Stone Martin – have always intrigued fans of album art with their simple-yet-compelling lines and colors – just ask any fan of the many (over 400!) covers he created for records by acts including Count Basie, Charlie Parker, Joe Pass, Dizzy Gillespie, Billie Holiday and others who appeared on the several labels headed by the great jazz promoter Norman Granz (Asch, Clef and others) during the 1940s-50s. While some of the covers have been available previously as fine art prints, there’s a new, much-larger collection that’s being offered at the Modern Rocks Gallery in Austin, TX that comes from publisher Audioframe as the result of their pain-staking efforts to restore vintage plates and recreate the excitement of the original designs. Each print is hand-numbered and is stamped by DSM’s archive. There are 4 sizes available, in editions from 200 for the 14″ square prints, offered at $380, to just 25 prints in the huge 44″ square versions, priced at $1995. To see the entire collection, visit the Modern Rocks site at http://www.modernrocksgallery.com/buy-david-stone-martin-prints/

c) Tom Sheehan’s photos have been featured on hundreds of album covers and packages throughout the years (inc. those for the Flamin’ Groovies, Ian Dury, Aztec Camera, The Charlatans UK and others), but it is his photos of Robert Smith and his mates in The Cure – taken beginning in 1982 while he worked as the principal photographer for Melody Maker magazine – that are probably his best-known works, so it’s exciting to see a hand-picked selection of them taken over a 23-year period (thru 2005) compiled and offered in a soon-to-be-published new book. In Between Days. The Cure in photographs 1982 – 2005 is scheduled to be released this coming November in two beautiful editions – the Deluxe (2500 copies) and the Super Deluxe (just 700 copies) – each with 240 pages of photos and text, with the Super Deluxe version including a signed COA, a deluxe slipcover and an envelope containing three 5×7″ photos, suitable for framing. The Price for the Deluxe version is £48.00, while the Super Deluxe is available for £70.00, with pre-orders now being accepted on The Flood Gallery’s site at http://www.thefloodgallery.com/collections/the-cure-in-between-days?

d) The late Nirvana guitarist/songwriter Kurt Cobain showed a love for the visual arts by contributing album images for his band’s In Utero and Incesticide records, some of which will be on display as part of the recently-announced touring show of his art, organized by his family and Jampol Artist Management – https://news.artnet.com/art-world/kurt-cobain-art-exhibition-522386. Kurt’s visual arts genes live on in the artwork now being produced by his only child, the now 23-year-old Frances Bean Cobain, who has begun offering prints of her humorous-but-slightly-macabre artwork via the Depop online art store (https://www.depop.com/en-us/space_witch666). Ranging in price from $150 to $400 per print, the nine different images include, according to this recent article on the ArtNet site by Sarah Cascone, several works that were included in her first series released back in 2010 and illustrate that the young Ms. Cobain shares some of her Dad’s slightly-strange, dark humor…learn more via the link – https://news.artnet.com/art-world/frances-bean-cobain-art-for-sale-355262

e) Another reason to have braved the crowds at last month’s Comic-Con in San Diego is presented in this article by Ethan Anderton on the Slashfilm.com site about two sets of limited-edition items – one set of special-edition vinyl recordings and another set of related album cover art prints – featuring your favorite characters from one of last year’s most-successful animated films – Pixar Animation’s Inside Out. While supplies lasted at the show, festival goers were able to purchase 7″ vinyl copies of music taken from Michael Giacchino’s score for the film (not previously released on vinyl) that will be produced by specialty supplier Mondo in small batches (2500 copies in each) that feature both colored discs and artwork focused on one of the movie’s main characters (Joy, Sadness, Fear, Disgust, Anger and Riley). Also at the show, the first group of limited-edition (200 each out of 420 total per image) 18″ x 24″ prints of the albums’ different covers (done by the Toronto, Canada-based Phantom City Creative team, the same group that produced the stunning album art for Mondo’s soundtrack album for the Hannibal film soundtrack) were offered up by the folks at Cyclops Print Works, with the rest being made available by the publisher after the show.

