The Art of Elton John’s Album Covers Part 1 and 2

The Art of Elton John’s Album Covers: Stories, Behind the Scenes, and the Creators Behind the Image – Part 1

Elton John’s public image has always been shaped not only by his music and flamboyant outfits but also by the visual art that accompanies his records. The covers of his albums form a gallery of styles, techniques, and artistic visions that reflect the many phases of his career. Below, discover the stories behind these covers and the artists who created them—including their work before and after collaborating with Elton.

1. Goodbye Yellow Brick Road (1973)

Originally, portrait artist Brian Organ was commissioned to design the cover of Goodbye Yellow Brick Road. Organ was known for his traditional oil portraits and even developed early sketches with a more serious and classical approach. However, during the creative process, Elton’s team decided to take a more playful and symbolic route, better reflecting the album’s fantastical and theatrical tone. That’s when Ian Beck, a younger illustrator with a whimsical, surreal style, was brought on board.

Beck was given just ten days to complete the artwork. Inspired by The Wizard of Oz, he created an image of Elton stepping out of a poster and onto a yellow brick road. He used reference photos, including a model in platform shoes and childhood toys like a toy piano and teddy bear. At the time, Beck was a freelance illustrator, and the success of this cover helped launch his career as a children’s book author and illustrator, with works such as The Teddy Robber (1989) and Pastworld (2009).

2. Elton John (1970)

Elton John’s self-titled second album featured a cover designed by David Larkham, inspired by the pictorial style of Rembrandt, with photography by Roger Stowell. The idea was to portray Elton in a reflective and melancholic light, matching the introspective tone of the album. The image was intentionally printed with heavy grain, reminiscent of covers like Déjà Vu by Crosby, Stills, Nash & Young. The back cover was composed of two stitched photographs.

Larkham worked closely with Elton throughout the 1970s and also served as art director for album covers like Madman Across the Water and Captain Fantastic and the Brown Dirt Cowboy. His visual contributions were key in shaping Elton’s graphic identity during that era.

3. Tumbleweed Connection (1970)

The cover of Tumbleweed Connection was photographed at the Sheffield Park railway station in the English countryside, with art direction by Ian Digby Ovens. Though the album evokes the imagery of the American Old West, all the photos were shot in the UK. The goal was to blend American mythology with the British reality of the musicians, especially through Bernie Taupin’s lyrics.

Ian Digby Ovens later worked with various British artists and labels, including Island Records, and also designed covers for Cat Stevens. His style was notable for telling visual stories through real locations and moody atmospheres.

4. Captain Fantastic and the Brown Dirt Cowboy (1975)

This cover is one of the most intricate and psychedelic in Elton’s discography. The artist responsible was Alan Aldridge, one of the biggest names in British graphic art during the 1960s and 70s. Aldridge had already designed posters and illustrated books for The Beatles, including The Beatles Illustrated Lyrics. His style was marked by airbrushed visuals, vivid colors, surreal characters, and cartoonish elements.

The album art is a visual representation of Elton and Bernie Taupin’s journey as artists, filled with characters, symbols, and autobiographical references. Aldridge also created covers for albums by The Who, Cream, and Harry Nilsson, as well as the iconic children’s book The Butterfly Ball and the Grasshopper’s Feast.

5. The One (1992)

The One marked a period of aesthetic and musical renewal for Elton John. For this, the cover was designed by Italian fashion designer Gianni Versace, with whom Elton had a personal and artistic connection. Versace created an ornate design with Renaissance and Baroque elements, using deep colors like navy blue and gold. The result was an elegant, luxurious, and symbolic cover, reflecting the sophistication of the album’s sound.

Versace had previously created stage costumes for Elton, as well as for artists like Madonna and Prince. His influence in visual arts was as strong as in fashion. This collaboration further cemented the link between pop music and high fashion.

6. The Big Picture (1997)

The cover of The Big Picture (1997) is a painted portrait by Julian Schnabel, the acclaimed artist and filmmaker known for his expressive, large-format works. The image presents Elton John in a contemplative and refined pose, matching the introspective tone of the album.

Mario Testino contributed to the album’s visual elements with photographs featured inside the booklet, including the page for Live Like Horses.

