Album Art Spotlight

I’m back with another installment of Album Art Homages. Actually, for my last post I called it “Album Art Parodies.” I realize that many of the covers I referenced were not parodies as much as homages, hence the title change.

In my initial article I focused largely on homages to (arguably) the most influential artists on the planet: Elvis and the Beatles. This time, I’m sharing the wealth, presenting album art inspired by an array of (mostly classic rock) bands and musicians. This list is by no means comprehensive, just my favorites with some commentary thrown in. Enjoy the ride!

BOB DYLAN: There really aren’t as many Dylan homages as you’d think, especially compared to the Beatles and Elvis. Too sacred?

Nashville Skyline by Bob Dylan and Buffalo Nickel by Dan Baird
One of my favorite Dylan images, the bard looks surprisingly congenial on the sleeve of Nashville Skyline, welcoming us into his latest world. It goes nicely with the country-heavy tunes contained within.

The former lead singer of one-hit-wonders, The Georgia Satellites, actually combines two of Dylan’s covers for his 1996 release: the pose of Nashville Skyline with the text layout of a The Times They Are ‘A Changing. Subtle, huh?

DYLAN DOES HIS OWN HOMAGES: It’s well known that throughout his career, Dylan often wore his musical influences on his sleeve (no pun intended). Although somewhat controversial, there’s some evidence that he also did this (this time on his album sleeve) when it came to cover art as well. You be the judge.

The Basement Tapes by Bob Dylan & the Band and Underground by Thelonious Monk
Both covers feature people playing instruments (Dylan, Monk and Rick Danko) in a cluttered basement with very similar color schemes. Most certainly not a coincidence.

Desire by Bob Dylan and John Phillips by John Phillips
Profile picture? Check. Grey hat? Check. Scarf? Check. Fur-collared coat? Check. Wind-blown hair? Check. ‘Nuff said!

Modern Times by Bob Dylan and “Hedgehog” single by Luna
This got quite a bit of attention when it surfaced a few years ago. Apparently, Dylan’s art director didn’t do any research before using Ted Croner’s 1947 photograph “Taxi, New York at Night” for the 2006 Modern Times sleeve. New York band, Luna, had beaten them to the punch with the cover for their 1995 “Hedgehog” single. The band also used another Croner photo from the same series for the cover of the Penthouse album from which that single was taken.

THE WHO

Live at Leeds by the Who / Live at Shepperton ‘74 by Uriah Heep / Live at Leeds by John Martyn
Such a simple design. Such a powerful freakin’ record by the Who. It’s a powerhouse live album that certainly stands as a classic document of one of rock’s best live bands. Uriah Heep borrowed the brown paper bag color scheme while John Martyn went with the exact same title in a similarly minimalist design.

THE VELVET UNDERGROUND

The Velvet Underground & Nico / …tick…tick…tick by Steve Wynn & the Miracle 3 / Hellogoodbye by HelloGoodbye / Welcome to the Monkey House by The Dandy Warhols / Chelsea Girl: Live by Nico
One of the most iconic album covers of all time, designed by the incomparable Andy Warhol, The Velvet Underground and Nico was a powerful statement both musically and in terms of modern art. It’s no wonder several other artists followed suit, included Nico herself who used it as the basis for a cover of a 1982 live set.

ORNETTE COLEMAN

Free Jazz by Ornette Coleman and Stone Roses by Stone Roses
Ornette Coleman is one of the greatest pioneers in modern music. The style of jazz he introduced in 1959 was beyond innovative. It was shocking. His 1960 masterpiece, Free Jazz, was a defiant exclamation point. Featuring a double-quartet, the record is a thrilling and wild extended, continuous free improvisation. In a brilliant display of synergy, Ornette adorned the record sleeve with Jackson Pollock’s drip painting, “White Light.” Both artists found beauty in chaos. Stone Roses guitarist, John Squire, an amateur painter who idolizes Pollock (and even references him in a Stone Roses tune) provides his own version of the drip style. Surely an homage to Pollock and not Ornette Coleman, but makes my list nonetheless.

Ornette! by Ornette Coleman and Internal Wrangler by Clinic
The Liverpudlian art rock quartet, Clinic, wear surgical masks when they perform live. They also swiped the cover from Ornette Coleman’s 1961 album.

SIMON & GARFUNKEL

Bookends by Simon & Garfunkel and G-Stoned by Kruder & Dorfmeister

Musically, these albums couldn’t be more different. But K&D’s parody of S&G is right on.

Graceland by Paul Simon and Graciasland by El Vez
Not much to say about this one. Classic!

Breakaway by Art Garfunkel and Death of a Ladies’ Man by Leonard Cohen
Cohen’s actually came first. Although surely intended to be tongue-in-cheek, the Canadian poet and crooner makes a viable ladies’ man. Art Garunkel? Not so much.

SMALL FACES

First Step by Small Faces and We Are the Boggs We Are by The Boggs
The Small Faces were great with Steve Marriott as lead singer. They were also great when Rod Stewart replaced him. This is the band’s first with Stewart, right before they shortened their name to simply, The Faces. The Boggs are a Brooklyn-based band that puts a quirky and experimental bent into the sound of old Appalachian and blues tunes, replete with banjo and slide guitar. Judging from their debut cover, they also have good taste in music.

THE RAMONES

The Ramones by The Ramones and Elastica by Elastica
Elastica was sued in 1994 for pilfering the riff from Wire’s “Three Girl Rhumba” on its song “Connection.” They also borrowed from the Ramones for the cover of their self-titled debut album. Hmm…do you see a pattern?

FREDDIE HUBBARD

Hub Tones by Freddie Hubbard and The Blunted Boy Wonder by Steve Stoll
This one is for the legendary DJ Phlid, who will hopefully come out retirement and spin some sweet tunes for the masses. And props to Freddie Hubbard, James Spaulding, Herbie Hancock, Reggie Workman, and Clifford Jarvis for the incomparable Hub Tones record.

THE ROLLING STONES

Sticky Fingers by The Rolling Stones and Too Fast for Love by Motely Crue
The original album sleeve included an actual zipper that you could move up and down. The crotch model was Jed Johnson, one of Andy Warhol’s proteges. Obviously, this is one design that lost a lot in the move from vinyl to cassette and CD. Iconic nevertheless.

The Crue did a laughable hair metal interpretation of Sticky Fingers for its 1981 album.

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There are lots of other album art homages that I didn’t get to yet. That’ll come in Pt. 3 of this series. Be on the look out for Bowie and some more Blue Note jazz covers. In the meantime, what’s your feeling on the examples above. Are they homages, parodies, or merely capitalizing on the success of artists that came before?

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