David Gilmour claims that ‘The Dark Side of the Moon’ was his best record before this one.

Legendary Pink Floyd member David Gilmour says that his most excellent solo album since “The Dark Side of the Moon” fifty-two years ago is “Luck and Strange.” “Luck and Strange,” David Gilmour’s first album in nine years, will be released on Friday, September 6th via Sony Music and features the lead track “The Piper’s Call.” Promotion “The Dark Side Of The Moon” was released more than 50 years ago, according to Gilmour, who was speaking to Prog magazine. “I think this is the best record I’ve made since ‘The Dark Side of the Moon’ came out in 1973,” the artist said. During the conversation, Gilmour also disclosed that he was collaborating on a new record with producer Charlie Andrew, who has assisted him in exploring new artistic directions. “We just want to finish this one and move on to the next one right away,” Gilmour said. “I’ll be collaborating with each of these folks once more.

In the past, I’ve struggled with wanting to just throw myself into a studio with a few folks and toss things about, but I never knew who those individuals should be. And now that I have these phone numbers, the strain has completely disappeared. I love being a part of a team, and this feels like a team; I didn’t choose to be a single artist. The majority of those who enter you sphere of influence will look up to you once you’ve attained higher degrees of achievement. They won’t be similar to Charlie Andrew, who is the kind of energising experience you wish to have. Fortuity and Odd “Luck and Strange,” the new album by David Gilmour Co-songwriter Polly Samson, Guy Pratt and Tom Herbert on bass, Adam Betts, Steve Gadd, and Steve DiStanislao on drums, Rob Gentry and Roger Eno on keyboards, and Will Gardner’s string and choral arrangements are among the other musicians who played on “Luck and Strange.” David Gilmour’s October international residency tour includes six sold-out performances at London’s Royal Albert Hall, as well as stops in Rome, Los Angeles, and New York. 50) “Overkill” by Motörhead (1979) After Snaggletooth the War-Pig made his debut on Motörhead’s self-titled debut album, the beast remained a staple on the majority of the band’s record sleeves. Two years later, artist Joe Petagno gave Snaggletooth a kaleidoscopic makeover for the ‘Overkill’ sleeve. “It should have been multi-layered. It was supposed to have a feeling that there was more to it, there were going to be more bits and pieces. In a way, I kind of did it on the ‘Inferno’ thing. I sort of took my revenge on the new trinity. In a way,” Joe Petagno said, describing the “Overkill” cover as a “disappointment” despite being adored by Planet Rock listeners. 49) Peter Gabriel from the 1980 film “Peter Gabriel” Many fans refer to Peter Gabriel’s third self-titled solo album as “Melt” because the artwork depicts Gabriel’s left half of the face liquefying. Using a Polaroid SX-70 instant camera, Storm Thorgerson of Hipgnosis claimed that Gabriel enjoyed the opportunity to disfigure his face in the picture. “Peter himself joined with us at Hipgnosis in disfiguring himself by manipulating Polaroids as they developed,” remarked the late designer. “Peter impressed us greatly with his ability to appear in an unflattering way, preferring the theatrical or artistic to the cosmetic.” 48) “Hotel California” by Eagles (1976) The cover of the Eagles’ widely-used 1976 album “Hotel California,” which is among the best-selling songs ever, features a picture of the Beverley Hills Hotel in California. Photographer David Alexander stood on a cherry pick, 60 feet above Sunset Boulevard, and took this classic picture. 47) “Aqualung” by Jethro Tull (1971) American painter Burton Silverman painted the homeless man in watercolour. It was partially inspired by a picture of a man that Ian Anderson took on London’s Thames Embankment. A fixed fee of $1,500 was given to Silverman for the painting. 46) “Destroyer” by KISS (1976) Fantasy artist Ken Kelly created the cover art for the album “Destroyer,” which shows Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss standing atop debris with a demolished skyline in the background. Later, Ken Kelly imitated the cover of Manowar’s “Fighting the World” album from 1987. Out of 50 45) “Demons and Wizards” by Uriah Heep (1972) The artwork for the highly acclaimed fourth album ‘Demons and Wizards’ by Yes was created by Uriah Heep in collaboration with the renowned artist Roger Dean. The artwork, which depicts a wizard in a fantastical setting, is ideal for setting the mood for the album’s musical selections. 