Welcome to the October edition of Five Favourites. See below five album covers which have marked me this month, for one reason or another.
Superimposition – Eddie Palmieri (1970)
This is not only an excellent album but also has the most wonderful cover art. The picture itself is of course superimposed on Mr Palmieri’s face and shoulders, which is most splendid. The superimposed image looks like a drug trip dream, it bursts with colour to contrast with the black and white of the artist’s visage. I am as impressed with the art as I am with the music.
Metamatic – John Foxx (1980)
Reminiscent visually and musically of Gary Numan’s The Pleasure Principle, this is a must mention cover. Metamechanics (French méta-mécanique), in relation to art history, describes the kinetic sculpture machines of Jean Tinguely, but apart from this I could not find any dictionary meaning for the title word. The cover is very cool indeed, Mr Foxx, stood smartly with shiny shoes, touching a square of painfully bright light – just excellent. How unsual!
Pink Floyd – A Momentary Lapse of Reason (1987)
Another excellent album with a wonderful cover. I see I mentioned Floyd in the last Five Favourites as well. I love the endless rows of colourful beds. I imagine the image was computer generated but a part of me wants to think about Sid and Roger dragging all of these up and down the beach. Of course they were both departed from the band by then but you’ll humour a dying man.
Gary Numan – Telekon Live (2008)
It is a wonder to me that Telekon was released in 1980 and the live album was recorded 28 years later. Perhaps Mr Numan ran out of money. In any case this album cover is identical to the studio version with the addition of the word ‘live’ – which is very frugal and economic, which is a tendency I appreciate in a person. Well done Mr Numan!
Grace Jones – Portfolio (1977)
A reference to Jones’ very successful modelling career, Portfolio is an excellent cover art. Almost baring her teeth at us, a flawless young Grace stares out at us in a striking pose, about to unleash her disco stylings, joined with legendary producer Tom Moulton, on the world. They would go on to make three albums together, which formed the initial cannon of her disco works before she moved on to higher things.
There was a sly brilliance to Jones grafting her persona onto the glossy sounds of disco as it prepared to finalize its transition from the underground to the mainstream. Portfolio encapsulates Jones’ keen eye, and ear, for detail and the ability to usurp trends to her own clever ends. Albumism
See you next month!