Any Major Dude With Half A Heart

On May 21, it was 50 years since the release of Marvin Gaye’s What’s Going On LP, an album that broke the mould.

It certainly broke Motown’s rules, which preferred its artists to be apolitical — social commentary was permissible if it brought in cash, as it did with Edwin Starr’s War or The Temptations’ Ball Of Confusion or Gaye’s own cover of Dion’s Abraham, Martin & John. But Marvin Gaye wasn’t proposing an album of politics you can dance or sing along to; quite the contrary. This was a meandering exercise in quiet reflection on social ills, from economic inequality to drug abuse to racism to war to the ecology. Even Gil Scott-Heron provided some light relief on his Pieces Of A Man, recorded the month before What’s Going On came out (like Gaye’s album, it also featured a track titled Save The Children).

Motown also wasn’t in a habit of issuing concept albums. What’s Going On is just that — it is a reflection on various social ills from the perspective of a Vietnam veteran, a proxy for Gaye’s own brother Frankie. Gaye’s Christian faith permeates the exercise, not only in the song God Is Love but in its hopeful tone that the mess we’re in now can be redeemed.

What’s Going On is a song cycle LP, with one song fading into another, almost like a jazz concept album. That wasn’t the clean-cut, vigorous Marvin with his beautiful smile; this was a troubled man in a depressive state, surrounded by toxic people, facing a hostile world. At one point, Gaye had contemplated suicide. He was talked off the proverbial ledge by Berry Gordy Sr — evidently a better father than the one Marvin had.Just as Gaye was becoming sensitised to the politics of social justices, so was Obie Benson of The Four Tops. After witnessing the brutal suppression of an anti-war demo at Berkeley, he and Motown songwriter Al Cleveland wrote what would become What’s Going On, the song. The other Four Tops were not interested in a protest song, but over a game of golf, Benson offered it to Gaye, who took the song and then added his own tweaks to it.

The final version of the song was a series of happy accidents, with its saxophone into and multi-layered voices. Motown wasn’t going to release it — too political, too jazzy — but executives Harry Balk and Barney Ales managed to swing a single release in January 1971. It turned out to become Motown’s fastest-selling single ever. Now Berry Gordy Jr was interested, and gave Gaye until the end of March to record whatever he wanted. That was unprecedented at Motown, and would encourage Stevie Wonder to demand full creative control when time came to renew his Motown contract a year later.

To his credit, Gordy backed the final result of What’s Going On, even if it delivered little obvious potential for hit singles, unlike Stevie Wonder’s album Where I’m Coming From, released in April 1971, on which personal and socially conscious material is leavened with traditional love-song tracks like If You Really Love Me or Never Dreamed You’d Leave In Summer. Happily for Gordy, What’s Going On yielded two more Top 10 hits, Mercy Mercy Me and Inner City Blues (Makes Me Wanna Holler).

What’s Going On was a very different album from others on Motown in content, and it was different in its cover art. The cover was designed by Curtis McNair, who was responsible for hundreds of Motown covers, with photographs by Jim Hendin. The latter had presented several photos he had taken of Gaye in the singer’s Detroit backyard (note the kids’ swing on the back cover). It was a wet winter’s day. Sleet settled on Marvin’s hair, water on his coat, and Gaye is looking pensively into the distance, as if trying to make sense of all this madness. But there is a little smile trying to emerge: this man is sad but strangely hopeful. Physically, Gaye is no longer the pretty face of the 1960s, but the beard accentuates those beautiful dark eyes. He looks mature and sensual. See more Hendin photos here.

Recovering What’s Going On is not entirely easy, and it required the inclusion of a song that’s not on the LP, I Want You, since it is part of a two-song medley by Robert Palmer. The only version of Flying High I was happy to use was that by Dizzy Gillespie (or that by Everette Harp, who covered the whole album in 1997, but I need him to feature with God Is Love). But Gillespie’s instrumental comes with Save The Children. That track, however, must feature with its lyrics, so the great Marlena Shaw reprises that song, with lyrics. I think Marvin Gaye would approve.

There are two final contenders for the title track which I found difficult to choose between. But since the album ends with a reprise of What’s Going On, the “losing” contender can go there.

