Album covers full#

Lucky doesn't disappoint (though to be fair, I haven't actually listened to this album in a while, since it's been framed on the wall above my stereo for years). With cover art promising a hip, Hammond-organ-filled, bachelor-pad vibe, Music from Mr.

Album covers full#

Go Feet!Д®ssential tracks: 'Ranking Full Stop,' 'Mirror in the Bathroom,' 'Tears of a Clown' The album itself consists of now-legendary ska/new-wave originals along with updated interpretations of Prince Buster gems and a couple of surprising American covers, including Andy Williams' 'Can't Get Used to Losing You,' a full 36 years before BeyoncГ© sampled the easy-listening classic on 'Hold Up.' The vivid art direction continues on the back cover (where we find our Beat Girl now playing the album on a hi-fi) while the inner sleeve sports pink, black and white dance-step diagrams.

At top left, the Гјber-cool, skanking 'Beat Girl' went on to serve as an enduring icon of the band-and a female equivalent to the suited-and-booted 'Ska Man' of fellow 2-Tone artists the Specials. The striking profiles on the cover reflect not only the vibrancy of the music but the diversity of the band members themselves, in keeping with the racial unity the U.K. The best use of pink, black and white since the Good & Plenty box, I Just Can't Stop It was the smash debut by Birmingham's second-wave ska titans The Beat ('English' was added in the U.S. Jesus and trance pioneers/Throbbing Gristle spinoffs Chris & Cosey. Gilmore, whose distinctive graphics and type treatment epitomized the gritty-yet-futuristic nature of the electro-industrial genre and helped form a visual language for bands like Skinny Puppy, Severed Heads, Front Line Assembly, Manufacture, MC 900 Ft. That's when I started collecting covers by Steven R. As I'd rifle through the vinyl, I was as intrigued by the unusual album art as I was by the content. Above the treasure trove of records dangled a Cure-worthy forest of oversized posters from artists I was hungry to discover (think the huge Cabaret Voltaire poster in Ferris Bueller's bedroom John Hughes was also a loyal Wax Trax patron). Lincoln Ave., was a bastion of hope and mystery, both for the music as well as the eye candy. Gilmore Art: Tamara de Lempicka, Nude With Sailboats, 1931ДЇor a Chicago-area Gen X-er who had little affection for mainstreamers like Lionel Richie, Phil Collins and Madonna, Wax Trax Records, at 2449 N. release gets the edge for three simple reasons: 'I Want to Hold Your Hand,' 'I Saw Her Standing There' and the glorious 'This Boy.'Д®ssential tracks (on both): 'All My Loving,' 'Not a Second Time,' 'Till There Was You'Дesign: Steven R. Aesthetically, I prefer the minimalist U.K. The album foreshadowed the changes ahead, paving the way for rock artists to perform their own material (11 of the 12 tracks on Meet the Beatles! were original compositions), the sharing of vocal duties, and the advent of the LP as an art form. Sporting mod, matching turtlenecks and outrageous haircuts, these otherworldly troubadours looked as different as they sounded. Either way, both records feature the striking, half-shadowed Robert Freeman portrait of the Fab Four, shot in a dark corridor at Bournemouth's Palace Court Hotel in August 1963. until the CD era while Meet the Beatles! is the version I grew up with.

It was tough for me to decide here (let alone choose just one Beatles album!) since With the Beatles wasn't widely available in the U.S.