Led Zeppelin III 's gatefold sleeve even featured a rotating volvelle of images. Clarke's sci-fi classic Childhood's End. Zeppelin's epic full-lengths remain testaments to ferocious riffage and cerebral graphics. Like Pink Floyd, The Who mastered the merge of concept albums and art, creating timeless work buttressed by seeking brains and ferocious musicianship. The quartet's effort The Who Sell Out was a stab at commercialism emblazoned with fake ads for deodorant and beans. The resilient double-album rock opera Tommy unfolded into a triptych with spanning graphics that recalled the arty math of M.
Incendiary concept album Quadrophenia psychoanalyzed The Who using field recordings, unhinged rock and butterfly packaging that, like Tommy before it, contained an image-studded minibook that explained the story and showed off the lyrics.
Throw in the controversial piss party of Who's Next as a chaser, and you've got a band with album imagery that remains as powerful as its Bowl Cut - Weird Paul - In Case Of Fire Throw This In (CD. This effort from British standout Small Faces topped the British charts with heavy rock and soul tracks anchored in a conceptual quest for a missing half of the moon. The release's novel early packaging — which replicated a tobacco tin and was rounded out by an enclosed poster created by assembling five paper circles — thoroughly hooked the public.
Like other work from the '60s, Small Faces' Ogden's Nut Gone Flake combined modern art and music in ways that revolutionized not just LP graphics and packaging, but also the industry.
By the time the '70s arrived, mind-wiping cover art had become practically mandatory. Called the Picasso of jazz by Duke Ellington, Miles Davis had already sequenced the genes for cool and modal jazz by the time he got to effort Bitches Brewwhich smashed jazz through an electronic rock grinder.
Celebrating its 40th birthday this year, Bitches Brew continues to be one of the most celebrated musical efforts in history of any genre, at least partially because of its stunning gatefold cover. Created by acclaimed artist Mati Klarweinwho studied with Salvador Dali and Ernst Fuchs, Bitches Brew 's spacious, surreal cover art folded out into a stunning mural.
He died in English artist and designer Roger Dean is synonymous with fantastically swirling dreamscapes. Like most other icons on this list, he made art in the late '60s, but blew up like an acid trip in the '70s. Dean worked on almost all albums by Album) legend Yesdesigning instantly recognizable, shimmering tableaux that seemingly merged Dali and Dr.
In the end, Dean's fluid sci-fi visuals proved inextricable from prog's infamous indulgence, and he has since worked chiefly on Yes-related projects. Giger —————————————————————————. Giger's singular, sexualized cyborgs reached an apotheosis in Ridley Scott's sci-fi movie Alien. Speaking of Giger, music and sexual perversity What could be more punk than H. Giger, The Dead Kennedys and graphically rendered, but ultimately dehumanized, sexual intercourse? That's right, nothing.
Which is why Kennedys front man Jello Biafra wanted Giger's colloquially named " Penis Landscape " as the cover of his band's burner, Frankenchrist.
That is the Reagan era on parade. Right there! That shows how Americans treat each other now. But Giger's phallic satire was too punk for Biafra's bandmates, and the artwork was summarily relegated to a poster inside the sleeve. Instead, Frankenchrist 's cover art depicted a hilariously banal Shriners parade. Yet other punks would carry the torch for rough, tough cover art. The Minutemen, Sonic Youth and other smart upstarts employed the deranged comic art of Raymond Pettibon to help communicate their musical mayhem.
Ironically enough, punks ended up leveling the copyfight against shoe titan Nike, which blatantly lifted Minor Threat's self-titled LP cover for an obviously referential ad campaign designed to sell its crappy sneaker to a skateboarding demographic that grew up on the genre.
It was Nike's most recent epic fail, and proof of good punk's resilient DIY aesthetic. Simple, powerful cover art can often be as influential as dizzying visuals crafted by painters trained by Dali.
Heavy metal has been particularly ambitious when it comes to cover art, churning out LPs emblazoned with nightmarish hellscapes, unforgettable characters and conceptual coolness. Motorhead's No Remorse came with a faux leather sleeve, which is the only faux thing the band has probably ever done. Iron Maiden built a career, and a massive stage show, on the back of a monstrous mascot named Eddie the Headcreated by artist Derek Riggs.
Even Wired's battle-hardened censors might bang their heads at the thought of including any of the variously garish, ultraviolent LP covers from bands like Cannibal Corpse. Which, of course, is exactly what bands like Cannibal Corpse want. But other metalheads aimed straight for the brain — literally, in the case of Tool's stellar release Lateralus. Featuring a translucent insert that opened to reveal different layers of the human body, with the word "God" imposed over the brain, Tool carried the torch for cerebral, complex metal into the new millennium.
We're still waiting for that torch to get passed. Just as with The Velvet Underground, Album), more bands including Nirvana and Radiohead were probably influenced by the Pixies than actually heard or saw the group during its ferociously productive heyday in the late '80s and early '90s.
Those of us who did follow the Pixies around the country in those days were captivated by the brutal but beautiful music and art. That graphically Album) merge was most capably illustrated on the Pixies' EP Come On Pilgrimfull-length debut Surfer Rosa and crossover classic Doolittlewhich featured deep and arty design and photography from Vaughan Oliver and Simon Larbalestier.
Like other stunning artwork produced for albums from the influential 4AD labelthe imagery of the Pixies' first three albums propelled alternative rock into the mainstream, where less talented bands like Nirvana built upon the group's foundational artistry to achieve stratospheric fame.
So-called alt-rock has sucked ever since. A reminder: Hip-hop is a vinyl-based culture, and it's also geeked on graphics. Public Enemy's in-your-face classic It Takes a Nation of Millions to Hold Us Back grew out of Chuck D's fiery oratory and design skills, culminating in an instantly familiar artistic and sonic branding.
No other hip-hop band has so successfully merged cover art and cacophonous protest. Meanwhile, DJ Shadow's seriously underrated effort, The Private Presswas a love letter to Bowl Cut - Weird Paul - In Case Of Fire Throw This In (CD from a crate-digging obsessive who specializes in atmospheric, synesthetic recombinations of familiar and discarded sonics.
Its defiant cover art of densely interwoven designs and surreal art flipped a middle finger at those who would bypass the LP for the compact disc. DJ Shadow and other disciples of the LP can take solace in the fact that CD sales continue to tank while vinyl is on the rise.
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