Album cover art is intended to draw the viewer in.
Hopefully into the record shop to make a purchase. Occasionally, this leads to some peculiar images – either intentionally or by accident. Here are 11 strange and mysterious figures who graced the covers of classic rock albums.
1. Rick Wakeman: The Six Wives of Henry VIII (1973)
. . . Or ‘The Six Wives of Henry VIII and Richard Nixon’ as the album is known to aficionados, on account of the face of Tricky Dicky looming out of the shadows. The sleeve of Rick’s second solo album, designed by Mike Doud, depicts the hirsute keyboard wizard wandering past Henry and his wives. But there, in the background, is the unmistakable figure of the disgraced former US president.
How come? Well, the photograph was taken at Madame Tussauds wax museum in London, and the best guess is that Nixon had been removed from display as a result of his plummeting popularity by the time of the album’s releases in 1973. But how he was allowed to muscle in on the cover of an record that went on to sell 15 million copies worldwide remains something of a mystery.
Black Sabbath: Paranoid (1970)
Black Sabbath’s second album is rightly considered to be one of the key works in the development of heavy metal. But things were moving very quickly for the Brummie quartet in 1970. What’s more, the Vietnam War was raging and that album’s original title, ‘War Pigs’, was considered to be too controversial – especially for conservative execs at Warner Brothers, who would release the album in the US.
So the title was changed to ‘Paranoid’. Job done. But alas, this decision came too late for cover designer Keith McMillan, who had repaired to Black Park in Buckinghamshire with his assistant Roger Brown dressed as what they imagined a war pig might look like. Alas, although the intention was to create a sleeve that appeared dark and surreal, what they ended up with looked rather silly, with Brown wearing a crash helmet while brandishing a plastic sword and shield in an image that was superimposed three times – possibly in an attempt to conceal its absurdity.
3. Pink Floyd: Atom Heart Mother (1970)
Yes, it’s a cow. A Holstein-Friesian cow, to be precise. Standing in a field. Back in 1970, hippies used to get very stoned, stare at the cover, and try to work out what it means and how it relates to the title. They’re probably still doing so today.
In fact, Pink Floyd’s brief to Storm Thorgerson of the Hipgnosis design agency was to come up with something plain for the cover – in order to avoid being associated with rival bands in the ‘space rock’ genre. Thorgerson later said he simply photographed the first cow he saw in a rural part of Potters Bar. The delightful curious ruminant was later identified as Lulubelle III.
4. Led Zeppelin: IV (1971)
The old man with this sticks on the cover of Led Zeppelin IV has long been a source to puzzlement to rock fans. Matters were complicated by the erroneous assertion that it was a painting rather than a colourised photograph. But in 2023, the original photograph was discovered in a Victorian album by University of the West of England researcher and Zeppelin fan Brian Edwards.
The ‘stick man’ himself was subsequently identified as then 69-year-old Lot Long, a thatcher who was born in the town of Mere, Wiltshire in 1823. The photographer was a chap named Ernest Howard Farmer and the snap was taken in 1892, the year before Long's death. So the mystery was finally solved. 'Led Zeppelin created the soundtrack that has accompanied me since my teenage years, so I really hope the discovery of this Victorian photograph pleases and entertains Robert, Jimmy and John Paul,' said Edwards.
5. The Beatles: Sgt. Pepper’s Lonely Hearts Club Band (1967)
Everybody knows Peter Blake’s iconic cover design for the Beatles’ masterpiece, but how many of the 57 people (and nine waxworks) in Blake’s collage can you put a name to?
Some are easy (Mae West, W.C. Fields, Marilyn Monroe, Bob Dylan, Laurel and Hardy). Others are more obscure, notably the multiple Indian gurus requested by George Harrison. Some are obscured, notably Shirley Temple (the only person to appear twice), James Joyce and Bette Davis. And many are less well known today than they were in 1967.
So well done if you identify illustrator Aubrey Beardsley, novelist and screenwriter Terry Southern, comedian Tommy Handley and the Great Beast himself – Aleister Crowley (top row, second from left). John Lennon didn’t get his way, so Adolf Hitler and Jesus Christ are absent.
6. The Mothers of Invention: We’re Only In It For the Money
Uncle Frank Zappa’s parody version of ‘Sgt. Pepper’ was intended as a complete inversion of the Beatles’ original, hence the thunderstorm rather than a cloudless blue sky. Art directors Cal Schenkel and Jerry Sahatzberg’s design made executives at Verve Records very nervous indeed, which led to both a long delay in release of the album and an alternative version of the artwork initially being released.
Figures on the cover include Albert Einstein, Lee Harvey Oswald (top right corner), and actors Lon Chaney Jr., Max Schreck and Theda Bara. There are also plenty of musicians, including Jimi Hendrix (an active participant in the sessions), David Crosby, Captain Beefheart and Elvis Presley. And, of course, Suzy Creamcheese, who doesn’t actually exist but was a fictional character dreamed up by Zappa.
7. Iron Maiden: Women in Uniform
OK, we’re cheating here. Women in Uniform isn’t an album, but a single – although it was released on 12” format with suitably enlarged artwork by longtime Maiden cover artist Derek Riggs. It’s notable for two things: firstly, it’s a rare Iron Maiden cover version, this time of a song by the Australian band Skyhooks.
Secondly, it’s an even more rare foray into political commentary by a British heavy metal band in 1980, depicting as it does band mascot Eddie about to be attacked by a machine gin wielding then-Prime Minister Margaret Thatcher, while he has his arms round two comely young women in uniform (geddit?). The context is that Maiden had been censured for using a (disguised) image of Thatcher on previous single ‘Sanctuary’ – this time depicting her being menaced by a knife-wielding Eddie in a back street. This was the last time Thatcher appeared in any Maiden artwork.
8. Paul McCartney and Wings: Band on the Run (1973)
The cover of Wings' third album is as cinematic as the music itself. Photographed by Clive Arrowsmith, it depicts Paul McCartney, Linda, and Denny Laine seemingly caught in the glare of a spotlight, surrounded by an array of shadowy, theatrical characters. The cast includes a surprisingly eclectic mix: models, actors, and even Sigmund Freud’s grandson, the writer, chef and politician Clement Freud, who appears disguised as one of the bystanders, adding an eerie, intellectual twist to the scene. He's joined by, among others, actors James Coburn and Christopher Lee (aka Saruman in Lord of the Rings), and boxer John Conteh.
McCartney wanted the album to feel like a 'story told in a single image', a moment frozen just after a chaotic escape. The shoot, on a dark London rooftop, was painstaking: hours of makeup, lighting, and choreography went into placing each figure to create a sense of mystery, drama, and cinematic suspense, making it one of rock’s most memorable and unusual covers.
9. Eagles: Hotel California (1976)
The legendary cover of The Eagles' Hotel California (1976), featuring the Beverly Hills Hotel shrouded in sunset glamour, hides a persistent and unsettling rumour. Look closely at the top-floor balcony windows and you can spot a mysterious, shadowy figure staring out – a figure often rumoured to be Anton LaVey, the late founder of the Church of Satan. This speculation instantly magnified the album’s dark, decadent themes of Californian excess and spiritual emptiness.
However, the band has consistently denied the connection. Don Henley has often dismissed the rumour, explaining the figure is simply a woman hired for the photoshoot, meant to add atmosphere to the scene. The photographer, Guy Peellaert, maintained that the figure’s inclusion was deliberate to enhance the album’s mysterious, menacing narrative, but was not LaVey. Despite their denials, the visual ambiguity remains a perfect, unsettling match for one of classic rock's most haunting albums.