The album “The Velvet Underground & Nico” is remarkable for many reasons–not least the music. a. It is one of only two albums that I know of that names the cover designer rather than the band or the record’s title on the front (the other being Swedish band bob hund‘s 1996 LP “Omslag: Martin Kann“.) b. The cover provoked two lawsuits (more on those later). c. Gatefold covers had generally only been used for double albums. Elvis Presley’s “Elvis Is Back!” from 1956 is said to be the first gatefold cover for a single LP and “Sgt Pepper’s Lonely Hearts Club Band” was not released until two months after the Velvets’ album.
In 1965 Andy Warhol became The Velvet Underground‘s manager and he booked them into New York’s Scepter Studios in April 1966 to record the group’s first album which was de facto produced by studio owner Norman Dolph rather than by Warhol. Warhol insisted that chanteuse Nico (real name Christa Päffgen) sing on the album and she sang on three songs. For unknown reasons some songs were rerecorded and some new songs recorded by producer Tom Wilson in Los Angeles later that year. Wilson was a staff producer for Columbia (and later Verve) Records and had produced three of Bob Dylan‘s early albums (“Another Side of Bob Dylan“, “The Times They Are A’Changin’“, four tracks on “The Freewheelin’ Bob Dylan“, “Bringing It All Back Home“) including the hit single “Like a Rolling Stone“. Warhol offered the album to Columbia Records, who turned it down! Then through the Andy Warhol association Verve Records agreed to release it. Logically enough, as Nico was not a member of the group the album’s title was “The Velvet Underground & Nico. The “&” emphasizing the fact.
Warhol gave his Banana painting to the band for the album cover. The removable banana on the front was difficult to produce and delayed the album’s release until March 1967. Acy R. Lehman, who designed the cover, decided on the gatefold to be able to include photos of the band members taken by Paul Morrissey, and colour photos by Verve photographer Hugo. I have seen the large band photo on the rear cover credited to Andy Warhol, so I am not sure it was by him or, as stated in the album credits, by Hugo.
The rear cover photograph showed actor Eric Emerson the lights projected behind the band with his inverted face superimposed on the picture of Lou Reed‘s head. This is commonly called the “Torso” version”. Emerson was in need of money as he had been charged with drug offenses and sued Verve Records to pay him for the use of his photograph. Verve refused to pay and recalled as many copies as it could and stuck a large black sticker over the offending photograph. On subsequent printings of the album sleeve the photograph was airbrushed to obscure Emerson’s portrait before the album could be reissued in June 1967. This delay badly affected the album’s sales; only about 30,000 copies being sold between 1967 and 1972 – I must be one of the early buyers as I bought my copy in late 1967 on the strength of the review in Rolling Stone. Brian Eno is quoted as saying in 1982 “everyone who bought one of those 30,000 copies started a band.” – obviously, with one exception – me!
There were promo copies distributed with the “Torso” cover which had white or yellow record labels. I think all promos were mono versions with “Torso” rear cover. There are three versions of the cover of the original American release: a first state with the “torso” rear cover, a second state with the sticker over the upper part of the torso picture and the third state with Emerson airbrushed out.
The front cover of the mono version. The front cover of the stereo version. Note the lower positioning of the banana. The “first state” torso rear cover. Below: the airbrushed “third state” rear cover.
The rear cover with the sticker covering Emerson’s face.This album has never been out of print since it was originally released. There have been several variations on the cover design and recent re-issues have once again reverted to the original “torso” rear cover photo. Some re-issues have appeared with coloured vinyl (yellow or red) and a limited edition by Newbury Comics is on black and yellow vinyl.
The original UK version was released with a single cover and the banana was not peelable. A later German re-issue showed only the peeled banana and other re-issues have added the album’s title to the front cover. There are at least three picture disc versions of the album; two from Russia on the Vinyl Lovers label (one in a die-cut card sleeve and one in a clear plastic sleeve. These have the title at upper left and “Andy Warhol” at lower right while the third picture disc has all the text at upper left, including “Andy Warhol”.
Re-issue with title on front. German 1975 re-issue with unusual cover.
Vinyl Lovers picture disc in die-cut card sleeve.I mentioned at the start of this essay that the album was the cause of two law suits. The first was Eric Emerson’s suit for compensation for the use of his face on the cover. This was resolved by Verve airbrushing out the offending face. However it seems that the hatchet has been buried since as recent re-issues have reinstated the torso picture on the back.
