Candy-O is one of the two best uses of pin-up art on a rock record, along withвЂ¦Д©0: Courtney Love: AmericaвЂ™s Sweetheart (design by Olivia De Berardinis)ДЇor her debut solo album, Courtney Love took the CarsвЂ™ concept a step further by enlisting the younger, edgier pin-up artist (known professionally as Olivia) to paint her. The graphic photo of Bushwick Bill at the hospital was as unflinching as their music.Д©1: The Cars: Candy-O (design by Alberto Vargas)ДЄlberto Vargas was already the most famous pin-up artist before designing the famous cover for The Cars classic 1979 album Candy-O, but this painting of a stylish redhead, on a car of course, became his most famous piece. Walking a razor-thin line between exploitation and cultural commentary was the Geto BoysвЂ™ modus operandi, and nothing exemplified this dynamic more than their famous 1991 album cover art. Listen here: 92: Geto Boys: We CanвЂ™t Be Stopped (design by Cliff Blodget) The fact that it looked remarkably low budget only made it funkier. George ClintonвЂ™s gonzoid take on outer-space adventure found its perfect match in the effortlessly cool spaceship-party cover for ParliamentвЂ™s Mothership Connection. Listen here: 93: Parliament: Mothership Connection (photo by David Alexander, design by Gribbitth) Inspired by the albumвЂ™s themes of the subconscious, the dark sleeve of Billie EilishвЂ™s When We All Fall Asleep, Where Do We Go? served notice that Eilish was here to mess with your head. Since people were already using LPs to store and clean marijuana, the Airplane gave you a cardboard box holder for it, along with the pot, or at least a realistic-looking photo.Д©4: Billie Eilish: When We All Fall Asleep, Where Do We Go? (design by Kenneth Cappello)ДЄny artist who dares to look this terrifying on the cover of their first album deserves all the platinum success they get. Jefferson AirplaneвЂ™s Long John Silver hails from the golden age of elaborate album covers. On an album that made a mad dash through the whole of pop history, Nick Lowe pictured himself in a bunch of different guises, from rockabilly hoodlum to sensitive balladeer (there were different pics on the US and UK versions), all with tongue firmly in cheek.Д©5: Jefferson Airplane: Long John Silver (design by Pacific Eye & Ear)

As he rapped on Wu-TangвЂ™s вЂњDog Sh_t,вЂќ: вЂњGot meals but still grill that old good welfare cheese.вЂќД©6: Nick Lowe: Jesus of Cool/Pure Pop for Now People (design by Barney Bubbles) Forgoing any blinged-out tropes, the former Wu-Tang member put a doctored version of his welfare ID card on the front cover of his solo debut, as both a reminder of where he came from and to destigmatize being on public assistance. Whenever hip-hop started to take itself too seriously, ODB was there to disrupt, agitate, and give the middle finger to convention. Listen here: 97: OlвЂ™ Dirty Bastard: Return to the 36 Chambers: The Dirty Version (design by Alli Truch, photo by Danny Clinch) Put the notorious bathroom cover together with the engraved invitation on the US replacement, and youвЂ™ve got the yin and the yang of The Rolling Stones at the time. Listen here: 98: The Rolling Stones: Beggars Banquet (design by Barry Feinstein)Д«eggars Banquet is a rare case where an albumвЂ™s two famous covers really complement each other. The red velvet cover, with gold embossed lettering, served notice that Odessa was going to be unique and beautiful, which it was. If The Beatles could do a double вЂњ White Album,вЂќ the Bee Gees could do a fuzzy red one. On their 1969 debut, the cavorting characters were there to remind you how much fun rockвЂ™nвЂ™roll was supposed to be. Bandleader Cyril JordanвЂ™s terrific comic art has turned up on numerous The FlaminвЂ™ Groovies covers and posters over the decades.

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