In praise of vinyl records

Todd Leopold
By Todd Leopold, CNN
Updated 10:10 AM EDT, Tue August 11, 2015
Columbia Records' Peter Goldmark invented the LP in 1948, and until the late '80s, when CDs surpassed them in sales, it was the primary medium for recorded music. Here is a sampling -- by no means exhaustive -- of some distinctive album covers.
Columbia Records' Peter Goldmark invented the LP in 1948, and until the late '80s, when CDs surpassed them in sales, it was the primary medium for recorded music. Here is a sampling -- by no means exhaustive -- of some distinctive album covers.
Spencer Platt/Getty Images North America/Getty Images
<strong>"Abbey Road," the Beatles</strong>: Any number of Beatles albums could make this list, whether it's Robert Freeman's great cover for "With the Beatles" or the phantasmagoria of "Sgt. Pepper's Lonely Hearts Club Band." Yet 1969's "Abbey Road" features a <a href="http://www.nme.com/photos/-abbey-road-31-tributes-and-parodies/269514#/photo/7" target="_blank" target="_blank">much-parodied Iain Macmillan photograph</a> and showcases the band going out on top. No wonder <a href="http://www.thebeatles.com/photo-album/recording-abbey-road" target="_blank" target="_blank">they considered calling it "Everest."</a>
"Abbey Road," the Beatles: Any number of Beatles albums could make this list, whether it's Robert Freeman's great cover for "With the Beatles" or the phantasmagoria of "Sgt. Pepper's Lonely Hearts Club Band." Yet 1969's "Abbey Road" features a much-parodied Iain Macmillan photograph and showcases the band going out on top. No wonder they considered calling it "Everest."
Capitol Records
<strong>"Straight Outta Compton," N.W.A.</strong>: This photograph is considered one of the most provocative to ever grace an album cover: six guys staring toward the ground, one pointing a handgun. As the cover art for "Straight Outta Compton," the pioneering debut album by N.W.A., it's the image of the record that revolutionized gangsta rap and redefined hip-hop.
"Straight Outta Compton," N.W.A.: This photograph is considered one of the most provocative to ever grace an album cover: six guys staring toward the ground, one pointing a handgun. As the cover art for "Straight Outta Compton," the pioneering debut album by N.W.A., it's the image of the record that revolutionized gangsta rap and redefined hip-hop.
Eric Poppleton
<strong>"Bringing It All Back Home," Bob Dylan</strong>: Dylan's album covers have ranged from great ("Freewheelin'," "Nashville Skyline") to abysmal ("Empire Burlesque"). But perhaps the most Dylan-esque is this 1965 entry, photographed by Daniel Kramer. A fallout shelter sign? A woman in red (manager Albert Grossman's wife, Sally)? That gray cat? Whatever Dylan's trying to say, this cover encapsulates it ... somehow.
"Bringing It All Back Home," Bob Dylan: Dylan's album covers have ranged from great ("Freewheelin'," "Nashville Skyline") to abysmal ("Empire Burlesque"). But perhaps the most Dylan-esque is this 1965 entry, photographed by Daniel Kramer. A fallout shelter sign? A woman in red (manager Albert Grossman's wife, Sally)? That gray cat? Whatever Dylan's trying to say, this cover encapsulates it ... somehow.
Columbia Records
<strong>"London Calling," the Clash</strong>: "The only band that mattered" did Elvis Presley one better with their 1979 album, using the design of <a href="https://en.wikipedia.org/wiki/Elvis_Presley_(album)#/media/File:Elvis_Presley_LPM-1254_Album_Cover.jpg" target="_blank" target="_blank">Presley's 1956 debut</a> and coupling it with a ferocious Pennie Smith photograph of Paul Simonon smashing his bass. The music was equally fierce.
"London Calling," the Clash: "The only band that mattered" did Elvis Presley one better with their 1979 album, using the design of Presley's 1956 debut and coupling it with a ferocious Pennie Smith photograph of Paul Simonon smashing his bass. The music was equally fierce.
Epic Records
<strong>"What's Going On," Marvin Gaye</strong>: Like most Motown artists, Marvin Gaye stayed with the label's don't-rock-the-boat program in the 1960s. But his landmark 1971 album, inspired in part by his brother's return from Vietnam, took on the woes of America and the black experience. The cover photo, of a brooding Gaye in the rain, captures the tone perfectly.
"What's Going On," Marvin Gaye: Like most Motown artists, Marvin Gaye stayed with the label's don't-rock-the-boat program in the 1960s. But his landmark 1971 album, inspired in part by his brother's return from Vietnam, took on the woes of America and the black experience. The cover photo, of a brooding Gaye in the rain, captures the tone perfectly.
Motown Records
