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The 100 Best Album Covers of All Time

From Biggie to Beyoncé to Bad Bunny, from Nirvana to Nas to Neil Young, this is the album art that changed the way we see music

100 best album covers of all time

PHOTO ILLUSTRATION BY MATTHEW COOLEY

The album is the best invention of the past century, hands down — but the music isn’t the whole story. The album cover has been a cultural obsession as long as albums have. Ever since 12-inch vinyl records took off in the 1950s, packaged in cardboard sleeves, musicians have been fascinated by the art that goes on those covers, and so have fans. When the Beatles revolutionized the game with the cover of Sgt. Pepper, in 1967, it became a way to make a visual statement about where the music comes from and why it matters. But the art of the album cover just keeps evolving.

So this is our massive celebration of that art: the 100 best album covers ever, from Biggie to Beyoncé to Bad Bunny, from Nirvana to Nas to Neil Young, from SZA to Sabbath to the Sex Pistols. We’ve got rap, country, jazz, prog, metal, reggae, flamenco, funk, goth, hippie psychedelia, hardcore punk. But all these albums have a unique look to go with the sound. The most unforgettable covers become part of the music — how many Pink Floyd fans have gotten their minds blown staring at the prism on the cover of Dark Side of the Moon, after using it to roll up their smoking materials?

What makes an album cover a classic? Sometimes it’s a portrait of the artist — think of the Beatles crossing the street, or Carole King in Laurel Canyon with her cat. Others go for iconic, semi-abstract images, like Led Zeppelin, Miles Davis, or My Bloody Valentine. Some artists make a statement about where they’re from, whether it’s R.E.M. repping the South with kudzu or Ol’ Dirty Bastard flashing his food-stamps card to salute the Brooklyn Zoo.

Many of these covers come from legendary photographers, designers, and artists, like Andy Warhol, Annie Leibovitz, Storm Thorgerson, Raymond Pettibon, and Peter Saville. Some have cosmic symbolism for fans to decode; others go for star power. But they’re all classic images that have become a crucial part of music history. And they all show why there’s no end to the world’s long-running love affair with albums.

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From Rolling Stone US

67

Lorde, ‘Melodrama’

For her highly-anticipated sophomore album, Lorde crafted a delicate cover that evoked Melodrama’s emotional heft. Painted by the Brooklyn artist Sam McKinnis — whom Lorde connected with via a fangirling email — and inspired by an image that McKinnis had made riffing on the cover of Prince’s Purple Rain, the cover is based on a photograph McKinnis took of Lorde as she lay in bed. Drenched in the shadows of a moody, electric blue that could swatch a dance floor or the walls of a club bathroom, with warm cracks of daybreak creeping on Lorde’s cheek, the image depicts her in the morning after a night of dancing with “all the heartache and treason” she sang about on the album. —M.G.

66

Marvin Gaye, ‘Here, My Dear’

There are breakup albums, and then there’s Here, My Dear, Marvin Gaye’s brutally honest unpacking of his in-progress divorce from his first wife, Anna Gordy. The serene front cover shows Gaye depicted as a Roman statue, standing in front of a lavish temple — its cornerstone bearing the inscription “Love and Marriage” — next to a sculpture of embracing lovers. But by the time you see the back-cover image, the sculpture and the temple have caught fire and are actively crumbling, and the inscription on the building now reads “Pain and Divorce.” If all that weren’t bleak enough, on the inner sleeve, we see a couple’s hands engaged in a Monopoly-like board game, with all their earthly possessions at stake between them, and the scales of justice looming ominously in the background. —H.S.

65

DJ Shadow, ‘Endtroducing’

DJ Shadow’s 1996 debut LP was constructed almost entirely out of samples, a love letter to funky, crackly old vinyl that was released into a world where most record stores only sold CDs. The cover image shows two of Shadow’s buddies from the Bay Area hip-hop label SoulSides, producer Chief Xcel and rapper Lyrics Born, going through the stacks at Records, a local institution (now closed) that billed itself as “a speciality shop dealing in out-of-print phonograph records.” As Shadow said of the store in the documentary Scratch, “Just being in here is a humbling experience because you’re looking through all these records, and it’s sort of like a big pile of broken dreams, in a way.” —J.D.

64

Sonny Rollins, ‘Way Out West’

“I was really living out my Lone Ranger thing,” Sonny Rollins said in 2009, reflecting on his Western-themed classic Way Out West. He wanted a cover that evoked the Westerns he grew up on, so photographer William Claxton suggested they pick up a ten-gallon hat, a holster, and a steer’s skull and head to the Mojave Desert, where he shot Rollins holding his saxophone and staring down the camera like a hardened cowboy. Some were critical of what they saw as the photo’s hokey premise and incorrectly assumed that Rollins was pressured into it. “Many people thought wrongly over the years that I was asked to pose that way or that the material was forced on me, because California was thought to be a movie place and a commercial place,” he said. “Not true. I was given complete control.” —H.S.