44) “Moving Pictures” by Rush (1981) The artwork for Rush’s 1981 masterpiece “Moving Pictures,” which was created by longtime collaborator Hugh Syme, is a pretty precise translation of the album title. It’s a triple entendre: on the front, workers are seen moving images; on the reverse, emotional or moving scenes are shown by the paintings themselves; and on the rear, a film crew is filming the action. The sleeve was seen on camera outside Queen’s Park’s Ontario Legislative Building. 43) Megadeth: “Who is buying peace? Peace sells.(1986) Renowned graphic designer Ed Repka, who has designed pieces for numerous artists, believes that “Peace Sells… But Who’s Buying?’ as a pivotal point in his artistic journey. Repka depicted Vic Rattlehead, the mascot of Megadeth, holding a “For Sale” sign in his skeleton and standing outside the destroyed UN headquarters. 42) David Bowie, “The Spiders from Mars and the Rise and Fall of Ziggy Stardust” (1973) David Bowie is shown as Ziggy in the cover image for his rock ‘n’ roll tour de force, ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars,’ outside the home of furriers “K. West” at 23 Heddon Street in London. Terry Pastor added colour to the monochromatic shot captured by Brian Ward. 41) British Steel by Judas Priest (1980) The renowned ‘British Steel’ artwork, which features a hand gripping a giant razorblade made of British steel, was created by Polish artist Roslaw Szaybo, who also designed Judas Priest’s emblem and their ‘Stained Class’ sleeve. An enduring picture in heavy metal. KK Downing, the guitarist, said: “As soon as we saw it, we thought: ‘This is as sharp-edged as we are.’ It’s so totally fitting. Obviously, we’re aware of the symbolism behind the image. It was a popular razor blade manufacturer, and something we’d seen around since we were so high, hanging around our granddads. It just seemed so very British.” 40) “Led Zeppelin” (1969) by Led Zeppelin The black-and-white photograph on the cover of Led Zeppelin’s self-titled debut album depicts the Hindenburg disaster, which took place in Manchester Township, New Jersey on May 6, 1937, and claimed 36 lives. Using a radiograph pen, graphic designer George Hardie rendered the famous shot by Sam Shere in ink to create the cover illustration. Regarding the sleeve, Jimmy Page subsequently remarked, “It’s a dramatic incident, it’s a dramatic album, it’s a dramatic statement.” 39) “News of the World” by Queen (1977) American science fiction artist Frank Kelly Freas was hired by Queen to create the artwork for their sixth studio album, “News of the World.” The band wanted him to replicate the cover he created for Astounding Science Fiction in October 1953, which showed a huge robot grasping a dead man’s body. The man was replaced for “News of the World” by all four members of Queen: John Deacon and Roger Taylor are plummeting to the ground, while Freddie Mercury and Brian May are in the droid’s grasp. 38) “London Calling” by The Clash (1979) The album cover for ‘London Calling’ by The Clash showcases a monochromatic Pennie Smith image of bassist Paul Simonon battering his Fender Precision Bass at the Palladium in New York City. With its pink and green typography and black-and-white image, the design by Ray Lowry pays homage to Elvis Presley’s self-titled debut record, which was released 23 years prior. Out of 50 37) “Killers” by Iron Maiden (1981) On Iron Maiden’s second album, “Killers,” the band’s adored mascot Eddie is gripping a blood-smeared axe while his unfortunate victim grabs at his chest, fitting the violent album title. Derek Riggs, the artist, lived in the flat block in the background at the time. 36) “Master of Puppets” by Metallica (1986) Don Brautigam, an artist, created the sleeve for Metallica’s thrash metal masterpiece, which was conceived by Lars Ulrich, James Hetfield, Cliff Burton, Kirk Hammett, and their manager Peter Mensch. The iconic picture depicts a cloudy, blood-red sky with a flaming orange glow on the horizon, surrounded by a cemetery field of white crosses tied to strings that are being held by a puppeteer’s hands. 