Category Archives: Andy Warhol’s record cover art

My Collection of Andy Warhol’s Record Cover Art — Is This as Far as I Can Go?

I have been collecting Andy Warhol’s record cover art more seriously since about 1982. Once Ebay started I found research into Warhol’s 1950s cover art easier and in the early part of the 2000s could collect some rare covers quite reasonably. But, I suppose it was in about 2006 or 2007 that I got to know Warhol collector Guy Minnebach, who gave me amazing help to boost my collection.

In around 2007, I had the (not too original) idea of putting on an exhibition of ALL of Andy Warhol’s record covers and it came about in time for what would have been Warhol’s 80th Birthday in 2008. The exhibition, at Piteå Museum, in northern Sweden, wouldn’t have been possible without the help of Jan Wimander and, of course, Guy Minnebach–who lent me several extremely rare covers to photograph for the exhibition and who helped hang the covers. Little did I know at the time that the Montreal Museum of Fine Arts was planning a major Warhol retrospective entitled “Warhol Live!” that concentrated on his connection to music and film and included what would have been the first properly curated exhibition of Warhol’s record cover art had we not pipped the Montreal Museum at the post, by opening a couple of months earlier!

Our exhibition included sixty-five covers. The Montreal exhibition showed Paul Maréchal’s wonderful cover collection that included the “Night Beat” box, that neither Guy nor I had seen. In addition, the Montreal Museum of Fine Arts launched Paul Maréchal’s book “Andy Warhol – The Record Covers, 1949-1987. Catalogue Raisonné”, the first serious attempt to document Warhol’s record cover art.

The discovery of the “Night Beat” box, together with Guy Minnebach’s earlier discovery of the “Waltzes by Johann Strauss, Jr.” EP showed that there were probably more previously unrecognised Warhol covers out there, and, only a month after our exhibition in Piteå closed, I was tipped off about a cover by the Swedish band RATFAB (Roland and the Flying Albatross Band) that Warhol had drawn in 1984. Since then more covers have been found and motivated an updated version of Paul Maréchal’s catalogue raisonné, this time renamed “Andy Warhol–The Complete Commissioned Record Covers, 1949-1987”.

I have several times in blog posts warned against saying a collection is “complete”–as  new items usually turn up immediately one says a collection is complete. So, even with Paul Maréchal’s book!

My list of Warhol covers includes bootlegs and records and CDs released after Warhol’s death in 1987 and today has 248 separate items. 228 of them are currently in my collection, with only five of the twenty omissions that I would call “essential”–the pink version of Prokofiev’s “Alexander Nevsky” (from 1949), the “Night Beat” box (1949 or 1950), the Japanese EP of Mendelsson’s “Scherzo” (with the “Cool Gabriels artwork) , an original “Giant Size $1.57 Each” cover (1963) and the limited edition Keith Richards bootleg LP “Unknown Dreams” (1977).

I have made facsimile editions of the “Night Beat” box, the five versions of the “Giant Size $1.57 Each” cover (with white, red, yellow, green & orange backgrounds) as well as a version of the unreleased “Progressive Piano” EP and 10″ LP and the recently “discovered” “Voices and Events” box. I’m toying with the idea of making a facsimile of the pink “Alexander Nevsky”, which shouldn’t be too difficult, but I don’t have a decent high resolution image for the “Unknown Dreams” album cover to be able to make one of those. So, is this as near completion as I can get?

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Andy Warhol’s “Biting” Photos on Record Covers and Elsewhere

Finding details of where and when Andy Warhol took the nine famous “biting” photographs that were used on the “Love You Live” album cover and other items hasn’t been easy. In a recent interview (July 18th, 2017) in Interview Magazine about the origins of many of Warhol’s photographs Christopher Makos explains where many of Warhol’s photographs were taken. Towards the end of the interview, Makos mentions the photos for the “Love You Live” album.

Makos remembers that Andy was given a “point and shoot” camera sometime around 1975. And he used it constantly throughout the late 1970s, often replacing his Polaroid camera, which he primarily used for his portraits. However, the “biting” photos are nearly always shown as if they were Polaroid pictures, so I cannot be sure which type of camera they were taken with. However, the reproductions on posters and elsewhere suggest that Warhol used both Polaroids and his “point & shoot”camera.

