THE SWEET SENSE OF UNIFORMITY

Piano compositions by Matthew Mayer

Illustrator: Lisa Falzon

In the ever distracting and frigid world of digital music, it’s so rare nowadays to come across an album and its subsequent singles that carry a common look; art that was raised in the same family and carries a style throughout its lifespan indicating the uniformity of a journey. But not in the beautifully crafted world of pianist Matthew Mayer, who recently launched his series of compositions that explore our senses using minimal piano arrangements.

The cover arts to his series, which now include the compositions, “Touch”, “Sight”, “Scent”, “Savor”, and the upcoming “Aural”, were designed by long-time collaborator and illustrator Lisa Falzon. Here, Ms. Falzon has created a series of single art covers that are not only beautifully simple, but so delicate in their display that they perfectly compliment the sense that Mayer is exploring in his music. The illustrative style evokes a natural etching with each image small and delicate, drawing you in so peacefully they almost whisper to you. Our senses are simple, yet so complex and provide so much to our everyday existence.  It is through Ms. Falzon’s impeccable style choice with the art that perfectly draws us back to this simplicity. Each single cover can stand on its own, but looking at them together enhances brilliantly the idea of not only a connected musical experience, but how our senses work together to create the essence of a beautiful human experience, if we choose to recognize them.

Bravo! My senses (all of them) are overwhelmed with joy!

Check out Matthew Mayer’s compositions here:

FINDING THE PERFECT LIGHT

Album cover review for Wouter Kellerman's In A Different Light By Darren Melchiorre

ROTIC TALK WINNER: BEST INDIE COVER

Cover Art and Layout: Green Dog Studio Art Direction: Tholsi Pillay Photography: Mark Behrens

It’s been such a joy following and connecting with Grammy Award-winning South African flautist, producer and composer Wouter Kellerman over the past few years. His music is a melodic feast for the ears and he brings such a passion for playing with every note you hear. So, when I heard that Wouter was composing an album of classic songs with his own contemporary spin, I was more than intrigued...I was waiting with bated breath for this album. And he did NOT disappoint. What really makes this album soar right from the start is the brilliant album art! You cannot have a modern interpretation album without a modern album cover, and here, Wouter’s design combines two photos which so cleverly merge the music of the past with the light of the future. The art is clean, crisp, and crosses so many generations, even with the text going in and out of both color and photo, another clever and impressive touch.

CHRISTMAS ALBUM COVERS The most wonderful time of the year!

The holiday season is upon us, and every year we are graced with more beautiful holiday music. This means, of course, more holiday album covers. While most artists create an image focusing on the expected elements (red, green, gift wrapping, bows, Christmas trees, etc.), some go the extra sleigh bell and create a holiday album cover that really stands out from the rest. Here are a few that have caught my eye over the years.

Mariah Carey,  Merry Christmas Art Direction: Christopher Austopchuk,  Photography: Daniela Federici Mariah Carey’s first Christmas album has become a classic over the years, but it’s the simplicity of this cover that makes it all the more memorable. The story goes that Mariah was so exhausted while doing this photoshoot for the album cover that at the end of the day, she just plopped down into the snow and this picture was taken. Here, she is so vulnerable and just lovely, without a lot of flare and outlandishness. Sometimes, the simplest, most natural and true images are the best. 

Clay Aiken, Merry Christmas With Love Art Direction: Frank Harkins I love this album cover. I love it because Clay could have done what everyone else was doing; put on a red holiday sweater, stand in front of a Christmas tree and fireplace, smile and there’s your album cover. But no, he took something that so many households have, those icicle lights, and turned them into a beautiful, almost warm, picturesque glow for the season. Even for an icy, snowy blue, this album cover warms my heart.

The Carpenters, Christmas Portrait Art Direction, Design: Chuck Beeson, Tim Bryant, Album cover artist: Robert Tanenbaum Nothing says nostalgia and cherished memories like a Norman Rockwell painting. This album cover was modeled after Norman Rockwell's 1960 painting, "Triple Self-Portrait", for a cover for The Saturday Evening Post. Robert Tanenbaum’s illustration along with the Carpenter’s iconic holiday hits made this album cover an instant classic.

Two amazing album covers to keep an eye on!

