F.U.B.U. - Black Music, Vol. 2
An Ode To...Album Covers
If a picture is worth a thousand words then how much is an album cover worth? Done correctly, an album cover is an encapsulation of a sound, a portrait of an artist during a fixed point in time.
The second issue of Black Music is an ode to the album cover, an art form that is often overlooked but can be particularly potent under the right circumstances. Over the course of five questions and some final thoughts, three writers (Shadé (not) Sade, Ricky Denham and John Noire) unpack the power that an album cover can have over the listening experience. Enjoy!
What is your favorite album cover and why?
Shadé:
One of my favorite album covers has got to be Toni Braxton's self-titled debut from 1993. The cover is a beautiful blend of class and simplicity, cutting straight to the most befitting characteristic of Toni Braxton's musical and visual style. It is a close-up shot of Toni, exuding confidence and sophistication with that chic, short haircut and captivating eyes that draw one to her at once.
This cover stands out to me because of the timeless beauty and the introduction of Toni as a strong, independent artist. The minimalist design allows clean lines and subtle color palettes to tuck into the envelope of natural beauty and charisma that is Toni. It's a perfect reflection of the soulful, heartfelt, impeccably crafted music that's inside.
This is an album cover, not just a photograph. Rather, it's a statement. The picture introduces the forthcoming R&B icon and sets the tone for the emotional depth and vocal prowess that Toni Braxton delivers in her music. Every time I look at this cover, I am reminded of her mark on the music industry and how her debut album laid the foundation for her illustrious career. It is an image that is as classic, powerful, and evocative as Toni Braxton's music.
Ricky:
The timing of A Tribe Called Quest’s Midnight Marauders couldn’t have been any better. During an era when the West Coast was dominating the radio and reaching the height of its influence on hip-hop, Tribe (along with their rough and rugged counterparts) brought the East Coast back to the forefront.
The cover itself was a visual love letter to hip-hop and the respected founders who pioneered its revolutionary concept, while showcasing the young head honchos carrying the torch.
The 71 photographed hip-hop heads displayed on the cover is a visual expression of a collective agreement to take this art form seriously and have fun while doing it and living it. As each person is photographed wearing headphones, the album cover could be seen as them telling you to not only listen to the fourteen smooth and funky tracks that make up this project but also a signal to listen to the movement. A movement in time beyond the circulated clocks striking midnight, a movement of native tongues coming together to speak one language, a movement of the soul. One look at this album cover and it is clear that Tribe and their team knew that they made something special with Midnight Marauders, something that will remain timeless – especially for the night owls who thrive in the after-hours. It’s cool to see this legacy continue with a new generation of folks who also take this rap shit serious and curate projects that still loots our ears.
You also can’t forget about our tour guide’s second appearance on A Tribe Called Quest’s album covers. The lead marauder, emboldened by the colors of Black Liberation, stands tall, front and center. Her body, creating a stark contrast against the black-and-white backdrop, looking poised yet mysterious at the same time.
John:
Nas’ Illmatic is the blueprint of modern hip-hop. Similar to what Francis Cugat achieved with The Great Gatsby, Aimée Macauley captures the underlying melancholy within the work being depicted.
Superimposed over a New York City backdrop, the eyes of a young Nas already looks hardened – a mix between a steely resolve to overcome what he’s seen and a dormant determination to take on what he’s about to see.
There is a reason why this album cover has been recreated again, again and again. Using a baby picture as album artwork is a statement of intent, an announcement to the world that what they are about to witness is a life story, one that is worth every second of their time.
Who are some of your favorite album cover designers / photographers?
Shadé:
Jean-Paul Goude is one of my all-time favorites. He is famous for his work with Grace Jones. His work on the covers of Jones' albums, like Nightclubbing and Slave to the Rhythm, became legendary. They are a fusion of surreality and the avant-garde that completely reflects her bold and unconventional music style.
I am also a fan of Kadir Nelson, the mind behind the concepts for many notable album covers. In particular, Kadir Nelson's paintings for Michael Jackson's posthumous album (Michael) and Drake's Nothing Was the Same, bear witness to his ability to mix realism with a dreamlike quality that captures the artist's essence in a most impressive visual way.
My other favorite would have to be Cey Adams; he's pretty much a legend among graphic designers and has done loads of work for Def Jam Recordings. He was one of the artists designing album covers for people like LL Cool J, Public Enemy, and Jay-Z. Cey Adams' bold typography and striking visual concepts didn't just complement the music; they also helped shape the visual identity of the artists, creating a synergy between the sound and the imagery that defined the era.
Ricky:
Born and raised in Durham, North Carolina, Ernie Barnes, the football player-turned-professional painter used his athletic background as a key influence to understand motion. His paintings of African-American slice-of-life and joyous activities are heartwarming and nostalgic, yet remain comfortably familiar. Somebody’s relative got at least one of his paintings in their household. And best believe that if his paintings are not hanging up on any walls above the plastic sofas, they remain alive and breathing in somebody’s record collection, whether it’s Donald Byrd or B.B. King. I still envy the vibe that some kinfolk must have felt at the juke joints which served as prototypes for The Sugar Shack. There would be no extra sense of appreciation of swinging and sweating your problems away underneath the smoke in the clubs on Saturday nights without Mr. Barnes.