As ever, CD-R length, home-conceptualised covers. Text above in an illustrated PDF. PW in comments.

1. Donny Hathaway – What’s Goin’ On (live, 1971)
2. Keb’ Mo’ – What’s Happening Brother (2004)
3. Dizzy Gillespie – Flyin’ High (In The Friendly Sky)/Save The Children (1988)
4. Marlena Shaw – Save The Children (1972)
5. Everette Harp – God Is Love (1997)
6. Robert Palmer – Mercy Mercy Me/I Want You (1990)
7. Sons Of Slum – Right On (1971)
8. John Legend & The Roots – Wholy Holy (2010)
9. Gil Scott-Heron – Inner City Blues (Makes Me Wanna Holler) (1981)
10. The Undisputed Truth – What’s Going On (1971)

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More Recovered albums:
Tapestry
Goodbye Yellow Brick Road
Darkness On The Edge Of Town
Ziggy Stardust And The Spiders From Mars
Every Beatles album

More Cover Mixes:
Bob Dylan Songbooks
John Prine Songbook
Bill Withers Songbook
Bruce Springsteen Songbook
Steely Dan Songbook
Leonard Cohen Songbook
Elvis Presley Songbook
Chuck Berry Songbook
ABBA Songbook

And check out the Covered With Soul series

February 10 marks the 50th anniversary of the great Tapestry album by Carole King, prompting the repost of this piece from 2012. It is one of the defining LPs of the early 1970s, and for me one of the go-to albums, perhaps the go-to album, if I do not know what else to play.

By the time Carole King released Tapestry she already was a veteran in the music business, having been a teenage songwriter for Aldon Music at 1650 Broadway (and the subject of Neil Sedaka’s hit Oh Carol; she responded with an answer record titled Oh Neil). She was 18 when she had her first #1 as a songwriter, with The Shirelles’ version of Will You Still Love Me Tomorrow in 1961. In the ten years between that and the release of Tapestry she had a prolific songwriting career, but as a recording artist she had only a minor hit with It Might As Well Rain Till September. Her uneven 1970 debut album, Writer, was a commercial disappointment; it has many bright spots, but cannot nearly compare with the sublime perfection of Tapestry.

So when Tapestry became a critical triumph and a mammoth hit after its release in February 1971, topping the US album charts for 15 weeks, it was something of a surprise.

Jim McCrary in 1978

The cover photo was taken by Jim McCrary (who died in 2012) in the living room of her house at 8815 Appian Way in Laurel Canyon (McCrary’s website says it was at Wonderland Avenue; he also took the photo of the cover for Music, the location of which he identified as being on Appian Way). At first sight it is an unremarkable shot. A woman in her late 20s sits on a windowsill. The photo is in soft focus. And yet, the image is compelling. Viewing it feels like an intrusion into an intimate moment, a woman feeling at peace in her domain. Her bare feet suggest that we are not really invited into this domestic scene; if we came knocking at her door, she might put on footwear and her serene body language might change. And the cat would scram and hide.

The feline, who went by the name of Telemachus, was not there by accident, as it would appear. It may spoil the enjoyment of the cover a little to know that the tabby was a spontaneously employed prop. McCrary later recalled seeing Telemachus sleeping on his pillow across the room. Recalling a Kodak survey which revealed that after children, cats were the most popular photo subject, he asked King whether he could use the cat in a photo. “I saw a cat, and I wanted to get something good,” he remembered. Having ascertained that the cat was tame, he carried Telemachus on his pillow to the window ledge. He managed to take three photos before the cat, no doubt annoyed at having been awoken, had enough and made tracks. But McCrary had the perfect shot: the barefoot Carole with sunlight filtering upon her, holding a tapestry that she was busy creating, and her cat sitting in front of her, as if guarding the singer.

A remastered version of Tapestry was re-released in 2008 with a bonus CD featuring all but one of the tracks of the album in live versions, recorded between 1973 and 1976. It is highly recommended. The back-cover of it (pictured above) features another photo from the McCrary session.Here’s a mix of cover versions of the songs of Tapestry, with an appearance by Carole King from that bonus CD, in their original tracklisting order. Given my bias for soul covers, many of them are of that genre. Most were recorded soon after the release of Tapestry. One of the exceptions is the cover of Way Over Yonder by David Roe, a New Orleans street musician. Fans of The Originals will be interested in Kate Taylor’s version of Home Again, which was released shortly before Tapestry came out. Finally, the vocals on the Quincy Jones version of Smackwater Jack are by, unusually, Quincy himself.