THE ART IS AWAKE!

Album cover review for Secret Agent 23 Skidoo’s Wake Up the Dream

3 out of 4 stars

Illustrations by Matt Leunig

First off, if you have not heard of Secret Agent 23 Skidoo yet, go and check out his music right now! A 2017 Grammy Award winner for Best Children’s Recording, this incredible musician has been serving the power of positive hip hop, funk and soul to children’s music for well over a decade. I’ve had the privilege to discover his music with the album “Infinity Plus One,” and now I get to celebrate him in another way, with the kick ass album cover design for his latest album, Wake Up the Dream.

The soul is alive and the soul is awake in this cleverly illustrated album cover, perfectly captured by the talents of Matt Leunig. You cannot help but be mesmerized as you are welcomed into the dream by a three-eyed owl who holds the key to the colorful, unicorn floating fun...and hopefully some wisdom and excitement. Every piece of this design flows perfectly together, literally. Although at first the darkness can be intimidating, you cannot help but be drawn into this creature, hoping one of your eyes joins his flight as many seem to have.

Sometimes, we don’t think of a dream state as being energetic, but Leunig’s illustration captures a lively and surprisingly comforting adventure through his exceptional choice of color and smooth motion of shape and text.

Secret Agent 23 Skidoo keeps stepping up his game and I am glad I’m along for the ride, hopefully which will be on one of the rockets shown in this spellbinding album cover!

A PERFECT VISION

Album cover review for Rachael Sage's Myopia

By Darren Melchiorre

ROTIC TALK WINNER: BEST INDIE COVER

Art Direction and Design: Christopher Kornmann/Spit and Image Design Photography: Erin Baiano

When I first saw this design, I thought I needed to get my eyes checked. The colors were so vibrant. The styling was impeccable. It was the perfect combination of concept and execution. Like Halley’s comet seen through your telescope, a design like this that is so spectacular doesn’t come around that often.  A vision made possible by Christopher Kornmann of Spit and Image Design and photos by Erin Baiano, bringing Rachael Sage’s new album, Myopia, into flawless sight.

At first glance, the concept is very familiar; with a title called “Myopia,” why not fall back onto the oh so familiar eye examination chart as the basis for the design and call it a day. Hell, the font is already chosen for you. But what Christopher Kornmann and Erin Baiano did was not only take the concept a step further, they played with the vision concept until it refracted through a crystal cut prism and gave us a colorful, detailed-to-perfection layered David LaChapelle-esque design that will send you over the rainbow. The layers of this beautiful packaging are so worth reveling over, because as you go through each page of this textbook, Mr. Kornmann has literally played with light in so many ways. Whether it’s a subtle homage to the RGB spectrum in his color palette, or that in every photo, Rachael Sage is looking through some instrument (a magnifying glass, binoculars, sunglasses, etc.) that alters light as it goes through it, the design takes the scientific elements and transforms them into a playful editorial concept worthy of Vanity Fair or Vogue. To create this in an album package in a fresh and exciting way not only displays Kornmann’s genius art direction, but his uninhibited dedication not only to the music, but to the craft of album packaging.

A MUSTACHE OVER MANOLOS

Album cover review for Jake Shears’ Self-Titled debut album, Jake Shears By Darren Melchiorre 2 stars out of 4 Stars

Photo: Greg Gorman

Back on a cold night in November 2017, I traveled to a hidden gem of a venue in a deep part of Brooklyn to hear Jake Shears make a triumphant return to the concert stage, singing songs from his highly anticipated debut album. Surrounded by the likes of Anderson Cooper and the most die-hard Scissor Sister fans, we were all in for a treat and were not disappointed by Shears’ electrifying and energetic performance. The songs had a new sound, embracing a bit of a maturity, while retaining that glorious electro pop sound from the Sisters we’ve come to love and miss.

After this performance, I could not wait for his debut album to come out. We all know Shears is not afraid to take risks, but solo acts are a challenge to maintain (unless your Justin Timberlake), so you have to “wow” them. I was ready to be hit with an outlandish bang by Shears’ debut album cover. But what I got was a silent knock and a quiet gaze. Where’s the over-the-top glamour we’ve come to love? Where’s the glitter, the fashion and the fabulousness? Is this to be a more subdued Shears, who quietly lounges on the couch versus dancing on the tables? This album cover almost resembles a quiet trip to the library on a Sunday afternoon, instead of the glam rock loft party on a Saturday night we’ve come to love and expect.