The second law suit was when The Warhol Foundation in 2012 licensed the banana image for use on smart phone and iPad accessories. Lou Reed and John Cale sued the Foundation, claiming that Warhol had given them the image and that The Warhol Foundation did not have the right to license it to third parties. The case was settled out of court the following year. Neither party has revealed the terms of the settlement.
The Velvet Underground & Nico is a great album with a great cover that is one of the ten most recognisable covers, alongside “Sgt Pepper“, “The Dark Side of the Moon“, “Sticky Fingers“, Nirvana’s “Nevermind“, Bruce Springsteen’s “Born to Run“, “Never Mind the Bollocks–Here’s the Sex Pistols“–and you can name the others.
I thought I had already collected all the records and CDs with cover art by Klaus Voormann – but apparently not! Some time ago I saw an advert for a Harry Nilsson album called “Flash Harry” that I had not previously seen. The advert showed the rear cover and at the lower right was an approximately 5 cm square line drawing of Harry Nilsson signed Klaus Voormann. I finally got hold of a copy this week.
Klaus Voormann’s portrait of Harry Nilsson.
Last month an Ebay seller advertised a CD by a Japanese band named GLAY. Voormann together with his son Max had designed the cover art at what I considered to be an exorbitant price. Luckily cheaper copies were available at Discogs.
GLAY’s “Music Life” CD cover.
A design that harks back to Voormann’s Revolver art.
I suppose it was the fact that a collection of 105 record covers bearing cover art by Andy Warhol or his associates is currently up for auction at Sotheby’s in London (auction date 29th & 30th September, 2015) with an estimated sale price of £30,000 to £50,000 that made me sit down and think about which covers should and should not be included in a collection of Warhol covers.
I have made a list of record (LPs, EPs and singles) and CD covers that currently includes 218 items. I have included some doubles like various pressings of Rolling Stones’ “Sticky Fingers” album as well as re-issues of the Alexander Nevsky cover and various formats of fifites EPs by Artie Shaw and The Joe Newman Octet. However, I haven’t included the Liberty re-issues of Kenny Burrell’s Blue Note albums with Warhol drawings or the various Blue Note issues with different New York addresses in my list.
The collection on sale at Sotheby’s includes some covers that I have not included in my list – such as Loredana Berte’s “Jazz” album. Also included in the sale are some “replica” covers. As I know whose collection this is, I can guess that these “replicas” are a couple of the covers I made (“Progressive Piano” and “Night Beat“). I wonder how Sotheby’s views the inclusion of these “fakes”. I shall visit the pre-auction viewing and try to find out.
The collection on sale includes some very rare items including a “Giant Size $1.57 Each” cover signed by Billy Klüver (who together with Warhol silkscreened the covers) and copies of “Sticky Fingers” and “The Velvet Underground & Nico” signed by Andy Warhol. But – some rare covers, like the Lew White “Melodic Magic” and “Waltzes by Johann Strauss Jr.” and the rarer blue version of “A Program of Mexican Music” – are missing. It also includes the East Village Other’s “Electric Newspaper” (incidentally, also included in Paul Maréchal’s book), which has no other connection with Warhol than the record contains a track “composed” by him. The cover art is definitely not by Warhol.
My list includes more thirty-five CDs – only one of which (Aretha Franklin’s “Aretha“) was actually released in Warhol’s lifetime. Should these really be considered to be “Warhol Covers”? Just this week two more bootleg CDs arrived that use Warhol’s 1975 folio of prints of Mick Jagger for their cover art. The first is called “Marquee ’71 + Sticky Out” and the second “Raretracks+“.
The Rolling Stones’ bootleg CD “Raretracks+”.
Many of the records and CDs on my list are bootlegs – by The Velvet Underground or, like these most recent additions, The Rolling Stones. Should a serious collection include bootlegs or be restricted to officially released material?
I would be interested in reading other collector’s opinions as to where to draw the line when collecting Warhol cover art.
Stones founder member Brian Jones had died in 1969 and the band hadn’t released and album since “Let It Bleed” that same year. Mick Taylor joined to fill Brian Jones’s shoes. But the group hadn’t been idle. They had begun recording new material for an album in March 1969 and come up with some of their strongest material. Further the new album, entitled “Sticky Fingers” was to be the first to be released on The Rolling Stones own record label (licensed to Atlantic Records). Mick Jagger had already approached Andy Warhol to suggest that he design the upcoming album’s cover.*
Mick Jagger’s 1969 letter to Andy Warhol sending him material and a copy of Sticky Fingers and asking him to design something wild.
Warhol had already discussed the idea of having a zip fastener on a record cover and this was his opportunity. I have already posted a fairly detailed account of the cover’s production in my February 2015 post on “The sources of Andy Warhol’s record cover art – The Rolling Stones“, so I won’t go into it again here.