TRACKLISTING
1. Carole King – I Feel The Earth Move (live) (1973)
2. Marlena Shaw – So Far Away (1972)
3. Mike James Kirkland – It’s Too Late (1972)
4. Kate Taylor – Home Again (1971)
5. Barbra Streisand – Beautiful (1971)
6. David Roe – Way Over Yonder (2004)
7. Roberta Flack & Donny Hathaway – You’ve Got A Friend (1972)
8. Faith Hill – Where You Lead (1995)
9. Zulema – Will You Still Love Me Tomorrow (1972)
10. Quincy Jones – Smackwater Jack (1971)
11. Jackie & Roy – Tapestry (1972)
12. Laura Nyro & Labelle – (You Make Me Feel Like) A Natural Woman (Live) (1971)
BONUS: The Isley Brothers – It’s Too Late (1972)

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As I have already done with albums by Bruce Springsteen, Carole King, David Bowie and many Beatles albums, here’s another track-by-track covers mix. Except there are some songs on Goodbye Yellow Brick Road for which no covers seem to exist, so I have filled gaps with three live performances by Elton John himself, from his Hammersmith Odeon concert on 22 December 1973. One song had to be omitted altogether, for lack of any alternative versions.

In 1973 there was no indication that one day Elton John would become one of the leading Friends of Dorothy, but he unintentionally hinted at the yet-to-be-invented codeword with the metaphors in the title and on the cover of his double album.

The album’s title, also the name of the lead single, seems to be at odds the artwork on the cover. Both, song and cover, take their imagery from The Wizard Of Oz, in which the yellow brick road played as much a central role as any thoroughfare ever did in the movies. Where the song tells of disillusion at the end of that bright road, the cover promises the beginning of an escape from reality as Elton– spangly mauve platforms instead of ruby slippers – steps into a poster and on to a yellow brick road.

The poster is on a tatty wall, covering a previous poster (the font of which suggests that it might have advertised a music hall), with chimneys in the background telling of a drab existence, quite at odds with Elton’s flamboyant get-up.

The cover was drawn by the illustrator Ian Beck, who was 26 at the time. Beck has since illustrated magazines, greeting cards, packaging and a few children’s books. He has also written a few novels.

Beck came to LP cover design through John Kosh, whose credits included the Abbey Road cover. They shared a studio at 6 Garrick Street in London’s Covent Garden when Kosh arranged for Beck to do illustrations for an LP cover he was designing for Irish folk singer Jonathan Kelly, Wait Till They Change The Backdrop.

Elton John bought that album on strength of the cover, and wanted the same graphic for his new album. Beck told him that this was not possible but offered to create new artwork for the cover.

He was given tapes of the songs (which included future classics like Benny And The Jets, Saturday Night Is Alright For Fighting, Candle In The Wind and the title track), and typed lyrics sheets, and began working on a concept. His friend, fashion illustrator Leslie McKinley Howell, stood in as a model for Elton John in polaroids which Beck took (hence the long legs) in preparation for his watercolour, pastel, and coloured crayon pencils artwork. The piano on the front cover and the teddy bear at the back were placed there at the request of Elsie, as Beck only later realised Elton was known to his staff.

It was the last LP cover Ian Beck designed, though this had nothing to do with his experience of creating the iconic sleeve for one of the great double albums in a decade of many double albums.

The album is regarded by many as Elton John’s finest work. It is indeed filled with many great songs, too many to be released on single, and too many to find inclusion on retrospectives. Songs like Sweet Painted Lady (a song Paul McCartney might have written), I’ve Seen That Movie Too, This Song Has No Title, Roy Rogers and Harmony could have been hits (and Harmony was intended to be the album’s fourth single release); now they are remembered only by fans of the album.

