![]() Perfect!Īll in all, this is a very cool collection, and probably one of sweetest coffee table books you can own. As a topper, all of this art is housed in a glossy hardcover in a sleeve and is 10" in width and length. ![]() The selections vary from wonderful black and white to colors (sometimes we see both versions) and it's just a testament to Crumb's art when you can tell that the colors actually make the art worse because they detract from the line work. We get covers designed by Crumb where he contributes fonts, we get liner notes, interior artwork, drawings of musicians, record store flyers, business cards, CDs (you can almost cringe at associating Crumb's work with digital music), record label logo designs, and comics about record collecting. So yes, we get record covers (mostly blues and jazz) but we also get so much more. Right off the bat the editors tell us that it's impossible to collect every cover that Crumb has done, because after all, what's the criteria we are using? Does font count? Does alternate arrangement count as a new cover? So, instead we get a very good representation of what Crumb has done in this collection. Of course, it's also well known that Crumb is a music snob and this collection serves to collect every record cover he's done. It's hard to argue also that Crumb's work has left a mark on pop culture since he has been at it for so long. Whether illustrating American Splendor or his own concoctions, his drawings are always recognizable and a blast to look at. Crumb is one of those artists that impresses everyone. Crumb: The Complete Record Cover Collection is a must-have for any lover of graphics and old-time music. Including such classics as Truckin' My Blues Away, Harmonica Blues, and Please Warm My Weiner, Crumb's opus also features more recent covers done for CDs. So remarkable were Crumb's artistic interpretations of these old 78 rpm singles that the art itself proved influential in their rediscovery in the 1960s and 1970s. This early collaboration proved so successful that Crumb went on to draw hundreds of record covers for both new artists and largely forgotten masters. It was an invitation the budding artist couldn't resist, especially since he had been fascinated with record covers-particularly for the legendary jazz, country, and old-time blues music of the 1920s and 1930s-since he was a teen. ![]() Robert Crumb first began drawing record covers in 1968 when Janis Joplin, a fellow Haight Ashbury denizen, asked him to provide a cover for her album Cheap Thrills. A landmark work that pays splendid homage to a forgotten era of seminal American music.
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