Paragraph reviewed by Andrea Grasso

#eltonjohn

The Art of Elton John’s Album Covers: Stories, Behind-the-Scenes, and the Creators Behind the Image – Part 2

If the first part of this series revealed the behind-the-scenes of some of Elton John’s most iconic album covers, this second installment delves into other visually striking moments of the artist’s career. Each album image is a snapshot of its era, filled with symbolism, creative choices, and collaborations with some of the most notable names in graphic design, photography, and fashion.

Caribou (1974)
The "Caribou" cover was photographed by Richard Imrie in the surroundings of the Caribou Ranch studio, nestled in the Rocky Mountains of Colorado. The image features Elton wearing a blue jacket adorned with silver stars, set against a barren landscape with a dramatic sky. The stark and direct visual contrasts with the album’s lush production.

Richard Imrie was a freelance photographer focused on nature and portrait work, contributing to various U.S. lifestyle and culture magazines. Art direction was once again led by David Larkham, who aimed to maintain a visual style consistent with the album’s universe.

Visual trickery on the cover: The backdrop — that dramatically blue and mountainous sky — is actually a hand-painted fabric panel used by David Larkham, inspired by the style of Maxfield Parrish. Larkham kept that backdrop stored by a friend in the U.S.

Iconic glasses: Elton appears wearing his "Palm Tree" glasses, now considered relics on display at Hard Rock Cafes in Las Vegas and London, alongside his rhinestone-covered piano lid bearing the word "BITCH".

High altitude = unique sound: Recorded at 2,600 meters above sea level, the studio required oxygen masks and produced richer bass when played at sea level — something other artists like Tom Dowd and Rod Stewart also capitalized on.

John Lennon's visit: Lennon joined Elton during sessions in 1974. It's said that right after a vocal take, he rushed to the oxygen tank — and Elton pulled him back in to sing backing vocals on “Lucy in the Sky with Diamonds.”

Studio vs. final product: Caribou Ranch was built by Jim Guercio inside a barn and hosted legends like the Rolling Stones, Bob Dylan, and Barbra Streisand. Technicians even created magnetic microphone stands to allow for quick adjustments without dismantling the setup.

Rock of the Westies (1975)
Continuing Elton's Rocky Mountains aesthetic, this cover was captured by Norman Seeff in an informal photo shoot. It shows Elton and his new band in a relaxed, almost family-like setting. This was deliberate — a way to introduce the new band and highlight the album’s rockier sound.

Norman Seeff was known for spontaneous sessions with artists like Joni Mitchell, Ray Charles, and the Rolling Stones. He sought natural, unforced moments. His work helped humanize Elton’s image during a time of sonic reinvention.

Blue Moves (1976)
The double cover of "Blue Moves" stands out as a true artistic piece. It features “The Guardian Readers” by British painter Patrick Procktor, a pop art figure connected to London’s bohemian scene. The image evokes melancholy, introspection, and a near-cinematic atmosphere — perfectly aligned with the album’s emotional weight.

Procktor, a friend of David Hockney and Francis Bacon, blended watercolor, graphic elements, and fragmented narratives. The use of his work marked one of the most artistic moments in Elton’s discography.

Peachtree Road (2004)
This album’s simple yet powerful cover shows a railroad track cutting through a rural Southern U.S. landscape. The photograph was taken by British multimedia artist Sam Taylor-Wood (now Sam Taylor-Johnson), known for emotionally charged, cinematic visuals.

The image evokes the American South — a recurring theme in Bernie Taupin’s lyrics — and matches the album’s organic, introspective sound. Taylor-Wood would later direct Nowhere Boy, a film about John Lennon’s early years.

The Diving Board (2013)
With visual direction by photographer Tim Barber and graphic concept by Mat Maitland, the cover shows a stylized Elton atop a diving board in an abstract, mysterious space. It symbolizes rebirth, risk, and the leap into the unknown — all themes of the album.

Barber is known for poetic, urban aesthetics, while Maitland became known for bold digital collages. Their collaboration produced a cover that references both surrealism and minimalism, matching the album’s introspective and mature tone.

Jump Up! (1982)
Shot by Brian Griffin, the cover shows Elton in a formal pose, wearing a dark blue suit, white shirt, and plain tie, complemented by a hat. The dramatic lighting, clean background, and serious expression create a sober, elegant, and subtly theatrical image — a focused aesthetic with a powerful presence, typical of Griffin’s expressionist style.