During the summer of 1977, Mick Jagger and Keith Richards rented Peter Beard’s* house in Montauk (East Hamptons, New York State) and Andy took some of the photographs there and some additional ones at Warhol’s third Factory address at 860 Broadway in New York later. Obviously Jagger had brought his daughter Jade to Montauk as it is her hand Mick is “biting” on the “Love You Live” cover. There is also a photo of Jagger and Jade sticking their tongues out at each other.

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Andy Warhol’s photographs for the cover of “Love You Live”.

It seems eleven photographs were taken and a contact sheet produced. However the last picture int he second row shows Mick Jagger biting a child’s hand but this is  not the photo that appears on the front cover of “Love You Live“.

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The Front cover of “Love You Live” showing Mick biting a child’s hand (Jade Jagger). Jade’s arm in a different position from that in the contact sheet photo.

There are also other pictures that do not appear on this contact sheet, in particular the picture of Mick and Jade  (born 21 October 1971) sticking their tongues out at each other.
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…And here’s how it looked on the “El Mocambo 1977” box set cover.

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Mick and Jade Jagger in a picture from the “biting” session on the cover of a limited edition bootleg box set.

The photos were also used on the cover of a four-track promotional EP for the “Love You Live” album, entitled simply “The Rolling Stones” (Rolling Stones Records, EP-PR-287). In addition there was a picture disc (probably a bootleg) with the same four photos.

A new bootleg of a Stones concert, presumably from Lexington, Kentucky, was released in 1978 with the title “Live in Laxington” with a fairly traditional front cover picture of Mick and Ronnie Wood. However, one of the “Biting” photos appeared on the back cover.

The photographs were also used for other promotional items. The Rolling Stones threw a release party for the “Love You Live” album at the Trax club in New York on September 27, 1977 and the photos featured on the plastic tablecloths used at the reception. These measured 36″ x 48″ (91,4 x 121,9 cm). There were also similarly sized posters on paper. Carrier bags with the photos were also produced, I would guess as goodie bags for guests, though I don’t know if they were appeared at the launch party or later.

Andy Warhol was fastidious about typography and was annoyed by Mick Jagger’s addition of the record title and the Band’s name to the artwork for the “Love You Live” album cover and usually refused to sign the front cover, preferring to sign the inner spread.

This autographed copy of “Love You Live” is from my collection of Andy Warhol’s record cover.

*Peter Beard (born 1938) is a photographer, film director, author and artist who has lead an adventurous life. He was friends with the Rolling Stones, Mick Jagger and other celebrities.

 

 

Collecting Andy Warhol’s Record Cover Art. How to Credit Previously Unrecognised covers?

I curated what I thought would be the first exhibition of Andy Warhol’s record covers in Piteå, Sweden, in July 2008 I enlisted the help of fellow collector Guy Minnebach to assemble as complete a collection of record Warhol’s record covers as possible. Only later did I find out that Warhol’s record covers had been shown before-usually as part of other exhibitions of his art, and then only exhibiting a few covers. My intention with the 2008 exhibition was to try to gather together all the covers he designed or illustrated.

Just two months after the exhibition in Piteå closed, the Museum of Art in Montreal, Canada, put on a major exhibition entitled “Warhol Live!” which showed the link between Warhol’s art and music. Many of the record covers shown came from the collection of Paul Maréchal and his book “Andy Warhol – The Record Covers 1949-1987: Catalogue Raisonné” was published to coincide with the “Warhol Live!” exhibition.

Just before the Piteå exhibition, Guy Minnebach had discovered the “Waltzes by Johann Strauss Jr.” EP and the “Warhol Live!” exhibition showed Paul Maréchal’s newly discovered “Night Beat” box set. Less than a month after the exhibition in Piteå closed, in September 2008, a friend of mine read an interview in a magazine with Tomas Alfredsson, a Swedish musician turned actor, who had been a member of a band called Roland and the Flying Albatros Band (known as RATFAB for short). In the interview he said that the cover of the Band’s second single had been designed by Andy Warhol. Thus started my search for this cover, and I quickly found three copies. The RATFAB single “Det brinner en eld / Mörka ögon” became the first Warhol cover NOT to be included in Maréchal’s 2008 book!

Since then, a number of covers, unrecognised in 2008, illustrated or designed by Andy Warhol have been identified.
1. Margarita Madrigal’s Magic Key to Spanish, Volume 2 (LP),
2. Vladimir Horowitz – Piano Music of Mendelssohn and Lizst (LP),
3. Mendelssohn – Wedding March / Scherzo (45 RPM EP)
4. Lew White – Melodic Magic (EP),
5. Erika Morini – Tchaikovsky–Violin Concerto
6. George Gershwin / Edvard Grieg – Porgy & Bess / Symphonic Dances (LP and EP box),
7. Curiosity Killed the Cat – Misfit / Man (7″ single).

