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Showing posts with label photoshop. Show all posts
Showing posts with label photoshop. Show all posts
Monday, August 17, 2015
Thursday, June 25, 2015
30. The Band - The Band
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On this work, the bottom third of the the photo on the original album cover art design was cropped off and the remaining image was mirrored. The resulting image, now about equal in
measurement on all sides was positioned to the right of the brown canvass which had already been set to measure 18x10. A smaller reproduction of the original album cover photo
was pasted at left and the album title was enlarged and pasted above it.
Here's the original album cover art design.
No. 45, Rolling Stone, 500 Greatest Albums of All Time; No. 45, The Virgin All-Time Album Top 1000.
Album design by Bob Cato, photo by Elliot Landy. Album produced by John Simon. Capitol 1969.
Designed by the great Bob Cato, using an Elliot Landy photograph, this simple cover speaks volumes of what waits inside. Their first album, Music From Big Pink
did not show the members of the group on either the front or the back; you had to open it up to see the group. Here they confront you head-on, staring at you
from another time. This was the time of paisley and psychedelic design and fonts. Not this band, there were dressed as workers, laborers, as if they stepped
out of 1940’s America. Hell, they could’ve been mistaken for hobos then. The album was sepia toned as if taken from our grandparents’ scrapbook. And
the music reflected it all, and magnificently. A masterpiece. Source
It's as if an itinerant old-time medicine show somehow skipped a few generations, pulled off a two-lane Arkansas highway in 1910, and woke up in 1968, with
its remaining potions turned to hallucinogens. Of course the time travellers had stories to tell—about the wily old South, where men with names like Virgil
and Eustace tended the land, and there was pride just in surviving.
Four Canadians and one Southern "ringer" (drummer Levon Helm, who grew up in Arkansas), the Band caught what was wild and romantic about America,
and framed it in ramshackle grandeur with a touch of a hippieera batik. The musicians first played together backing rockabilly singer Ronnie Hawkins,
but became cohesive backing Bob Dylan during his shift from acoustic folk to rock. When the Band moved out of the Big Pink house in Woodstock,
New York, the group of talented multi-instrumentalists discovered they had something different, but no less profound, to say on their own.
That's instantly evident in the story-songs on their first album, Music from Big Pink, and this masterpiece — a one-two punch the likes of
which rock and roll hasn't seen since. Full article
(A) Across the Great Divide - Rag Mama Rag - The Night They Drove Old Dixie Down - When You Awake - Up on Cripple Creek - Whispering Pines
(B) Jemima Surrender - Rockin' Chair - Look Out Cleveland - Jawbone - The Unfaithful Servant - King Harvest (Has Surely Come)
Album design by Bob Cato, photo by Elliot Landy. Album produced by John Simon. Capitol 1969.
Designed by the great Bob Cato, using an Elliot Landy photograph, this simple cover speaks volumes of what waits inside. Their first album, Music From Big Pink
did not show the members of the group on either the front or the back; you had to open it up to see the group. Here they confront you head-on, staring at you
from another time. This was the time of paisley and psychedelic design and fonts. Not this band, there were dressed as workers, laborers, as if they stepped
out of 1940’s America. Hell, they could’ve been mistaken for hobos then. The album was sepia toned as if taken from our grandparents’ scrapbook. And
the music reflected it all, and magnificently. A masterpiece. Source
It's as if an itinerant old-time medicine show somehow skipped a few generations, pulled off a two-lane Arkansas highway in 1910, and woke up in 1968, with
its remaining potions turned to hallucinogens. Of course the time travellers had stories to tell—about the wily old South, where men with names like Virgil
and Eustace tended the land, and there was pride just in surviving.
Four Canadians and one Southern "ringer" (drummer Levon Helm, who grew up in Arkansas), the Band caught what was wild and romantic about America,
and framed it in ramshackle grandeur with a touch of a hippieera batik. The musicians first played together backing rockabilly singer Ronnie Hawkins,
but became cohesive backing Bob Dylan during his shift from acoustic folk to rock. When the Band moved out of the Big Pink house in Woodstock,
New York, the group of talented multi-instrumentalists discovered they had something different, but no less profound, to say on their own.
That's instantly evident in the story-songs on their first album, Music from Big Pink, and this masterpiece — a one-two punch the likes of
which rock and roll hasn't seen since. Full article
(A) Across the Great Divide - Rag Mama Rag - The Night They Drove Old Dixie Down - When You Awake - Up on Cripple Creek - Whispering Pines
(B) Jemima Surrender - Rockin' Chair - Look Out Cleveland - Jawbone - The Unfaithful Servant - King Harvest (Has Surely Come)
"King Harvest (Has Surely Come)" live from Robbie Robertson's studio in Woodstock NY from promised land on YouTube.
Tuesday, June 16, 2015
28. The Rolling Stones - Let It Bleed
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The album title says so.
There's the album cover art standing at right while a vinyl record with a blank label rolls down from the bottom in the same speed at the blood is dripping from top left.
