'American Horror' goes for a very specific kind of Seventies suburban downer ambience - 'Flowers in the Attic' paperbacks, Black Sabbath album covers and late-night flicks like 'Let's Scare Jessica to Death.' It even has 'Go Ask Alice'-era urban legends.— Rob Sheffield
Delicious Album Covers quotations
I met The Beatles and Stones at the same time, because Michael Cooper was doing several of their album covers.
I do a lot of curiosity buying; I buy it if I like the album cover, I buy it if I like the name of the band, anything that sparks my imagination. I still like to go to record stores, I like to just wander around and I'll buy whatever catches my attention.
I want to find out more about how the Backstreet Boys get their incredible sound. I've got both their albums and I would love to cover one of their songs
Book-jacket design may become a lost art, like album-cover design, without which late-20th-century iconography would have been pauperized.
I try to explain that to my kids - the experience of going to a record store, flipping through racks and finding that album cover that intrigues you - but my kids don't want to know about it. They download the one song on the album they like, and pay their 99 cents.
The mystical poetry of William Blake's artwork also forms the basis for the album cover.
Michael Giles the first drummer of King Crimson, never agreed to the name King Crimson. But then, if you'd knew Michael, you would know he didn't agree to the album cover either. So maybe Michael didn't agree to the point of definition with many things.
Bob Dylan's first couple of records in the 60's weren't considered cover records, but he only wrote one or two original songs on each album.
Like all bands, the first two albums are always the ones most written about, and the most covered. When a band gets to their third of fourth album, the story of the band has already been told.
In my book "Sound Unbound" we traced the guy who actually came up with the main concept for the graphic design of the record cover sleeve. His name is Alex Steinweiss. And one of the things in my book that we really tried to figure out was the revolution in graphic design that occurred when people put images on album covers.
Just like zillions of children, album covers educated and informed me, and certainly did I later transpose organically, rather than by intent, those principles both in fashion design and photography.
Imagine someone so infatuated by a band that they have every different pressing of every album the band made. Most of the time, the only difference in the album is the matrix number or a different 'made in' notation on the back cover or label. This is enough to make some people extremely excited. Actually, much more than excited.
I hate album covers where people are just smiling so big.
It's like a neon sign that says PLEASE COME BUY ME.
I can't see going onstage wearing a long-sleeve shirt in the dead of summer.
I work out hard during the day with a trainer who monitors everything I put in my mouth when I'm on tour. When I first got a record deal, you can tell by my early album covers that working out wasn't that much a part of my life.
Bowie's been a huge influence on me. I remember early on, my dad pulling out the 'Diamond Dogs' album, and the cover alone just grabbed my attention. I think I was probably around 12.
I was in Tower Records in San Francisco a few weeks ago, buying some cassettes, and a couple of people recognized me and ran up with albums, and I just wanted to cover my face and have a seizure or something. I want people to just go away.
The new album is a childhood dream come true.
Got to sing with Ronnie Spector, got to cover a bunch of songs that were influential in drawing a line between the punk form and original rock and roll.
I believe that music is another form of news.
Music is another form of journalism to me so I have to cover all the areas with my album.
I don't think I'd ever make an album of just covers because I love writing my own music.
I love Sell Out, I think it's great. I love the jingles. The whole thing as an album is a wonderful piece of work. The cover. Everything about it. It's got humor, great songs, irony.
If you've ever seen album covers for Arab female pop stars, it looks like the designer was paid five dollars to make them, and the extreme femaleness is astounding.
I think a lot of people read the album cover as something scary or creepy.
I think it's something positive...something lasting.
I think I would be much more enthusiastic about a band that covered more than just one particular album of mine. I don't ever really intend to record or to do shows with a live band. I don't really have a problem with it, but it doesn't really affect me either way.
The [2012 covers album] 2120 [South Michigan Ave.
] was different. We covered a lot of classics there. But most of the time when we did it I always prided myself on digging up obscure songs that no one knew of.
I've already done two cover albums. I don't know, maybe it wouldn't be a good idea to do another, but I just did the Led Zeppelin song for fun, and I thought I could do it kind of quick since songs that I love a lot I can do fast.
I would just think that I would remember modeling for the cover of an album with Tom Waits, who I've always loved.
One of the things that's kind of persistent is that I am the model on the cover of Tom Waits' album, Small Change.
I loved both [Bob] Seger and the Eagles, knowing why they didn't play some of the songs I wanted to hear. But at the same time, they covered all the big bases, and the stuff that most people had heard. But they definitely had a bunch of album cuts that I wanted to hear that they didn't get around to.
We all look in the mirror and see us a little blonder or a little thinner or a little younger, whatever that ideal might be and most of the people that I'm photographing are selling something, you know whether they're on the front of an album cover or a magazine or they're a corporate person ready to switch companies or a doctor selling a skincare line... so I want to help them achieve that.
My days are kind of controlled by my projects, so sometimes they're album covers. Sometimes they're commission portrait shoots. Sometimes they are editorial, so it kind of - I don't dictate it.
I think record cover sleeves really led towards, but at the same time the album as we know it didn't come into being until mainly after the Second World War because record labels realized they'd be able to make a lot more money putting all the singles of an artist onto one album and selling the whole album as a kind of a concept.
Try this experiment: one day go in a record store and just try and guess what the music sounds like by looking at the album cover.
I always wanted to make a cover album consisting of obscure psychedelic music from the 1960s - all re-shaped and customized, Ulver style.
I've always been a fan of album covers with no writing on them and have used them a lot in my own groups.