1. Dream Theater – Funeral For A Friend/Love Lies Bleeding (1995)
2. Sandy Denny – Candle In The Wind (1977)
3. Paul Young – Bennie And The Jets (2006)
4. Sara Bareilles – Goodbye Yellow Brick Road (2013)
5. Elton John – This Song Has No Title (Live) (1973)
6. The Band Perry – Grey Seal (2014)
7. Judge Dread – Jamaica Jerk-off (1977)
8. Elton John – I’ve Seen That Movie Too (Live) (1973)
9. Bridget St. John – Sweet Painted Lady (1974)
10. Elton John – The Ballad of Danny Bailey (1909-1934) (Live) (1973)
11. Emeli Sand̩ РAll The Girls Love Alice (2014)
12. Imelda May – Your Sister Can’t Twist (But She Can Rock ‘n’ Roll) (2014)
13. The Who – Saturday Night’s Alright (For Fighting) (1991)
14. Kacey Musgraves – Roy Rogers (2018)
15. Jesse Malin – Harmony (2008)
Bonus: Diana Ross – Harmony (1976)
Hickoids – Bennie & The Jets (2011)

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I first wrote this post seven years ago. This year marks the 40th anniversary of the release of 1978’s Darkness On The Edge Of Town, so it seems a good idea to revive my appreciation for the LP and its cover work, the latter by the words below, the former by a collection of cover versions of its songs, in the proper track order.

One track, Prove It All Night, isn’t a cover, but such a reworking that it might as well be, from Springsteen 1978 tour (from the Agora Ballroom gig in Cleveland, bootleg fans). Just as I was putting this set together, it was announced that Springsteen has released a remastered version of his legendary gig from the same tour at the Roxy in LA. One track here has featured before: the Flying Picket’s a capella version of Factory, which was on the Any Major Springsteen Covers mix that accompanied my review of Bruce’s autobiography.

For many years Darkness On The Edge Of Town, in my view Bruce Springsteen’s greatest album, was rather underrated. The trouble might have been that it produced no hit single, and nothing as exuberant as Born To Run on the preceding album of the same name or Hungry Hearts on 1980’s The River. The album’s title suggests an existential sense of alienation, a loss of hope and a ferocious anger, which is reflected in the songs, in their sound and in their words. The hope of Thunder Road on Born To Run gives way to the despondent resignation of Racing In The Streets on Darkness. The guitar-driven elation of Born To Run here becomes the guitar-driven anger of Candy”s Room or Adam Raised A Cain.

In the publicity blurb for the de luxe CD/DVD set of Darkness, Springsteen describes the album has his “samurai” record. I think of it as his Scorsese album. Mean Streets, the name of Martin Scorsese”s 1973 film, might have been a great alternative title for Springsteen”s only Carter-era LP. The cover complements the feel of the album perfectly. A tired-looking Bruce stands in what looks like a rather dreary apartment. His dishevelled hair calls to mind Al Pacino in Serpico, his penetrating stare Robert de Niro’s. One almost expects John Cazale to lurk behind the closed blinds, ready to embark on some ill-fated adventure or other (alas, that wonderful actor died on 12 March 1978, exactly a week before the completion of the recordings for Darkness , which begun in October 1977).

Rarely does an album cover condense in one simple photo the whole direction of an album. Photographer Frank Stefanko’s iconic photo of Springsteen did just that — without having heard the songs or knowing what they were about.

Stefanko, who also shot the cover of 1980″s The River, met Springsteen through Patti Smith, who had a big hit in 1978 with Because The Night, one of the many songs Springsteen had recorded for Darkness and then rejected. It was the beginning of a friendship that has survived the intervening three decades. In an interview with Pitchfork, Stefanko recalls doing a test shoot at his home in Haddonfield, New Jersey. More shoots followed, but it was that initial session that generated the cover art for Darkness.

Stefanko told Pitchfork that “the original shoot was just done with my perception of how I thought he wanted to look or how I wanted him to look […] From what I understand, when he looked at the photograph he said, “That”s the person that I’m writing about. That”s the person that is the Darkness on the Edge of Town character and that’s what I want on my cover.”

