We listen to music, and sometimes we also watch it. Album cover art is an essential part of the listening experience, but it’s often overlooked. no longer! Here’s a look at some of our favorite album covers from The Crimson’s Arts Board, along with some thoughts on the music they include.
Joni Mitchell’s “Clouds”
In the late 1960s, singer-songwriter and visual artist Joni Mitchell became widely popular for her music, with album covers being the most efficient means of distributing lesser-known works of visual art. did. As her music permeated American culture, the public also began to engage with her artwork. Her music has sold millions of copies, been shared, praised, and critiqued, all printed on flimsy cardboard cases.
It was in this context that Mitchell’s self-portrait took its place as a watchman, stationed with an unwavering gaze, on the cover of his 1969 album Clouds. But the artist’s full-on gaze, framed by her signature wispy blonde hair and bangs set against the backdrop of her hometown of Saskatoon, is never directly directed at the viewer. Like the songs encoded on the record, it’s a reflective average of Mitchell’s self-observation, built over weeks of scrutinizing herself in the mirror.
From the juxtaposing opposite ends of life in “Both Sides Now” to the sunny track “Chelsea Morning,” the raw introspection of “Clouds” is first expected from its cover photo, but it’s not Mitchell’s original. since record listeners started as viewers. Is it possible to develop the album’s self-portrait through song? And once you get to know her, you’ll realize that her music and art aren’t so distinct after all. Joni Mitchell’s guitar strings and sailor vocals echo with all the vibrancy of cadmium red and cobalt violet in her paintings.
—Staff writer Marin E. Gray can be reached at marin.gray@thecrimson.com.
Phoebe Bridgers’ “The Punisher”
When I think of Phoebe Bridgers, I immediately think of the “Punisher” album cover. Having a cover that is synonymous with one’s personality and career represents how much Bridgers encapsulates the album and herself within a single rectangle. The silhouette of the Trona Pinnacles on the outskirts of Death Valley evokes the otherworldly essence of Bridgers’ songs on the album, where she voices feelings of hope, drift, and existential dread. The apocalyptic, hellish wasteland echoes the cacophonous screams at the end of “I Know The End” and the deep future dread that accompanies much of Bridgers’ discography. But what makes this cover most memorable isn’t the photo’s intricate composition, but Bridgers herself. Dressed in her trademark skeleton costume and facing the constellations of a dark night sky, she asks the viewer to stop and consider the importance of their own vulnerability in such a beautiful and overwhelming world. Masu.
—Staff writer Hannah M. Wilkoff can be reached at hannah.wilkoff@thecrimson.com.
“Prelude to Ecstasy” from The Last Dinner Party
From the marble cloak to the portrait costume draped over it, the Prelude to Ecstasy album cover embodies the unique Last Dinner Party experience that listeners love. Prelude to Ecstasy is the band’s debut album, and its cover reflects a unique indie rock sound reminiscent of bands such as Arctic Monkeys, Marina and the Diamonds, and Florence and the Machine. The cloak houses greenery, flowers, candles, and a huge Baroque-style portrait featuring a chaise longue hidden in a corset, long skirt, and stylized pose, all of which scream tradition. Still, tarot cards, palm reading guides, and crystals add a modern edge that is popular with listeners. A muted color scheme with pops of green and red makes the cover fun and interesting to look at, reflecting the captivating yet easy-to-listen music of ‘The Last Dinner Party’.
—Staff writer Madelyn E. McKenzie can be reached at madelyn.mckenzie@thecrimson.com.
“Eat a Peach” by the Allman Brothers Band
I was raised to “eat peaches.” On a gloomy winter morning in Maine, my father put my favorite Allman Brothers CD into the stereo of his pickup truck. My sleepy gaze lingers on a small image of a truck carrying comically large peaches down a blue-sky road, and for a few minutes I’m not in a winter landscape, but in Georgia.
The music of the Allman Brothers Band, a 70’s rock group based in Mason, Georgia, has an uncanny ability to transport you to the South, but the album cover for “Eat a Peach”… We’re taking it to the next level. The illustration in the center of the album was taken from a Georgia postcard. Behind it are washes of baby blues and pinks reminiscent of a winter sunrise, making listening to the album feel like a visualization produced by synesthesia. The simple album cover opens to reveal an inner door inspired by psychedelic imagery, children’s fantasy illustrations, and the intricate landscapes of Hieronymus Bosch.
The artwork for “Eat a Peach” represents the Allman Brothers’ diverse inspirations while fitting perfectly into the band’s crisp, soothing sound. Additionally, the iconic record art reflects the words of Duane Allman, one of the band’s founding brothers. Duane died before “Eat a Peach” was born, but he said, “Whenever I’m in Georgia, I eat peaches for peace.” Every time I watch “Eat a Peach,” I am transported to my own pocket of peace. My childhood, my favorite memories, my version of Georgia.
—Staff writer Hannah E. Gadway can be reached at hannah.gadway@thecrimson.com.
Marvin Gaye’s “What’s Going On”
What is an album without a jacket?Incomplete. That’s exactly what Marvin Gaye’s album What’s Going On would be without its iconic cover. The images are very simple, but perfectly sum up the album’s message and story. Photographed in the backyard of his Detroit home, Gaye stands tall and proud, reflecting his tireless efforts to release a politically charged album that his manager Berry Gordy opposed. Gay seems to be looking pensively into the distance, pondering the current state of the world. With a slight smile on his face, he seems to be thinking about a better planet, one where today’s children can thrive tomorrow. The sleek black coat that Gaye wears is studded with water droplets, protecting him from the snowfall and reflecting his presence in the coldness of the modern world, which he describes throughout the album.
So simple, so iconic, so iconic. Go ahead and come up with a better album cover name. I’ll wait.
—Rose M. Jewell