THE BEAUTY IN SIMPLICITY Madonna’s Ray of Light album turns 20!

Art Direction: Kevin Reagan Photography: Mario Testino Design: Kevin Reagan & Kerosene Halo

Yesterday, March 3, 2018, marked the 20th anniversary of Madonna’s groundbreaking album, Ray of Light. Some see this genius piece of art as a “comeback” album for Madonna, while others hail it as the mark that solidified Madonna as the queen of reinvention. Either way, this album had Madonna introducing a groundbreaking sound, combining techno and emotion, which ultimately won four Grammy Awards, including one going to my hero, art director Kevin Reagan, for Best Recording Packaging.

When I first saw this album cover in 1998, I have to admit I did not like it. As many of you know, I am not a fan of an album cover that simply has a photo of the artist on it and nothing else. But over the course of time, I would always revisit this album cover, not knowing why. Ultimately, I really came to appreciate its simplicity, and its in that simplicity that lies the beauty and genius of the design. There’s no fancy lighting or over-the-top gaudy type as one might expect with the title of “Ray of Light.” What you get is the exact opposite. A simple cover with nothing more than a striking stare and a gust of wind. There’s no pomp of fame, glory or power that we normally associate with Madonna’s world up to this point. This time, it’s an invitation to go inward, to celebrate light and music in a simple, peaceful way and the album cover captures that quiet beauty, that vulnerable aura brilliantly.

COVERING THE COUCH Remembering Dolores O'Riordan and The Cranberries album covers

By Darren Melchiorre

Well, this post was not how I wanted to start off my blog posts of 2018. Like the rest of the music world, I am devastated today by the sudden death of Dolores O'Riordan, the lead singer of The Cranberries. With her unique voice and powerful melodies and lyrics, The Cranberries stood out as one of music’s groundbreaking sounds. But one of the things I will always remember about The Cranberries are their album covers and the reoccurrence of the couch.

As a young designer starting to observe album art, I remember the first time I saw the album cover for No Need to Argue. I remember thinking, “I saw that couch before” and recalled the same couch theme being used in the album cover for The Cranberries breakthrough album, Everybody Else Is Doing It, So Why Can't We? I thought it was a brilliant way to subtly brand the artist (they also used the same band logo on each cover) and have people remember the album before. It was a perfect connection.

So when To the Faithful Departed came out, I was again waiting for the couch to appear and was surprised that it did not. The band wanted to break free from the repetition of the covers before. After that, famed album cover designer Storm Thorgerson designed The Cranberries next two album covers, Bury the Hatchet and Wake Up and Smell the Coffee. Many people did not like his fantasy style for The Cranberries, myself included. It was forced and didn’t seem honest. So I was overjoyed that the couch (and logo) made a triumphant return in the band’s album cover for their 2017 unplugged album, Something Else.

Some artists and their album covers develop a brand that’s so distinctive to who they are. I mean, can you image Meat Loaf’s album covers without their rock and roll fantasy illustration covers?  And today, as I mourn Dolores O'Riordan and the impact she and her music had on me, I will also remember the couch and all of the inspiration it gave to me to try that idea one day.

EMBRACING CHAINS “G.H.E.T.T.O” (featuring Common) Siedah Garrett

This season, I’ve been surrounded by such amazing music and some truly potent album and single cover designs. One struck me so deeply that I could not let this season come to an end before I had a chance to praise it.

I’ve been a huge fan of Siedah Garrett’s for years. From “Man in the Mirror,” to “I Just Can’t Stop Loving You,” and “Everchanging Times,” her music touches my heart on the deepest level every time, without fail. Not only is G.H.E.T.T.O a brilliant and thought-provoking piece, but the single cover sent my senses soaring. Here, we have a song about facing oppression and adversity and coming out the other side stronger, but Siedah managed to capture all of that into a seemingly perfect image. This photograph, with Siedah facing the light as she emerges with strength and courage, is a strong image right there. But what makes this photo genius are the sleeves she is wearing. The strips on each sleeve look like chain clamps, which elevates the image to such a brilliant, perfect image for this song: she faces her bright future as the chains of oppression are still a part of her and her past.