63

Janet Jackson, ‘The Velvet Rope’

With its themes of self-care, depression, and the then-taboo exploration of Black female queerness, The Velvet Rope may be Janet Jackson’s most intimate full-length work. Ironically, its cover depicts her clothed, not topless as on the Patrick Demarchelier-photographed shot on her previous album, 1993’s Janet. Photographer Ellen von Unwerth captured Jackson dressed in a black turtleneck with her head pointed downward. Meanwhile, the deep-red background tipped her audience to the burning emotions inside Jackson, as if she’s struggling to get it all out. (The interior photographs, shot by von Unwerth and Mario Testino, are more risqué.) “You know people they still ask me about it,” said von Unwerth of the enigmatic cover. “It became more iconic in a way.” —M.R.

62

My Bloody Valentine, ‘Loveless’

Swoosh-y abstraction was a go-to look for turn-of-the-Nineties shoegaze bands like Ride, Slowdive, and Swervedriver. But those bands usually worked in moody blues and grays. My Bloody Valentine’s choice of hot pink (a color you were more likely to see on a Poison record) for the cover of their 1990 masterpiece Loveless grabbed your eye with a look as undeniably loud as the band’s stomach-rattling guitar swells. MBV mastermind Kevin Shields and visual artist Angus Cameron collaborated on the image, taking a screengrab of Shields’ hands on his guitar from the band’s Cameron-directed “Too Shallow” video and turning it into a blur of radiant abstraction. —J.D.

61

Beastie Boys, ‘Licensed to Ill’

The cover of the Beastie Boys’ debut is as brash and playfully referential as the Beasties’ sound. Producer Rick Rubin got the idea for the cover — a Boeing 727 with a Beastie Boys logo and a tail number that, viewed in the mirror, says “eat me” — while reading through the Led Zeppelin bio Hammer of the Gods and spying a photo of the band’s private jet. “I wanted to embrace and somehow distinguish,” he said in the book 100 Best Album Covers, “in a sarcastic way, the larger than life rock & roll lifestyle.” Artists Stephen Byram and World B. Omes crafted the gatefold cover with a surprise in mind — at first it looks almost majestic, but when seen in full, the plane is revealed to have crashed, its front end crumpled. The resulting image provides another layer of irony: The plane, many have noted, looks like a joint smashed in an ashtray.

60

Joni Mitchell, ‘Hejira’

Joni Mitchell wrote Hejira while traveling cross-country, so she could have slapped a photo of an open road on the cover and called it a day. Instead, it was only the beginning. The sleek road sits inside a black-and-white Norman Seeff portrait of Mitchell, “haunted, like a Bergman figure,” wearing a beret and holding a cigarette. Around 14 photos were used for the cover and sleeves — including figure skater Toller Cranston out on the ice, to complete the wintry vibe — and an airbrush was used to make the images on the cover look like one cohesive illustration. The effort paid off, creating a beautifully intricate album cover to represent delicate tracks like “Amelia” and “Song for Sharon.” Looking back, Mitchell said it’s her favorite cover of hers: “A lot of work went into that.” —A.M.

59

Sonic Youth, ‘Goo’

Sonic Youth’s long run as the official band of America’s avant-garde art scene means that their catalog is full of iconic images, like Daydream Nation’s Gerhard Richter candle painting and Dirty’s Mike Kelley rag doll. But none are as enduring as the black-and-white sketch that SoCal punk legend Raymond Pettibon contributed to Goo. The pair of impossibly cool young sociopaths and their neo-noir tale of sex and death have been endlessly memed since then, but back in 1990, they made execs at the band’s new major-label home nervous — which was kind of the point. “That was so important at the time,” Lee Ranaldo later told biographer David Browne. “In a way, we were still in that world … that our ‘scene’ was making.” —S.V.L.

58

Rosalía, ‘El Mal Querer’

Rosalía tapped a longtime internet friend, the Spanish Croatian artist Filip Ćustić, to conceive what he’s described as a “visual universe” for her 2018 flamenco-pop masterwork, El Mal Querer. The two chatted over Whatsapp to devise an image for each track that would “update Spanish imagery to the 21st century.” In consistency with the record’s theme, Ćustić depicts Rosalía as an ethereal queen of the seraphs, a symbol of the divine feminine, liberated from the tyranny of a controlling man. “She emerges naked from the heavens, as if she were a goddess more than a virgin, saying, ‘This is me, and this has been my learning process,’” explained Ćustić in Spanish newspaper El Pais. —S.E.

