The Change to Album Covers

Having now researched the theory behind album covers, we decided it would be best to look at previous covers. Whilst there is a huge database on the internet of album covers, and sites which explain the process behind them - we decided that using a book would be far more quicker and efficient. Luckily, we found a book called: Album: Style and Image in Sleeve Design, which gave us all the information we'd ever need!

A copy of the book can be found here: http://www.amazon.co.uk/Album-Style-Image-Sleeve-Design/dp/1840006056

Whilst originally music was mainly advertised through billboards and/or posters, as shown within the book it changed drastically.

While record sales in Europe were badly affected by World War II, in America they were on a steadily upward trend, both during the War and in the boom that followed its end. Between 1944 and 1946 sales tripled from $66 million to $200 million per annum, and that was despite disruptions caused by material shortages, disputes over copyright fees for composers, and strikes in aid of unemployed musicians put out of work by the talking movies.

This shows a drastic change in American opinion to music. Despite being involved in World War II, America was still becoming increasingly popular in terms of record sales and music popularity, despite suffering from an early Great Depression and a war. Furthermore, even though war and poverty was surrounding the country, the majority of people still lived in hope. Propaganda throughout America was developed to encourage positive feelings towards the war effort - and the economy as a whole. Perhaps, this could be argued to explain why music became so popular. Whilst the rest of the World remained depressed, American society stood out and lived in hope. Music, as a whole, is an uplifting and cheerful piece of art so perhaps people brought the music in hope of remaining positive in such tough times. This would explain why the majority of album covers throughout the 1940s either have artwork of American soldiers (as shown in New Orleans Jazz - KID ORY, Columbia, 1947), or imagery of the artist expressing hope and happiness (Favorite Hawaiian Songs, BING CROSBY, Decca, 1944). This idea of hope would relate particularly to the traditional role of the American Dream, whereby the majority of American settlers migrated in desperation of a new change; a new beginning for wealth, prosperity, and escape from religious persecution.