MOMENTS OF SIMPLICITY ARE THE PUREST QUESTS!

Album cover review for Chandrika Tandon’s Shivoham-The Quest

By Darren Melchiorre ROTIC TALK WINNER: BEST INDIE COVER

Cover Desgin: Clive Jacobson

I am beyond blessed when I receive albums from artists. I love the heart, soul, courage, and tears they put into their music. Every now and then, I receive an album that truly takes my breath away, even before I’ve heard a single note. Such was the case when I received Chandrika Tandon’s new album, Shivoham-The Quest. Prior to this gift, I had no idea who Chandrika was or what kind of music she created, but I was so blown away by the quality, the detail and the beauty of this packaging that I remember just staring at it in awe for a good fifteen minutes when I first received it in the mail, my wonder continuing as I explore each piece. This wasn’t your normal sleeve or digipak packaging. This was, indeed, a quest; a carefully designed album packaging box which held the quest in three CDs/three parts: Yearning, Searching, and Connecting. If a quest is what Ms. Tandon is offering, this packaging is an exquisite, fully-realized representation of that experience.

At first, the cover, which reveals a silver egg-shaped object floating in air, reminded me of the brilliant Wilco album cover for A Ghost is Born, which has a similar design and actually won the 2005 Grammy Award for Best Recording Packaging. But unlike Wilco’s cover, this design, done brilliantly by Clive Jacobson, emits a more mystically tone, one of hope, positivity and prosperity. An egg has been the symbol of birth for years, but these cover designs don’t show it being cracked or held. It is nothing more than a suspended egg with a change of color at each incarnation. It is simply there. And quests are often like that; filled with moments that are simply there. You take in the presence of what is in front of you and you experience the lesson as you move through the journey. Ms. Tandon could have made this packaging a different egg experience (cracked, broken, tilted, etc.) with each part, but she chose not to. All that changes is the egg color, almost saying that this quest is a internal one and each part will bring out an awareness for you to fully realize. And that is what makes this album packaging so special. It supports us in taking a second to realize each moment as one of simplicity, another part of the journey, another experience until you move on to the next. You don’t necessarily grow on the outside, but your inner soul is forever changed and that is what is shown here in each movement.

THE BATTLE (ARMOR) IS ON!

Album cover review for Pink’s Beautiful Trauma By Darren Melchiorre 3 stars out of 4 Stars

Art Direction and Design by Smog Design/Jeri Heiden

Four years is way too long to wait for a new Pink album. But, with a new Pink album comes a new Pink album cover, consistently designed by one of my hero creative directors, Jeri Heiden and Smog Design. Jeri has created some of this industry’s boldest album covers to date, and the design for Pink’s latest endeavor, Beautiful Trauma, does not disappoint!

Once again, Pink is front and center with a bold stance directed right at you with an intensity only she can deliver, even with sunglasses on. This cover came out a few weeks ago and I chose not to write about it until now. Something just wasn’t right and I didn’t understand what it was. With Jeri Heiden at the helm, I refused to believe that this was just another album cover with the artist in posed photography. Then, I realized it was her outfit that I was trying to make sense of. With such a creative title like Beautiful Trauma, I knew there had to be more to this album cover design than just Pink standing there in a high fashion outfit.

Then, it hit me. Pink’s outfit isn’t just an “outfit”. It’s her battle armor. That’s the connection! If this was a modern day war (especially the wars most of us experience in our heads), this is the outfit Pink would choose as her defensive gear, and coming from a “beautiful trauma”, it looks like she is emerging victorious. From her reflective sunglasses, to her silver-plated chest piece, to the jacket with the red collar, which is an brilliant reference to a warrior helmut piece, Pink is a modern day Roman gladiator.

REACHING HOME

A discussion with artist Jerry Jean on the album cover design for his latest album, Do We Reach Home.