Separately, there’s Reid Miles, who was stellar with his camera and an excellent graphic designer as well. The Blue Note photographer amazingly crafted a specific style of jazz covers. Miles regularly centered the crème de la crème musicians by manipulating negatives taken in the middle of live jazz sessions and the dialogue in-between those sessions. He often matched the colors of the photos with his lettering. Miles was impressively accomplishing these tasks back in the 1950s and 1960s, so the development for each album – from beginning to end – had to take an incredible amount of patience and concentration. Mr. Miles set a high standard in terms of a certain look to a fresh sound. He, and another jazz legend that shares a name in common, raised the bar of the jazz aesthetic in a visual way. More on that later.
John:
Jonathan Mannion – In a 2014 TED Talk, Jonathan Mannion said that he chases for “the definitive portrait of that person, in that moment”. So much so that when you think of that person, you think of Jonathan’s picture.
Arguably, Jonathan has achieved this with Aaliyah, DMX, OutKast and Jay-Z (on several occasions).
Every time Jonathan Mannion steps behind the camera, he is able to capture the soul and ‘brand’ of the artist in front of it, whether it’s as ostentatious as DJ Khaled or as understated as Lauryn Hill.
Jonathan’s approach to photography is how I approach my writing. Each time I put down the pen, I am trying to paint a picture and give you a literary snapshot of a specific moment in time. So much so that when you remember that moment, you remember my work.
Which artist do you think has the best album covers?
Shadé:
Hands down, Tyler, The Creator! One of his most iconic covers is for his album IGOR.
Done by Lewis Rossignol, IGOR features a stark, monochromatic portrait of Tyler with exaggerated features. The cover encapsulates the record's experimental and emotional depth well, conveying a sense of vulnerability and self-examination. It is simple, yet the striking image invites one to dive deep into the record's complex themes of love and heartbreak.
The other real stunner is Flower Boy, with artwork by Eric White. This cover features a lush and lively painting of Tyler standing in a field of sunflowers; a bee buzzing near his face. This serenity and beauty contrasts remarkably well with the album's examination of identity, loneliness and self-discovery to create a strong visual narrative that complements the music.
Tyler, the Creator's covers are way more than pictures; they're equally important pieces of his art. Every cover is ingeniously constructed to reflect the music's themes and feelings, maximizing the listener's experience. In telling stories with images and finding the ability to collaborate with really talented artists, Tyler committed himself to making covers equal in weight to, or just as powerful as, what they stand for musically.
Ricky:
Miles Davis’ covers were often muses to the music he played and composed. Each cover had such a cool demeanor to it, outside of his Gemini-like personality. Some were close ups of beautiful faces, whether those were his own, or his romantic interests. Their eyes provide nuanced messages of melancholy and contentment.
Others were paintings with loud colors and mixes of hues, which were visually compelling. The type of elegance and sporadicalness organized by strokes and sound waves where the artist has to either casually daydream about or possibly be distracted by constant noise. Davis’ music never fails to match the covers he presented (except for that one cover with white women on a boat, which he did not approve of). I, for sure, was neither stunned nor appalled when he decided to produce and sell an alternative version.
John:
Janet Jackson – From 1986 to 1997, Janet Jackson was on one of the greatest runs in music history, a perfect successor to Stevie Wonder’s ‘classic period’.
Janet’s albums during that point in time visually and sonically portrayed a journey: from the burgeoning woman finding confidence in herself to being militant against those trying to break that confidence to being sexually and creatively liberated to dealing with the consequences / fallout from that liberation.
There are many artists worthy of this title (especially in recent memory) but Janet Jackson’s discography is the one I always come back to.
How important are album covers to the listening experience?
Shadé:
Album covers are important to the listening experience; they represent a visual first impression, telling the listener what to expect from the music. A great cover can evoke the album's essence and emotions and create a better bond between the artist and their audience. Doing so reinforces the music's story, making an album more cohesive and artistic.
Even today, in the digital era, a captivating cover can still capture somebody’s attention. It's really an important piece in rounding out an artist's identity and vision.
Also, I won't lie, album covers greatly affect whether I listen to an artist or not. For example, I definitely had to push myself to listen to Meg Thee Stallion’s new album (trying not to judge a book by its cover 🤷🏿♀️ but the Butterfly edition is a no for me, dawg!).
Ricky:
Hot take, but not really: the 1970s was the best decade of music, period. And I think this was also the case with album covers as well. A lot of heart, a lot of soul, a lot of experimentation…and a lot of cocaine. But that’s okay for now.
Something different was in the air back then and a blazing amount of this particular decade continues to carry fumes to this day. I desire to feel entranced by this high level of art (without the high of course).
