A Likely Tale, Lad: Laughs & Larks Growing Up in the 1970s

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The look, writes prog historian Edward Macan, was "reminiscent of Salvador Dali's style of surrealism": "A realist's meticulous attention to detail is used to depict impossible landscapes and to juxtapose unrelated objects in unexpected situations. The Nice: Five Bridges June The Nice had put pictures of themselves, manipulated in psychedelic fashion, on their previous album covers. As the band fell apart—Keith Emerson was starting Emerson, Lake, and Palmer—it hooked up with Hipgnosis, a then-new design shop.

The resulting art combined realism and surrealism, shooting the Tynes Bridge to make it look like an Escher portal to other, wetter realms. The band's name, the album's name, the tracks and the recording credits were sketched in around a painting of mystical dancers holding hands. All of that was impressed directly onto the vinyl, which slipped into a transparent sleeve. King Crimson: Lizard December The most modernist of all the English progressive acts farmed out their third cover to Gini Barris, an artist who appropriated pre-renaissance Renaissance art techniques. The resulting design looks like an outtake from the Book of Kells.

The "I" in "Crimson" is surrounded by Barri's portrait of the Beatles, then recently broken up, partying on a cruise ship. Jimi Hendrix appears in another panel.

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All of the small details reward a study that's only possible with a full-sized LP cover. They carried the concept over to their album cover, walking to Earl's Court to pose naturally.

Ian McDonald and Michael Giles canoodle with their girlfriends; it's gently psychedelic and naturalistic, like the music, completely unlike the band they'd fled. Old German woodcuts and traditional European art were collaged with space landscapes. In it, the Tarkus is challenged by a cybernetic insect and a winged, robotic Pterosaur, corresponding with the clanging instrumental sections of the piece. The Manticore—the monster that ELP would honor when they named a record label after it—is pictured defeating the threat.


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Uriah Heep: Look at Yourself October A distorted mirror took up most of the sleeve, inviting the buyer to look and complicate his own warped image. That cover is a fictional newspaper with an A1 story about the controversial poetry of Gerald "Little Milton" Bostock. Inside, though, he built his first overwhelming fantasy landscape, all clouds and hidden hills, the start of a decades-long series of alien world paintings for Yes. Genesis: The Lamb Lies Down on Broadway November The front and back of the gatefold cover are both triptychs, surreal interpretations of already surreal lyrics about the sexual journey of a Puerto Rican boy named Rael.

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Storm Thurgoson of Hipgnosis continued the work inside, illustrating the "book" with altered photos and Escher-like images of shapes that collapsed in on themselves. It all makes the story even more intractable, which seems like the point. Camel: Moonmadness March The era of fantasy-world covers came to an end after the Yes break-up. But the old Roger Dean style remained indelible, a hint for record buyers about what music would be found between the gatefold covers.

Some versions of Camel's last fully analog record portrayed a camel in space-gear, on the moon, but most displayed a fantasy world designed by the art shop Field, a sort of purposefully unscientific lunar map. Rick Wakeman: No Earthly Connection May Mike Dowd's distorted cover image could only be properly viewed only with a small foil strip that came inside the record sleeve. The back cover portrayed the musician frolicking on Stonehenge, with an explanation: "All the music is based on a futuristic, autobiographical look at music, the part it plays in our pre-earth, human, and after-life.

In the British edition, the picture bleeds over to the back cover, where the band members look searchingly out at the audience. Hipgnosis took a photo of Gabriel forming a grip with his fingers and making it look like he was scratching pieces of reality. The band members stand with open shirts and shit-eating grins, promising buyers an album of uplifting, sexy pop.

And "Taste of My Love" is about blow jobs, so it's not far off. Drummer Bill Bruford comes in on the second measure, hitting a cymbal on the downbeat, and the scales go higher and higher until— swoop , at , everything falls away and a softer, less unsettling violin-and-bass-driven melody II arrives, courtesy respectively of David Cros and John Wetton.

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At , David Cross starts torturing his violin. Its death rattle continues until the return of II — and at , a Bruford drum roll inaugurates a full 40 seconds of torture, ending with a final, minor Fripp chord.

Fripp sued and got it taken out. This music was not meant to accompany scenes of French women finding themselves sexually. The listener had to focus on it and peel the layers back.

A Likely Tale, Lad: Laughs & larks growing up in the 1970s

Later he would say he was joking. Next: Rotating drums! Quad sound! Inside the greatest, loudest, most ridiculous concert of Correction, Aug.

A likely tale, lad : laughs & larks growing up in the s / Mike Pannett - Details - Trove

Prog Comes Alive! By: David Weigel. Arts has moved! You can find new stories here. Load Comments. A Moving Experience.

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Girl Guide for a Week. He transferred to North Yorkshire police in as he missed the countryside — and fly fishing! He became a rural beat officer and eventually, a wildlife officer. Mike served nearly twenty years in the police, during which he became one of the highest-commended officers.


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He lives with his wife Ann and their three children in a small village in the shadow of the North York Moors. Beside the. A Star is Born. Blood Brothers.

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