The cover isn’t minimal in the traditional sense (empty spaces, absence of elements), but it embraces a clean, graphic approach that stands out compared to Elton’s more fantastical or detailed covers.

The pose is serious and static, with contrasting lighting.
The album title appears in simple typography, and the framing is free of excessive graphical elements.

Griffin, inspired by German expressionism, was known for using strong shadows, dramatic angles, and rigid poses.
Intense, artificial lighting adds theatrical and melancholic flair.
The flat, uniform background focuses attention solely on Elton, with no visual distractions.

Brian Griffin trivia:
He also photographed covers for Depeche Mode, R.E.M., and Siouxsie and the Banshees, always maintaining that symbolic, dramatic style.
In interviews, Griffin said he tried to portray an artist’s soul using light and visual silence.

Made in England (1995)
The "Made in England" cover presents a frontal portrait of Elton John, captured with sobriety and elegance. Wearing round glasses and a dark turtleneck sweater, he appears slightly smiling against a neutral gray backdrop — a clean image with no distractions.

This restrained, mature visual reflects the album’s lyrical and musical introspection, which explores personal themes, memory, and belonging.

The photo was taken by renowned American photographer Greg Gorman, known for celebrity portraits emphasizing light, shadow, and dramatic simplicity. Gorman’s style involves soft lighting and careful direction to achieve natural expression — which can be seen in the serene, confident way Elton is portrayed.

Art direction was handled by the Wherefore Art team, led by David Costa, who had worked on previous Elton albums. The graphic design mirrors the photo’s minimalist spirit: artist name and album title appear in white at the top and bottom, using clean typography with no ornamentation. This reinforces Elton’s artistic maturity at age 48, balancing tradition and reinvention.

Though no specific interviews about the session are available, the involvement of Gorman and Costa suggests a process focused on direct portraiture and precise visual communication, emphasizing Elton’s identity. The absence of overt British symbolism is, ironically, one of the cover’s strengths — it conveys Elton’s “Englishness” not through clichés but through posture, elegance, and restraint, all traits of refined British aesthetics.

Songs from the West Coast (2001)
This cover shows Elton walking down a desert road in American cinematic style, aligning with the album’s more organic sound. Sam Taylor-Wood captured the image using natural light, evoking road movies and introspection.
.

Wonderful Crazy Night (2016)
The cover features a vibrant, colorful portrait of a smiling, moving Elton, captured by photographer Juergen Teller. With saturated colors and a spontaneous pose, the image celebrates the album’s upbeat energy and optimism.

The visual art is straightforward yet striking, reflecting the album’s lively tone.

Verified reference links (as of June 2025):
https://www.mariotestino.com/
https://briangriffin.co.uk/elton-john-jump-up/

Text: Robson Vianna

Part 3 and 4 HERE:

https://eltonjohnscorporation.blogspot.com/2025/12/the-art-of-elton-johns-album-covers.html

Elton John album cover art, Elton John album cover design, Elton John iconic album covers, Elton John artwork evolution, Elton John visual branding albums, Elton John LP cover aesthetics, Elton John album cover history, Elton John record sleeve art, Elton John cover art inspiration

#eltonjohn #eltonjohnalbumcovers #eltonjohnart #eltonjohnmusic #eltonjohndesign #eltonjohnhistory #eltonjohnfans #eltonjohnvisuals #eltonjohndiscography

The Art of Elton John’s Album Covers Part 3 and 4

The Art of Elton John’s Album Covers: Stories, Behind-the-Scenes, and the Creators Behind the Image – Part 3

Behind the Cover of Honky Château: The Intimate Portrait of a Rising Star

By Robson Vianna

Released in May 1972, Honky Château marked a turning point in Elton John’s career. It was his first album to reach the top of the U.S. charts, starting a streak of seven consecutive number-one albums. But beyond the music, the album cover also became a symbol — simple, introspective, and deeply personal. Few know the story behind that sepia-toned image of Elton, with scruffy facial hair, dark sunglasses, and a thoughtful expression.

The photograph that graces the cover was taken by Ed Caraeff, a renowned American photographer who, at the time, had already shot covers for artists such as Jimi Hendrix, Bee Gees, and Steely Dan. Unlike images produced in studios or lavish locations, this photo was captured in a completely mundane setting: the hotel room where Elton was staying in Los Angeles, at the iconic Continental Hyatt House on Sunset Boulevard.

