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Roger was the originator, but my drawings were my translations of his visions. He explained: "As a virtual artist 'The Wall' was fascinating for me because there was so much to dig into and explore. Scarfe - whose book 'The Art of Pink Floyd: The Wall' is set to be released on November 11 - admitted despite the challenges, the project was "fascinating".
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Then we did the film, which was tough and very difficult." "The live show was incredibly ambitious, with my original illustrations turned into inflatable puppets. I actually designed the album cover on Roger's kitchen table. It is a classic, and so is the recording inside."The band were in the South of France and I kept flying down to meet them. This didn't stop Sweet Jane being a beautiful song.Īs for Fleet Foxes, the thrill of their cover is that it ignores all convention and fashion - instead of a designer image here is raw art. After the Velvet Underground drifted away from Warhol, their last LP, Loaded, came in a sleeve decorated with a soppy painting of pink smoke drifting out of a New York subway station. Not all great albums have great covers - indeed, some of the best records come in the worst packaging. Then a record swap introduced me to Joy Division, whose covers are now so famous, and left the most beautiful girl in the school wondering what to make of Lou Reed's live version of Vicious. Instead I became obsessed with the Doors and the Velvet Underground who also had entrancing sleeve designs - the freak show on The Doors' Strange Days, and of course the Velvet Underground's Warhol banana. Somehow playing behind an actual wall seemed. My adolescent admiration for a group much, much older than I was came to an end when I saw The Wall live at Earl's Court. But is the best art cool? Pink Floyd's covers have an uneasy mixture of bad taste and brilliance that gets under your skin.
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Looking back now at the record sleeves that entranced me - the inflatable pig flying over Battersea Power Station on the cover of Animals, the cow in a field on Atom Heart Mother, not to mention The Wall - I still think Pink Floyd probably had the best album covers ever. This was of course a dangerous theory, for it made me a Pink Floyd fan. I believed an arty sleeve must hold art within. I was looking for the most beguiling, beautiful, mysterious-looking covers. I would spend hours on Saturdays in the grey 1980s looking through racks of vinyl LPs in dingy record shops. My tastes as a teenager developed almost entirely on this premise. This isn't the first time I've judged an album by its cover. I loved to see the blocky mass and deep colours of Bruegel's painting on a CD package and the way the band's name was written so simply in the upper right-hand corner. I fell in love with that cover in its own right. Or rather, it's not that I don't like the music - just that it was a secondary issue. Nice cover, you might have thought if you've seen it, but you were probably more interested in the music within. A detail from the work decorates the cover of the Fleet Foxes album. When I saw it recently in a record shop, I was entranced. This is Pieter Bruegel the Elder's Netherlandish Proverbs, sometimes known as The Blue Cloak from one of its most haunting details, painted in 1559 and visualising the folklore of the LowĬountries. A woman in a red dress puts a blue cloak on her husband, signifying cuckoldry.
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The peasants are doing what peasants do - lighting candles for the Devil, bringing a basket of light into the day, filling the well after the calf has drowned.