57

Lana Del Rey, ‘Norman Fucking Rockwell’

On the cover of her sixth album, Lana Del Rey seems to be pulling us into her world of deconstructed American myths, as she clings to the Kennedy-esque figure of Jack Nicholson’s grandson Duke Nicholson. From its oil-painted blue sky to Del Rey’s bright-green nylon jacket, the image’s retro-modern feel perfectly reflects the way the music inside offers her own 2010s vision of fading Laurel Canyon glory. The cover photo was taken by Del Rey’s sister, Caroline “Chuck” Grant, who has collaborated with the singer on a number of music videos and photo shoots (including a 2023 cover of Rolling Stone UK). “She captures what I consider to be the visual equivalent of what I do sonically,” Del Rey said in a 2014 interview. —G.M.

56

T. Rex, ‘Electric Warrior’

Few rock sleeves feel as purposefully barren as the Electric Warrior cover, which finds glam god Marc Bolan suspended, along with his guitar and amp, in what might as well be an interstellar void. Using a live-image shot by Kieron Murphy, Hipgnosis designers Storm Thorgerson and Aubrey Powell added a striking gold halo that helped turn Bolan into a visual icon at precisely the point when he was completing his metamorphosis from flower-child folkie to consummate rock & roll dandy. “Black and gold, the metal guru in full force,” Beck once wrote of one of his favorite album-art specimens. “This is what we want a rock cover to look like.” —H.S.

55

A Tribe Called Quest, ‘The Low End Theory’

The cover of A Tribe Called Quest’s second album features an unnamed model photographed by Joe Grant. She’s kneeling in black shadows, her body covered in green and red paint. It’s partly inspired by Ohio Players’ memorable 1970s run of covers that depicted women in freaky and suggestive positions. “I wanted a white background for the shot, but they flipped it and made it black,” said group leader Q-Tip in the 2005 book Rakim Told Me. All of the Low End Theory’s visual elements, from the woman in body paint to the red-black-green color scheme reminiscent of the Pan-African flag, became defining elements for Tribe moving forward, and a signature for their deep-rooted and jazz-inflected bohemian sound. —M.R.

54

Björk, ‘Homogenic’

The making of Homogenic was a fraught time for Björk, as she adjusted to a new level of global fame and the suicide of Ricardo López, a disturbed fan who mailed a letter bomb to her London home. After spotting a striking fashion photo created by photographer Nick Knight and designer Alexander McQueen, she enlisted them to sum up the various emotional currents in her life in an arresting hyperreal portrait. The blend of cultural elements — a Japanese kimono, a European manicure, Maasai neck rings, and a Hopi “butterfly whorl” hairstyle — reflected Björk’s perception of herself as a global citizen. As she later said: “We were trying to make this person that was under a lot of restraint, like long manicure, neckpiece, headpiece, contact lenses — still trying to keep the strength.” —H.S.

53

Judas Priest, ‘British Steel’

Judas Priest guitarist Glenn Tipton put in his time at the British Steel Corporation, working for the steel producer for five years before his band — who produce a different kind of heavy metal — decided to name their sixth album, British Steel. The title clicked with art director Rosław Szaybo and photographer Bob Elsdale, who created a giant razor blade out of aluminum with the band’s logo on it. Szaybo volunteered to hold it for the shot. “A lot of people looked at it and were really quite horrified,” Elsdale told Revolver. “The edges of the blade seemed to be cutting into Rosław’s flesh, because he was really gripping it quite hard. But that wasn’t the case — it actually had blunt edges. It wasn’t bloody, but it had an element of drama.” —K.G.

52

Sleater-Kinney, ‘The Hot Rock’

“It’s a labyrinthine record,” Carrie Brownstein wrote of Sleater-Kinney’s fourth LP, The Hot Rock, in her memoir, “sad, fractious, not a victory lap, but speaking to uncertainty.” Following up on their 1997 breakthrough, Dig Me Out, Brownstein, Corin Tucker, and Janet Weiss were working through interpersonal struggles while facing more scrutiny than ever before. The cover photo by Marina Chavez, showing the band standing on a Portland, Oregon, street corner, captures that heavy energy: Tucker and Weiss each stare toward the curb, the drummer looking almost trepidatious, while Brownstein holds up her hand, hailing a cab, her face bearing a disgruntled expression. Like the jewel thieves in the 1972 heist film that gave the album its name, the trio had no choice but to get a move on and meet their moment. —H.S.

51

David Bowie, ‘Diamond Dogs’

David Bowie closed out his glam era with the decadent apocalyptic excess of Diamond Dogs, a concept album set in a crumbling America of the future. “When we got to Diamond Dogs,” he later said, “that was when it was out of control.” The deranged spirit extended to its cover, designed by Belgian artist Guy Peellaert, which depicted Bowie as a grotesque half-man/half-dog, including genitals on his twisted body. Bowie’s pose on the cover was inspired by a 1926 photo of singer Josephine Baker. Just as the album was ready to get shipped to retailers, Bowie’s record label pulled the cover and had it airbrushed into something less offensive. Some copies did make it out, and Diamond Dogs remains the most provocative album cover of Bowie’s career. —G.M.