<strong>"Wish You Were Here," Pink Floyd</strong>: No gallery of album covers would be complete without at least one representative from the design team of Hipgnosis, known for its surreal photographic imagery. Hipgnosis' works include Led Zeppelin's "Houses of the Holy," 10cc's "Deceptive Bends" and Peter Gabriel's first three solo albums. "Here," Pink Floyd's 1975 record, is particularly arresting: two men shaking hands, one of whom is on fire, with the flames licking the frame of the photograph.
"Wish You Were Here," Pink Floyd: No gallery of album covers would be complete without at least one representative from the design team of Hipgnosis, known for its surreal photographic imagery. Hipgnosis' works include Led Zeppelin's "Houses of the Holy," 10cc's "Deceptive Bends" and Peter Gabriel's first three solo albums. "Here," Pink Floyd's 1975 record, is particularly arresting: two men shaking hands, one of whom is on fire, with the flames licking the frame of the photograph.
Capitol Records
<strong>"There's a Riot Goin' On," Sly and the Family Stone</strong>: Steve Paley's photograph of an American flag with suns in place of stars (on a black field) served as the cover of Sly's 1971 album, but in later years it was replaced by <a href="http://ecx.images-amazon.com/images/I/51jVueymJML._SY300_.jpg" target="_blank" target="_blank">a picture of the band in concert</a>.
"There's a Riot Goin' On," Sly and the Family Stone: Steve Paley's photograph of an American flag with suns in place of stars (on a black field) served as the cover of Sly's 1971 album, but in later years it was replaced by a picture of the band in concert.
Epic Records
<strong>"The World Is a Ghetto," War</strong>: The loose and socially conscious California funk of War made for a terrific sketch of urban life, and the cover of the band's 1972 album -- Howard Miller's drawing of a luxury car with a flat tire amid the clotheslines and apartments of an inner-city streetscape -- was a nice representation.
"The World Is a Ghetto," War: The loose and socially conscious California funk of War made for a terrific sketch of urban life, and the cover of the band's 1972 album -- Howard Miller's drawing of a luxury car with a flat tire amid the clotheslines and apartments of an inner-city streetscape -- was a nice representation.
Avenue Records
<strong>"Live and More," Donna Summer</strong>: The Queen of Disco seldom looked more alluring than she did on the cover of her 1978 album. From the eyeshadow to the backlit hair, the picture was as exciting as Summer's songs.
"Live and More," Donna Summer: The Queen of Disco seldom looked more alluring than she did on the cover of her 1978 album. From the eyeshadow to the backlit hair, the picture was as exciting as Summer's songs.
Universal Japan
<strong>"Relaxin' with the Miles Davis Quintet"</strong>: Esmond Edwards' minimalist illustration of a reclining woman is all angles and as sharp as the band itself on Davis' 1956 album. The band included John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones.
"Relaxin' with the Miles Davis Quintet": Esmond Edwards' minimalist illustration of a reclining woman is all angles and as sharp as the band itself on Davis' 1956 album. The band included John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones.
Prestige
<strong>"Sonny Rollins Vol. 2"</strong>: Rollins' 1957 cover, with a photograph by Francis Wolff, is so distinctive that Joe Jackson copied it practically note-for-note (so to speak)<a href="http://cdn.discogs.com/PEQVLAXoWXN3dqWUKaJuzkCaq80=/fit-in/600x600/filters:strip_icc():format(jpeg):mode_rgb():quality(96)/discogs-images/R-6425341-1418909830-2814.jpeg.jpg" target="_blank" target="_blank"> for his 1984 album "Body and Soul."</a><br />
"Sonny Rollins Vol. 2": Rollins' 1957 cover, with a photograph by Francis Wolff, is so distinctive that Joe Jackson copied it practically note-for-note (so to speak) for his 1984 album "Body and Soul."
Blue Note
<strong>"Ramones"</strong>: The cover of the band's 1975 debut, with a black and white photograph of the band by Roberta Bayley and "RAMONES" in Franklin Gothic font, offered some inkling to the blunt music within: direct, aggressive and no-holds-barred.
"Ramones": The cover of the band's 1975 debut, with a black and white photograph of the band by Roberta Bayley and "RAMONES" in Franklin Gothic font, offered some inkling to the blunt music within: direct, aggressive and no-holds-barred.
Warner Archives/Rhino
<strong>"Between the Buttons," the Rolling Stones</strong>: The Stones' bad-boy image was often just that -- an image -- but you'd never know from looking at the cover of their 1967 album. Gered Mankowitz's photograph shows a group looking positively sinister, with Charlie Watts, of all people, the obvious mastermind.
