Album Design Quotes

DeathWish: You spent some time working with Courtney Love and Billy Corgan on a creative level, how did this experience help your growth as an artist? EA: It didn't -- it stunted it entirely. I gave up over a year of my life and career helping Billy with his flop of an album and designing and building all of the costumes for his music video. With Courtney, we were friends, but I spent years working to record and promote her flop of an album only to find that my value increased every time I peed in an orange juice bottle so that she could fake her way through a drug test. Not exactly a haven for artistic growth.

Another fact involves Iron Maiden’s self title album which introduced the new image of Maiden’s old mascot Eddie the ’ed to the new decade of the 1980s. According to the art sleeve creator Derick Riggs, the artwork was initially created for a Punk Rock band that ultimately rejected it, with Iron Maiden Picking up the bone. The design for the sleeve had come about by a concept based on a photograph of a burnt decapitated head of a Vietnamese soldier

Unfortunately, the band he was kicked out of was Metallica, which has sold over 180 million albums worldwide. Metallica is considered by many to be one of the greatest rock bands of all time. And because of this, in a rare intimate interview in 2003, a tearful Mustaine admitted that he couldn’t help but still consider himself a failure. Despite all that he had accomplished, in his mind he would always be the guy who got kicked out of Metallica. We’re apes. We think we’re all sophisticated with our toaster ovens and designer footwear, but we’re just a bunch of finely ornamented apes. And because we are apes, we instinctually measure ourselves against others and vie for status. The question is not whether we evaluate ourselves against others; rather, the question is by what standard do we measure ourselves?

In late 1968, Manson seized upon a new text for his prophecies: a musical training manual designed to help him create an army out of his cult—the Beatles’ 1968 album known as “the White Album.” Manson said that the Beatles had channeled his own teachings and used them to create the White Album, which he saw as a vehicle for sharing those teachings with the world. Whether Manson truly believed this fanciful idea is difficult to discern, but his starving, acid-frazzled followers believed it wholeheartedly. According to Manson, the White Album expressed the Beatles’ need for a spiritual savior and contained coded messages explicitly directed at him. Manson was, he believed, the savior the Beatles were looking for. Manson also used the coincidence of the Beatle’s song “Sexy Sadie,” his nickname for follower Susan Atkins, to prove his point and focused on the lyrics of “Piggies,” a song about class struggle, assuring his followers that they were the piggies the Beatles were writing about.

Try describing a few of the most wildly successful pop albums of the twentieth century without mentioning the artist and title. A concept rock album about a fictional Edwardian military band, featuring musical styles borrowed from Indian classical music, vaudeville, and musique concrete, its sleeve design including images of Karl Marx, Oscar Wilde, Marilyn Monroe, Carl Gustav Jung, Sir Robert Peel, Marlene Dietrich, and Aleister Crowley? That’s Sgt. Pepper’s Lonely Hearts Club Band by The Beatles, one of the biggest selling records of all time. How about a record exploring the perception of time, mental illness, and alterity? Pink Floyd’s The Dark Side of the Moon, which has to date sold around 45 million copies worldwide. Ask any of those 45 million who bought a copy of The Dark Side of the Moon if they thought themselves pretentious for listening to an album described by one of the band members as “an expression of political, philosophical, humanitarian empathy,” and the answer would almost certainly be no.

Black Sabbath’s self-titled debut album stands as a death knell for the idealistic hippie dreams of the Sixties. Inspired by horror movies, bad dreams, drug come-downs and the terminal grind of the factory floor, it was designed to unnerve and unsettle

Towards the end of recording Roger created two pieces called ‘Pigs On The Wing’ to open and close the album, designed to give the overall shape of the album a better dynamic and enhance the animal aspect of it. An unwanted side effect was that it opened up the question of the share-out of publishing royalties (which are based on the number of tracks, not their length) since it gave Roger two additional tracks, and meant that the longer piece ‘Dogs’, co-written with David, was not split up, but left as a single track. This was the kind of issue that would later prove contentious.

Just as he reached the goal of long, struggling years, just as he gave shape to the truth he had sought—the last barrier fell closed before him. A young country had watched him on his way, had wondered, had begun to accept the new grandeur of his work. A country flung two thousand years back in an orgy of Classicism could find no place for him and no use. It was not necessary to design buildings any longer, only to photograph them; the architect with the best library was the best architect. Imitators copied imitations. To sanction it there was Culture; there were twenty centuries unrolling in moldering ruins; there was the great Exposition ; there was every European post card in every family album.

