It’s a sepia-toned, Maya Deren-esque image of Bush pulling a dapper, chain-bound man toward her with a golden key – the only properly colored item in the photo – resting on her tongue as she looks away from him. Whether you get the esoteric visual reference or not, the cover art to Kate Bush’s The Dreaming is an attention grabber.
The trio’s green-brown garb – which ranges from Lambert’s flashy green sequins to Presley’s peasant dress to Monroe’s moss-hued dress with a leather belt around it – makes them look at one with the forest. Standing in a lush, cool forest, Angaleena Presley, Miranda Lambert and Ashley Monroe clasp hands, eyes upward to heaven (which mirrors the vertical tree lines behind them). The country supergroup’s third album was stunning testament to finding strength through the bonds of friendship during tough times, and you can practically feel the warmth and sisterhood radiating from the Interstate Gospel cover art. Pistol Annies, ‘Interstate Gospel’ (2018) So when Ariana appeared Spider-Man-style on the cover of Sweetener, it felt right - and the sweetly unassuming confusion of the imagery also fit the musical change-up of the thoughtful, delirious, R&B-heavy set it accompanied beautifully. It wouldn’t be much of an exaggeration to say that Ariana Grande’s entire world got turned upside down in the three years in between 2015’s Dangerous Woman and its 2018 follow-up. As she leans facedown against a Chevrolet suburban, her hair in cornrows and her shoulders covered by a fur coat, the superstar conveys hurt and strength in one impactful image she is forced to take a breather and collect herself, only to strike back harder. The cover art to Beyoncé’s 2016 masterpiece is taken from the “Don’t Hurt Yourself” music video, and immediately hits you with the dual themes of the LP. Set against a black background, the warmth of the photographic portrait(s) is almost palpable.
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If you didn’t get it from the title Young, Gifted and Black, Aretha Franklin was proudly and boldly representing for the African-American community on this 1972 classic, and the cover photo – which shows two sets of gently smiling Arethas facing each other wearing turban head wraps that glow an earthy orange against stained-glass windows – speaks to her African pride and musical upbringing in the church. Aretha Franklin, ‘Young, Gifted and Black’ (1972) We’ve rounded up a list of the 100 greatest album covers of all time, reaching as far back as the 1930s and running through the birth of rock n’ roll, the start of hip-hop and beyond, right up to present day. It worked, and soon became an indispensable part of the creative process when crafting (and marketing) an album.
It all began in 1939 when Alex Steinweiss, a graphic designer who worked at Columbia Records, realized that the label could sell more copies of an album if the cover caught the consumer’s attention. Some album covers are arguably better known than the music inside, having been parodied in pop culture, lauded with awards, used in advertisements or hung up in art museums.
The artist might appear front and center, or perhaps they take a backseat entirely, letting evocative imagery pull the listener into their world. You might see photographic portraits, paintings, sketches, collages or nearly nothing at all. Some go for the less-is-more approach, while others are stuffed with a kaleidoscope of imagery for fans to pore over and decipher. Almost since the full-length album format began, cover art has been a key piece of the puzzle, adding visual interest (and occasionally a physically interactive component) to a work of art.įrom the fold-out gatefolds of the vinyl era to pull-out liner notes in CD jewel cases to the small icon on a digital player, cover art has changed over the years, but it still helps define how we look at a particular album. Yes, the sounds are certainly the most essential element, but a lot of other things go into making an album a classic.
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