Album cover posts seem to generate great interest and enthusiasm, which is fantastic. They also tend to proliferate as further albums fitting the theme are suggested.
Thanks in no small part to the memory-mining efforts of Cincinnati Babyhead (CB to his friends) we are delighted to present a second instalment in the ‘Bridges on Album Covers’ series. This sequel allows me to share one of my all-time favourite examples of album cover art, the delightful Electric Muse: The Story Of Folk Into Rock. This four album compilation is also a brilliant survey of the emergence and development of folk-rock from the early 1960s into the 70s.
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The first pair offer contrasting views of the West Coast of the USA. Chris Isaak’s vision is lush and romantic, while Tower of Power have gone for gritty realism.
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Two dystopian visions, two bleak images. The first is Aussie legends Midnight Oil and features the Sydney Harbour Bridge. The tide of optimism is certainly out. The feature image for this post, by the way, is Midnight Oil’s 1990 single “Bedlam Bridge”, the same construction but seen through a happier lens. Megadeth seem to be implying that in the future Liberty has been decapitated.
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Moving away from graphic destruction to graphic design, these two caught my eye. I was delighted to discover the alternate cover for the David Sancious LP (suggested by CB) as I have great affection for the art of Folon.
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I snapped up the expanded 3 CD box of Electric Muse: The Story Of Folk Into Rock when it came out in 1996, but only acquired the original vinyl quite recently, despite having coveted it lo! these many years. With illustration/design by Shirtsleeve Studio, this wonderful set has much to appreciate.
The four albums show a procession of musicians and revellers crossing an ancient bridge, meeting modern counterparts as they gather. The outer box combines these and cleverly places the contemporary musicians as reflections in the stream below.
The updated version has the stream replaced by an asphalt road, which captures a similar feel to the statement made by George Harrison when he reissued All Things Must Pass (Vinyl Connection post here).
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Once again the sequel is longer than the original. Hope you have enjoyed the journey.
Safe travels.
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vinylconnection.com.au 
Some lovely Covers here and Electric Muse really is charming. But The Bridge Trio is the one that is likely to stick in my mind with its vaguely Smart style.
Thanks Bruce,
DD
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The Bridge Trio does stand out, doesn’t it? Which is more-or-less the exact goal of good design.
The general consensus is that the Electric Muse scene is one we’d all like to join in with. Thanks for coming to the party, DD!
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I have that Megadeth of course, but it slipped right by me. Too focused on the cool color scheme probably…
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It’s a very cool design. The font literally glints.
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So much great stuff here! Love the Isaak cover (I can clearly remember the first time I heard the opening of Wicked Game and thought: “Who *is* that?”). The Megadeath cover is sobering, but the way the sword sword and the ‘M’ connect is great graphic design. As is that Bridge Trio cover: wow! I’m going to need to check out Electric Muse; if it sounds as appealing as it looks, I’m in for a treat.
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Like you I was caught and held when I first heard the croon noir of Mr Isaak’s ‘Wicked Game’. I do think the music compiled on Electric Muse lives up to the cover, though an appreciation for or openness to British folk is probably a pre-requisite. What I like about the set is that it offers enough handhold (Steeleye Span, Fairport Convention) to support a long climb.
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Excellect group of covers. I love these merry scenes from Electric Muse, like a fairy tale illustrated in the ’20’s. And I admire the engineering and high-tension steel mousse that must’ve gone into creating Isaak’s pompadour.
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Chris’s coiffure is gravity defying, isn’t it? Jerry Lee Lewis is on the news this morning; there’s a definite stylistic throwback in the hair department.
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Yes, sad to hear about JL Lewis. I have some Chris Isaak CDs and saw him once, really enjoy his singing.
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Very cool take fella. All these covers you included certainly catch the eye and the imagination. I had no idea about the alternative Sancious cover. I could go on about all of them. I think I’ll stay away from the Megadeath bridge and the Midnight Oil one and go hang with the Electric Muse folk.
So now after all this viewing from the bridge, I think I’ll dive off the bridge and listen to a couple starting with Wooden Ships. A band that I think you and 1537 turned me onto. Great idea Bruce . Look forward to more brain waves.
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Cheers, CB. Hey, that is such a fantastic fantasy – record covers you’d like to step into. And you are so right. The Electric Muse cover looks like a wonderful celebration.
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Nothing like a celebration on a stone bridge with a fine bunch of minstrels and a couple kegs of whatever is on tap. CB would be a dancing fool,
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👏🏻👏🏻👏🏻
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And a wonderful journey it was too. It was nice to be introduced to the Electric Muse collections, something I’ll look into at some point. Three cheers to you for including “Back to Oakland,” an album I long forgot about — and I’ve driven over the Bay Bridge before too! Great theme here, Bruce. – Marty
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Credit for Tower Of Power goes to CB. The postcard device is one I like. Tim Buckley used it very effectively on ‘Greetings From L.A.’ And Springsteen for his debut LP. Hm. Another theme…?
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I thought of both those records as a side trip form the “Bridge” theme. Same wavelength.
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A list has been started, CB.
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That Midnight Oil cover is pretty amazing. I’ve never really looked at it closely before – never seen an LP copy.
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Pretty grim, eh? And hopefully not prophetic.
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These covers are all great. I think the Electric Muse covers are my favorites. I also agree with Graham that Midnight Oil cover is pretty compelling!
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