16 out of 50 35) ‘Tarkus’ by Emerson, Lake, and Palmer (1971) Emerson, Lake, and Palmer’s brilliantly bizarre “Tarkus” sleeve, a key visual of the progressive music movement, features a gun-wielding, half-tank, half-armadillo creature named Tarkus wandering through a pastoral setting. The interior of the gatefold album, designed by British artist William Neal, depicts the events of the title track “Tarkus,” from his origin as an egg cooked by an exploding volcano to his fight with a manti 34) “Relayer” (1974) is correct. ‘Relayer’ by Yes is among the many Roger Dean pieces of art that make up this Top 50 list, demonstrating how highly regarded he is. “Relayer” is a gothic cave with knights on horseback riding in the distance and enormous serpents menacingly slithering in the foreground. Dean lists it as one of his favourite sleeves he has created for Yes, saying: “Relayer I would say was my masterpiece of drawing, a pencil drawing with thin, barely perceptible, watercolour washes, then ink drawing in the foreground. So that’s a highpoint of my draughtsmanship, if you like.” 33) “Disraeli Gears” by Cream (1967) When designing the ‘Disraeli Gears’ sleeve, Australian artist Martin Sharp intended to capture the “warm fluorescent sound” of Cream’s music. To that end, he created a psychedelic collage of birds, flowers, and goddesses. Photographer Robert Whitaker, who is most known for capturing the “butcher cover” to The Beatles’ lone US album “Yesterday and Today,” took the picture at the top of the page with Ginger Baker, Jack Bruce, and Eric Clapton. 32) “Space Ritual” by Hawkwind (1973) “Space Ritual,” one of the best live albums ever (it even made Planet Rock’s list of the 50 Greatest Albums), has one of the best album covers in the history of rock music. Created by Barney Bubbles, the design showcases a surreal six-panel fold-out sleeve centred around a legendary depiction of band member Miss Stacia. 31) “Brain Salad Surgery” by Emerson, Lake, and Palmer (1973) The deformed offspring of H. R. Giger, ELP’s ‘Brain Salad Surgery’ features the biomechanical artwork of the late Swiss artist, combining human figures with mechanical elements. Giger’s former companion Li Tobler served as the model for the woman beneath the skull, who is completely visible on the inside sleeve. At the request of the record company, the complete phallus that was originally shown on the cover was replaced with a less noticeable airbrushed one. Six years after “Brain Salad Surgery” was released, Giger gained international notoriety for his work on the aesthetics of Ridley Scott’s science fiction horror thriller Alien (1979). 30) “Rumours” by Fleetwood Mac (1977) Photographer Herbert Worthington captured the black-and-white image of Mick Fleetwood and Stevie Nicks for the ‘Rumours’ cover, set against a cream coloured background. Nicks is decked up as ‘Rhiannon’ on stage in the stylised photo, while Fleetwood is dressed in an old-fashioned attire that includes two hanging balls on a chain. It’s an image that conjures up Fleetwood Mac instantaneously. 29) “On a Storyteller’s Night” by Magnum (1985) Longtime member of Magnum’s collaborator Rodney Matthews created the magnificent fantasy artwork for the band’s breakthrough album, “On a Storyteller’s Night.” Drawing from a drawing by Magnum guitarist Tony Clarkin, it shows the interior of a pub that was modelled after Matthews’s old neighbourhood bar, The George in Norton St. Philip. Matthews’ dog Patch is even seen beneath the table. According to Matthews, “On a Storyteller’s Night” is “one of my best known images and a favourite of mine.” 28) “1984” by Van Halen (1984) Van Halen, a graphic artist Margo Nahas, had originally intended to create a cover with four dancing women, but the idea was shelved. Instead, Nahas showed the band her portfolio, and they chose the painting of the smoking putto, which was inspired by a picture Nahas had taken of Carter Helm, her best friend’s kid, smoking a sugar cigarette. 24 out of 50 27) “Script for a Jester’s Tear” by Marillion (1983) Artist Mark Wilkinson was tasked by Marillion frontman Fish to depict ‘a down at heel writer and his surroundings.’ The result is this striking and aesthetically detailed sleeve of a forlorn Jester. Wilkinson stated to Prog Magazine in 2015: “Everyone loved the final cover. The band, the label, the management. People have been very kind about it over the years, and I know fans believe it to be an important part of the band’s history. Oh, and Paul McCartney was said to have been impressed. But I am still waiting for the call to work on one of his covers.” 26) “Appetite for Destruction” by Guns N’ Roses (1987) The famous Celtic cross tattoo on the cover of Guns N’ Roses first album, “Appetite for Destruction,” was created by Axl Rose’s buddy Billy White Jr. Additional artist Andy Engel refined the original design. Originally, Robert Williams’ controversial artwork of a robotic sex offender who is ready to be punished by a metal avenger was used on the inside sleeve of the album ‘Appetite for Destruction’. After ‘Appetite for Destruction’ was rejected by multiple stores, Geffen Records changed the front cover to one by White Jr. 26 out of 50 25) “Who’s Next” from The Who (1971) In ‘Who’s Next,’ a parody of Stanley Kubrick’s 1968 film 2001: A Space Odyssey, a massive concrete slab in Easington Colliery, County Durham, is photographed by Ethan Russell then wedged into a slag heap. Pete Townshend, Roger Daltrey, Keith Moon, and John Entwistle, the four members of The Who, are leaving the menacing monolith after what appears to be a urination. 24) “Physical Graffiti” by Led Zeppelin (1975) ‘Physical Graffiti’ Led Zeppelin chose a die-cut cover showing two side-by-side tenement buildings located at 96 and 98 St. Mark’s Place in New York’s East Village instead of their typical gatefold design. “Physical Graffiti” contains two inner sleeves, one for each LP, and a centre insert cover with graphics visible through die-cut windows, thus depending on how the sleeves are put, the cover can have two different visuals. 23) The 1973 book “Tales from Topographic Oceans” says yes. The ‘Tales from Topographic Oceans’ gatefold sleeve has an image of a stunning alien scene at dawn with a Mayan temple on the horizon and the sun rising behind it, created by longtime Yes artist Roger Dean. Roger Dean created yet another visually spectacular picture for the progressive rock masters. 22) “Wish You Were Here” by Pink Floyd (1975) Stuntmen Ronnie Rondell and Danny Rogers were the two businessmen shaking hands on the famous artwork for Pink Floyd’s “Wish You Were Here.” Aubrey “Po” Powell of Hipgnosis took the picture at The Burbank Studios in California. Years before computer-generated imagery (CGI), Rondell had to burn one of the stuntmen who was dressed in a flame-retardant suit. 21) Queen – 1974’s “Queen II” The iconic picture of Marlene Dietrich from the 1932 film Shanghai Express served as the direct inspiration for the Queen II artwork, which portrays Roger Taylor, John Deacon, Brian May, and Freddie Mercury standing in a diamond formation against a striking black background. The photograph that became the basis for the ‘Bohemian Rhapsody’ music video was taken by photographer Mick Rock. 20) “Breakfast in America” by Supertramp (1979) Mike Doud and Mick Haggerty created the hilarious sleeve for Supertramp’s sixth album, which looks like Manhattan seen through a plane window. The Statue of Liberty is hilariously portrayed by actress Kate Murtagh, who is costumed like a waitress from a diner named “Libby.” The buildings in the background are decorated with different breakfast-related foods, packaging, silverware, and condiments. 19) “Permanent Waves” by Rush (1980) The cover image of Rush’s seventh album, “Permanent Waves,” depicts a post-apocalyptic landscape captured on camera by the late Flip Schulke of the Galveston Seawall in Texas during Hurricane Carla in 1961. The woman in the foreground, dressed in 1950s fashion, stands in stark contrast to this, beaming and seemingly oblivious to the horrifying destruction in the background. The model in question is Canadian Paula Turnbull, who at the time was a well-known figure in Europe. British photographer Fin Costello captured the image. 18) “Vulgar Display of Power” by Pantera (1992) Pantera’s metal classic ‘Vulgar Display of Power’ shows a Brad Guice shot of a man (a hired model named Sean Cross) getting punched in the face, evoking the music’s intense brutality. For maximum impact, Pantera advocated for a bare fist on the sleeve, but the record label insisted on a boxing glove. 