To see all of the aforementioned art that’s available, link on over to the Slashfilm article now – http://www.slashfilm.com/inside-out-vinyl/

Visit the Cyclops Print Works site to get your own copy of one or more of these new collectibles – https://www.cyclopsprintworks.com/

You’ll find another Mondo-based article down in Section 5 that I’m sure you’ll enjoy as well…

f) Please see the article in Section 1 of this recap about the new book coming out featuring portrait photos by the great Terence Donovan – https://www.damianieditore.com/en-US/product/579

g) Photographer Drew Carolan, well-known for his compelling album cover photos featuring musical acts including Ziggy Marley, Eric B. & Rakim, Living Colour and many others, shared with me some information about a book he’s going to release this fall that should be of great interest to fans of the early 80s music scene as it transitioned from punk to the more hardcore styles. Over a two year period – from 1983 to 1985 – Drew set up shop near famed rock club CBGBs in the Bowery section of New York City to document – in an effort called the “Matinee Project” – the people who participated in the scene and attended the hardcore/metalcore events that were held nearby. Partnering with Radio Raheem Records (home of bands including Agnostic Front, Charred Remains, The Androids and other hardcore stalwarts), the deluxe hardcover book – titled Matinee: All Ages – On The Bowery NYC 1983 – 1985 is sure to please fans and those interested in seeing shots from this most-fascinating musical/pop culture era. Several years ago, Carolan created a video that highlights the time he spent creating this series which should serve as a great intro to his project – https://www.youtube.com/watch?v=6jN46nf0nl0

To sign up for updates on the availability of this book, please visit http://www.radioraheemrecords.com/matineebook

h) While not easily falling in to this category’s basics (i.e., new prints, books and other arty collectibles), this item is of enough import that I felt it should be mentioned as it does involve collectibles of another type – i.e., postage stamps. On July 7th, the U.K.’s Royal Mail released a series of stamps that feature images connected to one of the nation’s best-known treasures, that being the rock band Pink Floyd. The collection of 10 different images gracing the new stamps include several of the band’s iconic album covers including early releases such as The Piper At The Gates Of Dawn, Atom Heart Mother, The Dark Side Of The Moon, Wish You Were Here and Animals, up to the group’s final 2014 release The Endless River. Four additional stamps feature photos of the band performing live on tour, including shots from concerts at London’s UFO Club in 1966, the Dark Side of the Moon tour in 1973, 1981’s The Wall tour and 1994’s The Division Bell tour.

Besides the stamps, there are a number of related items that are being promoted by the mail service, including souvenir sheets and presentation packs, framed collections, two cover collections, including one commemorating the 10th anniversary of the death of group founder Syd Barrett and a special numbered limited-edition item called a “Moon Maxi Sheet” that presents 10 of the Dark Side of the Moon stamps on top of a 9 x 7 replica of the renowned prismatic cover art.

As you might imagine, there has been a fair amount of coverage about this new collection, so if you’d like to learn more, click on over to this article on the BBC site – http://www.bbc.com/news/entertainment-arts-36382247

or another example on the Belfast Telegraph site at http://www.belfasttelegraph.co.uk/entertainment/music/news/pink-floyd-stamps-to-feature-innovative-album-covers-34747737.html

To see and buy these new items, pop on over to the Royal Mail site at http://www.royalmail.com/pinkfloydstamps

i) Comic book publisher Storm Entertainment has released a new comic novel that presents the life and times of the late artist Prince. Titled Tribute: Prince and penned by writer Michael L. Frizell, the comic book features artwork by Ernesto Lovera and Vincenzo Sansone. Lovera has previous credits doing artwork for tribute comics on other famous subjects, including Britain’s Royal Family, pin-up model Bettie Page and an earlier (2013) book on Prince titled Fame, while Sansone has done work on books about John Wayne and Pope Francis. Writer Frizell’s past comic book work covers famous figures in popular culture, politics and music, including books on Hillary Clinton, Jeb Bush, Nancy Reagan, Bono, Miley Cyrus, The Osbournes, Jerry Garcia and Amy Winehouse. Over the years, Storm Entertainment, formerly known as Blue Water Comics, has released a number of tribute comic book biographies, including ones on David Bowie, Kurt Cobain, Michael Jackson, John Lennon and many others.

