Cover art by Wilfried Sätty. Lettering by David Singer.
Collage artist Wilfried Sätty has been in my thoughts this month, it being ten years ago that Jay Babcock, Richard Pleuger and I drove up to San Francisco and Petaluma to talk to Walter Medeiros and David Singer about Sätty’s life and work. Looking today at the Sätty cover art for Gandharva (1971) by Beaver & Krause reminded me that the original pressing of this album came with the sleeve in a predominantly pink colouration rather than the more familiar blue. I have three copies of the album—vinyl and two CDs, one of which pairs it with Beaver & Krause’s In A Wild Sanctuary (1970)—but I’ve never seen one of the pink variations, and didn’t even know they existed until they started appearing on the web. The CD reissues favour the blue version, as do I, although this may only be a result of familiarity. I’ve enthused about Sätty’s cover a couple of times already but the music is worth hearing for its connections backwards to Cammell & Roeg’s Performance (for which B&K provided the ominous synthesizer tones), and forwards to Robert Fuest’s The Final Programme. Fuest asked Gerry Mulligan to score his film after hearing the Gandharva suite (described in the sleeve notes as “a score from a non-existent film”) which occupies side two of the album.
Elsewhere on { feuilleton }
• The album covers archive
Previously on { feuilleton }
• The Occult Explosion
• Wilfried Sätty album covers
• Nature Boy: Jesper Ryom and Wilfried Sätty
• Wilfried Sätty: Artist of the occult
• Illustrating Poe #4: Wilfried Sätty
• Gandharva by Beaver & Krause