Art Design: Charlene Kaye Photography: Shervin Lainez 

I love this time of year for Indie artists! As a member of The Recording Academy, I get to interact with the most inspiring artists and that is certainly the case with Jerry Jean. He posted the album cover for his latest album, Do We Reach Home, and immediately, I was so struck by its design. But what was odd to me was, in fact, that I didn’t know why I was so mesmerized by it. The cover design is fairly simple; a black and white photo of Jerry Jean staring right at you. So, I decided to sit down with him and discuss the cover design for his latest album. Enjoy!

RoticTalk: Thank you Jerry for taking the time to talk to me about the album cover design for your latest album, Do We Reach Home. You collaborated with art director Charlene Kaye. How did your collaboration begin? Jerry Jean: I first worked with Charlene on the album cover for my second EP, Your Love, in 2015. I loved her design work for NYC indie musicians, which was circulating on social media, and we had some mutual friends. I shot her an email, and we instantly knew how to talk to each other. Charlene’s an indie musician herself, and she just gets it.   RoticTalk: What was the process like in creating this album cover? How did you and Charlene land on the final design and photograph? Jerry Jean: It all began with a photo shoot with the aesthetically minded Shervin Lainez at his Williamsmburg, Brooklyn studio. I wore the black leather jacket I’ve owned for over 10 years. The photo we landed on, shot in black and white, was a perennial favorite from the shoot, and it inspired a monochromatic look for the full album design. I made an album cover mock-up with titling using picture editing apps on my phone, and sent some references to Charlene. I initially overlaid some warped effects onto the image using the apps, but we decided against them.

She introduced the idea of gold text and went to work perfecting the cover photo placement, lettering, and designed the full CD booklet and vinyl packaging.  Both the CD and vinyl packaging contain many subtle gold designs by Charlene, including a special radar graphic under the CD tray, a starry backsplash on the vinyl gatefold of lyrics, and unique, understated gold ribbons that accompany song titles in the interior. RoticTalk: What message were you hoping to send with this cover image? Why does this particular image represent the music inside? Jerry Jean: The cover photo, combined with a thin Avenir Light font, connotes a timeless vibe and an air of mystery. It’s seems both retro and modern, and that duality was intentional. There’s yin-yang in the photo because such polar synergy exists in the music: The songs on Do We Reach Home contain classical orchestrations in addition to very modern sounds. Thematically, the album grapples with age-old concerns like love and justice, just as much as it struggles with the social disconnection in the smart phone era. It’s an old-school analog record as well as a future-seeking body of work.

RoticTalk: Were there any other design concepts you were considering for the cover design? Jerry Jean: I initially played with a profile photo idea, or a 3/4 facial view, as well as abstract concepts. But looking straight into the camera - locking eyes with the viewer - was what really landed emotionally. As humans, we can be frightened by eye contact, but we’re also drawn to it. It’s one of the most powerful ways to connect.

RoticTalk: When I first saw the cover, your image and expression immediately brought the famous album cover for Patti Smith’s Horses to my mind. Were you inspired by this design or any other cover designs in creating your design for Do We Reach Home? Jerry Jean: That’s an iconic image. Although it wasn’t specifically in my headspace during the making of my album cover, I was actually fascinated with the black and white photos by Robert Mapplethorpe when I was introduced to his work in college. He photographed Patti Smith, so there was certainly an influence on me whether consciously or subconsciously.

I was initially inspired by the cover art for singer James Blake’s self-titled album, as well as Beck’s Morning Phase. Those covers feature portrait photos that are distorted with effects. But I ultimately decided against shrouding my album image, since I wanted a cover that would mirror the earnest nature of my music.

RoticTalk: What struck me so much when I received your package is that there were both the CD and the vinyl albums of Do We Reach Home inside. Even though the images are the same, I was so fascinated with the vinyl album cover simply because the size brought me immediately into your gaze. With the comeback of vinyl, do you think artists will put a greater emphasis and concept on their album cover designs even more? Jerry Jean: I believe so. The size of the LP makes it significantly more alluring as an art piece, and I know of quite a few people who have purchased my vinyl album for display, and they don’t even own a record player! Vinyl records, with their accompanying artwork, are tangible, satisfying objects that connect us back in time. It’s all drenched in nostalgia. As we get further away from physical albums in the streaming age (where we don’t even have liner notes), a desire to re-connect with something you can hold will likely deepen. And musicians who want to make something especially artful with physical packaging will keep making literal records.