The album was released on 23rd April 1971. The UK and European editions had the band’s name and the record title like rubber stamps over the model’s right thigh while the US version had both the band name and title placed over the models belt. The Stones gave the record the titillating catalogue number COC 59100 for both editions. A later US and Canadian re-issue had the catalogue number COC 39105. I have thus far not been able to find out when this was released. Both my copies are the 39105 version.
The UK/European cover.The US/Canadian cover.
However, in Spain, the cover was deemed too lascivious and a “politer” version illustrating sticky fingers covered in treacle was used.
The Spanish cover.
The rear cover photo on both the UK/European and US/Canadian versions was identical with the jeans-clad posterior on both. The Spanish cover used the photo of the Stones that graced the UK and US inner sleeves.
In 2015, a remastered and expanded version of the “Sticky Fingers” album with an extra LP of live tracks. This was reissued with a working zip but with the tongue logo on the zip’s puller. Simultaneously there were several variations including a double CD with the same cover image but without a working zip, a box set with CD and a book – again without the working zipper and a super deluxe box set with a triple CD, seven-inch single and photographs. The CD in this box does have a working zip. This is the second time that a CD with real zip has appeared. Incidentally, this reissue series also includes a double LP with the Spanish cover.
Just recently my friends at London’s A and D Gallery got hold of a copy of the 1971 US release (COC 39105) signed by Andy Warhol along with a signed copy of “Love You Live” which they passed on to me!
My signed “Sticky Fingers” LP.My signed “Love You Live” cover.
As many people know, Andy was not pleased by Mick Jagger adding the title to the front cover of the “Love You Live” album and usually refused to sign the front, preferring, as in this case to sign the inner spread. These two signed albums make a great addition to my collection of Warhol covers.
*Guy Minnebach points out that this letter cannot have anything to do with the decision to ask Warhol to design the “Sticky FIngers” cover as the letter refers to a hits package. Furthermore, Jagger sends a copy of the finished album with the letter, so the album CANNOT be “Sticky FIngers” as that was not recorded yet. The Stones DID ask Warhol to design a cover for their “Through the Past Darkly” hits album released in 1969, but apparently rejected Warhol’s design, which has thus far not been found.
I started to compile a list of all vinyl singles (seven and twelve inch) and extended play (EP) 7-inch records early in 2013 (see Andy Warhol Art on 45s, Part 1) and published it on 26th June 2013 with the intention of completing the list within a couple of weeks. However, the challenge proved greater than I had anticipated and it has taken me just over two years to get anywhere near a reasonably complete list of all the 45 RPM records that have cover art by Andy Warhol. Experience has taught me never to claim that a list like this is complete but this is as near as I can get just now. I am sure that more records will turn up as soon as this list is published. So, if you can see that I have missed any, do not hesitate to contact me and I will add them to the list.
Just a note about the conditions for inclusion on my list.
1. I have omitted compact disc singles – obviously, they are not on vinyl.
2. I have also excluded singles whose covers simply have a picture of the parent album on the reverse.
3. I have omitted European pressings of RCA singles that simply repeat the American issues.
My apologies for including the records listed in Part 1 of this list. I felt it best to make a new chronological list.
Note: No. 13 on this list, “Progressive Piano” was scheduled for release by RCA as a 10-inch LP and a 2 x 7-inch EP set, but appears never to have been issued. Only lithographs of the cover design exist in The Warhol Museum.
While on the subject of RCA EPs released in the 1950s, I would point out that the company released Byron Janis‘ recording of “Rhapsody in Blue / Grand Canyon Suite” and Erica Morini‘s recording of Tchaikovsky‘s “Violin Concerto” on both on LP and as 3 x 7-inch EP sets. The third RCA Bluebird record with illustration attributed to Andy Warhol is the “Porgy & Bess / Symphonic Dances” album also released on LP and, I suspect, even as a 3 EP set. I have thus far never seen the EP set of this recording so I have not included it in my list.
On 10th June 2015 The Rolling Stones‘ Album “Sticky Fingers” was rereleased on both vinyl and CD with added tracks. A box set including a repressing of the “Brown Sugar / Bitch / Let It Rock” EP was included in the box set with the same cover as the 1971 and 2011 versions, using the rear cover photo from the “Sticky Fingers” album on the rear.
So, there is my latest attempt at a complete list. Suggestions for additions are very welcome.
Since my previous post collecting all the record covers I could find that featured Kate Moss on their covers, I have come across five more.
