|This is a 2005 album by Coco Rosie called “Noah’s Ark”. We see unicorns having a threesome over here (a slight departure from Genesis). My impression was that this album was some kind of progressive/heavy metal/grunge/experimental album. However, this is far from the case. Coco Rosie plays folk. Freak folk, to cite Wikipedia.Coco Rosie is a French-based female duo Bianca “Coco” Leilani and Sierra Rose “Rosie” Casady.|
|I put the black bars there myself, and consider it an improvement. The band name and title say it all anyway, doesn’t it? Their oeuvre deals mainly with taboo and edgy subjects ranging from drug addiction to necrophilia. Their approach is rarely serious; mostly absurdist. “Jim Seed Collector” is the name of a seven-inch single, released some time back.Smell & Quim are a British experimental group, performing in England as late as 2007.|
|In May of 2007, Rolling Stone’s web-based tentacle asked readers what the 10 worst albums of all time were, which were recorded by the great artists. You are looking at the #1 album.
While “Down in the Groove”, Bob Dylan’s 28th album has been nearly universally reviled, the problems I have with it are in the artwork.
The accusation levelled at this album is that it contains, apart from a large number of collaborations, a number of cover songs. I could have told those reviewers that by looking at the album cover, a problem was iminent. Not only is this 1988 album the umpteenth album with a cover photo of Dylan in concert, it is at least the third one which sports a blurry photograph.
|This, by all accounts was the second, which was his second greatest hits album. His first greatest hits album originally had exactly the same photo. Now when the first album came out in 1967, the cover photo was considered good enough to be awarded a grammy. But then he uses exactly the same photo for volume 2, released in 1971 (the photo was later changed, to a different concert photo).
This second volume had a paucity of actual “hits”, and instead had many originals which garnered hits through other artists covering him. This album can be regarded as a compilation of older material in LP form, to make up for the early 70s, which were doldrum years for Dylan.
|Milton Babbitt looks like he is trying to out-do Stephen Hawking for the tackiest cover. At least Hawking might have an excuse; but Babbitt here is trying to make this poster look avant-garde.
So here he is, like your most imposing physics teacher, making music about ends being a new beginning, and manifolds. As if there were not enough ended beginnings, he also plays “Swan Song #1” (as if there will be a #2…?).
Allmusic says that he is a leading avant-garde classical performer who taught both music and mathematics at Princeton, and taught music at Julliard. He was a leading music theorist, but you look at this and think that this 2001 CD just contains self-indulgent tomfoolery.
The 50-minute CD appears to be selling for $48 on Amazon.
|Uhh, … Hi, yourself….This 1979 album appears to have been Barraclough’s last LP, and she had disappeared amid rumors of connections to Janis Joplin, and Bob Dylan. Some fans revere her as quite a talent, but you wouldn’t know it with that cartoony “Hi” on this album cover.This link to You Tube shows her potential talent.|
|Get ready for a feeling of bliss that is beyond belief … The Young Believers are going to impose cheer and goodwill whether you like it or not. Rise and shine! Up with the crows! The happiness you have demanded all your life is now mandatory.|
|And after you have complied with the minimum requirements for happiness, you get to consume special pills and fly into a perfect utopia where the food is great, the sex is better, and the best thing about this epic voyage is that you don’t even have to leave the room.|
|A recurring rule of CACs is that if you don’t want to make your album cover crappy is occasionally in the attempt to overvalue the art of their children and make their art. The motorhome (bus?) looks like a hot dog on wheels.No information on “Sounds of VIctory” (or is the band name “Jesus Freak?) that I could find.|
|You certainly can’t possibly get more late ’60s than this design. These ladies were from The Vassar College Glee Club in Rhode Island.They sing “America”, “White Rabbit”, and other 60s contemporary (at the time) hits from folk and acid rock genres.
The G-Stringers have been in existence since at least 1965, and various incarnations of them have performed at Carnegie Hall.
What I mean by the title of today’s blog is these covers were neither crappy to please an audience, nor were they crappy by way of poor judgement. They are here because it would appear that Springsteen would rather get out a crappy album cover if it meant it would help him get his artistic point across rather than just record whatever sells with the most attractive packaging. You have to respect that. They are not crappy for the wrong reasons, indeed they are crappy for exactly the right reasons. They are not negatively crappy. Oh, no my dear readers. They are positively crappy.
|This kind of cover would not be out of place on the cover of Sinclair Ross’s 1941 book “As for Me and My House”. Anyone having to endure a class on Canadian lit knows of the devil I speak. A story about a preacher’s wife, living on a bleak stretch of Saskatchewan prairie during the Dust Bowl days of the Great Depression. The book didn’t actually sell in its day. It was a bleak book, bleakly written, about bleak times and bleak relationships. But it has made the canon of Canadian Lit courses, and this cover with its stretch of dirt road across a seemingly endless flat plain reminds me of that.This was his sixth album, recorded with voice, guitar and harmonica, came out in between his two monster albums “The River” and “Born in the USA”. It peaked on Billboard at #3, and yielded 2 top-40 singles.|
|This cover was chosen because it takes the name and rallying cry of folk legend Peter Seeger and pretty much puts it on a beer label.”Come to the Springsteen Bar, we have Seeger Stout on tap. You’ll love the way it gets you drunk!”But looking at this cover reminds me of how a lot — maybe most — of Springsteen’s biggest hits sound like beer commercials. Or given the weightiness of the mark Springsteen has left on Music, perhaps the Beer commercials are trying to sound like Springsteen.|