authors
data
ISBN-10: 1-55209-391-3
ISBN-13: 9781552093917
Publisher: Firefly Books
Country: Canada
Number of pages: 160
Binding: Paperback
editions
Aubrey Powell, Storm Thorgerson
Dorling Kindersley Publishers; 1999
Paperback
Aubrey Powell, Storm Thorgerson
Dorling Kindersley Publishers; 1999
Hardcover
Aubrey Powell (author), Storm Thorgerson (author)
Edition Olms; 1999
Gebundene Ausgabe
order
description
Other books have already praised the music inside the sleeves of these musical masterpiences, but »DK 100 Best Album Covers« focuses exclusively on 100 of the most striking and lasting images in popular music. Charting the changes and developments in album design since the 1960s, each of the world-famous covers has been specially chosen as a classic document of its time. From the 60s psychedelia of Pink Floyd to the Britpop of Blur, all the covers are reproduced in full colour. Detailed annotations explain the creative genius involved in their production and lively text provides anecdotes about the work of the designers from Andy Warhol to Peter Saville.
The immediate question that arises with a book entitled 100 Best Album Covers is, of course, »Says who?« Wisely, authors Storm Thorgerson and Aubrey Powell have anticipated such widespread suspicion. In their thorough and amusing introduction, the two former cover designers (of Hipgnosis) go on at length about potentially qualifying factors (innovation, humor, bizarreness, minimalism, audacity) and possible reasons for nonselection (popularity, dull illustration, ugly technique, emotional offensiveness). But, they concede, what it really comes down to is a matter of taste--with a bit of nostalgia thrown into the mix.
In the end, the mysterious (and eternally debatable) selection formula matters not. The history, inspiration, and technical design details provided for each of the 100 covers that made the cut serve as reason enough for their inclusion. Did you know that Led Zeppelin's Houses of the Holy cover was inspired by Arthur C. Clarke's novel, Childhood's End?? Or that the burning man on Pink Floyd's Wish You Were Here was actually on fire (and in a bit of danger)? Or that an original idea for Supertramp's Breakfast in America was to depict cereal and milk rolling through the Grand Canyon? Tasty tidbits like these, along with quotes from designers, photographers, and the musicians themselves, make this a must-have volume for music fans--yes, even if your personal top 100 covers would constitute an entirely different collection. --Brangien Davis
reviews
I have owned this book for several years and I finally decided to write a review on it now. Why did I wait so long? Well, this is not the kind of book that you'll likely pick up right away and read all the way through. In fact, I constantly find myself going back to this book whenever I'm bored. It's fun, even after many years, to flip to an album cover and read all of the interesting details on the concept, artist, design, and history. The book is laid out in such a fashion that each time you look at a represented cover, you discover new details and gain a new perspective.
As to the question of whether or not these are truly the best 100 album covers of all time, I really can't say. In fact, in that regard I think the title is misleading because it forces the reader into thinking this is some type of a ranking or countdown. In fact, it is nothing of the sort. This is simply a really cool collection of 100 great album covers and their history. And, in that respect, this book really delivers.
Buy it today. I promise you, it will never get dull.
I can't say anything more than this book rules. It has definitely the best 100 album covers.
There are so many albums out there, but I have to question some of the album covers that were chosen. I think that part of the problem with this book is that it tries to catagorize the covers, which is the downfall. For some of the catagories, it seems that they are reaching on covers just so they have enough album covers to sustain that catagory. I also think there were albums, too numerous to miss. That all being said, the information was very interesting and it was good to see that one time period or genre was not dwelled upon.
At least half of the featured album covers were familiar to me, and the book did contain interesting and informative snippets of information. However I was a bit dismayed that some album covers were overlooked, memorable covers by such popular bands as Black Sabbath, Deep Purple, Meatloaf, ELO, Boston, Blue Oyster Cult, and Iron Maiden (for their frightening Eddie character that graced so many of their albums).
As an art book, this book is a joke. I have many coffee-table and art books, and »100 Best Album Covers« is the only one I have that centers some featured graphics in the CENTER of the book. By that, I mean that a picture is centered in a two page spread, which runs the spine of the book right down the middle of the picture. All of the other art books I have put a graphic on one page so that you can see it (unless it's oversized). The pictures here aren't oversized and would easily fit on one page. It's hard to appreciate even a nifty album cover when you can only see the outer edges of it clearly. Far too many of the album covers are centered on the spine this way. The emphasis in this book is on the commentary it seems, and not so much the picture. Emerson Lake & Palmer's »Brain Salad Surgery« (an impressive work by the famous artist Giger) isn't quite as breathtaking when you have to pry and bend the book open and crack the spine to see it.
The publishers should revise this book and reissue it.
Although the information about each album cover is intriguing, I'd be hard pressed to agree that these are the top 100 best (or creative) album covers of all time. As a graphic designer, I feel that some of covers are downright dull – definately not worthy of the title bestowed upon them.
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