1. Primal Scream & Kate Moss – “Some Velvet Morning” – Columbia 12″ – 2003
2. Babyshambles – “Down in Albion” – Rough Trade 2LP – 2005
3. Babyshambles – “Shotter’s Nation” – Parlophone LP – 2007
4. The Unholy Two – “Kutter / Porkys” – Columbia Discount Records – 7″ – 2008
5. Various Artists Compilation – “Kate Moss for Longchamp” – Universal Music – 2010
Pete Doherty of Babyshambles had a much publicised relationship with Kate Moss and she wrote several songs for the group. Babyshambles‘ 2005 double album “Down in Albion” came in a plain beige cover but had colourful inner sleeves with a picture of Kate Moss on one of them.
Their next album “Shotter’s Nation“, released on 1st October 2007 had a possible picture of Kate Moss‘ back on the front cover.
Babyshambles’ 2007 album “Shotter’s Nation”. Is that a scantily clad Kate Moss standing on rthe right?
First there was Primal Scream‘s 12-inch cover of Lee Hazelwood‘s “Some Velvet Morning” which featured Kate Moss repeating the Roland S. Howard & Lydia Lunch version from 1982. Thanks to Carlos Soares for tipping me off about this cover.
Primal Scream’s 2003 12-ich single “Some Velvet Morning” featuring Kate Moss. Front cover (left), record label (centre) and rear cover (right).
Then in 2008 a group called The Unholy Two released a 7-inch single entitled “Kutter” b/w “Porkys” that featured a fold out cover with photocopied pictures of a naked Kate Moss. The photographs are from a 2005 portfolio by painter and photographer Chuck Close.
Composite of the cover of The Unholy Two’s “Kutter/Porkys” single.
A promotional CD from 2010 released by fashion house Longchamp featured a selection of tracks chosen by Kate Moss and featured cover photos from a Longchamp catalogue. The CD was simply titled “Kate Moss for Longchamps“.
Kate Moss 2010 CD for Longchamp.
So, assuming that the cover of Babyshambles‘ “Shotter’s Nation” does show Kate Moss there are at least sixteen record and CD covers that feature the iconic Kate Moss. So here is the complete list (in chronological order):
1. Primal Scream & Kate Moss – “Some Velvet Morning” – Columbia 12″ – 2003
2. Dirty Funker – Let’s Get Dirty” (1st pressing) – Spirit Music – DF 006 – 2006
3. Dirty Funker – Let’s Get Dirty” (2nd pressing) – Spirit Music – DF 006 – 2006
4. Babyshambles – “Down in Albion” – Rough Trade 2LP – 2005
5. Babyshambles – “Shotter’s Nation” – Parlophone LP – 2007
6. 6majik9 – “Kate Moss” – Music Your Mind Will Love You – mymwly0080 – 2007
7. The Unholy Two – “Kutter / Porkys” – Columbia Discount Records – 7″ – 2008
8. Damien Hirst & Kate Moss – Use Money, Cheat Death” – White Cube – DHKM 99 – 2008
9. Various Artists Compilation – “Kate Moss for Longchamp” – Universal Music – 2010
10. Bryan Ferry – “Olympia” – Vinyl Factory – Ltd edn 2 x LP – VF 021 – 2010
11. Bryan Ferry – “You Can Dance” – Vinyl Factory – Ltd edn 12″ – VF 019 – 2010
12. Bryan Ferry – “Heartache by Numbers” – Vinyl Factory – Ltd edn 12″ – VF 020 – 2010
13. Bryan Ferry – “Alphaville Remixes” – Vinyl Factory – Ltd edn 12″ – VF 022 – 2011
14. Bryan Ferry – “BF Base (Ode to Olympia)” – Vinyl Factory – Ltd edn 12″ – VF 023 – 2011
15. Bryan Ferry – “Shameless” – Vinyl Factory – Ltd edn 12″ – VF 024 – 2011
16. Bryan Ferry – “Alphaville” – Vinyl Factory – Ltd edn 12″ – VF 030 – 2011
john Lennon’s 1986 album “Menlove Ave” is probably the best known of his recordings that use Andy Warhol’s art. But there are some others and one, in particular, that has not previously been recognized.
Andy Warhol’s Polaroid pictures of John Lennon. Circa 1969.
The photo on the left bears a striking resemblance to the cover photo on Lennon’s album “Imagine”, released on 5th September, 1971. Only the position of the cloud is different.
John Lennon’s “Imagine” LP cover.
