domingo, junio 25, 2006
lunes, junio 19, 2006
domingo, junio 18, 2006
The Clash - London Calling (1979)
The cover features a photograph by Pennie Smith of Paul Simonon smashing his bass guitar against the stage. The picture is surrounded by typography similar to Elvis Presley's debut album. The picture was later voted the best rock and roll photograph of all time by Q magazine, although ironically at the time Smith did not want the picture used as she did not feel it was a technically good shot because the photograph is slightly out of focus (as she was backing away from Paul to avoid getting hit). However, Joe Strummer convinced her to use the shot.
sábado, junio 17, 2006
martes, junio 13, 2006
Roxy Music - Country Life (1974)
"The supposedly 'uncredited' cover models are in fact named on the album - but not as models. They were Constanze Karoli (reportedly the sister of Can's Michael Karoli) and Eveline Grunwald, who are credited on the lyric sheet with the German translation of "Bitter-Sweet". Bryan Ferry met them in Portugal and persuaded them to do the photo shoot as well as help with the words to the song. "(De Wikipedia). O sea no son travestis.
lunes, junio 12, 2006
viernes, junio 09, 2006
sábado, junio 03, 2006
Sex Pistols - Flogging a dead horse (1980)
(ya que Andy me dijo que puedo robar esta tapa ahí va)
Flogging a Dead Horse is a compilation album of singles by the Sex Pistols, released after their break-up, and includes the four songs that were issued as singles A-sides from Never Mind the Bollocks, Here's the Sex Pistols with three of their B-sides, as well as the six A-sides that were issued off the Great Rock 'n' Roll Swindle and one B-side, My Way.
By the time the record was released, the group was finished as a musical unit; The Sex Pistols consisted only of manager Malcolm McLaren and designer Jamie Reid. Their relationship with Virgin records was difficult, and Reid's tacky sleeve design was intended to warn people against another cash-in; it was largely interpreted as a hip joke, and seems to have hurt sales very little.
Reid's first sleeve design consisted of the title hastily scrawled across his designs for the Never Mind the Bollocks and Great Rock 'n' Roll Swindle albums. It was printed, and copies exist, but was rejected by Virgin and never made it to record stores. For its replacement, Reid used a photo of a model from the cheapest agency he could find, along with dull letraset lettering, making the record look like a cheap easy listening album.
+Más info sobre Jamie Reid en mital-U.