Listen here: 92: Geto Boys: We Can’t Be Stopped (design by Cliff Blodget) The fact that it looked remarkably low budget only made it funkier. George Clinton’s gonzoid take on outer-space adventure found its perfect match in the spaceship-party cover for Parliament’s Mothership Connection. Listen here: 93: Parliament: Mothership Connection (photo by David Alexander, design by Gribbitth) Inspired by the album’s themes of the subconscious, the dark sleeve of Billie Eilish’s When We All Fall Asleep, Where Do We Go? served notice that Eilish was here to mess with your head. Since people were already using LPs to store and clean marijuana, the Airplane gave you a cardboard box holder for it, along with the pot, or at least a realistic-looking photo.ĩ4: Billie Eilish: When We All Fall Asleep, Where Do We Go? (design by Kenneth Cappello)Īny artist who dares to look this terrifying on the cover of their first album deserves all the platinum success they get. Jefferson Airplane’s Long John Silver hails from the golden age of elaborate album covers. On an album that made a mad dash through the whole of pop history, Nick Lowe pictured himself in a bunch of different guises, from rockabilly hoodlum to sensitive balladeer (there were different pics on the US and UK versions), all with tongue firmly in cheek.ĩ5: Jefferson Airplane: Long John Silver (design by Pacific Eye & Ear) As he rapped on Wu-Tang’s “Dog Sh_t,”: “Got meals but still grill that old good welfare cheese.”ĩ6: Nick Lowe: Jesus of Cool/Pure Pop for Now People (design by Barney Bubbles) Forgoing any blinged-out tropes, the former Wu-Tang member put a doctored version of his welfare ID card on the front cover of his solo debut, as both a reminder of where he came from and to destigmatize being on public assistance. Whenever hip-hop started to take itself too seriously, ODB was there to disrupt, agitate, and give the middle finger to convention. Listen here: 97: Ol’ Dirty Bastard: Return to the 36 Chambers: The Dirty Version (design by Alli Truch, photo by Danny Clinch) Put the notorious bathroom cover together with the engraved invitation on the US replacement, and you’ve got the yin and the yang of The Rolling Stones at the time. Listen here: 98: The Rolling Stones: Beggars Banquet (design by Barry Feinstein)īeggars Banquet is a rare case where an album’s two famous covers really complement each other.

The red velvet cover, with gold embossed lettering, served notice that Odessa was going to be unique and beautiful, which it was. If The Beatles could do a double “ White Album,” the Bee Gees could do a fuzzy red one. On their 1969 debut, the cavorting characters were there to remind you how much fun rock’n’roll was supposed to be. Cover.Bandleader Cyril Jordan’s terrific comic art has turned up on numerous The Flamin’ Groovies covers and posters over the decades. These red-painted buildings are also seen in the 1966 film Blowup.Ĭover Location: Stockwell Road, London, UK Added to the photograph were passers-by in red clothes, a man in red on a red bicycle, a red car and a red post-box. The distinctive cover image was shot in Stockwell Road, London SW9, in the midst of the rows of red Pride & Clark auto shops. Sammy Hagar wanted a cover with a distinctive ‘RED’ theme. Future multi-platinum selling producer Scott Mathews was talked into playing a drum solo on “Red” after being told Ringo Starr had played his only drum solo in the very same room on The Beatles’ last album, named after the EMI Studios this album was recorded in, Abbey Road. It is also often referred to as The Red Album, as it includes Hagar’s first anthem, “Red”, which is also the basis for his nickname “The Red Rocker”.

Sammy Hagar is Sammy Hagar’s second solo album, released in 1977.

Sammie album art work