There may be an explanation for this, however. Photographer Iain Macmillan was a good friend of the Lennons. He had been introduced to John by Yoko at her 1966 exhibition at the Indica Gallery in London, where she first met John. Macmillan was commissioned to take the cover photo for The Beatles’ “Abbey Road” album and had take portrait photographs of John as well. It was he, apparently, that placed the cloud on the cover of the Plastic Ono Band’s “Live Peace in Toronto” 1969 album.
“Live Peace in Toronto” cover art.
The cover design of Lennon’s “Imagine” album is credited to Yoko Ono but Wikipedia’s article on the album credits the cover photo to Andy Warhol. Thus this album is a previously unrecognized Andy Warhol cover appearing only five months after Warhol’s cover design for The Rolling Stones’ “Sticky Fingers” LP. Several singles bear the same cover photo including Lennon’s “Jealous Guy”/”Going Down on Love” and versions of “Imagine”.
Macmillan’s Lennon portraits turned up first on Lennon’s posthumous “Menlove Ave” LP compiled by Yoko Ono and released in 1986. According to the story I have heard, Yoko approached Warhol with Macmillan’s Lennon photographs and asked him to paint two portraits for use on the album cover.
“Menlove Ave” LP front and rear art.
These portraits would reappear when Q magazine with the May 2005 edition which contained two CDs of John Lennon’s songs covered by other artists including Madonna, Oasis, Paul Weller, Wilco and Badly Drawn Boy, amongst others.
The Front covers of Q Magazine’s CDs “John Lennon Covered #1 and #2.”Andy Warhol’s two portraits of John Lennon.
There are other pressings that use Warhol’s Polaroid photos, including a 12-inch maxi and the 1971 Japanese “Imagine/It’s so Hard” 7-inch single.
The compact disc (CD) was developed jointly by by Philips and SONY and introduced in 1982, five years before Andy Warhol’s death in February 1987 following a gallbladder operation. As far as I can ascertain the only CD that used Warhol’s art that was released during his lifetime is the 1986 Aretha Franklin album “Aretha“. I have twenty-two of the 33 catalogued CDs in my collection that have cover art or portraits by/of Andy Warhol. The table lists all these that I have found.
CDs with Andy Warhol Art 1986-2009.
The compact discs:
Aretha Franklin‘s “Aretha” album released in 1986, was simultaneously released on LP, cassette and CD. Many older albums with Warhol art were later re-issued on CD. But I have not included re-issues in this list – thus no Velvet Underground & Nico or any of the Blue Note albums with Warhol art.
in 1988 Tobias Picker’s “Keys to the City” coupled with Marc Blitzstein’s “Piano Concerto”, was first released, on the CRI label. The booklet featured Warhol’s “Brooklyn Bridge” poster design on the cover (left). Warhol had created this print to celebrate the Bridge’s centenary in 1983. The CD was was re-issued in the 1990s with a modified cover (right).
Picker/Blitzstein: The original CD release (left) and the re-issue cover (right)
In 1990 John Cale and Lou Reed released “Songs for Drella”, their tribute to Andy Warhol. “Drella” was Warhol superstar Ondine’s nickname for Warhol – a contraction of Dracula and Cinderella – used by people at The Factory but apparently not appreciated by Warhol himself. The “self portrait” on the cover was taken by Billy Name. There was also a limited edition CD in a velvety Digipak version that only had the album title of the front cover together with Cale’s and Reed’s names.
“Songs for Drella” CD with a Warhol self-portrait visible behind Lou Reed and John Cale.
Russell Means, a famous native American activist, released “Electric Warrior” in 1993. The portrait on the booklet was taken from Warhol’s “The American Indian” series, originally published in 1976. Other portraits of Means from the series can be seen at http://www.skarstedt.com/exhibitions/2012-10-10_andy-warhol/.
Russell Means’ “Electric Warrior” CD with Warhol’s 1976 portrait.
The Warhol Museum opened the following year and a book and CD were published to commemorate its inauguration. The CD of Andy Warhol interviews “Warhol From Tapes” had a detail from “Flowers” printed on the CD. The book had the compact disc attached to the front cover, but there are also CDs in standard jewel cases.
The Warhol Museums 1994 inaugural book with CD.
In 1972, Paul Anka had commissioned Warhol to paint a series of portraits of him. Warhol delivered these in person to Anka, who was, at that time, appearing in Las Vegas. Anka used two of the portraits on his 1976 LP “The Painter” and in 1996 released a compact disc album of duets entitled “Amigos”. This was a Spanish language release with Anka duetting with such artists as Ricky Martin, Julio Iglesias and others, including his daughter Anthea Anka. Two compact disc singles were released from this album; a promotional single of “Diana” featuring Paul Anka and Ricky Martin and a standard CD single of “Yo te amo”, which Anka sings together with Anthea.