"Between the Buttons," the Rolling Stones: The Stones' bad-boy image was often just that -- an image -- but you'd never know from looking at the cover of their 1967 album. Gered Mankowitz's photograph shows a group looking positively sinister, with Charlie Watts, of all people, the obvious mastermind.
ABKCO Records
<strong>"Breakfast in America," Supertramp</strong>: The clever cover of Supertramp's 1979 bestseller is Manhattan expressed through diner furnishings: cutlery, coffee cups and boxes. (And oh, yes: a waitress named "Libby"<a href="http://101mobility.com/blog/wp-content/uploads/2013/04/statue_of_liberty.jpg" target="_blank" target="_blank"> looking distinctly statue-esque.</a>) Mike Doud did the design.
"Breakfast in America," Supertramp: The clever cover of Supertramp's 1979 bestseller is Manhattan expressed through diner furnishings: cutlery, coffee cups and boxes. (And oh, yes: a waitress named "Libby" looking distinctly statue-esque.) Mike Doud did the design.
A&M Records
<strong>"Weasels Ripped my Flesh," the Mothers of Invention</strong>: Frank Zappa's band, known for its satirical work, had already parodied "Sgt. Pepper's" cover with <a href="http://www.dejavoodoo.com/zappa/images/We_re_Only_In_It_For_The_Money.jpg" target="_blank" target="_blank">"We're Only In It for the Money."</a> For this 1969 record, the cover matched the absurd title impeccably. Rzzzz!
"Weasels Ripped my Flesh," the Mothers of Invention: Frank Zappa's band, known for its satirical work, had already parodied "Sgt. Pepper's" cover with "We're Only In It for the Money." For this 1969 record, the cover matched the absurd title impeccably. Rzzzz!
Zappa Records
<strong>"Licensed to Ill," the Beastie Boys</strong>: CDs and MP3s can't approach the versatility of the LP album cover in its expansiveness. From the front, the Beasties' 1986 debut looks like the tail section of a plane. Open the cover, though, and you see the picture is continued on the back ... <a href="http://mimg.ugo.com/200808/16335/Licensed-to-ill.jpg" target="_blank" target="_blank">with the plane crashed into a mountainside</a>. Art by World B. Omes.
"Licensed to Ill," the Beastie Boys: CDs and MP3s can't approach the versatility of the LP album cover in its expansiveness. From the front, the Beasties' 1986 debut looks like the tail section of a plane. Open the cover, though, and you see the picture is continued on the back ... with the plane crashed into a mountainside. Art by World B. Omes.
Def Jam
<strong>"More Songs about Buildings and Food," Talking Heads</strong>: This most artistic of bands -- in fact, they were once called "the Artistics" -- liked artsy album covers. 1978's "Buildings and Food" cover consisted of a band portrait constructed with Polaroids. Jimmy De Sana did the work.
"More Songs about Buildings and Food," Talking Heads: This most artistic of bands -- in fact, they were once called "the Artistics" -- liked artsy album covers. 1978's "Buildings and Food" cover consisted of a band portrait constructed with Polaroids. Jimmy De Sana did the work.
Warner Bros/Wea
<strong>"Season of Glass," Yoko Ono</strong>: Six months after her husband, John Lennon, was shot to death in front of their apartment building, Ono put out 1981's "Season of Glass." The cover couldn't have been a more stark image of grief and perseverance: Lennon's blood-stained glasses and a half-full glass of water.
"Season of Glass," Yoko Ono: Six months after her husband, John Lennon, was shot to death in front of their apartment building, Ono put out 1981's "Season of Glass." The cover couldn't have been a more stark image of grief and perseverance: Lennon's blood-stained glasses and a half-full glass of water.
Rykodisc
<strong>"Disraeli Gears," Cream</strong>: You can practically taste the sugar cube of psychedelia coming off Cream's 1967 album: lightning bolts, wings, trees and bubbles, all in Day-Glo colors. The band stares at you from the top. Design by Martin Sharp.
"Disraeli Gears," Cream: You can practically taste the sugar cube of psychedelia coming off Cream's 1967 album: lightning bolts, wings, trees and bubbles, all in Day-Glo colors. The band stares at you from the top. Design by Martin Sharp.
Polydor
<strong>"Hotel California," Eagles</strong>: The Southern California band's 1976 magnum opus was a world-weary look at El Lay culture, starting with the cover: a photo of the Beverly Hills Hotel by David Alexander, with tweaks by design great John Kosh (ELO's "A New World Record," REO Speedwagon's "Hi Infidelity"). You can almost smell the colitas.
