Richard Hell on Blank Generation and Destiny Street

When considering iconic record covers that came out of New York's early punk scene, several pictures come to mind: Robert Mapplethorpe's starkly androgynous portrait of Patti Smith on Horses; Debbie Harry, leaning from the hood of a patrol car in a hot pink Anya Phillips dress on Blondie's Plastic Letters; Tom Verlaine's peering, anemic figure on Television's Marquee Moon; and Joey, Dee Dee, Johnny and Tommy - dressed down like a gang of high school burnouts, slouching before a graffiti covered wall, on their debut, Ramones. While all of these diverse images would significantly influence everything from successive punk and alternative styles to high fashion, perhaps the most potent represent

Spiral Architect: A look at the unforgettable artwork for Sabbath Bloody Sabbath by Drew Struzan

"I got to paint beauty for people and it made me happy. That's my favorite thing." - Drew Struzan. When it comes to the artwork and notable photos that have graced the covers of the many albums in my record collection, I can't think of one that left a bigger impact on me than the bizarre, rat and snake infested orgy taking place on the cover of Black Sabbath's 1973 masterpiece, Sabbath Bloody Sabbath. Created by the prolific artist Drew Struzan (who even managed to make Tony Orlando and Dawn look like bad motherfuckers on the cover of their final album, 1976's To Be With You), both Ozzy Osbourne and former Sabbath timekeeper Bill Ward share my feelings when it comes to Struzan's day-glow ar

Call It Love: Ernst Gamper's Work With Yello

Thanks to Ferris Bueller, "Best of the Eighties" compilations, and employment in everything from candy advertisements to Simpsons episodes, casual music fans mostly - if not only - associate German electronic duo Yello with its ubiquitous "Oh Yeah!" single. Like many bands of that era, Yello's biggest hit - an unnerving one at that - overshadowed its better work. It feels like a musical coupling that could only have developed during a certain place and time: Europe, the late seventies. Keyboardist Boris Blank (along with founding member Carlos Perón) needed a singer. And who better to ask than the enigmatic Dieter Meier, a millionaire industrialist who moonlighted both as a prolific conceptu

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