And this list doesn’t include bootlegs or records and CDs that simply appropriated Warhol’s art for their covers. Nor does it include covers after 1987 that simply use or reuse Warhol’s art, such as Paul Anka’s “Amigos” or Skyline’s “Skyline” or even The Silver Apples’ “Fractal Flow / Lovefingers“.

There has been a problem in having new covers suggested to be by Warhol verified. An example is the rear cover drawing on Keely Smith’s 1957 Capitol Records LP “I Wish You Love“. By this date, Warhol was an acclaimed commercial artist and his “dot and blot” technique was being used by other illustrators. Warhol is not known to have worked with Capitol Records on any other projects, so this drawing cannot certainly be accredited to Warhol. There are similar discussions about the Tchaikovsky (No. 5 in the above list) and the Gershwin / Grieg (No. 6 in the list) designs also released in 1957, but these were at least released on the RCA Victor Bluebird label, and Warhol did many designs for RCA and its other subsidiary Camden Records. Maréchal has included the Tchaikovsky, but not the Gershwin / Grieg in the second edition of his book.

There are variations in some of the covers that Maréchal has described. There are various colour variants of the covers illustrated, starting with the first cover in the book, “A Program of Mexican Music” (Columbia Records – ML 2080). Maréchal includes the green cover variant but doesn’t mention the rarer pale blue coloured version. Similarly, there are five colour variations of the “Alexander Nevsky” (Columbia Records – ML 4247)–pale blue and a deeper, almost turquoise, blue that contained the original LP with dark blue labels. The album was re-released in the late fifties with the cover in green, orange and pink. These copies have records with Columbia 6-eye labels. Maréchal includes the green reissue cover, but not the original blue covers. Then there are minor variations such as the various printings of the “Latin Rhythms by the Boston Pops” EP. Friend and Warhol expert Guy Minnebach noticed that some copies had the text “A High Fidelity Recording” just beneath the RCA logo in the upper right of the cover. Some had this text in silver and some in green. There is a minor variation in the cover of the “Waltzes by Johann Strauss, Jr.” EP. Some copies have “Printed in U.S.A.” at bottom right while others do not (probably due to the way the slick was cut before being affixed to the cover.)

There are probably more cover designs by Andy Warhol waiting to be identified. A recent case in point is the sister box to NBC’s “Night Beat” entitled “Voices and Events“. As with the designs for the “Progressive Piano” EP set and 10″ LP a lithograph of the “Voices and Events” cover design exists in The Warhol Museum and was shown at the “Adman-Warhol Before Pop” exhibition in Australia early in 2017. It isn’t clear whether The Warhol Museum recognised this to be the design for an EP box set, but when I saw it I immediately saw the similarity to the “Night Beat” design with the dots on three sides. No one knows if the “Voices and Events” box was ever released. I suppose, like the “Night Beat” set, it was intended as a promotional teaser but the radio show it was intended to promote only lasted three episodes… so probably not.

By my reckoning, there are some 55 individual covers that can be attributed to Andy Warhol (I do not count different formats that use the same, or similar, designs), but there is no way that a newly identified cover can be given accreditation, other than being recognised by Paul Maréchal and included in future editions of his “Complete Commissioned Record Covers“.

 

“Voices and Events” – A Previously Unrecognised Andy Warhol Record Cover.”

Occasionally serendipity strikes. A week ago I went to Stockholm’s Moderna Museet to see the retrospective exhibition of Marie-Louise Ekman’s art. In true Banksy style I left thru’ the gift shop and while there I noticed a new book about Andy Warhol’s early career–“Adman-Warhol Before Pop“, published b the Art Gallery of New South Wales, Australia, to coincide with their exhibition of the same name, which ran from February to 28th May 2017.

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Nicholas Chamber’s exhibition book published by the Art Gallery of New South Wales.

I couldn’t resist a quick flick through just to see if there were any record covers featured. I was excited to see quite a few of Warhol’s earliest covers, including “A Program of Mexican Music“, “The Story of Moondog“, with Julia Warhola’s beautifully querky calligraphy, Johnny Griffin’s “The Congregation” and sketches for the Tennessee Williams LP, Billie Holiday EPs and one of the “Progressive Piano” designs. There was also a picture of one of Julia Warhola’s early attempts to write the cover for “The Story of Moondog” album.