Springsteen recalled the shoot in an interview with the British newspaper The Guardian: “He [Stefanko] was a guy who’d worked in a meat-packing plant in south Jersey. He got the 13-year-old kid from next door to hold a light. He borrowed a camera. I don”t know if he even had a camera! But when I saw the picture I said, “That’s the guy in the songs.” I wanted the part of me that’s still that guy to be on the cover. Frank stripped away all your celebrity and left you with your essence. That”s what that record was about.”

In fact, Stefanko, who in 1978 was 32, had owned a camera since he was seven years old, and had been taking photos on a serious basis since the 1960s.

The Darkness photos may seem casual, snapshots taken on the fly. They were, in fact, the product of a long shoot. On the picture used for the cover, Springsteen wears a white T-shirt. On other photos taken during the same session, he wears a black shirt, and then a hideous purple paisley shirt with the leather jacket he wears on the front cover.

“We were trying to recreate these middle America, working class families; guys that were looking for redemption. It could have been done in the ’70s or ’50s or even the ’40s. The idea was that these people transcended time or space,” Stefanko told Pitchfork. “But we were trying to get something to look like an old Kodacolor snapshot. There were a lot of black and white photographs taken in those sessions too which were very striking in their own right. But the idea of this color photograph that could have been a snapshot in somebody”s drawer worked for the album.”

From all that we learn that Stefanko had pretty awful taste in wallpaper in 1978. The new owners of the house took the right decision to paper over it, but neglected to sell scraps of it, thereby missing one of the great opportunities for profiteering from a photographer”s ugly wallpaper.

Of course this mix easily fits on a standard CD-R. I haven’t made home-gigged covers for this set. PW in comments.

1. Dropkick Murphys – Badlands (2012)
2. Jeff Healey Band – Adam Raised A Cain (1994)
3. Aram – Something In The Night (1997)
4. Maria McKee – Candy’s Room (2005)
5. Emmylou Harris – Racing In The Streets (1982)
6. Frans Pollux – Belaofde Land (Dutch version of Promised Land) (2013)
7. The Flying Pickets – Factory (1984)
8. Graziano Romani – Streets Of Fire (2001)
9. Bruce Springsteen & The E Street Band – Prove It All Night (live, 1978)
10. The Winter Blanket – Darkness On The Edge Of Town (2005)

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There is a sweet irony in the cover picture of The Rise and Fall of Ziggy Stardust and the Spiders from Mars: the alien superstar is photographed in a seedy sidestreet, not a glittering glamour spot, of London’s West End. Instead of shining brightly in a metallic science fiction wonderland, the monochrome photo is hand-coloured in the way of postcards from the turn of the last century.

The cover holds not the promise of the story we are coming to hear, but its denouement: Ziggy has come back down to earth as David Bowie. There’s trash, there’s rain, there’s a bin, there’s the sign of the furrier K. West, where the fiction of left-handed Ziggy and the fact of Bowie, holding his guitar right-handed, come together.

Or that”s how I choose to see it. The story of Ziggy Stardust is vague enough to let you project your own ideas on it. In fact, by writing about the cover, by stripping away a veneer of its mystique, I may be depriving you, if you do not know the story of the cover, of your ability to freely project. Read on at your own peril.

What we will find is that the story of the cover is rather ordinary. The photo was taken on a cold January night in 1972 in Soho’s Heddon Street, then an insalubrious sidestreet, but today a fashionable pedestrian zone. The photographer was Brian Ward, who had studio in the street.

He took 17 photos that night, including the back cover shot of Ziggy/Bowie in the telephone booth. The front cover pic was taken at house number 23, under the big sign for K. West. Apparently Bowie turned up (with a posse of two girls), posed for a few minutes, and quickly disappeared into the rainy night, leaving Ward to develop his black-and-white photos.

Did Bowie feel like Ziggy in “Five Years”? “It was cold and it rained and I felt like an actor.”

The winning shot was colourised, giving the jumpsuit a blue hue when it was, in fact, green. You can see the jumpsuit in real life on this clip from the Old Grey Whistle Test in February 1972.

Have look at all 17 photos of the session at the Five Years site (from which I’ve borrowed one here). And if you feel that Bowie was wrong as Ziggy, and it should have been your mug on the cover, well, that can be arranged HERE.

