The Who have always made strange, but brilliant covers, and this was no exception, with the band photographed having apparently urinated on a massive stone monolith in Easington Colliery, an old coal mining town. The significance of the monolith, or the band's 'desecration' of it is unknown: perhaps it is a rejection of progress - the coal representing industrialisation; perhaps it is a reference to the monolith discovered on the moon in A Space Odyssey director Stanley Kubrick had turned down the chance to direct the film version of the band's Tommy, so maybe this was payback ; perhaps it was just a strange idea.
Either way it's an extremely memorable, and cool, cover image. A cover where less is more, and is all the cooler for it. A casual photograph of Dylan with his then-muse Suze Rotolo, taken in the West Village, New York City, it was unusual at the time for being unstaged and unposed.
Critic Janet Maslin described it perfectly as "a photograph that inspired countless young men to hunch their shoulders, look distant, and let the girl do the clinging".
A simple outline of the band's iconic logo together with the title in plain typography, it perfectly complemented the music itself: simple, heavy, no-nonsense, and brutally effective.
Artist: The Ramones Album: Ramones Photographer: R oberta Bayley Bayley remarked that getting The Ramones to pose for a photo was 'like pullig teeth', but the world would like to thank her for persisting, as the results formed one of the most enduring and cool rock 'n' roll images of all time.
The monochrome image of the ultimate punk pioneers would be replicated by countless young hopefuls over the coming years, and immortalise Johnny, Tommy, Joey and Dee Dee forever. No gallery of cool album covers would be complete without an appearance from Eddie, Iron Maiden's mascot and constant companion.
Everything Riggs has ever done has been incredible, but we've opted Rubber Legs - Michael Jefry Stevens - Portrait In Red (CD Number of the Beast. Originally the cover was designed for a single called Purgatory so Riggs opted for a heaven and hell design, which the band liked so much that they used it for the album. Amazingly, the call for the artwork came on a Friday and Riggs submitted it the following Monday in time for their deadline - he now claims "I wish I had more time to paint it, I could have done a better job", but it still looks pretty great to us.
The album that changed everything, and a photograph that captured Elvis on the cusp of greatness. It doesn't come much cooler than that. He was towards the bottom of the bill, but he wouldn't be there for long as this album, and the accompanying cover - arguably the world's first tangible image of a rock 'n' roll star - propelled him to immortality.
All five of the covers for Johnny Cash's last era of recordings, the American series are fantastic, with the big, simple typeface utilising the strength of the legend's name. However, the coolest is for IV: The Man Comes Around, as it juxtaposes that strength with the visible weakness of the Man In Black himself: nearing death and reflecting on his life he looks downward and prepares to fade to black himself.
This iconic artwork was created by John Squire, a man hugely influenced by influential abstract expressionist painter Jackson Pollock so much so that he was also referenced in the lyrics to earlier song Going Down.
Entitled Album), Bye Badman also the name of a song on the albumthe piece referred to the May Parisian Riots - hence the coloured daubings of the French tricolore on the left the lemons were a nod to the fact that they could be used as an antidote to tear gas. An image which has adorned countless students' bedroom walls, and is still amazingly cool today. A record of ferocious power, attitude and force and, truly, a cover to match, a metallic howl of anger addressing the Jilted Generation which Prodigy so successfully reached.
A brilliant and iconic cover. Take the coolest frontwoman of all time, stick the rest of the band in cool suits, and go monochrome, with the title in lipstick-red, and you have one very cool, and thoroughly iconic album cover.
The band weren't so keen however: unimpressed that it gave the impression that Blondie was effectively Debbie Harry with a backing band, they ended up parting company with their manager Peter Rubber Legs - Michael Jefry Stevens - Portrait In Red (CD, who had suggested it.
Power, Corruption and Lies was the 'keystone', with the decoder for the colour-based code found in the top-right corner, representing the title and band name, being found on the back cover of the album. The same code then appeared on the iconic floppy-disc cover for Blue Monday and also Confusion.
The cover is a reproduction of the painting "A Basket of Roses" by French artist Henri Fantin-Latour with Saville explaining that they "suggested the means by which power, corruption and lies infiltrate our lives. They're seductive. The defining image of the German electronic pioneers - this perfectly captures the essence of Kraftwerk.
Inspired by the s Modernist movement, particularly El Lissitzky, the strict red and black colour scheme, arrangement of the band members in quasi-robotic fashion and translation of the title into various languages all adds up to a seriously cool album cover.