Rolling Stone Magazine contributor Althea Legaspi provides us with additional details and comments from the creators of this 24-page tribute to another artist who has left this planet way too soon –  http://www.rollingstone.com/music/news/tribute-prince-new-comic-book-released-20160609#

5) Other articles of interest –

a) Some of you might recall a posting some time back about a new “Floating Record” turntable I’d bought via a Kickstarter project in support of a Chicago company called Grammovox. As a Grammovox owner/supporter, I’ve been the recipient of a regular email newsletter in which they share info on new products (including a retro-style Bluetooth speaker) and on vinyl record products that, when mounted to be played on the vertically-oriented turntable, look extra cool – picture discs, colored vinyl and, in the case I’m sharing with you today, a series of records made by an artist named Curtis Godino that are filled with various liquids. Very lava-lamp visuals, you’d have to figure. Two notable commissions for Godino include “blood-filled” records for clients including Waxwork Records’ Friday The 13th soundtrack and Mondo’s soundtrack for the blood-drenched film ALIENS.

Grammovox staffers recently interviewed the Brooklyn, NY-based artist about the wide range of liquid disc projects – for both musical and fine art clients – for their blog titled The Reverb, which you can reach via the link at https://www.gramovox.com/blogs/posts/interview-with-curtis-godino?

b) Today’s second story about record releases with interesting delivery options shows us a new album titled Ecume on the AntiVJ label by Belgian record producer Thomas Vaquie’, who collaborated with the appropriately-named (for an album package designer) artist Yannick Jacquet (!!) to create a sleeve made of concrete cast resin that’s been inscribed with 3D representations of the waveforms of some of the album’s music. Writing for the Stoneyroads.com dance music web site, Joseph Smith gives us an overview of the limited-edition (25 sets) offering – priced at €90 (not including shipping!) – http://stoneyroads.com/2016/07/artist-creates-concrete-record-sleeve-for-album

c) Levi’s 505C jeans – whether you know it or not – have been featured on two of rock’s most-iconic album covers – Sticky Fingers by the Rolling Stones and the debut record by NY punk legends Ramones, and with retro styling having a bit of a comeback, the clothing company has decided to re-issue this series in order to fulfill the desires of punkers and Factory-wannabes of all ages to dress as their heroes did.

http://www.gq.com/story/levis-505c-new-style-archives-denim-jeans

d) R.I.P. cartoonist and illustrator Jack Davis, one of the founding editors of Mad Magazine, who died Wednesday at the age of 91. Over his long career, Davis gave us memorable images for a variety of book, magazine and commercial advertising clients (e.g., he designed the original bug that screamed “RAID!” on the bug spray commercials), but besides his great cartoons for Mad, I remember him best for his poster for the 1963 film (then DVD) It’s A Mad, Mad, Mad Mad World and his album cover for Johnny Cash’s 1966 record Everybody Loves A Nut.

