Category Archives: Record cover art

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.

 

 

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Some Record Covers Influenced by the Sgt. Pepper Cover.

The 50th anniversary of the release of “Sgt. Pepper’s Lonely Hearts Club Band” has caused considerable interest in various aspects of what came to be called “the summer of love”; 1967’s glorious pop year. It was also the time of “Swinging London” and Carnaby Street’s first heyday.

That the cover of the “Sgt. Pepper” album would become a classic had been foreseen by Beatles manager Brian Epstein who wanted a “proper” artist to design the cover rather than the original psychedelic ideas suggested by fashion designers The Fool. From an idea by Paul McCartney via his friend and gallery owner Robert Fraser, Peter Blake and Jann Haworth were recruited and with some input from Jann’s father, Ted, the couple set to work.

It didn’t take long for the first of many pastiches of the cover art to appear. The Mothers of Invention’s album “We’re Only in It for the Money” released in March 1968, was one of the earliest. Frank Zappa wanted the cover (designed by Cal Schenkel) to be a copy of the “Sgt. Pepper” cover and asked Paul McCartney for approval. Apparently McCartney wished that Zappa’s and The Beatles’ mangers discussed the suggestion. Zappa went ahead but Verve Records, who would release the album, would not allow Schenkel’s copy of the “Sgt. Pepper” montage to appear on the front so the band’s portrait, photographed against a yellow background became the outside of the gatefold.

The lyrics, printed against a similar red background to those on the “Sgt. Pepper” cover appeared on the inside of the gatefold opposite Schenkel’s montage.

Release of “We’re Only in It for the Money” was delayed five months because of the record company’s anxiety over a possible infringement of copyright. In the event there was no reaction as the front cover only revealed four band members.

There have been innumerable pastiches of the “Sgt. Pepper” cover since the Mothers of Invention’s album; ranging from albums by the Muppets and Simpsons to more “serious” artist like The Ruttles. An Internet search turns up literally hundreds. Probably only the cover photo from The Beatles’ “Abbey Road” has been copied/parodied more often.

My collection includes only three pastiches of the (probably) hundreds out there, collected because of their originality (and possibly rarity). The oldest, from 1969, is Jack O’Reilly’s “You Can Be a Ventriloquist” (subtitled “Constable O’Rourke’s Wooden Hearts Club Band“, just so that no one would miss the reference to “Sgt. Pepper“). An instructional album that was probably privately pressed and thus in relatively limited numbers. O’Reilly went to inordinate expense to put together a background of forty ventriloquists’ dummies for the cover photograph.
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The second example is a Japanese album by Jun Fukamachi called (not so strangely) “Sgt. Pepper’s Lonely Hearts Club Band“. Fukamachi plays several of the “Sgt. Pepper” songs rendered as jazz tunes. I like the cover for the idea of reversing the whole scene. It must have taken weeks to paint!

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The cover of Jun Fukamachi’s “Sgt. Pepper” album painted by Fumio Tamabuchi.

And the final parody that I have collected is another Japanese release–Junichi Masuda’s “Pokèmon” LP from 2015. This is an unoffical release on the Moonshake record label. Masuda, who is programmer and director at Pokèmon also makes the music to video games. The “Pokèmon” album was released in several versions. The “standard” album came in four variations of coloured vinyl housed in a cover that is a parody of the “Sgt. Pepper” design.

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The Cover of Junichi Masuda’s “Pokèmon” LP. A just recognisable “Sgt. Pepper “pastiche.

Oh, and I have been guilty of plagiarism, too. In 2009 I curated an exhibition of Peter Blake’s record cover art at Piteå Museum. Together with my friends at In the Cold bureau we designed a cover for the exhibition catalogue, of course modelling it on the “Sgt. Pepper” design, but with all the artists that Blake had made record covers for.

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The catalogue cover for the “Pop Art” Exhibition of Sir Peter Blake’s record cove art at Piteå Museum, July 22nd–August 31st 2009.