 

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Julia Warhola’s trial version of the cover text for “The Story of Moondog”.

But what I wasn’t prepared for was:

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Page 97 in “Adman-Warhol Before Pop” with a picture of the cover slick for an recording of an NBC radio programme called “Voices and Events“.
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The cover slick for “Voices and Events” box set.

Having made reproductions of the “Night Beat” box set, I immediately recognised that this was the design for a similar box. While there exists a physical example of the “Night Beat” set, discovered by famous Warhol collector and author, Paul Maréchal, that has a record company catalogue number, as far as I know no physical example of the “Voices and Events” box exists and so I cannot know if it was actually released. I don’t even know if it was intended for a box of seven-inch EPs or for LPs, but I suspect the former.

So–all you Warhol cover collectors out there please start searching! Meanwhile I’m gonna try to make me a copy.

 

More Sources of Warhol’s Record Cover Illustrations and Daniel Blau’s Book of Warhol’s 1950s Drawings.

Artipelag is an art gallery on Sweden’s Baltic coast about a 30-minute drive eastwards from Stockholm. It was founded by Björn Jacobsson, the man behind the Baby Björn range of infant products. Jacobsson had a vision for a gallery located on a rocky outcrop overlooking the sea and found an architect willing to design it. There have been many inspiring exhibitions there since it opened in 2012. One of the more recent exhibitions was “The Legacy of Andy Warhol” which ran from 15th April until 25th September 2016. This exhibition was curated by Artipelag’s artistic director Bo Nilsson, himself an avid Warhol fan and, as far as I have been able to ascertain, the first to write about Warhol’s record cover art in the catalogue to Sweden’s Nationalmuseum’s 1981-1982 exhibition of record covers.

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The subway poster for Artipelag’s exhibition “The Legacy of Andy Warhol”.

The first thing that met visitors to the exhibition was a mountain of Brillo boxes, like the ones on the poster, specially made for the show.
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One large, silver foil-clad exhibition space was devoted to films including Roland Nameth‘s 1966 film “The Exploding Plastic Inevitable” featuring the Velvet Underground, apparently the first time the film has been shown with its original soundtrack, and Warhol‘s “Empire State Building“.

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There was a small room with walls lined with a selection of reproductions of Warhol’s record covers–though mainly from the 70’s onwards, although the “Velvet Underground & Nico” cover was there, too, and surprisingly one of Warhol’s drawings for a projected Billie Holiday EP was included. I thought it a pity that there were no actual record covers, only prints.
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A real surprise waited just through the sliding doors into the next space. The walls were lined with a large selection of Daniel Blau‘s collection of Warhol‘s drawings from the 1950s. I suppose there were about thirty drawings, but the two that I immediately reacted to were obviously related to Warhol‘s record cover art.

The drawing of the apple made me think of the “William Tell Overture” cover and the reclining woman was obviously a study for Kenny Burrell‘s “Blue Lights” album cover.

There was also a photo booth at the exhibition–a real Warholian touch! Visitors could photograph themselves free. And out came a card with four Warhol-style photos!
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I visited the exhibition twice and photographed myself both times. but I lost the second photo in the restaurant. Clumsy!

I put the exhibition out of my mind until I read Guy Minnebach‘s wonderful “Andy Earhole-Another Blog about Andy Warhol’s Cover art” and a post about the “Night Beat” box set, which Guy illustrated with a picture of a man talking on the telephone from Daniel Blau‘s 2012 book “From Silverpoint to Silver Screen–Andy Warhol, 1950s Drawings“. I immediately ordered a copy and consider it one of the best books on Warhol‘s art in my book collection. Not only are the pictures superb, but the essay “Environments, Situations, Spaces” by James Hofmaier is a wonderful introduction to Andy Warhol‘s world.

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Daniel Blau’s “From SIlverpoint to Silver Screen–Andy Warhol, 1950s Drawings”.

There were more drawings in Blau’s book that resembled Warhol’s cover illustrations. The only one I couldn’t find in the book was the apple drawing I saw at Artipelag. Here are a selection with the respective cover.
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Note that the original drawings for the “Blue Lights” cover and the hands on the Jan August cover are mirror images of the original photos. This is because they are blots of Warhol‘s original tracing. The drawing of the piano playing hands from the Jan August album was used for the unreleased “Progressive Piano” LP and EP.