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Photos Cherish who you are now If you have been sorting and discarding things in the order I recommend, you have likely stumbled across photographs in many different places, perhaps stuck between books on a shelf, lying in a desk drawer, or hidden in a box of odds and ends. While many may already have been in albums, I’m sure you found the odd photo or two enclosed with a letter or still encased in the envelope from the photo shop. (I don’t know why so many people leave photos in these envelopes.) Because photos tend to emerge from the most unexpected places when we are sorting other categories, it is much more efficient to put them in a designated spot every time you find one and deal with them all at the very end. There is a good reason to leave photos for last. If you start sorting photos before you have honed your intuitive sense of what brings you joy, the whole process will spin out of control and come to a halt. In contrast, once you have followed the correct order for tidying (i.e., clothes, books, papers, komono, sentimental items), sorting will proceed smoothly, and you will be amazed by your capacity to choose on the basis of what gives you pleasure. There is only one way to sort photos, and you should keep in mind that it takes a little time. The correct method is to remove all your photos from their albums and look at them one by one. Those who protest that this is far too much work are people who have never truly sorted photos. Photographs exist only to show a specific event or time. For this reason, they must be looked at one by one. When you do this, you will be surprised at how clearly you can tell the difference between those that touch your heart and those that don’t. As always, only keep the ones that inspire joy. With this method, you will keep only about five per day of a special trip, but this will be so representative of that time that they bring back the rest vividly. Really important things are not that great in number. Unexciting photos of scenery that you can’t even place belong in the garbage. The meaning of a photo lies in the excitement and joy you feel when taking it. In many cases, the prints developed afterward have already outlived their purpose. Sometimes people keep a mass of photos in a big box with the intention of enjoying them someday in their old age. I can tell you now that “someday” never comes. I can’t count how many boxes of unsorted photographs I have seen that were left by someone who has passed away. A typical conversation with my clients goes something like this: “What’s in that box?” “Photos.” “Then you can leave them to sort at the end.” “Oh, but they aren’t mine. They belonged to my grandfather.” Every time I have this conversation it makes me sad. I can’t help thinking that the lives of the deceased would have been that much richer if the space occupied by that box had been free when the person was alive. Besides, we shouldn’t still be sorting photos when we reach old age. If you, too, are leaving this task for when you grow old, don’t wait. Do it now. You will enjoy the photos far more when you are old if they are already in an album than if you have to move and sort through a heavy boxful of them.

over-the-top humor and iconoclastic take on conformity, censorship, hypocrisy, and sexual inhibition. Mad magazine on steroids, with sound. Talking about the album and his band several months later, Frank Zappa said, “I am trying to use the weapons of a disoriented and unhappy society against itself. The Mothers of Invention are designed to come in the back door and kill you while you’re sleeping.

The gang of us sat around, and moved our thighs on the horsehair or on the split-bottom and stared down at the unpainted boards of the floor or at the design on the linoleum mat in the middle of the floor as though we were attending a funeral and owed the dead man some money. The linoleum mat was newish, and the colors were still bright—reds and tans and blues slick and varnished-looking—a kind of glib, impertinent, geometrical island floating there in the midst of the cornerless shadows and the acid mummy smell and the slow swell of Time which had fed into this room, day by day since long back, as into a landlocked sea where the fish were dead and the taste was brackish on your tongue. You had the feeling that if the Boss and Mr. Duffy and Sadie Burke and the photographer and the reporters and you and the rest got cuddled up together on that linoleum mat it would lift off the floor by magic and scoop you all up together and make a lazy preliminary circuit of the room and whisk right out the door or out the roof like the floating island of Gulliver or the carpet in the Arabian Nights and carry you off where you and it belonged and leave Old Man Stark sitting there as though nothing had happened, very clean and razor-nicked, with his gray hair plastered down damp, sitting there by the table where the big Bible and the lamp and the plush-bound album were under the blank, devouring gaze of the whiskered face in the big crayon portrait above the mantel shelf.

His album that year was Sign O’ the Times. I took the fact that the gang in the title track was named the Disciples as a personal tribute. The tour behind that record was the best Rock show I’ve ever seen. I went three times, and it blew my mind every time. The production was the highest evolution of the live, physical part of our Artform I have ever seen. It was Prince’s vision, but his production designer, LeRoy Bennett, deserves much of the credit for pulling it off. It was Rock, it was Theater, it was Soul, it was Cinema, it was Jazz, it was Broadway. The stage metamorphized into different scenes and configurations right before your eyes, transforming itself into whatever emotional setting was appropriate for each song. On top of that, the music never stopped, for three solid hours. Prince wrote various pieces, or covered Jazz, as interstitial transitions for those moments when the stage was shifting or the musicians were changing clothes. At one point, he even had a craps game break out, which made me laugh—it brought me back to Dr. Zoom and the Sonic Boom and our onstage Monopoly games. They captured it pretty well on film, but it can’t compare. When you’re watching a movie, your mind is used to scene changes, different sets and lighting. Live, it’s something else. That kind of legerdemain before your eyes is mind-boggling.

Neil Tennant: I liked anything that had a slightly artificial construct to it. I’ve never really been that interested by authentic music. I think authenticity is a style. But I loved Bowie when he went electric with Low and ‘Heroes’, and I really loved electronic music. Although I wasn’t officially gay at this point, I had gay friends who I would occasionally go to nightclubs with, and you would hear what we would think of as gay disco music. That was heavily electronic. I really loved electronic music, like Kraftwerk’s Man-Machine, and at the same time I loved new-wave music. I liked the pop end of it, the Jam and stuff like that. Then the Human League came along, and OMD’s first album was great. Then, of course, at the same time you had Giorgio Moroder, who wasn’t, lest we forget, cool at this point. In fact, he was quite naff. There was a designer who worked at Marvel Comics who would put on ‘I Feel Love’ because he could put it on, go to the toilet and come back, and it was still playing.

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