In 2010, I showed my collection of Peter Blake’s record covers at the A and D Gallery in London, and Sir Peter Blake signed m catalogue. I wonder if it didn’t inspire him to produce his 2012 update of the Sgt. Pepper cover…

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Vintage Blake–a limited edition print by Sir Peter Blake to celebrate his 80th Birthday in June 2012.

I don’t have this print, though it would make a nice addition to my collection of Sir Peter Blake’s record cover art.

Anyway, I really hope I won’t be tempted to buy any more “Sgt. Pepper” pastiches.

 

 

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.

More Kate Moss on Record Covers.

I really felt as though I had exhausted the subject of record covers showing Kate Moss‘ portrait in my previous post. No sooner had the proverbial ink dried than two more covers appeared. The first is a 7-inch single-sided EP by American punk/hardcore/grunge band Vomit, entitled “Kate Moss” on the Give Praise record label.

Now, a search of Discogs will reveal more than ten bands that have used the name Vomit. The Vomit in question seem to only have released this one “Kate Moss” EP.

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The gatefold cover of Vomit’s 7″ single-sided EP “Kate Moss” with at least thirteen portraits of Kate.

Then I was reading about the two CD and one DVD set of Bryan Ferry‘s 2010 “Olympia” album. I already have the limited edition Vinyl Factory LP version of this, that includes the cover portrait of Kate Moss but without the text–obviously intended to be framed and hung on a teenager’s wall. I hadn’t considered the box set as I felt it probably wouldn’t add anything to the LP version. Well, I was wrong. The 40-page book that houses the discs contains many more photos from Adam Whitehead‘s sessions for the album. The DVD has an interview with Bryan Ferry on the making of the “Olympia” album and the “You Can Dance” video as well as a video of behind the scenes activity in the making of the “You Can Dance” video.

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The box set of Bryan Ferry’s “Olympia” album contains a 40-page book and 2 CDs and a DVD.

The pictures are stunning. Here are a selection:

The CDs and the DVD included in set come in card covers, two of which have different cover photos from the LP and deluxe box.
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CD1 has the album cover photo, while CD2 and the DVD cover have different photos. You will have to examine the covers of the CDs to spot the very subtle difference (hint look at Kate’s right hand).

And just when the thrill of finding the box set sort of settled, I came across an Ebay ad by my least favourite seller Majestic Music & Art. I consider this seller to be quite ruthless in his (I presume it is a “he”) price-setting. Many years ago, I bought a couple of albums from Majestic Music & Art that were poorly packaged and arrived damaged. They would not discuss a return or a refund and I promised myself never to buy from them again. But in mid-March 2017 they posted this ad for a copy of the Luke Fair remix of Primal Scream‘s (and Kate Moss‘) “Some Velvet Morning” (the old Lee Hazlewood classic). This single normally comes in a plain black generic cover, but Majestic Music & Art advertised a copy with Kate Garner‘s famous 1992 portraits of an 18-year-old Kate Moss affixed to front and back covers.

Despite my promise to myself never to buy from Majestic Music & Art, I did buy the 12″ single to add to my collection. I knew of Kate Garner‘s Kate Moss portraits from an exhibition of Russell Young‘s recent screen prints at London’s Halcyon Gallery. Russell Young’s portraits are really wonderful–some are as big as 200 x 200 cm and covered in diamond dust, so they really sparkle!

Kate Moss‘ name crops up in music as a songwriter and artist–several tracks by other artists/bands are entitled “Kate Moss“. Examples include Arab Strap‘s 1996 album “The Week Never Starts Around Here” that contains a track entitled “Kate Moss“, but there is no picture of her on the record cover. German rocker Maximilian Hecker‘s 2003 CD “Rose” also has a song called “Kate Moss” as its first track. Again, there is no portrait of her on the cover. I don’t suppose these will be the only songs called with this iconic title.

This Is (the Other Side of) John Wallowitch–A Rare Warhol Cover.

