Book: Alex Steinweiss, The Inventor of the Modern Album Cover (TASCHEN)

The man who launched the Golden Age of album cover design

"I love music so much and I had such ambition that I was willing to go way beyond what the hell they paid me for. I wanted people to look at the artwork and hear the music." —Alex Steinweiss

Alex Steinweiss invented the album cover as we know it, and created a new graphic art form. In 1940, as Columbia Records’ young new art director, he pitched an idea: Why not replace the standard plain brown wrapper with an eye-catching illustration? The company took a chance, and within months its record sales increased by over 800 per cent. His covers for Columbia—combining bold typography with modern, elegant illustrations—took the industry by storm and revolutionized the way records were sold.

Over three decades, Steinweiss made thousands of original artworks for classical, jazz, and popular record covers for Columbia, Decca, London, and Everest; as well as logos, labels, advertising material, even his own typeface, the Steinweiss Scrawl.

Authors Steven Heller and Kevin Reagan (through TASCHEN publishing) has released a new book on his work, Alex Steinweiss, The Inventor of the Modern Album Cover

A side note:

I was sent the link to this book from a college professor colleague who thought I'd find it of interest. He was correct. But the professor, who's main focus of study is music and the music industry, signed off his email message with the below line.

"I wonder when collections by black artists will receive such marketing and achieve such economic value?"

Interesting question indeed.

SAY IT LOUD: "JAMES BROWN/DOESN'T HAVE TO ASK-TO-BE-DOWN" (PART 1)

We came across these two slammin' illustration and painted portraits of the legendary Godfather of Soul. The above painting served as the cover of a double LP set entitled "Self portrait" (Polydor records). And this great illustration is apparently a promotional poster for a past concert. For which year this was created for and by whom we do not know. I wish we did though. for I suspect that the illustrator may have done other portraits and we'd love to see them.

IN THE HOUSE

Above is Barry Gordy's famous house of hits in the city of Detroit, Michigan. And as most know today, this is where Mr. Gordy, Smokey Robinson, the Funk Brothers and many other stars to be worked and recorded what Gordy dubbed "theSound of Young America." In acknowledgment, respect and love of the "Motown sound" and the company's 50th year anniversary, look for more posts covering their album cover designs, photography and the logotype design of the that now recognizable Motown M. For now, peep the charming ("it had to be done because it had to be done because the idea just presents itself as an obvious graphic design and packaging design solution) and classics filled Motown: The Complete No. 1's.

Packaging design: Cool. Art direction: Hugh Brown, Michele Horie. However, as a lover of design and music, it would have been great to have constructed something that was built like an actual replica of the Hitsville U.S.A. house, similar to a doll house, with opening windows and door (ala The Doors recent deluxe box set design). But I'm sure the budget for something of that sort just was not in the cards. But I'm just sayin'- would of been that much cooler- next level details. You know? We designers are dreamers baby... and we're always dreaming big!

More on Motown to come.