Paul Anka “Amigos” (left), “Diana” (middle) and “Yo te amo” (right).
The soundtrack to the film “I Shot Andy Warhol”, released in 1996, starred Lili Taylor, Stephen Dorff and Jared Harris. The soundtrack was a compilation of various artists tracks.The choice of artists on this CD was eclectic. There was a track from The Lovin’ Spoonful, and others from R.E.M., Luna, The MC5 (“Kick Out the Jams” – one of my favourites), Love and a specially composed “I Shot Andy Warhol Suite” by John Cale.
The soundtrack album “I Shot Andy Warhol”.
The next classical CD, released the same year as “I Shot Andy Warhol”, was a promotional double CD entitled “Concert of Concerts, Opus 2″ released by NTT Data in Japan of works by Mozart and Mahler’s Symphony No. 5. The cover and the discs themselves all featured a drawing from Warhol’s sketches from his portfolio “Play Book for S Bruce from 2:30 to 4:00″ given to Stephen Bruce joint owner of New York’s Serendipity 3 restaurant.
NTT-Data “Concert of Concerts, Opus 2″ CD cover.
In 1997, Catalyst records released “Music for Merce” by The EOS Ensemble, conducted by Jonathan Sheffer, that used Warhol’s photographs of dancer and choreographer Merce Cunningham on the booklet.
“Music for Merce” the 1997 CD.
The next classical CD to appear was Karl-Aage Rasmussen’s 1998 “Three Friends”, which featured a detail from Leonardo da Vinci’s “The Annunciation” from Warhol’s “Details of Renaissance Paintings” prints from 1984. Another detail from another print from this series would appear on a CD cover in 2006.
Detail from Leonardo da Vinci’s “The Annunciation” on Rasmussen’s “Three Friends” CD.
The band Hopewell released its first album entitled “Contact” in 1998 with a cover picture of the Empire State Building from Warhol’s 1964 film of the building. The silent film lasts 8 hours and 5 minutes and was shot from the 41st floor of the Rockefeller Center.
Hopewell’s first album “Contact” used a still from Warhol’s film “The Empire State Building”.
John Cale released “Eat/Kiss –
John Cale’s “Eat/Kiss – Music From the Films of Andy Warhol” featuring a still from “Kiss”.
Music From the Films of Andy Warhol” in 1999, which features a still from Warhol’s film “Kiss” on the booklet’s cover.
In 2000, the Museum of Modern Art released a CD entitled “Open Ends – Musical Exploration in New York 1966-2000″. This is a compilation of various artists including The Velvet Underground, Yoko Ono, Sonic Youth, Yo La Tengo and The Fugs. The cover showed four colour variations of Warhol’s self portrait from 1966 – a work that resides in the Museum of Modern Art.
The booklet from “Open Ends: Musical Exploration in New York 1960-2000″. Released by the Museum of Modern Art.
A rather strange compact disc entitled “Andy Warhol – Amerykansi Mit” appeared in Poland in 2002. This is a twelve track CD with the majority of tracks by members of The Velvet underground, but also including tracks by Janis Joplin, Bob Dylan, The Animals and The Jimi Hendrix Experience.
Various Artists CD “Andy Warhol – Amerykanski Mit”.
Two further compact discs were released in 2002 with Warhol art. “Andy Warhol – Uh, Yes, Uh, No” – a recording of Warhol quotes, and “Pop Art – Underground Sounds From the Warhol Era” another compilation of tracks by thirteen artists including (of course) Lou Reed, Iggy Pop, David Bowie, Roky Erikson, Debbie Harry, John Cale and Jackson Browne. The cover was one of Warhol’s 1984 self portraits.
Andy Warhol: “Uh Yes Uh No” CD.“Pop Art – Underground Sounds From the Warhol Era” compilation CD.
Another strange compact disc entitled “Warholes Or All Andy Would Enjoy (and Fear) / Warhol Memory Disorder” by Lengow & HEveRMEarS / Otomo Yoshide & Sachiko M with DJ Mao and Peter Skala used Warhol’s Cow wallpaper with added bullet holes as its cover image. I don’t have this CD and have no idea what tracks it contains.
Lengow & HEveRMEarS / Otomo Yoshide &
Sachiko M with DJ Mao and Peter Skala’s CD from 2003.
In 1993 David Jones (no, not the David Bowie David Jones) and Bill Shute released a cassette of “traditional songs for all ages”, with simple cover art, entitled “Widdecombe Fair“. The album was re-released in 2003 with new cover art.
