The cover to Debbie Harry’s under-appreciated 1981 solo album, KooKoo, designed by the late great H.R. Giger.
Cover to Art Brut’s Brilliant! Tragic! LP
Released 2011; Illustration by Jamie McKelvie
An illuminating – if somewhat creepy – article on Fever Ray and Ander can be found here…
Little Feat’s 1972 classic Sailin’ Shoes LP featured an unforgettable image painted by Neon Park, an exceptional artist who made his mark through the creation of such provocative pieces as the infamous “Weasels Ripped My Flesh” cover for the Frank Zappa LP of the same name. He sadly passed away in 1993 from Lou Gehrig’s Disease.
Envisioned by Frank Zappa and Cal Schenkel as a “direct negative” of the iconic Sgt. Pepper album art, objections raised by Capitol Records – as well as apparent apathy on the Beatles’ part – delayed the release of The Mothers’ We’re Only In It For The Money by four months until Verve put out a bowdlerized version of the cover that Zappa despised. Ironically, the entire episode pretty much proved that Zappa’s distrust of Flower Power populism was justified.
Although the great Damo Suzuki had yet to lend his unique vocal stylings to the Krautrock pioneers, Can’s 1969 debut still sounded at least a decade ahead of its time. Not only did the album’s aggressive art punk provide fertile ground for such acts as Wire, Public Image Ltd. and The Fall, but echoes of the band’s sound are still heard to this day in the indie rock underground.
For the purposes of this blog, however, how awesome is it to see Galactus – albeit in a less than convincing disguise – brandish the Ultimate Nullifier smack dab on Monster Movie’s cover? Combined with Doctor Strange’s cameo on Pink Floyd’s Saucerful Of Secrets and other counterculture signposts I’m sure have escaped my attention, it’s easy to buy into Stan Lee’s typically over-the-top claim that late-60s Marvel comics were truly “pop art” sensations.
That’s a pretty great feather in the company’s cap. Too bad such accomplishments were eventually obscured by Marvel’s transformation into little more than a farm system for Disney to harvest merchandise and film franchises, but I guess that’s as good an indication of what became of the ‘60s counterculture as anything else …