As for the signs on the wall? They were for Paquerette Dresses (4th Floor), Ramar Dresses Ltd (3rd Floor), International Wool Secretariat, Cravats Ltd (main entrance), and T.H. Ferris (2nd Floor)

So, to mark the Ziggy cover here’s a mix of Ziggy covers. Every track off the album is performed in sequence by various artists — and two by Bowie. One is from the famous Hammersmith Odeon concert at which he killed off Ziggy Stardust — obviously the final track, “Rock ‘n’ Roll Suicide” — the other a new mix of the largely uncovered “Star”. In fact, there”s a third Bowie number: The Arnold Corns was a Bowie project on which he test-drove some Ziggy tracks a year before he gave birth to the alien superstar.

One song on the album, of course, was a cover itself: “It Ain’t Easy” was a Ron Davies song. The cover of that on this mix also precedes Ziggy.

1. The Polyphonic Spree – Five Years (2002)
2. Marti Jones – Soul Love (1986)
3. The Arnold Corns – Moonage Daydream (1971)
4. Leningrad Cowboys – Starman (2006)
5. Three Dog Night – It Ain’t Easy (1970)
6. Seu Jorge – Lady Stardust (2005)
7. David Bowie – Star (40th Anniversary Mix) (1972/2012)
8. Contraband – Hang On To Yourself (1991)
9. Bauhaus – Ziggy Stardust (1982)
10. Red Hot Chili Peppers – Suffragette City (2012)
11. David Bowie – Rock ‘n’ Roll Suicide (live) (1973)

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As a Beatles fan, I would be quite happy to display all their album covers on my wall, if decorating my humble abode with LP sleeves was my thing (the putative notion of such interior design innovation, of course, being the premise for this series). I imagine the Beatles would appreciate the pun in my song selection: Beatles songs sung by others…

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The cover photo of Beatles For Sale is probably my favourite of all Fab Four pics. The lads look as tired (because they were exhausted) as half of the hurriedly compiled album sounds. The photo evokes late autumn, mainly because it was taken at that time of the year during a session in London”s Hyde Park (the LP was released on 4 December 1964). The photographer was Robert Freeman, who shot the photos for four other Beatles album covers: Please, Please Me, With The Beatles, Help! and Rubber Soul.

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Almost exactly a year later, on 3 December 1965, the Beatles released another LP, Rubber Soul, with cover art that evoked autumn. I’ve always imagined that on the photo the four were looking down into a well. What actually happened was that photographer Freeman was projecting a series of photos he had taken at Lennon’s place on an LP sleeve-sized cardboard, to give an idea as to how each option would look as a cover. At one point, the cardboard had slipped, and the image was projected at an angle. According to Paul, the Beatles really liked the effect, and asked Freeman whether he could recreate it. As we know, he could. The title Rubber Soul was a pun of a criticism McCartney had heard from an American musician of Mick Jagger, whose singing was described as “plastic soul”. The Rolling Stones almost inspired a much worse pun when the Beatles considered naming their next album, which we know as Revolver, “After Geography”, as pun on the Stones” LP Aftermath. Happily, sanity prevailed.

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Much as we may take it for granted on account of its ubiquity, I like the Abbey Road cover a lot for its simplicity. It is a great snapshot in time: the particular movement, the way the cars are parked (especially the VW Beetle with its supposedly cryptic license plate), the transience of Paul’s cigarette. I enjoy looking at the photo, imagining the scene at that precise moment. Seconds previously, a car had gone over the zebra crossing — we see the back of it as our four friends parade in single file. The distance of the car to the zebra crossing would suggest that John began leading the guys across the road the moment the car had passed, doing so fairly briskly (George clearly is striding hard to keep up). And in the background, there is a group of people and a single individual (one Paul Cole, a tourist speaking to a policeman in a black van) witnessing the scene with some interest. They surely had no idea that they would feature on the cover of what may be the greatest album of the 1960s, nor probably did the owner of the legs and blue dress we see flying by on the back cover.

The photo was taken on 8 August 1969 at 11:35 by Iain MacMillan, a friend of John and Yoko’s, who stood on a step ladder as he shot the Beatles walking over the zebra crossing twice in both directions. Reportedly a police man stopped the traffic for a short while to let the shoot, all of six photos, go ahead (clearly he stopped the traffic only in the left lane; the sequence shows that as the four cross the road again, they have let a black cab pass as a doubledecker bus approaches). One of the photos, taken before the Fab Four cross the road, shows an old lady approaching the Beatles as Paul fixes Ringo’s collar.