The photoshoot took place in August 1970, precisely when Elton arrived in the United States for his historic debut at the Troubadour Club in Los Angeles. Caraeff, who already knew Elton and his lyricist Bernie Taupin from previous visits to London, was invited for a quick photo session. The result captured a rare moment: Elton, just 23 years old, still transitioning from the shy Reginald Dwight to the flamboyant persona the world was about to discover.

> “He was sitting on the edge of the bed, with a distant, thoughtful look,” recalls Caraeff. “When I showed him the cloth-based sepia print, Elton immediately chose it for his next album cover.”

Curiously, the album was titled Honky Château not because of Los Angeles, but in reference to the place where it was recorded: the historic Château d’Hérouville, a studio set in an 18th-century castle in France. There, in January 1972, Elton, Bernie, and his band spent just over a week recording songs that would become classics, including “Rocket Man” and “Honky Cat.”

The contrast between the album’s title and the cover image is striking. While the name evokes a French castle, the photo reveals a raw Elton — no costumes, no showmanship — captured in a moment of introspection. A decision that today is seen as brilliant — a faithful representation of the duality that has always defined his career: the man behind the star.

A Similar Look, But Different Moments

It is interesting to note that just over a month after that photo session in Los Angeles, Elton appeared with a similar look — sunglasses and scruffy beard — in an interview published by the British underground magazine Friends, on October 2, 1970, titled “The Radio One Hype”, conducted by John Coleman.

In that interview, Elton was back in London, at the BBC Radio One studios, promoting his second album, Elton John (1970), as he began gaining traction on British radio.

Despite the similarity in appearance — a sign that this look was starting to become part of his identity — the context was completely different. Ed Caraeff’s photos were taken in Los Angeles, while John Coleman’s interview was held in London. There is no record that the photos taken at the Hyatt House in Los Angeles were used in the Friends magazine article.

🔗 You can read the full interview at the link below:
Friends Nº 15 – October 2, 1970
“The Radio One Hype” – by John Coleman
Link:
https://www.ibiblio.org/mal/MO/philm/elton/elton.html

The simplicity of the Honky Château cover is as powerful as its music. It reflects not only an artist on the brink of worldwide fame but also the vulnerability of someone who, at that moment, was still figuring out how to become a star. Perhaps it is precisely this honesty that makes Honky Château — both in music and imagery — one of the most iconic albums in the history of pop and rock.

Photo References from the Era:

https://www.reddit.com/r/EltonJohn/comments/sz1lfb/elton_john_backstage_at_the_troubadour_in_august/

https://iconiclicensing.net/photo/ec-ej378

https://iconiclicensing.net/photo/ec-ej373

The Art of Elton John’s Album Covers: Behind-the-Scenes, Stories, and the Creators Behind the Image – Part 4

Throughout his career, Elton John has built not only a musical catalog full of classics but also an impressive visual legacy. His album covers often transcend the role of simple commercial packaging to become pieces of art in their own right, full of symbolism, cultural references, and fascinating stories. In this fourth part of the series, we explore the behind-the-scenes of iconic album covers.

Don’t Shoot Me I’m Only the Piano Player (1973)

In early 1972, Elton John and Bernie Taupin moved into a mansion in Malibu, California. It was a period marked by intense creativity, constant parties, and encounters with celebrities. Among the notable guests, the legendary comedian Groucho Marx played a curious role in the story behind Don’t Shoot Me I’m Only the Piano Player. Groucho, famous for his peculiar humor, often jokingly called Elton “John Elton,” deliberately reversing his name. During a dinner, pointing his fingers like pistols at Elton, Groucho triggered a playful response from the singer, who raised his hands and said, “Don’t shoot me, I’m only the piano player!” The phrase stuck in Elton’s mind and months later was chosen as the album’s official title.

Released in January 1973, the album became a huge commercial success, driven by hits like Crocodile Rock and Daniel. But the homage to Groucho Marx went beyond the title. The cover, photographed by Ed Caraeff, shows the entrance of an old movie theater, with the album title displayed as if it were a film on the marquee. Inside the scene, Elton and Bernie appear as spectators. A subtle but clever detail is the visible movie poster for Go West (1940), by the Marx Brothers, sealing the visual tribute to Groucho. The nostalgic atmosphere of the cover connects directly with the album’s sound, which pays homage to the pop music of the 1950s and 60s, reinterpreted by Elton with humor and emotion.

