This disorienting collage was as confounding to 1972 audiences as the album's freewheeling sonic pastiche, heralded later as the Stones' best. With drafting tape and torn paper, John Van Hamersveld fashioned Robert Frank's photographs into a prescient composition that foretold the later punk aesthetic in popular culture. Twelve perforated postcards of Norman Seeff's work were included as a peace offering from Keith Richards, whose heroin-fueled antics had derailed the photographer's earlier shoot for the album.
"Disintegration" - The Cure
Parched Art was the official name for the Cure guitarist Porl Thompson and designer And Vella's collaborations. While Disintegration was decidedly a group effort, only vocalist Robert Smith appears on the front amidst the smattering of abstract shapes and designs that would more commonly populate a Cure cover. This album, the band's eighth, marked a return to their anti-pop introspection, doused in rich layers of synthetic tones and melodies, the welcome contributions of newly enlisted keyboardist Roger O'Donnell.
"The Wild Sound of New Orleans" - Tousin
Allen Toussaint's debut LP was a boogie-woogie shuffle of rocking' piano-fueled NOLA spirit. He once revealed to a reviewer that he "had no involvement in the titles of the songs. When I played them, I referred to them as 'Song Number One', 'Song Number Two' and so on. It wasn't until the record came out that I was informed [Danny] Kessler had chosen to name each piece after a different racehorse." The best known of the instruments from the session was "Java", which became a huge hit for the trumpeter Al Hirt years later.
All exerts are taken directly from the book "Rock Covers" by Taschen.