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Cover lithograph of the unreleased “Progressive Piano” 10″ LP with Warhol’s drawing of hands playing the piano copied from the Jan August LP cover.

The drawing I have placed beside the Horowitz album is not the one used on the record sleeve, but just shows how Warhol drew many pictures of hands playing the piano. Perhaps this drawing was intended for the “Progressive Piano” cover too, but was never used.

I really must thank Guy Minnebach for telling me about Blau‘s magnificent book “From Silverpoint to Silver Screen–Andy Warhol, 1950s Drawings“, I will spend many happy hours enjoying the superb drawings. It obviously is the catalogue of an exhibition of Warhol‘s 1950’s drawings–an exhibition I would love to have seen. But seeing many of the original drawings at Artipelag feels like I did get a little peek.

The Velvet Underground & Nico Album Cover

The album “The Velvet Underground & Nico” is remarkable for many reasons–not least the music. a. It is one of only two albums that I know of that names the cover designer rather than the band or the record’s title on the front (the other being Swedish band bob hund‘s 1996 LP “Omslag: Martin Kann“.) b. The cover provoked two lawsuits (more on those later). c. Gatefold covers had generally only been used for double albums. Elvis Presley’s “Elvis Is Back!” from 1956 is said to be the first gatefold cover for a single LP and “Sgt Pepper’s Lonely Hearts Club Band” was not released until two months after the Velvets’ album.

In 1965 Andy Warhol became The Velvet Underground‘s manager and he booked them into New York’s Scepter Studios in April 1966 to record the group’s first album which was de facto produced by studio owner Norman Dolph rather than by Warhol. Warhol insisted that chanteuse Nico (real name Christa Päffgen) sing on the album and she sang on three songs. For unknown reasons some songs were rerecorded and some new songs recorded by producer Tom Wilson in Los Angeles later that year. Wilson was a staff producer for Columbia (and later Verve) Records and had produced three of Bob Dylan‘s early albums (“Another Side of Bob Dylan“, “The Times They Are A’Changin’“, four tracks on “The Freewheelin’ Bob Dylan“, “Bringing It All Back Home“) including the hit single “Like a Rolling Stone“. Warhol offered the album to Columbia Records, who turned it down! Then through the Andy Warhol association Verve Records agreed to release it. Logically enough, as Nico was not a member of the group the album’s title was “The Velvet Underground & Nico. The “&” emphasizing the fact.

Warhol gave his Banana painting to the band for the album cover. The removable banana on the front was difficult to produce and delayed the album’s release until March 1967. Acy R. Lehman, who designed the cover, decided on the gatefold to be able to include photos of the band members taken by Paul Morrissey, and colour photos by Verve photographer Hugo. I have seen the large band photo on the rear cover credited to Andy Warhol, so I am not sure it was by him or, as stated in the album credits, by Hugo.

The rear cover photograph showed actor Eric Emerson the lights projected behind the band with his inverted face superimposed on the picture of Lou Reed‘s head. This is commonly called the “Torso” version”. Emerson was in need of money as he had been charged with drug offenses and sued Verve Records to pay him for the use of his photograph. Verve refused to pay and recalled as many copies as it could and stuck a large black sticker over the offending photograph. On subsequent printings of the album sleeve the photograph was airbrushed to obscure Emerson’s portrait before the album could be reissued in June 1967. This delay badly affected the album’s sales; only about 30,000 copies being sold between 1967 and 1972 – I must be one of the early buyers as I bought my copy in late 1967 on the strength of the review in Rolling Stone. Brian Eno is quoted as saying in 1982 “everyone who bought one of those 30,000 copies started a band.” – obviously, with one exception – me!

There were promo copies distributed with the “Torso” cover which had white or yellow record labels. I think all promos were mono versions with “Torso” rear cover. There are three versions of the cover of the original American release: a first state with the “torso” rear cover, a second state with the sticker over the upper part of the torso picture and the third state with Emerson airbrushed out.

The front cover of the mono version.
The front cover of the mono version.

The front cover of the stereo version. Note the lower positioning of the banana.
The front cover of the stereo version. Note the lower positioning of the banana.

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The “first state” torso rear cover. Below: the airbrushed “third state” rear cover.
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The rear cover with the sticker covering Emerson's face.
The rear cover with the sticker covering Emerson’s face.
This album has never been out of print since it was originally released. There have been several variations on the cover design and recent re-issues have once again reverted to the original “torso” rear cover photo. Some re-issues have appeared with coloured vinyl (yellow or red) and a limited edition by Newbury Comics is on black and yellow vinyl.

