I start with Michael Brecker's Now You See It... (Now You Don't)
I start with Michael Brecker's Now You See It... (Now You Don't)
Last edited by rcarlberg; 06-25-2016 at 02:17 PM.
If I'm not mistaken, what you really mean is album cover based on MC Escher's work, as I'm pretty sure these were all pre-existing works of art that got appropriated after the fact for the purposes of packaging "pop music".
I remember there was a Pink Floyd bootleg I used to see at one of the record stores here regularly, that used the Escher etching of the water flowing uphill.
"My choice early in life was either to be a piano player in a whorehouse or a politician, and to tell the truth, there's hardly any difference"
President Harry S. Truman
Well, being impolite wasn't getting anywhere, so I had to learn how to do things differently.
I actually, had to change mine, because I was thinking Escher had died decades earlier than he actually had. But according to Wikipedia, he died in 1972, so it's actually conceivable he might have done some album cover artwork, assuming he was still creating stuff in the last years of his life, and he was inclined to in the commercial art world (I think album covers fall into that general category).
No! Escher was graphic designer for most of the Stackridge albums.
I kid, I kid!
And "inspired by" but not actually a reprint:
Great stuff and yes, I should have used different words in my OP
Seems like Pink Floyd wins the award for most bootlegs with an Escher cover!
Pink Floyd - 'Tampa' LP ('73).jpg
I used to have this record, remember it was the thickest vinyl I had ever seen--damn near 'unbendable'
"Wouldn't it be odd, if there really was a God, and he looked down on Earth and saw what we've done to her?" -- Adrian Belew ('Men In Helicopters')
Cheaters.Originally Posted by Zeuhlmate
Although this bit is interesting:A follow-up to yesterday’s post. MC Escher lived long enough to see his work move from curiosities appealing to a small circle of print collectors, through enthusiasm among scientists and mathematicians, to mass acceptance in the late 1960s thanks, in part, to the general vogue for any art that looked weird or far out. New Worlds magazine used Relativity on a cover in 1967, while Thomas Albright writing for Rolling Stone in 1970 introduced a generation of American heads to Escher’s work. A year earlier, another Rolling Stone, Mick Jagger, had tried to persuade Escher to create something for the cover of Let It Bleed; the artist declined but that didn’t stop others using his prints for cover art.
Confirmed Bachelors: the dramedy hit of 1883...
Still alive and well...
On a side note: The Arcane Sanctuary in the computer game Diablo 2 was given the Escher look. My first thought when entering that area was "Escher". It is not based on a specific work of his, but the general feeling of that area is "Escher".
hqdefault.jpg
Maybe on this page there are some more not mentioned above: http://www.tess-elation.co.uk/m-c-es...er-art---music
Last year I interviewed Martin Springett, who was responsible for the Ian Hunter cover and he told this:
After a brief return to Canada, I came back to the U K, and answered an ad in a London music magazine for a band who was looking for a singer and songwriter, in the ‘prog rock area of musical engagement and exploration.’ This band recorded some songs at Morgan Studios, where Yes recorded Topographic Oceans. I sent the tapes to CBS records as I had a connection there with a music publisher. I got a call back, not for the music but for the art I sent along with the tapes. I met Roslav Szaybo who was the art director at the time and an influential designer of L P covers. I was then given the the job of illustrating Ian Hunter’s first solo album, which is still out there with my cover. Roslav was keen to use an M C Esher image, Bond Of Union, placing Ian Hunter’s signature glasses on the face that is central in the picture. I was told to ‘go crazy’ after that. So, not my image really, but great fun to do, and clearly it worked. I was recently interviewed by a German music magazine about this ‘classic cover.’ The next project was an inner sleeve for an Argent album called Circus. I remember working on this one vividly, as my girlfriend Hilary and I lived in a house in N Finchley, and we could not afford to heat the place in the winter, so I drew that image wearing gloves and several sweaters. I am particularly proud of the image for Stravinsky’s Three Great Ballets, although it started life as a cover for a Kokomo funk album! The band was not happy with it, but Roslav loved it, and found a much better home for it. I think that too is still in print here and there.
Bookmarks