His colleagues at Mad posted a tribute to him that gives you a nice retrospective of his career – http://www.madmagazine.com/blog/2016/07/27/mad-remembers-jack-davis-artist

Truly a great – sad to see him go.

e) Being that we find ourselves – both here in the U.S. and abroad – in the midst of a fair amount of political news-making (elections, party overthrows, military coups, etc.), we’d be disappointed if somebody didn’t use the opportunity to create a series of album cover-influenced images featuring a selection of those folks making the headlines. Well, no reason to be disappointed – the team of reporter Graeme Demianyk and picture editor Tahira Mirza of the U.K. edition of the Huffington Post have crafted a selection of 10 covers that insert politicians including former PM David Cameron, past London mayor Boris Johnson and ex-Labour Party leader Ed Miliband into familiar album art scenes from musical acts including the Beach Boys, Sting, Johnny Cash and Madonna, among others. The creators’ reasoning for this work was stated quite simply – “Sometimes politicians look like they’d rather have been in a band. We’ve tried to make it happen”. I wonder if any of the politicians featured in the grouping would have rather been in the theater? I could definitely see Nigel Farage playing Aaron Burr on a poster for Hamilton http://www.huffingtonpost.co.uk/entry/album-covers-politicians_uk_57754d63e4b0b9c0dc08ce37

f) They keep trying to get away with this crap…blame it on the “if it’s on the Internet, it must be free” approach to art/photo license management…Photographer Glen Craig, whose portraits and performance photos of many of rock music’s best-known acts (Rolling Stones, James Brown, Miles Davis, The Beatles, Jimi Hendrix, Johnny Cash and many, many others) have been seen in hundreds of magazines, newspapers and books over the years and, along the way, he’s had special relationships with many of the musical acts he’s taken photos of. Blues guitarist B.B. King was one of those acts, with Craig’s photos of the “King of the Blues” gracing the covers and inside pages of top music magazines of the day including Cashbox, Hullaballoo, Guitar Player, Downbeat and others, so you know that it was a pretty well-known fact that the two were connected.

This seems to have escaped the fact of those responsible for putting together the cover art for several more-recent Universal Music releases of performances by Mr. King, including 2012’s Ladies & Gentlemen…Mr. B.B. King, whose cover shot is one from Mr. Craig’s archives and was not licensed for this use. Not too happy to have found this out by happenstance, Mr. Craig recently sued the label and Mr. King’s estate to recoup royalties he should have earned from a proper license, with the details of the lawsuit and its outcome still pending. The folks on the TMZ.com site recently posted a startling expose of this atrocity, which you can review via the link at http://www.tmz.com/2016/07/11/b-b-king-universal-music-sued-album-photos/   (right next to the link to the article titled “Gigi Hadid’s HUGE Breasts Spill Out…WOW!). Love them TMZers, don’t you?

g) And I thought that I held grudges for too-long a time…It seems that, back in 2013, a spat was ignited between singer/songwriter Sufjan Stevens and Jehnny Beth of the UK-based punk band The Savages after Stevens posted a critique of the typography that The Savages used on their Silence Yourself debut record. While the band didn’t respond at the time (Stevens did say that he liked the music), Jehnny showed us that the wound remained deeply ingrained in her psyche when she asked the radio jock she was being interviewed by to not play a Stevens song during the show because “…he wrote a quite funny blog post about how much he hated our album cover.” Stereogum’s James Rettig gives us the details in this recent posting – http://www.stereogum.com/1886227/savages-jehnny-beth-responds-to-sufjan-stevens-critique-of-their-album-cover/news/ All I can say, in the vernacular common for an earlier time, is “take a lude, dude”…

h) If you have a story or personal recollection about the late artist/illustrator Richard Amsel (well known for his film poster and album cover work), the guy that is making a documentary film about the artist is looking for your help. As part of his effort to gather materials for his film, Adam McDaniel was at the upcoming San Diego Comic-Con gathering, camera in hand, ready to capture your stories for posterity. In particular, he was looking for other artists who might have worked with Amsel sometime during his career, so if you missed each other during your trip to this huge pop culture extravaganza and have a story you’d like to share, please contact Adam via email at cinemalad5@aol.com. For more information on this film project, please visit their site at http://cinemalad5.wix.com/richardamselmovie

i) While not an article on album cover art per se, I did discover an article about a new book that’ll be hitting the shelves later this year that covers and highlights the work of people – illustrators, graphic designers and industrial designers who, according to a quote from the book’s author,” in many ways, have been left out of design history.” Sound familiar?

