Desire by Bob Dylan

"I guess I like it because I played that album at least a thousand times in my teens and remember loving all the documentary style photos, symbolism and general mash up of illustration and collage, and the homemade aspect of it.

It's very much of it's time. Once you've heard each track so many times you know every word the back cover stills remains a bit mysterious." Alex Gravenstein (pictured with his copy)

The collage theme seems to echo the chaotic circus feel of the early sessions for the album and the subsequent Rolling Thunder Revue. As a 2012 Mojo magazine piece on the album noted, for early sessions there were often over 20 musicians were playing at once. The frustation caused Eric Clapton, one of five guitarists, to walk out, apparently muttering, "Zimmy's gone crazy". It also mirrors the accidental nature of how the album fell together (it was pure serendipity that violinist Scarlet Rivera was spotted crossing the road with her violin case and asked by Dylan to attend the sessions).

As Billboard wrote in their glowing 1976 review, "Another plus factor is packaging, with its striking cover shot and liner photos. Also the inside liner notes are by Allen Ginsberg, and they reflect the mood of the recent Rolling Thunder Revue tour of the Northeast."

John Berg designed the album art, with the back cover collage by Carl Barile (whose only other album credit seems to be a Lester Young album on Verve) and collage photos by Ruth Bernal (who also shot covers for Harry Chaplin).

Exile on Main Street by The Rolling Stones

"About as unrehearsed as a hiccup" Bobby Keys

"'Cinema verite? I got into audio verite..... Hey, I've made records where you analyze everything you do 3,000 times and it's perfect. I'm sick of it. I want to make a record that's totally stark naked. Raw. I don't wanna fix any of it. I don't care if it's totally out of tune, man, let's play. Fuck it.... I like the idea of capturing something. Record something that happened. I'm a musician. I don't wanna sit there and build a record. I built a couple of records. Big deal. Tonight's the Night doesn't care. And that makes you feel good about it. There's no pretence.'"

Despite being a quote about one of his own albums, Neil Young captures what, by many accounts, were the circumstances surrounding the recording of Exile on Main Street (or at least the tracks they laid down in France before doing some polishing in Sunset Sound, LA). Take "Happy", a Keith Richards track, "recorded in a single take when Richards woke up one morning – or evening – and gathered up the only other people who were awake, saxophonist Bobby Keys and producer Jimmy Miller, who was drafted in to play drums in place of the absent Watts. The whole record was, says Keys, a good ol' boy from Texas, "about as unrehearsed as a hiccup"." (The Guardian)

Dark, haphazard, ragged, the recording of Exile was a play with large cast of actors, an "extended retinue of session players, studio technicians and hangers-on." and with the drug-use, a "retinue of shady characters and criminals". This feeling is echoed on the front and back covers of the album, with the back cover being inspired by the front.

The front cover image is from Robert Frank's photo documentary “The Americans”, taken of a wall in a tattoo parlour in New York City (although another account has it taken on Route 66, colloquially, and perhaps coincidentally, known as the Main Street of America). The wall is covered with photos of strange and unusual people, displaying neat symmetry with the recording sessions.

Frank also filmed the Stones with a Super 8 camera. The stills of individual frames were used to compose the back cover to match his original wall picture. The back cover also features a "mystery woman" pictured in the lower left side, who turns out to be Chris O'Dell, their personal assistant.

Layout and design was by John Van Hamersveld and Norman Seeff. Describing his contribution, Van Hamersveld was very clear on its impact: "my arrangement of materials...would go beyond Frank’s photo style, creating an identity that would become the basis of the PUNK FASHION MOVEMENT. To the spectators, critics, and others in the Establishment, I had made a package that was not glamorous. It was not a friendly image to put on display in the record stores, but it was THAT image that established the anti-establishment look of PUNK."