Madman Across The Water (1971)

Released on November 5, 1971, Madman Across The Water marked an aesthetic and sonic shift in Elton John’s career. Musically darker and more introspective, the album features dense, emotional songs like Tiny Dancer, Levon, and the title track. Its rustic, mysterious, and almost handmade-looking cover perfectly reflects this artistic transition.

Who Created the Cover?
The cover art was designed by David Larkham, art director at Camouflage Productions, and the fabric piece featured on the cover was handcrafted by Michael Ross.

David Larkham – The Art Director
Larkham was responsible for many of Elton John’s iconic covers throughout the 1970s. He worked on the artwork for:
Tumbleweed Connection (1971)
Honky Château (1972)
Goodbye Yellow Brick Road (1973)
Captain Fantastic and the Brown Dirt Cowboy (1975)

He also worked with other artists under DJM Records and Rocket Records. His signature style combined illustration, typography, and photography with a handcrafted, conceptual approach. Larkham’s work was crucial in shaping the visual identity of Elton’s classic era.

Michael Ross – The Textile Artist
Michael Ross, lesser-known to the public, was a graphic designer with hands-on artistic skills. For the Madman Across The Water cover, he stitched the album title onto denim-like fabric with rough, visible stitching, creating a raw, folk-inspired aesthetic. His collaboration with Larkham was a one-off and is considered unique within the history of album cover design.

How Was the Cover Made?
The idea emerged after meetings between Elton, Bernie Taupin, and David Larkham. They wanted something different from traditional photos — something that visually matched the album’s somber tone. The blue fabric, which appears denim-like, was actually linen dyed to avoid reflections during photography. The stitched title looks like a torn or patched label, metaphorically representing an outsider figure, aligning with the album’s lyrical themes.

Interesting Facts
The original fabric piece created by Michael Ross still exists and has been displayed at select private exhibitions about Elton’s career. Larkham once revealed that the fabric was photographed in high definition and then stored as a personal keepsake. The handmade texture and lighting were carefully managed to create the three-dimensional look seen on the cover.

The back cover continues the handcrafted theme, with handwritten-style text and simple illustrations. The inner sleeve follows the same concept, evoking something intimate and homemade, in contrast to the grand orchestration of the music.

The Madman Across The Water cover is not just packaging — it’s part of the storytelling. Its apparent simplicity hides a complex manual design process that fits perfectly with the album’s introspective mood.

A Single Man (1978)

Released on October 16, 1978, A Single Man marked a significant transformation in Elton John’s career and public image. It was his first album since 1969 without Bernie Taupin as his lyricist and followed a sabbatical break from touring. The cover reflected this new chapter: a mature, sober, and almost unrecognizable Elton.

On the cover photo, Elton stands in the middle of an empty road at Great Windsor Park, near Windsor Castle, dressed in a long overcoat, top hat, tie, boots, and holding a cane. This image carried multiple messages. The absence of his signature glasses — a trademark since the early 70s — signaled change. The Victorian, aristocratic style represented British tradition, contrasting with the flamboyant image Elton had embraced for most of the decade. More directly, the title A Single Man carries an evident double meaning.

Literally, A Single Man means a single, unmarried man. But in English, it also suggests “a man alone,” not only in the romantic sense but as someone facing new challenges, navigating a transitional moment in life. This wordplay reflected Elton’s state at the time. After years of intense partnership with Bernie Taupin, he now stood artistically on his own. Some critics also note a possible reference to Christopher Isherwood’s 1964 novel A Single Man, which deals with themes of loneliness and personal reinvention — though Elton never confirmed this connection.

The cover photo was taken by Terry O’Neill, a renowned British photographer famous for portraits of The Beatles, David Bowie, Audrey Hepburn, and Queen Elizabeth II. Art direction was handled by David Costa, who had previously worked on other Elton John projects and with artists like Genesis, Eric Clapton, and Roxy Music.

Known for capturing natural, candid moments of celebrities, O’Neill took a different approach here. The A Single Man cover is a highly staged, iconic portrait. The location choice — a long, tree-lined avenue with Windsor Castle in the background — symbolized both British tradition and the solitude of someone walking their own path, with past and future both visible on the same horizon.