Sehr guht, sehr cool. A very naughty baby angel, with a mischievous look and cig in hand. Proof that Rock 'n' roll can corrupt anyone or anything. Brian Cannon, as head designer at Microdot, was responsible for a series of superb designs over the course of Oasis' first three albums, never dropping below sheer brilliance.
For a band that used the musical primary colours of drums, bass, guitar and vocals and chords that any learner could play, their artwork was allowed to be more avant-garde, with the covers of Wonderwall and Live Forever, in particular being daringly stark but hugely effective.
The cover for Definitely Maybe was an instant classic with various pieces of symbolism artfully placed in shot and the new five coolest guys on the planet poised to take over for the next decade.
Grace Jones Rubber Legs - Michael Jefry Stevens - Portrait In Red (CD created a series of truly incredible cover images in her career, but this one just about takes it for us. Created by her then-partner Jean-Paul Goude, the arabesque is, in fact, a montage of separate images. Such is the incredible power, beauty and, well, Grace of Jones' body that it's eminently believable that it is a real body position - but it is in fact anatomically impossible.
Seriously cool. One of the very first album covers to think outside the box - literally - this record was originally released on vinyl in a giant tobacco tin, modelled on the Victorian-style containers such as Ogdens' Nut-Brown Flake, a brand of tobacco that had been produced in Liverpool since The tin opened to reveal the record along with a poster consisting of five interconnected paper circles, Rubber Legs - Michael Jefry Stevens - Portrait In Red (CD, each one bearing the image of a band member.
One Direction eat your heart out. Designer: Unknown. Sometimes, the simplest things are the coolest, and this cover image for It's Blitz! You could say it's an egg-cellent cover. Yep, we went there. Lemon Jelly's second album was described in some quarters as an electronica answer to Pink Floyd and it wasn't just musically.
The illustrated cover looked agrarian and peaceful at first glance, but on closer inspection revealed trees shaped like spikes, arranged in a pattern evocative of barbed wire. Mark Farrow has been the Pets' image man for most of their long career, with an incredible body of striking work to complement their carefully cultivated image and style.
We've opted for the cover of Introspective as the coolest of them all. Whereas the art for Please and Actually was stark minimalism, on Introspective he - ironically, given the title - opted for a bold and attention-grabbing set of columns, which looked stunning in its original 12 inch form. The hair alone weighed 10 kilos - sometimes one has to literally suffer for their art. Justice were the coolest French duo since Daft Punk when they emerged in the mids, and their adoption of the cross as their symbol was appropriate, given the quasi-religious following they obtained as they built through the underground.
C'est cool, c'est Justice. The cover was a perfect representation of the band's sound: an eclectic and colourful cut 'n' paste collage of various influences thrown together but somehow creating something brilliant, exciting and cool.
FolknikMar 15, Please Don't Ever Leave Me, one of the most beautiful songs ever made. DandelionMar 15, Location: Baltimore, MD. Don't forget about their non-LP single, "Reading Her Paper", which is one of the band's better songs, and should have been a hit.
Ed Hurdle HeavyDistortion. HeavyDistortionMar 15, Location: Brockton, MA. So happy to see all of the praises for the Cyrkle here, one of my favorite 60s bands. Have the Sundazed and mini lp cds, and also put together a 2-cd of rarities, which includes needledrops of the 2 Columbia mono lps and of the Sundazed rarities EP, and a few other goodies.
Wonderful talent, fantastic music. RickJMar 15, Location: pittsburgh, pa. Brudy likes this. Location: United States Of America. MichaelMar 18, Location: New Jersey. Joe FornarottoMar 18, Location: Eastern Shore. BillMar 18, Bob J likes this. Steve Hoffman Music Forums.
Location: pittsburgh, pa. Please tell me I'm not alone in this world thinking this is a classic album. After growing up on my Dad's original s pressing he wore out, I got a sealed s reissue, which sounds 10x better. I think this is perfect s pop music, from track one until the end of side B.
I never got any of their other work, is it worth it? Side A is just perfect Written-By — S. Written-By — L. Written-By — D. Location: Boston MA. I think its a terrific album but the followup, Neon is even better. Location: United States Of America. I had both the Stereo and Mono pressings I preferred the Stereo.
A2 is a great song MichaelMar 14, Location: Tucson, Az.
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