Investigation

Apiece of art that can today be found in 45m homes around the world was kick-started by a simple, none-too-detailed instruction to 'do something clean, elegant and graphic'. The instruction came from Pink Floyd keyboardist Rick Wright, and was given to Storm Thorgerson and Aubrey Powell, the founders of Hipgnosis, a London-based art and design group whose first sleeve design had been for the Floyd's 1968 album A Saucerful Of Secrets.

The artist formerly known as Robert Zimmerman broke new ground in all kinds of ways. But one field where his pioneering role isn't often acknowledged is sleeve art. By the early 1970s, it was standard practice for fans to pore over LP covers pondering the significance of the imagery presented to them. But in 1965 the profundity of most popular music album artwork didn't extend much further than a shot of the band looking mean and moody, or happy and playful depending on the image they'd chosen to portray.

For a man not blessed with the kind of appearance naturally lending itself to the limelight, Elvis Costello always did a damn good job of promoting himself. It helped that those around him were past masters of pop marketing. After all, music lovers of a certain age will recall the infamous t-shirt of his first label Stiff, bearing the deathless slogan: 'If it ain't Stiff, it ain't worth a f**k'.

The resurgence in vinyl sales over recent years is not just about the sound emitted from those shiny black grooves. Many buyers, particularly younger ones, are just as attracted to album sleeves. And of those, a good proportion will tell you they like to have the full-fat LP package experience sat on their shelves unspoilt by actual plays, or even framed on their walls as artworks.

The '70s had no shortage of puzzling LP sleeve imagery. But if the image that adorned Fleetwood Mac's 1977 album Rumours was among the more perverse and baffling, that might have been because the band that made it had been driven to the edge of sanity while doing so.

The real story', said Paul McCartney in 1995, 'is that I was coming back from America on a holiday trip. I was in a very laid-back mode and dreaming away, and I started imagining this idea of The Beatles as another band, to be liberated, as liberated as I felt on this holiday'.

The naming and framing of an album is an underrated marketing tool. Whichever Paul McCartney/Wings LP of the 1970s is your particular favourite, ask someone to name one of the ex-Beatle's albums from that era and the chances are high they will pick Band On The Run.