A NEAR-PERFECT STORM!

Album cover review for Grant Maloy Smith’s Dust Bowl-American Stories By Darren Melchiorre 3.5 stars out of 4 Stars

CD Packaging and Booklet design by Grant Maloy Smith

A storm is coming and we are caught at the brink of it. What better art form for experiencing this moment than through an album cover. Grant Maloy Smith’s new album and cover design for Dust Bowl-American Stories, throws us right at the emergence of a dust storm. We are waiting for that gritty dirt to hit and that has made the cover become the perfect epicenter of a moment where stories are made and music can be heard.

The moment I saw this album cover, I was transported into a world I knew very little about, but wanted to experience, which is something that very few album covers do nowadays. I was transfixed. The design instantly evoked similar album designs that I love: The Dixie Chicks’ Home, Tori Amos’ Scarlet’s Walk, to name a few. These designs were moments, and to capture a moment so perfectly in a design which then takes you out of what you are seeing, takes skillful thought and precision. But here, with moments like this (in this case it was the dust storms of the 1930s), as tragic as they are, always unearth some essence of beauty. And what form that beauty takes is always a gift. With this design, I am in the event as it is just about to happen, but I never felt like I was surrounded by doom, which could have been an easy outcome with a different design. The album cover immediately transports us to a time and place where disaster was imminent, but the before and after will be equally as powerful in telling tales of tragedy, connection, survival, heartache, and ultimately triumph. And you are there for it all! You join those two figures seen in the photo, as small as they are, and become the grandest of heroes, for they will unlock the stories when all is said and done. And as we know, stories make the best music.

What’s amazing about this cover design is that you never feel an ounce of despair. This isn’t the Titanic about to hit the iceberg. You are brought into a moment that you know will be a filled with “I was there and this is how I felt” storytelling when all is said and done, and what better way to introduce music than through that invitation. I was so happy to learn that Grant Maloy Smith himself designed this cover, with the cover photo provided by the National Oceanic and Atmospheric Administration. It only makes the personal story deeper.  Mr. Smith could have easily designed this cover with the viewer actually inside the dust bowl, or even in the aftermath for that matter. Some of the historical photos inside the packaging reveal these moments. But, no. He so cleverly put as at the brink that I felt like I was there at every aspect of the event-the before, the during, and the after. The genius of this cover is that in that one photo, in that one moment, Grant Maloy Smith creates a photographic time experience for us in such a way that is magical, and that the music will unravel in greater detail. He gave us the campfire without ever lighting a match.

A BEAUTIFUL ‘ORIGIN’

Album cover review for Elise Lebec’s Origin By Darren Melchiorre

Graphic Design and Artwork: Matthew Baldwin

White album covers are always a unique challenge for both a designer and an artist. When designing with a white background (and not with a photo of the artist on a white backdrop), the image has to be especially compelling, because your eye immediately lands and focuses on it. That image becomes the skeleton of the design, the support structure with nothing else covering it up. So it must have the power to stand alone. Think of Aerosmith’s Draw the Line, Tori Amos’ Little Earthquakes, or my personal favorite, Madonna’s Erotica:  all of these album covers successfully use a white background to draw you into the album instantaneously because that image is so indestructible. The album cover design for Elise Lebec’s new album, Origin, does just this with a little softer intrigue, a worldly mysticism, and a simple spirit.

At first, I did not know what to do think of this album cover. I was seeing all of the elements, but nothing really connected me to it. However, I was so drawn to that mythical winged creature holding both the earth and the moon. The creature seemed to be of two worlds, an insect of the earth and a winged angel of the heavens. It soon became crystal clear that this character is bridging a gap between those two worlds of the sky and the earth. Once you see that connection, this album cover design becomes golden! As this winged messenger crosses the pyramid shaped border, one can only deduce that this prophet is the connection between the body and spirit, and quite possibly becomes the holy third that moves the journey forward, or better yet, completes the transformation about to occur.

The cover politely explains that the music is “Vibrant New Age/World Fusion blending Egyptian and western instrumentation and vocals.” If the cover has any flaw, it’s the fact that this text is present. You simply do not need it. Let the art be the words and it will bring the viewer in. 