It has been my ambition to collect all record covers with Andy Warhol‘s art. Most of the seventies and eighties covers are relatively easy to find and shouldn’t cost the earth (an exception is Ultra Violet‘s eponymous LP from 1973), but the earlier ones, particularly the fifties covers have become increasingly expensive. And the original “Velvet Underground & Nico” (1967) along with many of it’s reissues are becoming increasingly expensive.

I have long searched for decent copies of Moondog‘s “The Story of Moondog“. While copies of the Moondog album do pop up relatively frequently on Ebay, most are in pretty poor condition with severely discoloured covers, but I had the great good fortune to find a near mint copy on Discogs which I bought as a Christmas present to myself.

The other major hole in my collection was John Wallowitch‘s second album for Serenus Records called “This Is (The Other Side of) John Wallowitch“. This album doesn’t come up for sale very often and bidding goes crazy on good copies. A reasonable copy popped up on Ebay in late January and despite having depleted my funds the previous month for the Moondog album, I managed to win it with a not too outrageous bid.

As can be seen, Wallowitch chose as the rear cover picture to reuse the “photo booth” photos taken by Warhol that were on the front cover of his previous Serenus Records release “This Is John Wallowitch“. It’s sort of ironic that the “Man of a Thousand Faces”, as stated on the front cover, is portrayed on the rear from the chin downwards, so one cannot see any of the thousand faces (actually, there are only 56 photos, or parts of photos on the cover, not thousands).

So now there are two of Warhol’s original covers and one bootleg that I need to complete my collection of Warhol’s record covers. These are the pink version of Prokofiev’s “Alexander Nevsky, Cantata Op 78” and the unobtainable “Night Beat” promotional box set that Guy Minnebach wrote about in his Andy Earhole blog (https://warholcoverart.com/2017/03/25/night-beat-rarest-of-the-rare/). Though I do have the facsimile box of the latter.
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The remaining bootleg I am still looking for is the limited edition of Keith Richards‘ “Unknown Dreams” (Outsider Bird Records, OBR 93009).

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Keith Richards’ bootleg “Unknown Dreams” with Warhol’s car drawing cover.

Will my collection ever be “complete”?

 

Art Record Covers – a new book.

As you all know by now, record cover art has become highly collectible. The long player, invented by Columbia Records in 1948 allowed graphic artists a 31 x 31 cm canvas on which to apply their art.The arrival of the compact disc in 1982 was predicted to banish the LP forever and, in the mid 1990s many artists had abandoned the format. However, the vinyl LP didn’t die; it faded away for a time, but has made a dramatic recovery in the last few years and artists are once more releasing albums on vinyl. And this has made designers and artists return to the medium and produce many great works of cover art.

Some record covers by famous artists now change hands for extraordinary sums. Nowadays, collectors will only pay top buck for a record cover if it is in pristine condition and preferably for an original pressing. One can only congratulate those who bought some of the rarer records when they were first released as the cover art has proved a surprising investment.

There have been many exhibitions of record cover art over the past thirty or so years. The first one I heard about (and visited) was produced by Aarhus Kunstmuseum in 1981 (shown there from 5th September until 4th October 1981), which then transferred to Nationalmuseum in Stockholm, where it was shown from 24th October  1981 until 17th January 1982 and later to Bildmuseet in Umeå. I saw both the exhibitions in Stockholm and Umeå (and lent 30 covers to the Umeå exhibition) and I still have the exhibition catalogue and even a poster from the Stockholm exhibition, signed by Andy Warhol!