"Hotel California," Eagles: The Southern California band's 1976 magnum opus was a world-weary look at El Lay culture, starting with the cover: a photo of the Beverly Hills Hotel by David Alexander, with tweaks by design great John Kosh (ELO's "A New World Record," REO Speedwagon's "Hi Infidelity"). You can almost smell the colitas.
Elektra/Asylum
<strong>"ABC," Jackson 5</strong>: During its '60s heyday, Motown was not known for its album cover art, but sometimes an idea is so simple, it's brilliant -- hence having the Jackson 5 pose among three giant letters of the alphabet for the 1970 album "ABC." It's colorful, it's energetic, and it's a nice companion to the exciting songs on the LP, including "ABC" and "The Love You Save."
"ABC," Jackson 5: During its '60s heyday, Motown was not known for its album cover art, but sometimes an idea is so simple, it's brilliant -- hence having the Jackson 5 pose among three giant letters of the alphabet for the 1970 album "ABC." It's colorful, it's energetic, and it's a nice companion to the exciting songs on the LP, including "ABC" and "The Love You Save."
Motown Records
<strong>"Live at the Apollo, 1962," James Brown:</strong> James Brown in the studio was thrilling, but James Brown on stage was electrifying. The impressionistic cover of his 1963 album, with vibrant audience members milling outside a marquee, was done by Dan Quest.
"Live at the Apollo, 1962," James Brown: James Brown in the studio was thrilling, but James Brown on stage was electrifying. The impressionistic cover of his 1963 album, with vibrant audience members milling outside a marquee, was done by Dan Quest.
Motown Records
<strong>"Spirit," Earth, Wind & Fire</strong>: Funk could go to otherworldly places, and Earth, Wind & Fire's covers regularly showed off a love of pyramids and Egyptian imagery. "Spirit," a 1976 release, was one of the band's more minimalist efforts; check out "All 'n' All" and "I Am" for more dramatic illustrations.
"Spirit," Earth, Wind & Fire: Funk could go to otherworldly places, and Earth, Wind & Fire's covers regularly showed off a love of pyramids and Egyptian imagery. "Spirit," a 1976 release, was one of the band's more minimalist efforts; check out "All 'n' All" and "I Am" for more dramatic illustrations.
Columbia/Legacy
<strong>"Ghost in the Machine," the Police</strong>: There's something creepy about the chaotic digital display on the cover of the Police's 1981 album, though the image -- by Mick Haggerty -- is supposed to represent the three band members' faces. Others see <a href="http://www.feelnumb.com/2012/10/16/the-police-ghost-in-the-machine-album-cover-hidden-666/" target="_blank" target="_blank">something even more sinister</a>.
"Ghost in the Machine," the Police: There's something creepy about the chaotic digital display on the cover of the Police's 1981 album, though the image -- by Mick Haggerty -- is supposed to represent the three band members' faces. Others see something even more sinister.
A&M Records
<strong>"The Joshua Tree," U2</strong>: A band known for big statements went truly expansive for its 1987 album, posing in California's Death Valley in a panoramic shot by Anton Corbijn. The photos were taken in December, so if you think U2 looks serious because they're cold, you're right.
"The Joshua Tree," U2: A band known for big statements went truly expansive for its 1987 album, posing in California's Death Valley in a panoramic shot by Anton Corbijn. The photos were taken in December, so if you think U2 looks serious because they're cold, you're right.
Island Records
<strong>"Radio," LL Cool J</strong>: Few items were as indicative of early rap than the boombox, and for his 1985 album, LL Cool J went with a big closeup of the necessary item. "I can't live without my radio," he raps -- but fans picked up the LP.
"Radio," LL Cool J: Few items were as indicative of early rap than the boombox, and for his 1985 album, LL Cool J went with a big closeup of the necessary item. "I can't live without my radio," he raps -- but fans picked up the LP.
Def Jam
<strong>"Once Upon a Time in Shaolin," Wu-Tang Clan</strong>: The legendary rap crew from New York's Staten Island said in March 2014 that there would be only one copy of this album, which comes in a hand-carved box with a leather-bound book of parchment paper containing lyrics. <a href="http://www.cnn.com/2015/12/09/entertainment/martin-shkreli-wu-tang-album-feat/index.html">It sold for $2 million.</a>
"Once Upon a Time in Shaolin," Wu-Tang Clan: The legendary rap crew from New York's Staten Island said in March 2014 that there would be only one copy of this album, which comes in a hand-carved box with a leather-bound book of parchment paper containing lyrics. It sold for $2 million.
Paddle8
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Story highlights

