30 - 30
Bappi Lahiri is revered in India as the musician who introduced disco to Bollywood. Global Fusion, Buniya captures a trans-spherical taste of life beyond the gates of enlightenment, a glimpse of the spirit that unites all living entities.
The Waitresses thought it would be satirical to include on their cover the exact warning sticker proposed by the most conservative members of Congress to alert buyers that content may include objectional material. The true irony is that we created the first sticker of what later became the ubiquitous "explicit" tag.
Dwight Twilley's XXI emulates an archeological dig on Mars, finding an ancient stone CD, a comment on the timeless relevance of his sound.
Dwight Twilley, Prince of Wands, creates the magical Shadow Dog, Lord of Dream Time.
In a complex faceted genre, Twilley takes gamesmanship to a new level as quantum tonal dimentions reveal glimpses of the multiverse.
Scubba Divers back Cover
Gazing beyond Hollywood out to the Pacific, rosy dusk tones speak the unwtiten language rocking Angelinos to their core.
Dwight Twilley's impressive diving helmet proves that he is a cosmonaut entering this world "between the cracks" in the time-space continuum.
On the candy streets of downtown LA, Dwight Twilley is caught in merging forces, a confluence of vast cultural streams of The Jungle.
The Dwight Twilley Blue Print Album.
Tom Petty was one of the multitude of rockers who came to Hollywood to become a star. I got the call to make him look like one. He had seen a photo I shot of a model opening a coke bottle with her teeth. The raw slickness had a nasty feel of the whole scene decomposing in a blaze of defiance. I painted the background, suggested a bandelero and leather jacket, and Ed Caraeff captured the photograph.
The Steely Dan Royal Scam cover was a project I did with Ed Caraeff that went through many manifestations before the final approval. It is based on photos I shot of buildings in LA and one of the Prudential Building in Chicago shot when I was 15. The 102" x 102" airbrush painting on canvas was a pre PhotoShop era combination of wildly different images that addressed the hard life of immigrants in the US.
Home Cooking with Sergio Mendes in the Amazon Rain Forest is always hot and spicy.
Tom Petty and the Heartbreakers' inside cover of the You're Gonna Get It album. I set this shot on the balcony of my studio in Santa Monica on San Vicente.
Denny Cordell, owner of Shelter Records, had the idea of doing an official bootleg album for Tom Petty. The oxymoronic package featured live raw cuts with Al Kooper on keys.
Tom chose this shot I took of the Heartbreakers to be the cover of the Greatest Hits package. They were the headline act at the Super Bowl and on top of the world.
Tom Petty and the Heartbreakers, You're Gonna Get It.
Nils Lofgren album Cry Tough was the result of a double exposure conceived by Ed Caraeff. For the background, I painted dozens of layers of translucent blues to create a moody ambience consistent with the album's tone.
The red, yellow and blue ultra graphics on Dwight Twilley's The Luck define an era that sizzles off-screen from mainstream radio playlists. Although musicologists classify Twilley as part of the electrifying power pop genre, Dwight always expresses his own sound.
Leon Russell's Best of Leon. I used an Ed Caraeff photo and painted the Grand Canyon on a large dye transfer print then designed letters and had a seamstress sew them together. This was the first of many projects I did for Denny Cordell and Shelter Records.
I designed the Best of Leon package so that both sides worked as front covers. On this side, I airbrushed an Ed Caraeff b&w photo then combined letters I designed and fabricated clear plastic, backlit and shot with the star filter used to photograph Liz Taylor's diamonds.
"Fallin' in Love" was the number one hit single in the country when I was working on the backdrop for Hamilton, Joe Frank & Reynolds and they were in a big rush to get the album out. I worked around the clock to have it ready for the Ed Caraeff photo shoot the following day. It was a large canvas, twenty feet square. I had to lay it out in the middle of my studio floor to be able to paint it. Even though I wore socks and was careful not to get it dirty, I couldn't help dancing on it when the song came on the radio.
I had been designing a Punk Gumby for Art Clokey, the claymation legend who created Gumby. He personally signed off on my work. When Disney got the rights to put out an album dedicated to Gumby, I got a call to design the cover. I was inspired by the primitive feel of Gumby and Pokey and felt I wanted to blend them with cave art. I hired Susan Murphy to create a Lasceau-type slab of concrete then stained it to get the cavern look. The morning my hero Salvador Dali died, I drew a big pointed mustache on my face in his honor. Later that day, the producer of the Gumby album called me to meet him at Disney. When I got there, he led me into a big board room with a long table full of people I didn't know. I told them about the art as everyone sat silently. It was only later when I looked in the mirror that I remebered my Dali tribute.
For Power in the Music, I painted the scene on wood with cutouts for the faces. I added the maple leaf on the hand in honor of their Canadian roots, added an eye for the mystical Dominique Troiano and the Dalian watch just because I happen to revere Dali.
The Guess Who's Power in the Music back cover.
Dwight Twilley's Green Blimp hovers in an ideal universe where time has stopped, or perhaps never started.
Three Dog Night's Comin' Down Your Way, featuring a 20' x 30' canvas backdrop of a 1930's Italian train station and the band GQed out in Italian suits, was the first of many covers Ed Caraeff and I worked on. Ed shot it in my studio with an 8" x 10" camera that captured amazingly crisp images.
Cheech & Chong, Sleeping Beauty
Bee Gees Children of the World
Waitresses' Bruiseology with 50's modern colors and minimalistic design features a bandaided hickey. The flesh-toned plaster's contrast with the neck's coral skin reference the absurdity in a wide range of products that standardize individuality.
Cheech and Chong Sleeping Beauty