Syd Barret - The Madcap Laughs (1969)

For the album cover, Barrett painted the floor of his bedroom in Wetherby Mansions orange and purple.
The nude woman appearing on the back of the record sleeve was an acquaintance of his known as "Iggy the Eskimo".
Photographer Mick Rock says, "When I arrived for 'The Madcap Laughs' photo session, Syd was still in his underpants .. His lady friend of two weeks, 'Iggy the Eskimo', was naked in the kitchen .."Iggy met Barrett in the summer of 1966, through Barrett's then-girlfriend, Jenny Spires. A year after Barrett had moved into Wetherby Mansions, Iggy moved in after Spires suggested. Iggy didn't know who Barrett was, that he was previously was in Pink Floyd. Barrett had played to Iggy several songs that would later appear on the album, one being "Terrapin", which she called "quite catchy".
In October 2010 she was interviewed, revealing that her name was Evelyn.
The album was designed by Storm Thorgerson and Aubrey Powell of Hipgnosis.

DJ Shadow - Endtroducing..... (1996)

The album's front cover depicts Solesides members Chief Xcel (left) and Lyrics Born (right) in Records, a record store at 710 K Street in Sacramento, California. The K Street location of Records closed in December 2006, and has since relocated to the former Tower Video location at the corner of Broadway and South Land Park Drive. The back cover features Beni B (owner of ABB records) and a blind cat belonging to the shop owner.

Beck - Odelay (1996)

The title is a phonetic English rendering of the Mexican slang interjection "órale," which translates roughly to "listen up" or "what's up?" The phrase "odelay" is repeated in the lyrics during the outro of the song "Lord Only Knows". However, according to Stephen Malkmus, the title is actually a play of words on Oh Delay, since the album took very long to record.
The album's unusual cover is a real photo of a Komondor, a rare Hungarian breed of dog with thick matted hair. The image was chosen at the last minute after Beck failed to decide on an album cover. The image was presented to him by his girlfriend and was chosen almost out of desperation. The typeface was chosen by a record company worker.

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Fatboy Slim ‎– You've Come A Long Way, Baby (1998)

AIR ‎– The Virgin Suicides (1999)

The Chemical Brothers – Dig Your Own Hole (1997)

Nouvelle Vague - Nouvelle Vague (2004)

Postmodernism alert! The thought of a band that covers early-1980s new wave and post-punk music like Joy Division's Love Will Tear Us Apart in a Bossa Nova style might make you a little queasy, but fortunately Paris-based Nouvelle Vague apply lashings of the noirish cool.
The band's covers feature sultry 1960s figures, the work of fashion designer Giles Deacon, with a self-consciously lo-fi feel. "We were very anti-computer," explains art director Dylan Kendle. "Each letter of the band's name was cut out by hand, but done so in a deliberately rigid manner, as a kind of whimsical nod to modernism."


(American release)

Pixies - Doolittle (1989)

Doolittle was the first album where Simon Larbalestier, the Pixies' cover photographer, and Vaughan Oliver, the band's cover artist, had access to the lyrics. According to Larbalestier, this "made a fundamental difference." The availability of the lyrics allowed the art and photographs to be more closely tied to the content of the album; the cover references the themes in "Monkey Gone to Heaven", and depicts a stuffed monkey, with a halo and the numbers five, six and seven around it.

Alice Cooper - School's Out (1972)

Created to look like an old school desk, complete with band member’s initials carved into the wood, the inside of the sleeve was built to look like the inside of the desk (containing some of the indispensable items necessary for a proper education, like a switchblade and a comic book).

Also on the inside of the sleeve was a paper facsimile of a pair of girl’s panties, designed to keep the vinyl from dropping out of the cover.

Hifana - Channel H

sgt. - stylus fantasticus

Hawkwind ‎– Hall Of The Mountain Grill (1974)

Kraftwerk - Autobahn (1974, German / UK release)

With the musical and visually intricacy of prog-rock in their rear-view mirror and the DIY scrawl of punk still in its infant stages, Kraftwerk created their pioneering synthpop record. Though not entirely synthetic – violin, flute and guitar were also used — it certainly ranks with the works of Eno as one of the pioneering (and still most powerful) albums of the synthesized ambient genre.

“We were on tour and it happened we just came off the autobahn after a long ride,” Florian Schneider is quoted. “When we came in to play we had this speed in our music.”


(2009 remaster)

Beastie Boys - Licensed To Ill (1986)

“We kind of carefully assembled the plane from photographs,” said designer Steve Byram. “A bit like the way air accident investigators reassemble a crashed plane.”

Created with ink and collage, before computer graphics were prominent, the front cover of the record depicts the tail end of the Beastie Boys’ jet (or at least their fantasy idea of a jet). The plane raps around the cover then wraps itself, figuratively, around a mountain side.



Was it where the Beasties thought their careers were going at the time? Or was it a graphic depiction of the impact the record would make on the world?

Boards Of Canada - Music Has Right To Children (1998)

Fully integrated into the creative process, the cover design of almost all Boards of Canada releases is executed by the band’s members, Mike Sandison and Marcus Eon. The understated typography and fuzzy, saturated illustration of Music Has the Right to Children is a welcome sign to the listener, hinting at what’s inside.

Recorded at their own Hexagon Sun Studio in Scotland, the widely acclaimed record features a cover that harkens back to Polaroid pictures of the 1970s: it’s a romanticized paean to the travelogue, the casual grouping of parents and children and brothers and sisters, likely near some national monument or oceanscape. Rendered with the look of a cracked and aged bit of memorabilia, the intrigue is stretched further as the faces of the subjects fade into the mist itself.