Those of you whose primary experience with recorded music has either been with CDs or downloads will understandably probably not share previous generations’ appreciation of album art. Even the name, album art, hearkens back to an era when music was released on long playing (LP) records made of vinyl. Instead of the 5 inch by 5 inch covers that now adorn CDs, designers would have a canvass of approximately eighteen by eighteen inches when creating the art for an LP. There was nothing quite like the experience of walking into a large record store whose walls were adorned with years and years worth of record covers. Sometimes you’d go into a record store merely to flip through the bins of LPs and revel in the diversity of artwork and design.
While a sizeable percentage of covers were made up of pictures of the bands striking some kind of pose or another, even some of them could be interesting, or at the very least informative. I used to be able to get a pretty fair indication of whether I’d be interested in the music on offer from the way in which a band displayed itself. However, it was albums with artwork on their covers that would have a better chance of capturing my attention. First of all they were a refreshing change from pouting rock stars trying to look dangerous and secondly some of it was genuinely fascinating. There were quite a few occasions where I would buy an album without knowing anything about the band simply because I liked the art work so much. What was amazing was how many of those recordings I ended up liking. While there were a few which didn’t live up to the promise of their art work, most of the time if the cover art appealed to me so did the music.
Cover art has also been a pretty accurate reflection of the overall state of the music industry, especially when it comes to popular music. From the early to the late 1960s as the music became freer and more expressive the cover art became wilder and more experimental. From Andy Warhol pop art on Velvet Underground covers to Peter Max’s art work for the Beatles’ Yellow Submarine it was a period where almost anything went. Of course this explosion of freedom of expression wasn’t just limited to popular music, it was in all the art forms.
Famed American underground cartoonist and illustrator Robert Crumb said in a recent interview how he had given up being a commercial artist in 1968 and was amazed he could get his crazy comics published in the so called underground press at the time. There might have been little or no money in it at the time, but it was total freedom of expression in his chosen medium. While Crumb is best known for his comic work from that time, it was also when he made his first contribution to the world of record cover art when he was offered the then princely sum of $600.00 to do the cover for Big Brother & The Holding Company’s album Cheap Thrills. While he probably could have parlayed that cover into more jobs for record companies, Crumb has never been a particular fan of popular music, except for rock and roll from the mid 1950s to around 1968, and lost interest in it altogether by 1970.
However a new collection of his artwork, The Complete Record Cover Collection, being published by Norton Books in the US on November 7 2011 and Penguin Canada October 25 2011 reveals a side of Crumb that many will not have been familiar with – his passion for recordings made in the early part of the twentieth century. Contrary to the book’s title, cover art for records is only one component of Crumb’s music related art works as the book is replete with everything from illustrations of musicians from various parts of the world to logos and business cards he’s designed for a variety of independent record companies and stores. As you look through the book the first thing you’ll notice is not only the wide range of projects he’s taken on over the years, but how much more incredibly diversified he is as an artist than is commonly realized.