The outfit, inspired by 19th-century British fashion, was a joint decision between Elton and O’Neill, aimed at conveying sophistication and introspection while distancing Elton from the extravagant image of his earlier years. This was the first time in nearly a decade that Elton appeared on an album cover without his iconic glasses, surprising fans and media alike. Elton explained that he was trying to reconnect with his true identity, temporarily stepping away from the flamboyant character he had built.

Though the photo appears simple, the production was anything but. O’Neill had to obtain special permission to shoot at Windsor Great Park, a restricted area owned by the British royal family. The back cover shows Elton in a slightly more relaxed pose, still dressed in the same attire. The inner sleeve features more photos from the session and credits for the musicians, including Clive Franks and Gary Osborne, key partners on the album.

Musically, A Single Man is more sober and introspective, diverging from the sonic and visual extravagance of albums like Goodbye Yellow Brick Road or Captain Fantastic. The songs are more mature, sometimes melancholic, sometimes nostalgic — as heard in Song for Guy, one of Elton’s biggest instrumental hits.

The cover isn’t just an elegant photo — it’s a statement. It marks the end of one era and the beginning of another in Elton’s life and career. By temporarily abandoning his signature glasses and flamboyant outfits, Elton revealed to the world that behind the superstar, there was indeed a single man — or perhaps a man alone. Either way, the message was clear: this was a new Elton John, ready to move forward on his own.

21 at 33 (1980)

Released on May 13, 1980, 21 at 33 marked a new chapter in Elton John’s career. It was his return to a fully structured band setup after years of working with various musicians and more experimental projects. The title refers to it being his 21st album (including studio albums, live recordings, and compilations) released at the age of 33. Just like the title, the cover is full of symbolism.

The artwork is minimalist, abstract, and striking, composed of geometric shapes and primary colors — blue, red, yellow, and dark green. Two hands appear from outside the frame, each holding an Ace of Hearts — a clear nod to luck, gambling, and symbolically, a “new game” for Elton. Nearby, three poker chips — red, white, and blue — further reinforce the gambling theme.

The cover was designed by the Rocket Records art team, led by David Costa, who had created several Elton John covers since the mid-70s, including A Single Man and Jump Up!. Costa was known for his clean, elegant, conceptual designs that often prioritized graphics over traditional photography.

The hands holding the cards were photographed by David Nutter, a photographer who also worked on covers for artists like Cat Stevens and Bryan Ferry. The goal was to create an image that felt modern, symbolic, and didn’t rely on Elton’s physical presence — a conscious choice aligned with the era’s aesthetic trends and Elton’s desire for reinvention.

The use of geometric forms and bold colors reflected late 70s and early 80s design trends, heavily influenced by European modernism and Bauhaus principles. The artwork conveys simplicity, clarity, and a sense of calculation — as if someone is studying the game board before making the next move.

The card game concept also has a personal and professional resonance. Elton was, in a way, betting on himself again, rebuilding his band with members like Nigel Olsson, Dee Murray, Richie Zito, and featuring guest appearances by Steve Lukather and David Paich of Toto, plus Ringo Starr and Pete Townshend.

Curiously, 21 at 33 is one of the few Elton John albums whose cover doesn’t feature his image — something only indirectly seen before on Madman Across The Water and Blue Moves This was no accident but an intentional, conceptual choice. The music would speak for itself without needing to reinforce his visual presence.

Another interesting detail is the placement of “Elton John” in the upper-right corner and the album title 21 at 33 written vertically. This breaks traditional layout expectations, reinforcing the modern, daring graphic design.

If the cover symbolizes betting on something new, the music inside reflects this transition. 21 at 33 blends styles, from radio-friendly pop like Little Jeannie — his biggest U.S. hit since the 70s — to introspective ballads.

The 21 at 33 cover isn’t just graphic design; it’s a visual metaphor for Elton’s life and career at the time — a poker table, cards in hand, and a chance to restart the game with new allies and a new future. As history showed, it was indeed a winning bet.

Part 1 and 2 HERE:

https://eltonjohnscorporation.blogspot.com/2025/12/the-art-of-elton-johns-album-covers_30.html

Elton John album cover art, Elton John album cover design, Elton John iconic album covers, Elton John artwork evolution, Elton John visual branding albums, Elton John LP cover aesthetics, Elton John album cover history, Elton John record sleeve art, Elton John cover art inspiration

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