Best Album Covers: The Beatles (White Album)

This is the next entry in Best Album Covers, a series begun right here. The first successful long-playing microgroove record for the phonograph was introduced by Columbia Records back in June of 1948. Yet, album covers (the paper board packaging that held them) didn’t come into their own graphically till decades later. Eventually becoming the cultural stamp on the music of the time. Catching the eyes of potential record-buyers and later their ears and minds. Melding the musical experience with the artist into a unique visual form.

Why Compact Disc versions of album art don’t exactly raise the same reaction these days was looked at in this post. Although, music label artistry continues to be noticed and discussed among the material published today. The bits and bytes are looking over their shoulder, though, because vinyl hasn’t entirely gone the way of the dinosaur. Online or at the record shops still out there. Cover art hasn’t lost purpose, either for old and new. Mostly, it’s my contention while digital reigns supreme, its vigor among fans lacks the tactile passion of the past LPs.

Hence the reason for this series. Some register more with me musically than others, though. Yet, the artwork will always take center stage, at least here. Let’s continue shall we?

As this LP is set to reach its 55th anniversary this year, seemed well-timed to gather what’s made it and its unique sleeve such an iconic album. Modestly titled as The Beatles, yet since its release back on 22 November 1968¹ this song collection has been colloquially and simply known as the White Album from that time on. Their ninth UK studio long play record was also their only double album ever released when they were still a group. And as I had mentioned a few years back:

“The double LP the first to appear on the Apple record label, and spent 8 of its 22 weeks on the UK chart at number one. Its experimental nature (some would say fractious) again making a cultural impact on all listeners who spun it on their turntables.”

Stephen Thomas Erlewine expressed similar thoughts noted in his Allmusic review:

“Each song on the sprawling double album The Beatles is an entity to itself, as the band touches on anything and everything it can. This makes for a frustratingly scattershot record or a singularly gripping musical experience, depending on your view, but what makes the so-called White Album interesting is its mess.”

No doubt, the band rarely, if ever, repeated itself musically for what they had stamped on to vinyl. Especially from 1965’s Rubber Soul on through to their final album². This compilation is at times warm, even playfully humorous, but also a reflection of where each member was headed musically³. More individual, previewing their later solo careers. Thus, an album more scattered in song and presentation than previous. Not a bad thing, but certainly a surprise to critics and many of their fans.

Same could be said for their album covers, especially the one that held these two LPs. Designed by famed English painter and artist, Richard Hamilton, it’s the epitome of simplicity and imagination by the “Father of Pop Art.” Featuring a plain white sleeve, with nary any graphics or text other than the band’s name embossed on the front⁴. The antithesis of their previous, Sgt. Pepper’s Lonely Hearts Club Band, The White Album, as writer Matthew Ismael Ruiz wrote for the album’s 50th celebration:

“…it immediately set the standard for how monochrome self-titled albums would be referred to—think Metallica’s self-titled “Black Album” or Weezer’s “Blue,” “Green,” and “Red” albums—and has proven to be one of the most recognizable pieces of Pop art in music. The LP can be found in museums around the world, like the Museum of Modern Art in New York and the Tate Modern in London.”

The Beatles artwork reduced everything, including itself, to just the bare essentials. Functional? Check. Artistic? Double-check. Essential? Oh, yes, whether you were a fan of the band or not. Some critics have viewed it as a postmodern work for its music, all signified by something not seen on an album cover before: nothing⁵. Yet, as Matthew asserts: “Its mass-market production made it possible for people all over the world to take home an iconic work of art for the price of a double LP.”

Bar none, The White Album remains one of the greatest of all time no matter how you behold it.

As opposed to the standard album artwork I’ve included in the series, decided this one deserved to include an actual photo of the LP cover early music buyers bought and held; the first two million early pressings stamped with the individual serial numbers in the right corner

Artist: The Beatles
Title: The Beatles
Date: 1968
Label: EMI and Trident
Track Listing (and yes, turn those records over):

Side one

1. Back in the U.S.S.R
2. Dear Prudence
3. Glass Onion
4. Ob-La-Di, Ob-La-Da
5. Wild Honey Pie
6. The Continuing Story of Bungalow Bill
7. While My Guitar Gently Weeps
8. Happiness Is A Warm Gun

Side two

1. Martha My Dear
2. I’m So Tired
3. Blackbird
4. Piggies
5. Rocky Raccoon
6. Don’t Pass Me By
7. Why Don’t We Do It In The Road
8. I Will
9. Julia

Side three

1. Birthday
2. Yer Blues
3. Mother Nature’s Son
4. Everybody’s Got Something to Hide Except Me and My Monkey
5. Sexy Sadie
6. Helter Skelter
7. Long Long Long

Side four

1. Revolution 1
2. Honey Pie
3. Savoy truffle
4. Cry Baby Cry
5. Revolution 9
6. Good Night

The entire series can be found here.