Bob Pepper – Page 2 – { feuilleton }

Milton Glaser album covers

Music For Space Squirrels (1958) by Al Caiola’s Magic Guitars.

Having sought out Saul Bass’s album cover designs recently, curiosity impelled me to see what fellow New York designer Milton Glaser had been doing during the same period. I already knew some of Glaser’s covers for the Tomato label in the 1970s but Discogs has many more, including a handful in the Pop/psychedelic style he used most famously for his Bob Dylan poster. Not all of these are to my taste—illustration-wise I prefer Bob Pepper’s art—but Glaser was nothing if not versatile. I’ve no idea what Music for Space Squirrels sounds like although it’s probably less interesting than the promise of those floating rodents.

Medium (1968) by The Mandrake Memorial.

Grieg’s Greatest Hits (1969).

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The psychedelic art of Howard Bernstein

Lord of Light by Roger Zelazny (1967).

I made a post a while back about the work of Bob Pepper, an artist whose illustrations from the 1960s can also be described as psychedelic and who was equally visible in the music and book publishing worlds. Howard Bernstein (not to be confused with musician Howie B) wasn’t as prolific as Pepper but this post was prompted by the appearance at Sci-Fi-O-Rama of the swirling abstractions of his Roger Zelazny cover. Like Pepper, Bernstein produced album cover art as well as book covers although it’s possible the Zelazny piece may have been a one-off. This was the jacket of the first edition and a rather flagrant attempt by Doubleday to co-opt the trendiness of the psychedelic style for a science fiction readership. They tried something similar with the cover for Harlan Ellison’s landmark anthology Dangerous Visions in the same year, the art in that case being the work of Leo & Diane Dillon. The Zelazny cover caught my attention for another reason, the typography is a variation on the 19th century Kismet typeface by John F Cumming which I used for my two Alice in Wonderland calendars and which turns up regularly in psychedelic design. And while we’re considering conjunctions of music and science fiction, I ought to note that the Hawkwind song Lord of Light lifts its title from Zelazny’s novel.

The Heliocentric Worlds Of Sun Ra, Vol. I (1965).

As for Bernstein’s music work, most of this appears to have been for Bernard Stollman’s eccentric ESP Disk label where the roster of artists included many free-jazz greats along with The Fugs, William Burroughs, Timothy Leary and fringe psychedelic groups such as Pearls Before Swine, Cromagnon, The Godz and others. Bernstein’s Cromagnon cover (below) exists in both monochrome and coloured versions but the monochrome one seems to be the original. In fact much of his art looks like it was drawn in black-and-white with the colours being created by separations at the print stage. His poster for The Godz is especially striking, so much so I’m surprised to find there isn’t more of his work around. Wolfgang’s Vault has a blacklight poster and there are some other blacklight works here. If anyone knows of other posters, please leave a comment although I suspect if there was much more then Wolfgang’s Vault would have the goods.

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More science fiction covers

These science fiction cover galleries are becoming so ubiquitous it hardly seems worth cataloguing a new discovery. However… This pair are from the George Kelley Paperback and Pulp Fiction Collection at the University of Buffalo Libraries:

The UB Libraries’ George Kelley Paperback and Pulp Fiction Collection includes over 30,000 pulp fiction books and magazines. A selection of cover art images, representing more than 500 crime fiction and science fiction volumes found in the Kelley Collection, is featured in UBdigit. Colorful and dynamic, the cover art highlights a variety of artistic themes and imagery, reflecting the social and cultural trends of the period in which these covers were created. (More.)

The documentation is rather scant, unfortunately, but I recognised the Driftglass cover as being by Bob Pepper while the Brian N Ball (who he?) cover is a splendid piece of work by Kelly Freas which can be seen at a larger size and free of type here.

Elsewhere on { feuilleton }
• The book covers archive
• The illustrators archive

Previously on { feuilleton }
• The art of Bob Pepper

The Strawberry Alarm Clock

I’m on a total psychedelia groove at the moment—again—so expect more posts like this. The iTunes playlist is stuck in 1965–69 and doesn’t exclude moments of kitsch psych such as Incense and Peppermints by the Strawberry Alarm Clock, their debut single and a big hit from 1967. Thoroughly infectious and redolent enough of the era to feature in the first Austin Powers film, nothing else they produced came close. There were other soundtrack moments, a track called Pretty Song was featured in Psych-Out (1968) and the band themselves appear in Beyond the Valley of the Dolls (1970), one of many reasons to watch that lunatic movie. I always liked this sleeve design—printed in a number of variations—but even that pales next to their surfboard-shaped guitars, created specially for the band. Read more about them here.

Elsewhere on { feuilleton }
• The album covers archive

Previously on { feuilleton }
• Exotica!
• The art of Bob Pepper
• A splendid time is guaranteed for all
• Heinz Edelmann
• The L.S. Bumble Bee

Ballantine Adult Fantasy covers

top left: Bob Pepper (1969); right: David Johnston (1974).
bottom left: Mati Klarwein (1972); right: Gervasio Gallardo (1972).

I wrote about the classic line of fantasy paperbacks in the Ballantine Adult Fantasy series last year as part of the post about Bob Pepper’s illustration:

It was the success of the publication of The Lord of the Rings in America which inspired Betty Ballantine to publish a line of fantasy classics in the late Sixties. The series began its run in 1969 and continued until 1974. Lin Carter was commissioned as editor and given free reign to choose any title he thought might be suitable with the result that many of the books in the series—obscurities such as Lud-in-the-mist by Hope Mirrlees—received their first paperback publication. Carter also reprinted personal favourites which frequently shifted from fantasy to outright horror, such as the titles from HP Lovecraft and William Hope Hodgson. The range and scope of this line is what makes the series so notable today and the books have become highly-collectable as a result.

I’m fairly sure this page of cover scans of the BAF series wasn’t there when I was searching for Pepper covers. Whether it was or not, it contains a lot of Bob Pepper artwork I hadn’t seen before at large size, plus a substantial number of the other covers. I was never all that taken with Gervasio Gallardo’s work which took the lion’s share of the illustration duties but the passage of time has lent his paintings and their florid title designs the distinction of being emblematic of the era. And some of the rest are still pretty decent covers.

Elsewhere on { feuilleton }
• The illustrators archive
• The book covers archive

Previously on { feuilleton }
• The art of Bob Pepper
• Fantastic art from Pan Books