17) “Nevermind” by Nirvana (1991) Considered to be among the most well-known infants globally, Spencer Elden was just four months old in 1991 when he was captured in a swimming pool by photographer Kirk Weddle, presumably pursuing a dollar bill on a fishhook, for Nirvana’s ‘Nevermind’ sleeve. Elden’s father assisted with the lighting, and his parents received $7,500 for the photo session. Following multiple picture shoots where the sleeve was recreated, Spencer Elden filed a lawsuit against Nirvana in August 2021, alleging that the band had used children for sex purposes and had broken federal laws regarding child pornography. His severely criticised case was dropped. The Beatles – “Sgt.” The Lonely Hearts Club Band, Pepper (1967) The Beatles’ eighth studio album, “Sgt. Pepper,” features an album cover designed by pop artists Peter Blake and Jann Haworth. Pepper’s Club Band of Lonely Hearts. The Beatles dressed as Sgt. Pepper’s Lonely Hearts Club Band are featured in a vibrant collage on the often mocked sleeve, alongside cardboard cutouts of a number of well-known figures, including Bob Dylan, Marlon Brando, Tony Curtis, Marilyn Monroe, Stan Laurel, Oliver Hardy, Oscar Wilde, Dylan Thomas, Albert Einstein, and many more. “Welcome The Rolling Stones” is emblazoned on the doll’s sweater, which also mentions the Rolling Stones. 15. “Tubular Bells” by Mike Oldfield (1973) Huge floating bells over breaking waves on a beach are the focal point of designer and photographer Trevor Key’s ‘Tubular Bells’ sleeve, which was inspired by Belgian surrealist painter René Magritte’s series of paintings of floating objects. Richard Branson, the head of Virgin Records, had in mind an image of a boiled egg with blood streaming from it, but Oldfield sensibly rejected the concept. They claim that the rest is history. 14) “The Number of the Beast” by Iron Maiden (1982) Eight months prior, the artwork for ‘The Number of the Beast’ was supposed to have been used on the cover of the ‘Purgatory’ single, but Iron Maiden were so impressed that they begged artist Derek Riggs to save it for their upcoming album. It features the band’s mascot Eddie holding Satan like a puppet and Satan holding a tiny Eddie, and it was unsurprisingly denounced by ardent American Christians. 13) “Aladdin Sane” by David Bowie (1973) The now-iconic ‘Aladdin Sane’ sleeve, photographed by British photographer Brian Duffy at his north London studio, shows a naked, alien-looking David Bowie with red hair and a red-and-blue lightning bolt across his face. His collarbone is rolled by a lone tear. One of the most iconic pictures of Bowie, the artwork has been termed “the Mona Lisa of album covers” by critic Mick McCann. 12. “Sticky Fingers” by The Rolling Stones (1971) The cover of The Rolling Stones’ 1971 album ‘Sticky Fingers’ features a provocative close-up of an unidentified male figure’s protruding crotch, fitting with the very suggestive album title. The renowned artist Andy Warhol came up with the concept for the record sleeves, but there was speculation regarding the model’s identity, leading some to believe it might be Mick Jagger or fashion designer Jed Johnson. But Joe Dallesandro, the actor and superstar of Warhol, says it was him. 11) “Houses of the Holy” (1973) led Zeppelin The ethereal cover art for Led Zeppelin’s fifth studio album is a composite of multiple shots taken by Hipgnosis star Aubrey Powell at the Giant’s Causeway in Northern Ireland. The two kids on the cover, Stefan and Samantha Gates, were siblings who were the inspiration for the artwork, which was influenced by Arthur C. Clarke’s science fiction novel Childhood’s End from 1953. The record was released in some parts of America with a piece of paper wrapped around the cover to hide the kids’ butts. Powell said to Rolling Stone: “When you look at the Louvre’s paintings, it’s full of naked children. Nobody complains about that. So this is a piece of art. It’s not something that was, in any way, devious.” 10) “Holy Diver” by Dio (1983) In Randy Berrett’s artwork for “Holy Diver,” Dio’s mascot Murray took centre stage. Murray is shown as a massive, demonic figure that emerges from a horrifying, Mordor-esque setting and beats a Catholic priest with a chain. Probably one of the pictures that best represents the heavy metal genre. 