ALBUM COVER WALL DECOR MOVIE

Giger's singular, sexualized cyborgs reached an apotheosis in Ridley Scott's 1979 sci-fi movie Alien. So, there.Įmerson, Lake & Palmer: Brain Salad Surgery and Everything from H.R. In the end, Dean's fluid sci-fi visuals proved inextricable from prog's infamous indulgence, and he has since worked chiefly on Yes-related projects.īut he redesigned the Tetris logo. Like most other icons on this list, he made art in the late '60s, but blew up like an acid trip in the '70s.ĭean worked on almost all albums by prog-rock legend Yes, designing instantly recognizable, shimmering tableaux that seemingly merged Dali and Dr. Yes: Fragile, Close to the Edge and Anything by Roger DeanĮnglish artist and designer Roger Dean is synonymous with fantastically swirling dreamscapes. Klarwein also designed covers for Santana, Last Poets, Brian Eno and more. Celebrating its 40th birthday this year, Bitches Brew continues to be one of the most celebrated musical efforts in history of any genre, at least partially because of its stunning gatefold cover.Ĭreated by acclaimed artist Mati Klarwein, who studied with Salvador Dali and Ernst Fuchs, Bitches Brew's spacious, surreal cover art folded out into a stunning mural. Zeppelin's epic full-lengths remain testaments to ferocious riffage and cerebral graphics.Ĭalled the Picasso of jazz by Duke Ellington, Miles Davis had already sequenced the genes for cool and modal jazz by the time he got to 1970 effort Bitches Brew, which smashed jazz through an electronic rock grinder. Storm Thorgerson's cover for the underrated Presence was a nearly deliberate homage to Clarke and Kubrick's 2001: A Space Odyssey. Zeppelin eventually hooked up with Hipgnosis' Aubrey Powell, whose cover for Houses of the Holy was a nod to Arthur C. Led Zeppelin III's gatefold sleeve even featured a rotating volvelle of images. Physical Graffiti intrigued with art-conscious photo-sleeves of a New York tenement. The untitled fourth Led Zep album burst with iconic city-country collages and mystic runes. The band's self-titled 1969 debut bore a cover image of the flaming Hindenburg airship. Right from the start, Led Zeppelin's album art was godlike. Led Zeppelin: I, II, III, IV, Physical Graffiti and So On The group's name was added on later pressings, and early copies became extremely rare collectors' items. At first, the LP art showed Warhol's signature but didn't feature the band's name at all. That trick demanded special machines to build the cover, which contributed to the album's delayed release. It was a clever example of his merge of art and marketing – what are album covers, anyway, but kick-ass marketing for music? Warhol skewed the art critique strange by printing instructions for readers to peel the banana, which then gave way to a flesh-colored one. Andy Warhol's cover for the 1967 classic The Velvet Underground and Nico shows nothing but a banal yellow banana. Not all album art from the '60s was a visually and intertextually complex exercise. The Velvet Underground and Nico: The Velvet Underground and Nico Pick any record from the band's career, and you'll find some complicated art demanding analysis. Its intertwining cover painting from David Anstey, which could be viewed with thematic coherence from all angles, set the arty standard for all of The Moody Blues' subsequent albums. In late 1967, The Moody Blues abandoned their early R&B roots and released the successful Days of Future Passed, a head-tripping concept album about the life cycle that seamlessly married psychedelic pop and classical music.

The Moody Blues: Days of Future Passed, and Well, Everything Else They Did

Album cover wall decor