When I listen to a brilliant album with a brilliant album cover, I could listen to the entire record and just stare at the art piece until the album is over. And if the music is really good, I could listen to this album backwards and still stare at the cover, trying to emotionally place myself into the artist’s mind as a new song plays. If I can’t imaginatively Blue-skidoo into the musician’s mind-frame, then what’s the point? And speaking of frame, some of these art covers actually belong in frames and could easily put the Mona Lisa to shame. No disrespect.
John:
I think it all depends on the kind of listener you are. As an active listener, I want to dive into the world an artist has built and it is hard to do that if the album artwork isn’t on point.
As shallow as it may seem, an album cover can often be reflective of the amount of detail and care put into a body of work. It’s easy to mark the creative decline of certain artists by simply looking at the increasingly poor quality of their album covers. Conversely, the opposite can be said about those who want to gain more respect from their audience and display their growth in every aspect of their work.
What type of album covers would you like to see more of going forward? Do you think anything needs to change or get better?
Shadé:
I'd love to see more album covers that push artistic boundaries and are visually very strong with their storytelling. Mixing traditional art forms with modern digital techniques can create a memorable image. A perfect example is Janelle Monáe’s The ArchAndroid, where classical portraiture meets futuristic digital elements, crafting a cover that is as complex and layered as the music it represents.
Additionally, I would like more diversity in album art, which captures the richness of different cultures, varied viewpoints and deep insights into the artist’s life experience.
Ricky:
Artists need to consider building projects like fashion designers do with tuxedos and wedding dresses. You don’t just put it on to wear it. You need to get everything tailored and fitted correctly to hug all the right places. Don’t forget the accessories. Don’t forget the cufflinks and the dress shoes. Don’t forget the earrings and the pearl necklace. Everything needs to be in a perfect place and COORDINATE! You wanna be clean don’t you? Album covers are the accessories to the music. It’s the polished gators. It’s the seductive high heels.
I want to see more of a story element that connects the music with the art. Don’t just take a picture or post some artwork just because it’s cool or ‘a vibe’. Provide a theme behind the project. Janelle Monáe and Kendrick Lamar are so good at that. Each album gave a different sound with different philosophies with several of their covers perfectly blending with their instrumental narrative. Michael and Janet Jackson were masters of their craft as well.
I would also love to see more artists have more of a minimalist approach to photography. Nothing wrong with the professional photo studio set up, or photoshop effects to enhance attention through streaming, but I think there is something wholesome and simple about seeing artists in their natural environments of growth, community, and humble beginnings. You don’t need to go Hollywood to conceive a high-class art piece. Oftentimes, it speaks to the listener more because a mask is removed from the musician. If the mask is not removed, there is at least a crack within it. As listeners and receivers of the music, many of us admire and relate to the roots.
John:
Personally, I would like to see more illustrated album covers.
Back in 2016, Marvel released their hip-hop variant album covers and it showed me how cool it could be for certain mediums to crossover and collaborate: whether it’s a comic-book cover like ATLiens or something more anime-inspired like Lupe Fiasco’s Samurai.
In terms of if anything needs to change or get better, I would just say that artists should STOP. CHASING. MEMES!
Some final thoughts on…Album Covers
Shadé:
Album covers mean so much more than being a package for CDs, Vinyl, etc…They introduce the setting for a journey that a listener is about to embark on and provide context in which one views the sounds. Great album covers capture the essence of the music and leave an impression that can be remembered. The future calls for more creativity, diversity, and innovation in album art.
Album covers push the boundaries of art and tell compelling visual stories, cementing the bond between an artist and their audience, making every album a full and immersive artistic statement. After all, Wu-Tang Clan and Public Enemy represent some of the best logos in hip-hop, providing evidence that powerful visuals are just as important in the culture as the music itself.
Ricky:
In a similar fashion to books, album covers should strike the listener in some way. What could the artist be trying to convey on this? What kind of visual metaphors and tone is the photographer / illustrator / calligraphist trying to communicate? How does each song resonate with the colors of the album cover and how does the instrumentation dance with the illustrious environment? Why did the curators choose specific title fonts to match with the background like ties with suspenders or belt buckles to jeans? I want to feel captivated by the canvas as much as the melodies captivate my ears. Album covers should provide a sense of care, intention and delicacy. As an artist, they can at least make the listener believe they made the effort to cook and provide nourishment.
John:
Album covers have often been my gateway to other art. For example, the elegiac pose of Aaliyah on her self-titled album reminds me of The Birth of Venus by Sandro Botticelli or the way the late Virgil Abloh repurposed Caravaggio’s David with the Head of Goliath for Westside Gunn’s Pray For Paris made me dig deeper and discover similar artists like Théodore Géricault. An album cover is a first impression but, if executed properly, can also create a lasting impression, one that heightens taste levels and inspire others to do the same thing.
 | A guest post by
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Thanks! Unfortunately, there were so many greats that weren’t included but the goal, as always, is to spark the discussion. As Ricky pointed out in his section, there was definitely something in the water in the 70s and Earth, Wind & Fire is a testament to that fact
Dopeness.
I thought for sure there’d be a mention of the Earth, Wind, and Fire album cover art.
I remember going through my Daddy’s record collection and admiring the album art like carefully curated pieces not yet hung in a museum.