9) “Argus” by Wishbone Ash (1972) Wishbone Ash’s ‘Argus’ sleeve has a warrior wearing a helmet and gazing out over a scenery at the Gorges du Verdon in Provence, France, which is in keeping with some of the mediaeval themes on record. The military regalia was created by the renowned Storm Thorgerson, and its mysterious atmosphere is further enhanced by the fact that the wearer’s identity has never been made public. Some say the enigmatic figure influenced Darth Vader’s look in the first Star Wars film, which came out five years later. 8) King Crimson, from the 1969 film “In the Court of the Crimson King” Friends with Peter Sinfield, the lyricist and co-founder of King Crimson, Barry Godber, a 23-year-old computer programmer, produced the startling picture of Schizoid Man for the sleeve of ‘In the Court of the Crimson King’. Godber painted while looking into a mirror to create the image of his own face. Just four months after the album’s release, Godber unfortunately passed away from a heart attack in February 1970. This was the sole album cover he designed during his all too brief life. 7) Black Sabbath – The 1970 album “Black Sabbath” The ominous cover for Black Sabbath’s 1970 debut album of the same name was captured at the 15th-century Mapledurham Watermill, situated in Oxfordshire on the banks of the River Thames. Designer Marcus Keef employed his trademark false-color approach, first utilised on Colosseum’s ‘Valentyne Suite’ in 1969, to shocking effect to create a disquieting mood. Featured prominently on the artwork is the spectral, mysterious black woman who appears to be mentioned in the first few words of both the album’s title track and opening song: “What is this that stands before me? / Figure in black which points at me.” 6) “Deep Purple In Rock” by Deep Purple (1970) Tony Edwards, the band’s manager, came up with the concept for the “Deep Purple in Rock” album cover. He proposed that the heads of the US Presidents be arranged on Mount Rushmore alongside the heads of the Mark II lineup, which included Ian Gillan, Ritchie Blackmore, Roger Glover, Jon Lord, and Ian Paice. One of the most recognisable sleeves in rock history, the cover was made by the London design firm Nesbit, Phipps & Froome. 5) “Bat Out of Hell” by Meat Loaf (1977) The iconic cover for Meat Loaf’s successful debut album “Bat Out of Hell,” illustrated by Richard Corben, depicts a long-haired creature emerging from a graveyard on a motorcycle. There are tombstones and a big bat perched atop a mauseoleum in the background. The delightfully bombastic song by Meat Loaf and Jim Steinman is perfectly complemented by this gloriously over-the-top album cover. 4) “Powerslave” by Iron Maiden (1984) Iron Maiden’s ‘Powerslave’ album features intricate artwork with an Egyptian theme, created by Derek Riggs. For fans who were studying the artwork, Riggs included a lot of amusing allusions, such as Mickey Mouse’s visage, the graffiti “Indiana Jones was here 1941,” the swear words “Bollocks,” and the phrases “wot a pile of rubbish” and “Wot? Absent Guinness?”. Easily among the greatest record covers ever. 3) “Somewhere in Time” by Iron Maiden (1986) The ‘Somewhere in Time’ sleeve, once again designed by legendary Iron Maiden designer Derek Riggs, depicts a futuristic metropolis reminiscent of Blade Runner, with a gun-wielding cyborg Eddie the Head. The ‘Somewhere in Time’ artwork, which upped the ante from ‘Powerslave’ two years prior, has several allusions to Iron Maiden’s past all over its wraparound gatefold sleeve. 2) “The Dark Side of the Moon” by Pink Floyd (1973) Created by Hipgnosis and George Hardie, Pink Floyd’s ‘The Dark Side of the Moon’ piece is inspired on an illustration Storm Thorgerson spotted in a 1963 physics textbook and shows light refracting from a triangular dispersive prism. Hipgnosis presented four designs to Pink Floyd, and they were unanimous in their pick. “There were no arguments,” Roger Waters said decades later. “We all pointed to the prism and said ‘That’s the one’.” 1) “Rising” by Rainbow (1976) The aesthetically arresting image of Rainbow’s groundbreaking second album ‘Rising’ was made by the esteemed American fantasy artist Ken Kelly, who tragically went away in 2022. It shows a hand reaching out of the sky, holding a rainbow against a moody mountainous background. Throughout his remarkable career, Kelly also created sleeves for KISS, Ace Frehley, Manowar, and Coheed & Cambria.

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