You can keep the music playing while the blood starts to spill on the record and comes into contact with the tip of the needle.
Would you wish you could feel it?
Would you wish you could feel it?
Here's the Bleed without the blood.
No. 32, Rolling Stone, The 500 Greatest Albums of All Time; No. 37, Rate Your Music, The 100 Greatest Albums of All Time; No. 40, The Virgin All-Time Album Top 1000.
Art design by Robert Brownjohn. Album produced by Jimmy Miller. Decca (UK), London (US), 1969.
The Guardian reported on 22 November 2011 that the artwork for one of the most famous album covers – the Rolling Stones' Let It Bleed –
is expected to fetch up to £40,000 at auction.
The album cover displays a surreal sculpture designed by Robert Brownjohn. The image consists of the Let It Bleed record being played by the tone-arm of an antique phonograph,
and a record-changer spindle supporting several items stacked on a plate in place of a stack of records: a tape canister labelled Stones – Let It Bleed, a clock dial,
a pizza, a tyre and a cake with elaborate icing topped by figurines representing the band. The cake parts of the construction were prepared by
then-unknown cookery writer Delia Smith. The artwork was inspired by the working title of the album, which was Automatic Changer.
The album cover for Let It Bleed was among the ten chosen by the Royal Mail for a set of "Classic Album Cover" postage stamps issued in January 2010.
Full Article
(A) Gimme Shelter - Love in Vain - Country Honk - Live with Me - Let It Bleed
(B) Midnight Rambler - You Got the Silver - Monkey Man - You Can't Always Get What You Want
The Guardian reported on 22 November 2011 that the artwork for one of the most famous album covers – the Rolling Stones' Let It Bleed –
is expected to fetch up to £40,000 at auction.
The album cover displays a surreal sculpture designed by Robert Brownjohn. The image consists of the Let It Bleed record being played by the tone-arm of an antique phonograph,
and a record-changer spindle supporting several items stacked on a plate in place of a stack of records: a tape canister labelled Stones – Let It Bleed, a clock dial,
a pizza, a tyre and a cake with elaborate icing topped by figurines representing the band. The cake parts of the construction were prepared by
then-unknown cookery writer Delia Smith. The artwork was inspired by the working title of the album, which was Automatic Changer.
The album cover for Let It Bleed was among the ten chosen by the Royal Mail for a set of "Classic Album Cover" postage stamps issued in January 2010.
Full Article
(A) Gimme Shelter - Love in Vain - Country Honk - Live with Me - Let It Bleed
(B) Midnight Rambler - You Got the Silver - Monkey Man - You Can't Always Get What You Want
"Gimme Shelter" live from The Rolling Stones on YouTube.
 |
| Previous: Bob Dylan - Blonde on Blonde |
 |
| Next: Elton John - Goodbye Yellow Brick Road |
Back to Gallery 1
Sunday, June 14, 2015
27. Bob Dylan - Blonde on Blonde
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This is a mean Dylan, meaner than him on the cover of Highway 61 Revisited. It was freezing when they took the shot. I read about it. The shot is out of focus. I readily noticed it.
And so I decided to crop the sides of the original photo to make a larger one and see how meaner Dylan could get. Then I remembered the texture of his photo on the cover
of Blood on the Tracks but on this one I experimented with rough pastels and angled strokes. That's just enough blurring without demeaning the original blur.
And, I guess, that's the meanest mean I could get. Out of a cold blonde.
And so I decided to crop the sides of the original photo to make a larger one and see how meaner Dylan could get. Then I remembered the texture of his photo on the cover
of Blood on the Tracks but on this one I experimented with rough pastels and angled strokes. That's just enough blurring without demeaning the original blur.
And, I guess, that's the meanest mean I could get. Out of a cold blonde.
Here's the original album cover art design.
No. 9, Rolling Stone, The 500 Greatest Albums of All Time; No. 18, Rate Your Music, The 100 Greatest Albums of All Time;
No. 33, The Virgin All-Time Album Top 1000.
Photo by Jerry Schatzberg. Album produced by Bob Johnston. Columbia 1966.
"I wanted to find an interesting location outside of the studio. We went to the west side, where the Chelsea art galleries are now.
At the time it was the meat packing district of New York and I liked the look of it. It was freezing and we were very cold.
The frame he chose for the cover is blurred and out of focus. Of course everyone was trying to interpret the meaning,
saying it must represent getting high on an LSD trip. It was none of the above; we were just cold and the
two of us were shivering. There were other images that were sharp and in focus but, to his credit,
This was the spot where they took the shot.
(A) Rainy Day Women No. 12 & 35 - Pledging My Time - Visions of Johanna - One of Us Must Know (Sooner or Later)
(B) I Want You - Stuck Inside of Mobile with the Memphis Blues Again - Leopard-Skin Pill-Box Hat - Just Like a Woman
(C) Most Likely You Go Your Way (And I'll Go Mine) - Temporary Like Achilles - Absolutely Sweet Marie - Fourth Time Around - Obviously Five Believers
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