[NOTE: I have an attachment to album covers in part because, for me, they were a big way into the music. Since I had often not actually heard most (or sometimes any) of the music inside, when I started chasing the music of the fifties and sixties in the seventies and eighties, I studied LP covers for clues.
But, more importantly, I also “felt” them. I formed ideas about what I was going to hear and there were times when it actually took me years to really hear the music if the LP cover hadn’t done a good enough job of prepping me for the experience.
I suspect there are some fine albums I haven’t managed to appreciate yet for this very reason–though, of course I can’t say which ones. Yet.
Later, much later, I took to framing them and hanging them around my house, collecting books dedicated to them and so forth, but even these things only go so far. In the heart of the rock and roll era, LP covers were a world unto themselves. So I’m gonna start sharing some of my favorites, some with extensive commentary, some with just a caption–whatever strikes me as appropriate.]
To really appreciate this one, you have to keep in mind what surrounded it on the racks at the time of its release in January of 1968. Not that I was cognizant at the time–I was told to cross to the other side of the mall when I passed the record store because, invariably, even in the mall, people who were clearly dope-smoking hippies hung about the place. But I’m familiar enough, in retrospect, to imagine the impact.
Granted, the impact was mostly on the future. Notorious did not sell particularly well and was the first Byrds’ LP to fail to produce a Top 40 single.
This is from the age of Sgt. Pepper and Their Satanic Majesties’ Request and Forever Changes, though, and it’s a telling peek at what was just around the corner. Yes, there were plain-song equivalents around, too, in the aftermath of the Summer of Love, but few were so prescient. You can look at this now and feel (not “hear” because once you got to the vinyl, The Notorious Byrd Brothers was its own thing and not much like anything else that had ever happened or ever would, out there even by the Byrds’ other-worldly standards) the coming of CCR, Southern Rock, California Rock, Country Rock, Outlaw Country, Alt-Country and even some elements of Grunge.
Some version of Cowboy Hippie, then, or at very least Cowboy Long-Hair.
And when Peter Fonda said he modeled his character in Easy Rider after Roger McGuinn (pictured in the middle here–Dennis Hopper was channeling David Crosby, who left the band part-way through the recording of Notorious and, thus, wasn’t included in the LP cover shoot), I always felt like it was this Roger McGuinn he specifically meant.
This was the last Byrds’ album released by the original band. Michael Clarke (pictured at the right) would depart before their next LP, Sweetheart of the Rodeo (which had a more immediately visceral cover and, with Gram Parsons on board, actually did sound at least sort of like “the future.” though it still sounded like a lot of other things, too). Chris Hillman (left), split not long after that.
But while they lasted–and however many copies of any given record they sold–you could always tell what was coming down the pike by what the Byrds got up to.
Even if it was just messing around in a horse barn with camera shutters clicking.