The 1993 cover art for”Widdecombe Fair” (left) and the 2003 cover (right).
In 2004 another various artists CD by Cultura and entitled “Andy Warhol by Cultura” was released in Italy. This Digipak double CD included a booklet with several Warhol artworks, the use of which had been sanctioned by The Warhol Foundation.
Cultura compact disc.
A bootleg compact disc with early Velvet Underground tracks, recorded between January and April 1966 was released in Japan in 2005. The CD was called “The Velvet Underground at the Factory – Warhol Tapes”.
The Velvet Underground at the Factory – Warhol Tapes” CD.
The British music magazine Q released two CDs of covers of the music of John Lennon. These were cleverly titled “John Lennon Covered #1” and “John Lennon Covered #2“. Each 14-track CD included tracks by Oasis, Madonna, Paul Weller, Stereophonics and others.
John Lennon Covered #1 and #2.
Three compact discs featuring Warhol art were released in 2006. “The Mystery of Do-Re-Mi” a recording by the baritone Christopher Grabbitas accompanied on the lute by David Miller used a detail from another of Warhol’s “Details of Renaissance Paintings” series, This time using SandroBotticelli’s “The Birth of Venus“.
“The Mystery of Do-Re-Mi” with a detail of Warhol’s version of Botticelli’s Birth of Venus.
A second CD from 2006 was Brian Keene’s “Andy Warhol – A Documentary” which contained a specially composed soundtrack.
Brian Keene’s “Andy Warhol – A Documentary” CD featuring one of Warhol’s 1984 self portraits.
Several CDs have appeared in Germany on Warhol’s life and works. The first, a tranlation of Andy Warhol’s diaries was released under the title “Andy Warhol – Das Tagebuch” in 2006.
“Andy Warhol – Das Tagebuch”
While on the subject of Warhol’s life, Deutsche Grammophon released a series of CDs with programmes of biographies of famous people, one of whom was Andy Warhol. Stephana Sabin compiled the biography, which is in German.
Stephana Sabin’s biography of Andy Warhol.
The French music magazine Les Inrockuptibles released a compilation compact disc entitled “Le New York d’Andy Warhol” in 2007. The CD featured tracks by Lou Reed, Patti Smith, Television and others. The cover picture was David McCabe‘s photo of Andy with Edie Sedgwick taken in 1964 just after the release of Warhol’s film “The Empire State Building”.
Les Inrockuptibles CD “Le New York d’Andy Warhol”.
And in 2008 another German CD biography of Warhol appeared, this time written by Annette Spohn and called “Andy Warhol – Leben, Werk, Wirkung”.
Annette Spohn’s Warhol biography in German.
The Art Gallery of Ontario presented an exhibition of Warhol art entitled “Stars, Death and Disasters, 1962-1964″ in 2008. The exhibition was co-curated by film director David Cronenberg and the gallery released a CD of Cronenberg’s discussions of the exhibition. The CD was entitled “Cronenberg on Warhol” and featured two images of “Double Elvis on front and rear covers.
The Art Gallery of Ontario’s CD “Cronenberg on Warhol”.
In 2008 a re-issue of an old bootleg appeared on CD with a new cover. The Velvet Underground‘s “Psychedelic Sounds From the Gymnasium” is a concert recording from April 30th 1967. This album was originally released on vinyl in 2008 and this re-issue has a Warhol cover supplied by The Warhol Foundation.
“The Velvet Underground at the Gyymnasium” – a bootleg CD.
The final compact discs on my list are credited to MPHO (Mpho Skeef, a South African, now living in London). The are promotional various artist CD-rs and are released on the Wall of Sound/Parlophone label. Entitled “The Art of Pop featuring DJ Beware, Vols 1 and 2″, the cover art shows classic Pop Art images, not only by Warhol, but by Roy Lichtenstein, Jasper Johns and others.
MPHO’s “The Art of Pop featuring DJ Beware, Vol 1″ – a gatefold cover, shown here open.
And that takes us up to 2009. I have thus far not been able to find any compact discs released after this that feature Andy Warhol’s art. But I promise – I will keep on searching.
This post owes a big thank you to Guy Minnebach, who came up with several CDs that I had missed. Thank you, Guy.
Louis Thomas Hardin (a.k.a. Moondog, a.k.a. The viking of 6th Avenue) was born in Kansas in 1916 and was blinded in an accidental explosion when he was 16 years old. He attended various music schools for the blind but developed his own composing skill. Hardin moved to New York in 1942 where his original musicianship was recognised by many celebrated musicians, both from the classical and jazz fields. He wrote poetry and set many to music. He lived as a street musician between 1942 to 1972 wearing a viking cloak and a horned helmet which earned him the moniker “the viking of 6th Avenue.” Hardin adopted the Moondog alias in 1947 in honour of a dog who used at the moon. Hardin emigrated to Germany in 1974 where he lived for the remainder of his life. He died on 8th September 1999.
