And what do you do with them; listen to the music that comes with it inside or hang the cover albums you like on a wall or just let the dust accumulate on a dedicated box where they are stored in your attic?
Like books and magazines (economics, cultural art, National Geography, Paris Match, Rolling Stones, ...) on my coffee table changing every week, month.
Like CDs atop my speakers piling up and down as they spin in & out, with new and old cover arts facing the ceiling and only visible when standing up near them.
In the case of the Vasks album above, yes I did buy it because of the cover. The cover above is from the origin release and is a heavily manipulated version of Karl Bloßfeldt's Aconitum, Plate #96 in the book Urformen der Kunst. The cover was completely changed on the reissue:
Bloßfeldt was the forerunner of photo objectivism and I consider myself a descendant of his:
So for myself the cover on the reissue was totally unacceptable and I ended up having to hunt down the origin Conifer Classics release. Guilty as charged.
In any case, I come across all kinds of music in life. Reasons for my choices for serious listening are often rather academic. The cover image on my posts are usually linked to the album's entry in allmusic, or youtube if allmusic doesn't have track samples for that particular album, or somewhere else if even that doesn't work. This should provide a starting point for anybody inclined to dig deeper and see for themselves. Anything beyond that would coloring people's judgement before they can taste things for themselves. That, in my mind, isn't very helpful.
Now Kal, perhaps you could post some of what you're currently listening here in the proper format so we can see what you have in mind.
Thats very interesting about music cover art albums.
When you shop @ a record stores part of the ritual process is the vinyl department for many reasons; music we like, music that is rarer, the album condition, the cover art, etc.
CDs too but to a lesser extent; it depends of which record stores and their sources of selections. And it changes more or less as new stock comes in.
It's easy to spend a full day, full week in some, and come back regularly as an addiction.
Some people love colored LPs, others look for the rare 45s, and few might be into art covers to build murals on the walls of their listening rooms.
Records have more history, they've been with us much longer than CDs.
Many of us were born in the record's era, and nothing can replace that force today which is still very strong. The connection with records have never been replaced by the CD and stream, for people born under the LP moon rising.
And if we look @ new turntables today we see the love of the art.
It's more than just the music playing ... something digital doesn't understand, cannot comprehend, is blinded by robots of the zeros and ones filling the psychiatric green walls of our hospitals ...
Walls without words, pictures without words, frontiers without words ...
Many music threads are just that; with only the titles of the music album and the artist musician(s). ...Some or many that we are familiar with and others that inspire us to search for the music content because we like the cover art album.
I like the ECM cover art. I like b&w jazz musicians on the album covers, I like beautiful paintings of classical music albums, abstract art of fusion music...alternative, new age, jazz, chamber.
Classical music album covers ... I agree with Kal that some are impressive here.
I did not catch @ first what he meant; now that I know it's impossible to disagree.
I believe album covers play a very important role when it comes to the whole experience, because it serves as the introduction to your journey. It's just like with a tasty appetizer. It gives you an idea about the main course and aims to increase your appetite. Moreover, in my opinion, we should engage all of our senses to achieve the ultimate experience. The sound is the most important factor, but in my case the little things such as the smell of the cover, the surroundings, the taste of a drink play in as well.
Glorious mono recorded March 1953 .... he recorded some of these Bach transcriptions (some of them his own arrangements, others by Liszt or Busoni) again for DG, in the early 90s if I recall correctly, but the earlier set is the purer one, unaffected by repetition and over-familiarity.
Christoph Graupner: Frühling & Winter
Volume 6 of Analekta's Graupner Partitas for Harpsichord Series. Graupner turned down an offer of Thomaskantor position from Leipzig. Had he not done that, history of western music will be very different from what we know now. But by doing so, he himself had fallen into obscurity.