Album Covers Quotes

'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.

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.

In art school, I started to see Pettibon in magazines, and I figured it out backward. I was into the idea that someone could show work in galleries while making album covers and photocopied books.

In my office, I have framed album covers by Dottie West, Connie Smith, Tammy, Dolly, Loretta and Jessi Colter.

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.

I grew up in a very musical household. My brother had KISS and Van Halen records, but my parents loved country and show tunes, so I had all of those records when a kid. I pretty much knew exactly what I was going to do at a young age. I loved album covers, I loved listening to a record and staring at the art while listening to it. When I got older and discovered paining, drawing and PhotoShop, I was able to do both simultaneously; I enjoy making both.

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.

John Coltrane is still probably one of the greatest musicians of this century. His tone truly puts demons on a leash. His gift is directly from the mind of God and is very powerful. ..... The first time I heard a Love Supreme, it was really an assault. It could've been from mars as far as i was concerned, or another galaxy. I remember the album cover and the name, but the music didn't fit into the patterns of my brain at that point. It was like someone trying to tell a monkey about spirituality or computers, you know, it just didn't compute.

I don't have an album cover with me on a broomstick.

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've always been a fan of album covers with no writing on them and have used them a lot in my own groups.

I have really low self-esteem, and it's not easy for me to put myself on an album cover.

I don't do album covers or CD covers for groups or musicians I don't like or have no interest in.

I've always been a person that, if I'm with a woman, she's in the picture. Even my son's mom, she was on my early (album) covers.

What I wanted was just to make music, and so, originally I just wanted to hide behind the album cover of the last record, and I wanted it to be almost anonymous.

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.

The mystical poetry of William Blake's artwork also forms the basis for the album cover.

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.

I hate album covers where people are just smiling so big. It's like a neon sign that says PLEASE COME BUY ME.

I still like to go to record stores, I like to just wander around and I'll buy whatever catches my attention.

In fine arts, when you make a painting, it's just a painting. But if you make a painting in the entertainment industry, it can be an album cover or a t-shirt or a logo. I like that entertainment has this usefulness - that it's ultimately trying to make a bunch of people feel something, and to think about life and be able to use things that were so simple and direct but potentially have a really powerful effect.

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 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.

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.

Book-jacket design may become a lost art, like album-cover design, without which late-20th-century iconography would have been pauperized.