The new book, titled The Art of Atari, was written by Tim Lapetino, executive director of the Museum of Video Game Art (playmova.org) and, according to writer Colin Campbell’s recent article for the Polygon web site, “celebrates the packaging and games that were part and parcel of the late-1970s and early-1980s era of console gaming.” Reading through this article, there were many parallels between the perceived roles that designers played in this burgeoning industry – creating eye-catching packaging, marketing materials, advertising, etc. – while in the shadows of the “stars” of the genre (i.e., the video game programmers) with their counterparts in the music business, who typically are the record label execs, band managers and the musical acts themselves that I am pleased to find out that there are others like me (and you, my readers) who have realized just how important it is to provide greater visibility and praise for the “unsung heroes” of these entertainment areas.  I hope to reach out to Tim to find out more about his work and his new online museum but, in the meantime, I hope you’ll take a look at this preview – http://www.polygon.com/features/2016/7/4/12083190/inside-the-art-of-atari

j) In the annals of rock music album art history, few band logos/images have been more memorable than Boston’s Spaceship Guitar, the Roger Huyssen-produced illustration (featuring Gerard Huerta’s lettering) which was found on the cover of the band’s 1976 debut record and which went on to sell over 25 million copies world-wide, becoming the second best-selling debut record of all time.

This year, for their 40th Anniversary tour, the group asked the folks at Seattle-based design/animation shop Straightface Studios to expand upon that original design to create an impressive 3-D animation that provides the backdrop to the band’s live concert production. The two-month project produced thousands of hi-res frames used to create the video, with the awe-inspiring results available for viewing as part of writer Kurt Schlosser’s recent article on the Geek Wire site – http://www.geekwire.com/2016/boston-concert-seattle-straightface/

I have more than a feeling that you’ll like what you see (sorry, I just had to do it).

k) We’re often inspired by the images we find on the covers of our favorite record albums, but this is the first time that I’ve read an article where a noted design/innovation consultant has been able to extract the DNA from classic album cover art and apply it to the exploration of how effective teams of people work together to innovate in the workplace (wow – I haven’t written a sentence like that since leaving the Corporate world 10 years ago, and it still stings a bit…).

In this recent article in the Huffington Post by Geoff Tuff (who heads up the Doblin group within Deloitte) titled “Innovation Lessons from the Dark Side“, the author describes how, after deep deliberation, the Hipgnosis-designed cover art for Pink Floyd’s Dark Side of the Moon presented to him “a reflection on how innovation teams can serve as a prism to play two essential roles for their business: dispersion and re-composition.” By “dispersion”, Tuff means feeding a core business in on one side of a prism and having it come out – through the application of a number of innovative ideas – refracted into a myriad of colorful results. “Re-composition” hopes that truly-capable teams are able to look at the many different ways innovation takes place in the “outside world” and then focus on what’s best for their own efforts going forward.

We’ve all noticed that the titles of the songs on the album – “Time”, “Us & Them”, “Money” and others – all relate quite clearly to

http://www.huffingtonpost.com/geoff-tuff/innovation-lessons-from-t_b_10364740.html

l) The things some artists will do in order to achieve just the “right” look for their album cover photo! While I typically will not send my readers to gossip sites, this recent article on the Perez Hilton site includes a video of heart-throb Nick Jonas standing still while a sheet of glass is broken over his head, with the results captured via high-speed photography and used on the cover of his latest release titled Last Year Was Complicated. Photography by Yu Tsai, with design and art direction by Kyle Goen (AKA Kyledidthis), the guy responsible for recent album covers for pop artists including Babyface, Ariana Grande, Kid CuDi and Erykah Badu. I’m impressed that Kyle was able to convince the musician (and his management) that this was the best way to produce this image – it harkens back to the days (prior to computer graphics) when art directors had to use their imaginations and available resources to create images like this one…