Many books have been published illustrating “great” record covers, “The 100 (or even 500) best record covers of all time” or just plain record covers. There have been a few good books on the history of record cover art. My favourites are Steven Heller‘s, Alex Steinweiss‘ & Kevin Reagan‘s “Alex Steinweiss Inventor of the Modern Album Cover“, Nick De Ville‘s “Album: Style and Image in Sleeve Design” and Richard Evans‘ “The Art of the Record Cover“. There have been even fewer books devoted to a single designer: Paul Maréchal‘s pioneering “Andy Warhol–The Record Covers 1949-1987. Catalogue Raissonné” from 2008 and updated in 2015 as “Andy Warhol–The Complete Commissioned Record Covers 1949-1987” and, again, the “Alex Steinweiss Inventor of the Modern Album Cover” are wonderful examples. Fewer books focus on the artists behind the record covers.

In January 2017, Taschen published Francesco Spampinato‘s “Art Record Covers” edited by Julius Weidemann. This book with over 400 pages provides an overview of artists who have produced record cover art, ranging from the early days of record cover art with covers by Salvador Dali and Andy Warhol to currently active artists including Banksy, Jeff Koons, Karin “Mamma” Andersson and with in depth interviews with Tauba Auerbach, Shepard Fairey, Kim Gordon, Christian Marclay, Albert Oehlen and Raymond Pettibon. Thereafter the bulk of the book, over 300 pages, is an alphabetical presentation of, I guess, 500 artists with selected illustrations of their work.
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Spampinato must have an enviable collection of record cover art! Many (most?) of the photos are of records from his personal collection. The book is beautifully produced, being almost LP sized (30 x 29.5 cm) and on heavyweight paper. Many of the covers are reproduced almost full size.

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Banksy’s Blur covers.
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Jeff Koons’ “Artpop” cover for Lady Gaga.
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The only two Peter Blake covers.

Do I have any criticisms? The book concentrates on artists not affiliated with record companies, so there are no Reid Miles or Vaughan Oliver or Peter Saville, or even Alex Steinweiss covers. The covers chosen for the book are all art works and there are no photographic covers. there are a couple of artists that I miss: Anton Corbijn has designed loads of covers for U2 and Depeche Mode that aren’t purely photographic. And there is Klaus Voormann who has designed record covers for over fifty years for artists such as The Bee Gees, Manfred Mann and, not least The Beatles‘ “Revolver“. These are really only petty quibbles though. The “Art Record Covers” is a magnificent book and a snip at its recommended price of £49,99. So, go out and buy it! But be warned, it’s heavy so take a cart with you.

 

 

Karin “Mamma” Andersson’s art on record covers.

A couple of years ago (July 2014, to be exact) I posted that I had found a record cover using a painting by internationally renowned painter Karin “Mamma” Andersson. The limited edition (1000 copies) EP by Mattias Alkberg called “Epitafium” was released for Record Store Day 2014. It comes in a poster sleeve with art by Mamma Andersson. It initially proved difficult to find, but now there are copies available on line at reasonable prices. Since then I have found a few more covers that use her art.

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Karin “Mamma” Andersson’s painting as a cover poster for Mattias Alkberg’s “Epitafium” EP.

Not long after I had managed to get hold of the “Epitafium” EP, I found out that Mattias Alkberg has released another limited edition featuring Karin “Mamma” Andersson‘s art on its cover. This time it was a limited edition, blue vinyl, 7-inch EP entitled “Skända flaggan” (which means “insult/deface the flag”).

The “Skända flaggan” EP had two different Mamma Andersson paintings on front and rear covers. Well, I thought I had found all covers featuring her art until I received my copy of the wonderful “Art Record Covers” book by Francesco Spampinato (edited by Julius Wiedemann).

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Art Record Covers by Francesco Spampinato.

In the book, Spampinato pictures the covers of two limited edition 12″ singles by Beck with cover art by Mamma Andersson. These are “Defriended” and “I Won’t Be Long“. Apparently they were released in 2013 and only available through Beck‘s website and sold out completely. A Discogs search showed me that there was even a third Beck 12″ with a different Karin Andersson painting on the cover. This was a double 12″ called “Gimme“. All three 12-inchers were readily available, though I suppose considerably more expensive than originally.
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So now I wonder if there are any more records with Karin”Mamma” Andersson’s art on their covers.