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If I had to pick just one Beatles cover to decorate my wall, it would be that of With The Beatles, the group’s second LP. The photo was taken on 22 August 1963 in a corridor in the Bournemouth Palace Court Hotel, not an establishment generally associated with great moments in rock ‘n’ roll. Photographer Freeman was given instruction to recreate the shadow-and-light effect often employed by their Hamburg-days friend Astrid Kirchherr, the girl in whose arms original Beatle Stu Sutcliffe died (see here for Kirchherr’s pictures). Freeman achieved the effect by using natural light coming through a window at the end of the corridor.

Kirchherr never shot a Beatles cover, but her sidekicks Klaus Voormann and Jürgen Vollmer were involved in cover art. Voormann designed the Revolver cover; Vollmer’s photo of Hamburg-days Lennon appeared on the cover of John’s 1975 Rock ‘n’ Roll album.

Now seems also a good time to dismiss the story that Astrid Kirchherr “invented” the Beatles mop top style (known in German as Pilzkopf, or “mushroom head”). It was already a hairstyle popular among the art student set (the “Exis”, or existentialists) and sported by Vollmer, whose example the Beatles would follow.

Musically, With The Beatles shows only hints of the impact the group would have on music. Almost half of it comprised cover versions. It was a remarkable album for what it did not include: a single. At a time when releasing LPs as a clutch of singles plus loads of fillers was the norm, the Beatles took a conscious decision not to include their most recent hits, such as She Loves You and I Want To Hold Your Hand, on the album. The gamble plaid off: the album was a massive hit in an age when pop LPs didn’t sell well. So it can be said that the success of With The Beatles helped raise the status of the humble LP. Within four years, the Beatles would release the benchmark LP of the 1960s, Sgt Pepper”s Lonely Hearts Club Band.

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The message of the cover of Curtis Mayfield”s 1975 album There”s No Place Like America Today is unambiguously direct: the American dream is a lie when there is so great a disparity in the experience of comforts among Americans. The happy, white middle-class family is symbolically running over the (mostly black) poor on their way to a promising future. Curtis Mayfield, always the most eloquent political spokesman among the soul men, is calling bullshit on the great American delusion. Note also how the billboard serves as a front “” a physical barrier as well as a tool of propaganda “” for the capitalist palaces and at the same time shields them from the poor in the welfare queue. It”s also striking that the Rockwellian billboard image recalls the 1950s, while the welfare line evokes the Great Depression, communicating the notion that the great lie and the divide between American affluence and poverty transcends generations. Read more…

The Satan Is Real album cover routinely is included in lists of “worst ever covers”, alongside Millie Jackson fighting constipation, Orleans getting closer than close, and dirty old John Bult parking his cigarette as he seduces Julie on her 16th birthday. Of course the Satan Is Real cover is a bit naff “” the dentally disadvantaged Evil One at the back is not very convincing, never mind real. And yet, I think it”s a fabulous cover. Read more…

Josh Rouse marked his 30th birthday in 2002 with an album inspired by the year of his birth. It might easily have turned out as a pastiche of the worst clichés. Happily, it didn”t: the sound is contemporary. Rouse evokes rather than recreates what he imagines were the sounds of 1972. Imagine the concept as the subtle but essential spice in a delicious meal. The album borrows its influences wisely: James, a song about alcoholism, is a psychedelic soul workout, with Jim Hoke”s excellent jazz flute and Rouse”s falsetto positioning the song closest to 1972. Elsewhere, swirling strings and saxophone (also by Hoke), handclaps and Latin percussions serve as a marker for the “70s influence being filtered through Rouse”s sound. Read more…

How many albums are there which bear the name of one of the artist”s most epic song which does not appear on it? Winter In America, the song, made its appearance a year later, on 1975″s The First Minute Of A New Day album, written at the decree of one Peggy Harris who created the artwork on the inner sleeve, and who believed there just should be a song called Winter In America. Read more…