Originally released by Prestige Records in 1957, this LP has long been one I have been looking for. I suspected that this record was incredibly rare, but there are over fifty copies listed on http://www.popsike.com and two appeared on Ebay in the same week in May 2015. Both these copies’ front covers were considerably yellowed but they still sold for over $250 each. Needless to say, I didn’t win either of them!
The original record was recorded in 1956-7 and Reid Miles, Prestige record’s art director approached Andy Warhol to ask his mother Julia to write out Stewart Preston’s eulogy to Moondog in her characteristic calligraphic style. According to Paul Maréchal in “Andy Warhol: The Complete Commissioned Record Covers, 1949-1987” she wrote out the text but – as was her wont – the lines tended to slope up to right so Andy cut them into strips to fit onto the cover. The text was credited to Preston and the calligraphy to Andy Worhol’s mother – with Warhol wrongly spelt. Design was credited to Reid Miles and the credits were place vertically at lower right on the front cover.
“The Story of Moondog” has been re-issued several times. First in 2009 on the Honest John Records Label with an entirely different cover and then in 2010 on the 4 Men With Beards label with the original cover but without the Prestige 7099 on the front cover and with the credits to Stewart Preston and Andy Worhol ‘s [sic] mother and Reid Miles removed. The latest re-release in 2011 was in a numbered limited edition box set by DOXY Records with the same cover as the 4 Men With Beards release.
The 2009 re-issue of Moondog’s “the Story of Moondog”.
The album was re-released in a remastered version on CD in 2014 in Japan, once again on the Prestige Label. The Japanese seem to be particularly good at doing the re-issue job properly as evidenced by their CDs in mini LP sleeves. So the CD booklet recreates the original LP cover art – both front an rear covers exactly. The CD cost one-tenth of what one of the copies recently sold on Ebay cost!
“The Story of Moondog” CD from 2014. Note the “Prestige 7099” at top right and the minute credits along the lower right hand edge.
The CD has a poster showing the original LP rear cover and the CD itself is a copy of the LP’s original label, but with a new catalogue number.
The CD with a recreated Prestige record label.
I shall have to make do with the CD until a decent copy of the original LP turns up.
Isabelle Collin Dufresne (1935-2014) was born and educated in France but moved to New York aged about 18 to live with a sister. She met Salvador Dali and became his lover. Dali introduced her to Andy Warhol in 1963 and, at Warhol’s suggestion, she took the moniker “Ultra VIolet” – a reflection of her habit of dying her hair violet of purple. She was an artist in her own right and an author, publishing an autobiography entitled Famous for 15 Minutes: My Years with Andy Warhol in 1988.
One aspect of her career that Wikipedia fails to mention is the recording of an LP in 1973. Capital Records A & R man Jeffrey Cheen heard Ultra Violet singing in a club and approached her after the show to suggest she record an LP. According to the interview Paul Maréchal had with her in 2008, she took singing lessons after the invitation to make the record and these significantly altered her singing style, much to Cheen’s disappointment. He felt her voice before the singing lessons had a more natural feel. Ultra Violet designed the cover at The Factory. Warhol had taken a number of Polaroid pictures for the cover but Ultra Violet and Warhol could not agree as to which to use, so Ultra Violet chose a photograph taken in 1967 by photographer/jazz record producer Lee Kraft, which showed Ultra VIolet’s profile poking her tongue out. One of Warhol’s Polaroid pictures was placed on the back cover.
Back cover of Ultra Violet’s 1973 album with Warhol’s Polaroid picture.
Ultra Violet, in her interview with Paul Maréchal said that the album was never officially released, but copies were pressed and packaged and a number have found their way into collectors’ hands. Almost half of these copies have holes punched through the cover at top right, indicating that these albums are cut-outs, that could be sold at a lower price that the official $5.98 retail price. Some experts suggest that the hole indicates that the album was a promotional copy, but I doubt this.
Ultra Violet cover with cut-out hole at top right.
No one knows how many copies of the record exist. There are sixteen listed on Popsike.com, seven of which have the cut-out hole. There are only two copies catalogued on http://www.rateyourmusic.com, so I would hazard a guess that less than fifty copies in total have come to light, making this one of the rarest covers associated with Andy Warhol.
recordart 