It was ignored by most rock critics when it was released in 1967. Its songs were near to never played on the radio. Its initial sales were next to dismal.
By the 1990s it was regarded as one of the most influential rock records ever made. In 2003 Rolling Stone magazine ranked it #13 in its list of the greatest rock and roll records of all time. In 2006, it became one of only a handful of rock albums ever added to the Library of Congress National Recording Registry, recognized for being either culturally, historically, or aesthetically significant. Spoiler alert: It’s all three.
The Velvet Underground & Nico was an album so far ahead of its time, it was destined to fail.
The Velvet Underground & Nico was an album so far ahead of its time, it was destined for legendary success.
Despite concept albums becoming less en vogue going into the ’80s, “Paradise Theatre” did pretty well for Styx. Actually, it became their only #1 album, spawned four singles, and sold over 3 million copies. Yeah, it did very well.
Released at the beginning of 1981, the album revolves around the declining moral, social, and political state of affairs in America coming out of the ’70s going into a new decade. They used the deteriorated state of Chicago’s once majestic Paradise Theatre as a metaphor for the concept that the songs revolve around.
Not only was the music on “Paradise Theatre” some of the best Styx has ever done, the album itself was a work of art. Somehow, without affecting the sound quality, side 2 of the record was etched with a prismatic image of sculptures from the theater’s marquee along with the band’s name. Every time I listen to “Paradise Theatre” I have to admire it. It truly is a work of art – as is the music that accompanies it.
This is another one of those albums I bought mainly because of the album cover. Sure, I had heard other songs by Supertramp; I already owned “Breakfast in America” and “Crime of the Century”. Although they were a couple of my favorite albums, I really wasn’t looking for another Supertramp album. My record collection wasn’t that big, and when it comes to music, I like to have some variety. But then I saw the cover of “Crisis? What Crisis?”.
Rows of houses bordering on a gray and decrepit landscape of industrial factories spewing pollution into the air. Yet here is this guy absolutely determined to make the best of his situation. Among the crushed concrete and other debris that makes up his back yard, there he sits in his beach chair wearing swim trunks and sunglasses, under a bright yellow umbrella. Nearby is a table with a glass of his favorite mixed drink and a portable radio playing his favorite station. Ahhhh, this is the life.
The artwork spoke to me not only of always making the best of a bad situation, but also of never giving up; always striving for that place in the sun. Personally, I rank it as one of the best album covers of all time.
Oh, and the music is pretty darn good too.
Alice Cooper was a band, and later a solo artist (but that’s another story I already talked about earlier) that was known not only for their music, but also for their stage theatrics. To record collectors, they are also known for some pretty cool album packaging – an art form that totally lost its impact with the smaller CD format.Billion Dollar Babies was a prime example.
Alice Cooper’s sixth album was styled to look like an oversized alligator skin wallet. Stored inside it was an oversized billion dollar bill that featured the band’s picture in the center. Also, the inside left side of the gatefold cover was perforated so you could punch out trading card sized cards of the band. The album credits were hidden behind the punch-outs.
The album theme was focused around the band’s amazement that in only a couple of years, they had gone from being a totally broke and struggling band to one of the most successful acts in rock and roll at that time. The album packaging was one of the most unique and memorable by Alice Cooper, or any other band, yet it was not their most iconic (but that’s another story I will talk about sometime later).