The original UK version was released with a single cover and the banana was not peelable. A later German re-issue showed only the peeled banana and other re-issues have added the album’s title to the front cover. There are at least three picture disc versions of the album; two from Russia on the Vinyl Lovers label (one in a die-cut card sleeve and one in a clear plastic sleeve. These have the title at upper left and “Andy Warhol” at lower right while the third picture disc has all the text at upper left, including “Andy Warhol”.

Re-issue with title on front.
Re-issue with title on front.

German 1975 re-issue with unusual cover.
German 1975 re-issue with unusual cover.
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Vinyl Lovers picture disc in die-cut card sleeve.
Vinyl Lovers picture disc in die-cut card sleeve.
I mentioned at the start of this essay that the album was the cause of two law suits. The first was Eric Emerson’s suit for compensation for the use of his face on the cover. This was resolved by Verve airbrushing out the offending face. However it seems that the hatchet has been buried since as recent re-issues have reinstated the torso picture on the back.

The second law suit was when The Warhol Foundation in 2012 licensed the banana image for use on smart phone and iPad accessories. Lou Reed and John Cale sued the Foundation, claiming that Warhol had given them the image and that The Warhol Foundation did not have the right to license it to third parties. The case was settled out of court the following year. Neither party has revealed the terms of the settlement.

The Velvet Underground & Nico is a great album with a great cover that is one of the ten most recognisable covers, alongside “Sgt Pepper“, “The Dark Side of the Moon“, “Sticky Fingers“, Nirvana’s “Nevermind“, Bruce Springsteen’s “Born to Run“, “Never Mind the Bollocks–Here’s the Sex Pistols“–and you can name the others.

Records and CDs with Andy Warhol Cover Art – Where to Draw the Line

I suppose it was the fact that a collection of 105 record covers bearing cover art by Andy Warhol or his associates is currently up for auction at Sotheby’s in London (auction date 29th & 30th September, 2015) with an estimated sale price of £30,000 to £50,000 that made me sit down and think about which covers should and should not be included in a collection of Warhol covers.

I have made a list of record (LPs, EPs and singles) and CD covers that currently includes 218 items. I have included some doubles like various pressings of Rolling Stones’ “Sticky Fingers” album as well as re-issues of the Alexander Nevsky cover and various formats of fifites EPs by Artie Shaw and The Joe Newman Octet. However, I haven’t included the Liberty re-issues of Kenny Burrell’s Blue Note albums with Warhol drawings or the various Blue Note issues with different New York addresses in my list.

The collection on sale at Sotheby’s includes some covers that I have not included in my list – such as Loredana Berte’s “Jazz” album. Also included in the sale are some “replica” covers. As I know whose collection this is, I can guess that these “replicas” are a couple of the covers I made (“Progressive Piano” and “Night Beat“). I wonder how Sotheby’s views the inclusion of these “fakes”. I shall visit the pre-auction viewing and try to find out.

The collection on sale includes some very rare items including a “Giant Size $1.57 Each” cover signed by Billy Klüver (who together with Warhol silkscreened the covers) and copies of “Sticky Fingers” and “The Velvet Underground & Nico” signed by Andy Warhol. But – some rare covers, like the Lew White “Melodic Magic” and “Waltzes by Johann Strauss Jr.” and the rarer blue version of “A Program of Mexican Music” – are missing. It also includes the East Village Other’s “Electric Newspaper” (incidentally, also included in Paul Maréchal’s book), which has no other connection with Warhol than the record contains a track “composed” by him. The cover art is definitely not by Warhol.

My list includes more thirty-five CDs – only one of which (Aretha Franklin’s “Aretha“) was actually released in Warhol’s lifetime. Should these really be considered to be “Warhol Covers”? Just this week two more bootleg CDs arrived that use Warhol’s 1975 folio of prints of Mick Jagger for their cover art. The first is called “Marquee ’71 + Sticky Out” and the second “Raretracks+“.

The Rolling Stones' bootleg CD
The Rolling Stones’ bootleg CD “Raretracks+”.

Stones_RareTracks+_frMany of the records and CDs on my list are bootlegs – by The Velvet Underground or, like these most recent additions, The Rolling Stones. Should a serious collection include bootlegs or be restricted to officially released material?

I would be interested in reading other collector’s opinions as to where to draw the line when collecting Warhol cover art.