1000 Record Covers

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To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Un recorrido más o menos cronológico que busca puntos en común por portadas seleccionadas dentro de la colección de Michael Ochs, que se intuye algo aleatoria y muy del gusto norteamericano. vinyl); elsewhere unusually-shaped types and picture discs (the latter have been appearing since the 1940s (of which two examples are shown).

He told me a story about how he kept all his records in his basement, and one time it began to flood.El libro también incluye una introducción del propio Ochs, que proporciona una visión general de la historia de las portadas de álbumes de rock. The original cover was changed soon after release and a white couple was put on the cover to get the record carried in the South.

Although I do see the funny irony in celebrating the art of the LP sleeve by reducing the reproductions to about a quarter of the size of a cd cover. Many are works of art and have become as famous as the music they stand for-Andy Warhol's covers, for example, including the banana he designed for The Velvet Underground. It goes without saying, that there are many great album covers included in Ochs book here – but vicariously or otherwise that doesn’t mean it amounts to a great book – mildly diverting at best. A fascinating survey of cover art (TASCHEN's 25th anniversary special edition), record covers are a sign of our life and times.

Seminal artwork, memorable cover-sleeves, and long-lost classics all jostle for space in this virtual shelf of music history. Pese a que los textos y anotaciones son demasiado escasos, siempre es agradable revisar portadas de discos de las que nadie se acuerda. That said, the book is a nice one to have in the collection just for those who appreciate art and music and certainly doesn't fail completely- with 1000 separate covers there's certainly enough to make you pick it up once in a while, and the nice format and design of the book makes up for the strange omissions. The form - a basic 12" x 12" framework - lent itself to as much detail as the artist cared to put in or to leave out, to instant impact, to portability, to duplication or triplication via the gatefold format, and presented itself as an artefact as solid as the record it contained.