Vinyl Record Day is August 12

For all the pleasures of digital, there's something special about vinyl

CNN  — 

I can’t explain why I still own vinyl records.

I have a turntable, but it’s no $5,000 audiophile job. I’ve got a few LPs that aren’t available on CD, but I also have plenty that are, and I can’t tell you the last time I pulled them from their sleeves.

Yes, I know vinyl is hip again, but pretty much every LP I own is older – sometimes MUCH older – than the interns in the CNN Digital newsroom. Believe me, I don’t keep those albums because they’re suddenly fashionable.

No, I think it’s a combination of sentimentality, nostalgia and pleasure, three closely related moods. (And, truth be told, some laziness.)

As we celebrate Vinyl Record Day on August 12, I think about those black-wax platters – perhaps 100, give or take – that take up space in a living-room bookcase. I think about sliding an LP out of the sleeve, the satisfying hiss and pop of the needle gliding into the groove. Occasionally, I do more than think and actually play a few.

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Perhaps you hear what you want to hear, but the sound feels warmer and more personal than the 1s and 0s of a CD or MP3.

And then there’s the cover, a 1-foot square big enough to examine the detail. Forget doing that with a 5-inch CD – or an MP3 thumbnail graphic.

Maybe you’re a vinyl junkie; maybe you look at its resurgence as a passing fad. Either way, it’s hard to beat the thrill of dropping that needle onto the disc. The joy is always the same: Just let the groove take you away.

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