Every once in a while there comes along a really new style in art and rock, goth and metal bands have often been the first to pick up on the new art and commission the artist to produce a cover for their latest album. Very often the art is so associated with the band that more than one cover ends up being done with the same artist. This was not, in fact, the first cover commissioned by Paradise Lost from celebrated artist Dave McKeane but possibly it was the best. It was also the last one as they changed their style musically and artistically quite radically after this album. Probably the earliest artist-band symbiosis and also the most long-lived one was that between landscape surrealist Roger Dean and the progressive rock band YES (although Roger Dean did plenty of covers for many other bands too).

If you are looking at the cover for Draconian Times above and puzzling over the name of Dave McKeane and wondering why it seems familiar (possibly because you have been living on the planet Pluto for the last ten years or ended up on this blog by mistake whilst looking for knitting patterns) then Dave McKeane was the artistic genius behind the covers for Neil Gaiman’s Sandman comics and the designer for the incredible film Mirrormask. If you love McKeane’s art then you must see that film! It is to large extent Dave McKeane’s art come alive and it is wonderful to see his creatures come alive like that.

Returning to the Draconian Times cover, the music, providing it is a genre you are into, is excellent. The first track Enchantment has the most incredible melody that seems so familiar that you feel you must have heard it before. No-one here has managed to figure out where it comes from if it is not original though. Any guesses? There was a large poster of the artwork of the Draconian Tiomes cover produced by the record company but sadly they’d all disappeared before we could lay our hands on any of them. Oh well, you can’t win ‘em all …

Dave McKeane art here

The link between art and music is very strong, probably more like a marriage really, especially where the production of an album is concerned. In the field of popular music and particularly with those bands who employed top artists to design their covers the end of the vinyl era meant the end of large packaging for albums and much of the artwork that looked so impressive on a gatefold vinyl album measuring some 12″ x 24″ didn’t look quite so impressive on the cassette or CD format. The tiny cassette format especially did no favours to sweeping majestic artwork.

When you think that artists like the legendary Roger Dean paint on huge canvases it really doesn’t seem as if art came off very well in the marriage does it? If you get to see a poster of his work (like one of those here for instance) then you’ll see what I mean. It is good to see that bands still use great artists for their album covers though. The work done by Dave McKean for instance is remarkable. Check out the Paradise Lost album covers he did - ‘Shades of God’ and ‘Draconian Times’ are particularly good examples of his work in this genre.

The problem of course is that for many bands the budget for the album cover is no longer as high as it used to be but given the talent out there it should still be possible to get a stunning cover even within a reasonable budget. The great thing about using the big names is, of course, the fact that people will recognise the work because they have seen it around so much. This can be very useful for tapping into a particular target market. No doubt Paradise Lost were well aware of Dave McKean’s work for Neil Gaiman’s Sandman series and well aware that the readers of that series would be in their target market. If they weren’t, it was indeed a lucky accident …

Maybe we will have a trawl back over the years before long and recommend some awesome album art … and maybe some awesome songs too!

Tales from Topographic Oceans by Roger Dean

This whole double album LP was based completely on a footnote on page 83 of Paramahamsa Yogananda’s autobiography (usually known as ‘Autobiography of a Yogi’). It is divided into four parts to correspond with the four shastric group of texts referred to in the footnote that are essential elements of the Vedic tradition in India which is in its turn the foundation of Hinduism and other religions (who all claim the Vedic tradition as part of their traditions but which pre-dates all of them by thousands of years and was entirely different in its character to the later religeons!). The album came out in 1973 to critical acclaim both for its music and it’s incredible cover painting by Roger Dean, which blends fantasy and surrealism. The speed lines on the fish appear on the original album cover but not on later posters etc. As usual for Roger Dean, a combination of techniques and mediums have been used starting with an airbrushed background. The “stars” have been hand-painted on, not sprinkled in blobs. Roger Dean designed the lettering of the title and the YES logo became a firm identifier of the band throughout the seventies.

This Roger Dean landscape or under-sea-scape includes some famous English rocks taken from the Dominy Hamilton postcard collection - Brimham Rocks, the last rocks at Lands End, the Logan rock at Treen and single stones from Avebury and Stonehenge. Jon Anderson, YES’s singer, wanted the Mayan temple at Chichen Itza included and Alan White the drummer wanted the markings from the plains of Nazca so these are in the painting as well.

Not every YES album has carried a Roger Dean cover but he is firmly connected with the band in the mind of every long-term fan. His paintings are large and he works on a massive easle when he paints. I once jokingly suggested to him that he doesn’t know how to paint a small picture! Tales From Topographic Oceans with its waterfall under water is just a surrealistic masterpiece!

Relayer by Roger Dean

This album followed on from Tales from Topogrtaphioc Oceans and came out in 1974. The sound is quite different in places which is mainly due to the departure of Rick Wakeman and the arrival of Patrick Moraz on keyboard duties. They were both extremely accomplished musicians but with quite different styles. The first track (that is just under 22 minutes long!) ‘Gates of Delirium’ is based on part of Tolstoy’s ‘War & Peace’. The album, in true progressive rock tradition, only has a total of three tracks!

The full cover has a great rattlesnake on the back cover whose tail can be seen down the bottom left of the front cover. The “impossible” rock walls on this cover are another trademark of Roger Dean. He likes to push back the frontiers and improvise and experiment (one of his paintings for Uriah Heep combined almost every artistic medium you can think of from collage to oils to watercolour etc).