‘SLIPPERY WHEN WET’ TODAY?

A few days ago, I randomly came across the original album cover design for Bon Jovi’s multi-platinum album, ‘Slippery When Wet.’ ‘Slippery When Wet’ is Bon Jovi’s third studio album, which gave to the world the rock classics “You Give Love A Bad Name," “Livin’ On A Prayer," “Wanted Dead or Alive," and “Never Say Goodbye”. This original and highly provocative album cover somehow slipped (pun intended!) my mind, until it showed up in my research.

There’ve been a few reports about why the original cover was not released in the United States (it was released overseas). One source says that record stores (remember them?) were refusing to carry the album with that scandalous image. Another source says that Jon Bon Jovi simply did not like the pink border around the photograph, and the band decided to go in a different direction all together at the last minute.

Ultimately, the original album cover design was replaced with the image of the wet plastic bag cover just prior to release. But I have to wonder, if the original album cover was released today, would it have gotten the same fearful reaction? In today’s world where very few things, let alone images, create shock value as much as they did in the 80s and 90s, would this wet female image be more “acceptable” today, than it was in 1986? To me, yes the image is still very sexist, but is it as “shocking” as it was back then?

I believe the wet female image was indeed used for the Slippery When Wet tour souvenir book! At least the band got some mileage out if it.

HOLDING OUT FOR A HERO

TYCE  HERO Cover artwork by Boris Vallejo and Julie Bell Design: Robbie Rozelle Images: Emma As many of you know, I am a HUGE fan of Jim Steinman’s music. So when I heard that my friend and up-and-coming artist Tyce was releasing an album of Jim Steinman covers, I was praying that his album cover would be created in Jim Steinman’s highly recognizable illustrated style. Well, my prayers were answered! I had a chance to sit down with Tyce and discuss the album cover design for Hero!

RoticTalk: Tell us about the concept for the album. There are so many artist catalogs you could have chosen to sing from. Why did you choose to sing the songs of Jim Steinman? Tyce: It wasn't really a situation of choosing an artist's catalogue. Jim's music was the only option because it was always a Steinman project. I sang in a concert honoring him in NYC and he sent me a glowing message... and the rest is history.

RoticTalk:  From Pandora's Box’s Original Sin to Meatloaf’s Bat Out of Hell series, Hero’s album cover is truly in the style of a Jim Steinman album cover. As an up-and-coming artist, you could have chosen a different direction for the album cover design. Were you always set on using a cover style so closely associated with Jim Steinman albums? Tyce: I think it was Nick (our manager's) idea and he was connected to Boris and Julie. Jim liked the idea, too, so we decided it was the right aesthetic to bridge the gap between the classic essence of Jim's music and the new style. The fonts and lettering are modern, but the painting is classic.

RoticTalk: Illustrators Boris Vallejo and Julie Bell created the cover.  Tell us what it was like working with them.  How did you choose them to illustrate the image? Tyce: They're awesome. I drove out to their home upstate, we went to dinner, they were so welcoming and kind. We worked for the day and I posed for the cover, Boris took photos, Julie sketched, it was absolutely incredible.

RoticTalk: Did you have an original idea in mind before meeting them or was the cover concept a collaborative effort? What was the design process like? Tyce: We started discussing the cover about 8 months in advance, numerous emails and phone calls. It was and is always about the lyrical connection. The most obvious is Objects in the Rearview Mirror... but we loved the concept of Tyce the hero on the outside being victorious clad in his victory jacket, staring back at the only remaining structure which just happens to be an unscathed mirror, reflecting the boy he started off as. We went back and forth between the idea of jacket on/ off, etc. but it was ultimately Boris and Julie that suggested the switch in the mirror. And it works.

RoticTalk: How did the final image for the album cover come about? Was there another design you were considering, maybe one from the photographs taken by EMMA? Tyce: Emma was/ is amazing. Her images were always to be used for the modern more realist approach, bridging that gap between the generations. The cover stands alone and encompasses the entire aesthetic of the music and story. If you notice, there's a female figure sitting in the bottom right corner. She represents the ethereal female influence in the hero's life, whether it's a lost love, maternal support, lust, etc. As long as he remains, so does she.