http://perezhilton.com/2016-06-08-nick-jonas-album-cover-art-last-year-was-complicated-broken-glass-head#

m) Attention all album packaging designers – it’s that time of year again to submit your entries to the annual A Design Awards international design competition. If you’re unfamiliar with these awards, here’s a little more of an intro as provided by the organization’s PR folks – “The A’ Design Award & Competition has been established to promote and recognize the best design works in all countries and in all creative disciplines. The primary aim of the A’ Design Award & Competition is to create a global awareness and understanding for good design practices and principles by highlighting the best designs in all countries and in all industrial fields. The ultimate aim of the A’ Design Awards is to push designers, companies and brands worldwide to create superior products and projects that benefit the society.

The A’ Design Award & Competition has a philanthropic goal to advance society by pushing the frontiers of science, design, creativity and technology forward by creating incentives for innovators to come up with better ideas. The A’ Design Competition aims to create incentives that ignite and reward creativity, original ideas and concept generation in all industrial sectors.”

To those of you who work for clients in the music/entertainment industries, there’s an award category called “GRAPHICS AND VISUAL COMMUNICATION DESIGN AWARD” that focuses on marketing/promo design – posters, flyers, logos, consumer/trade ads, etc. – with more details on that category available via this link – https://competition.adesignaward.com/competitions/graphicsandadvertisingdesign.html

Packaging designers can find out the details of submissions in the “PACKAGING DESIGN” award category via this link – https://competition.adesignaward.com/competitions/packagingdesign.html

Regular submissions will be accepted until September 15th, with the actual judging/award announcements coming out next April, so watch this space for any updates and for information on the winners in these categories. Best of luck to all who enter!

That’s all for now – look for updates every week (usually on Friday) on our news feed –https://www.facebook.com/AlbumCoverHallOfFame – we’ll be back early next month (after the move to our new home near Chicago!) with another summary for you.

All text Copyright 2016 Mike Goldstein and AlbumCoverHallofFame.com – All Rights Reserved.

Album Cover News Recap for May, 2016

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ALBUM COVER HALL OF FAME’S ALBUM COVER NEWS RECAP FOR THE MONTH OF MAY, 2016

It’s the first day of June, 2016 and perhaps you’re just noticing and saying to yourself  “you know, it’s been a while since I’ve seen a monthly summary on the Album Cover Hall of Fame site”. Well, in truth, it has been a while – yours truly was away from the office for a period of a couple of weeks in late April/early May and, unbelievably for an American, I chose NOT to work through my trip and, instead, chose to relax (“how dare you!”). At the same time, I decided to modify both the form and frequency of my album cover news summaries, the result of which you’ve seen the past few weeks and hope that you’ve enjoyed. Rather than daily missives, you’re getting a summary once a week (on Fridays, with the occasional timely updates inserted as needed), with each week’s news broken into several categories (the human mind loves to categorize, so I’m just giving you a head start in that effort). With this month’s summary, I am going to introduce a format chance that more closely follows the weekly updates, with news stories divided up into those same categories, making it easier for you to focus on the topics that might be more interesting to you than others. I am hoping that these changes increase your enjoyment of the monthly summaries – of course, if you have any concerns or suggestions, I do hope that you’ll contact me (curator@albumcoverhalloffame.com) and let me know how I might better deliver the ongoing supply of album art/artist-related content I’m dedicated to providing you on an ongoing basis.

So much has happened since we last chatted – even with the media circus that dominates our daily news feeds (#1 – “It hurts when I watch this.” #2 – “So don’t watch this!”), the people that make our favorite album imagery continue to draw interest from fans and the press, so there’s been an ongoing stream of articles, interviews and the like on a wide range of related topics:

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