The Folkways Catalogue and its Empty Spaces
Brush script type for the title contrasts the simple, hard-edged image forms of this farm scene. The two colours and reversals of type, clouds, and sunrays, give the black, "cutout" silhouettes a sense of depth and space. The country image, which complements the bluegrass style of music on the album, also serves as a tongue-in-cheek reference to the complexity of cultures and countercultures that flourished in Berkeley and the San Francisco Bay area at the height of the hippie era.
Selk'nam Chants of Tierra del Fuego
The cover presents a memorable close-up photograph of Lola Kiepja taken by the album's producer, ethnologist Anne Chapman. According to Chapman, Lola Kiepja was the last person to speak the language of her people.
Corridos are stories told in song. The simple, "primitivist" style used in the design transforms the figure of a Mexican revolutionary into the personification of death in a carnivalesque combination of playfulness and the macabre that evokes the Dia de los Muertos (Day of the Dead) holiday, commemorating deceased ancestors.
14 Numbers, Letters and Animal Songs
Davis' charming, child-like drawing of a rabbit in a windy landscape is defined by the striking yellow ground. The irregular, hand-printed style of the letterforms above reinforces the whimsical nature of the image.
Entre Hermanas / Between Sisters
The repeated, stylized woodcut in dark blue of singer Suni Paz in traditional dress appears against a backdrop of white. The vibrant pink of the lettering reinforces Paz's dedication of the album "to the many women who encouraged my work and inspired through their example my own struggle" (liner notes).
The Poetry of Abraham Sutzkever
This cover image is by Marc Chagall, who was a friend of Abraham Sutzkever, one of the great Yiddish poets. It illustrates Sutzkever's poem "Sibir," which describes his family's experience in Siberia. The poems present life in the Vilna Ghetto during World War II, the struggle to survive, and the atrocities committed against the Jewish people.
Where Have All the Flowers Gone
A literal, uncomplicated cover design reinforces the message of the title song. "Where Have All the Flowers Gone," written in 1961, was based on an Irish tune and inspired by a few lines from an old Russian folk song. It has become one of Pete Seeger's signature songs and remains a simple, eloquent anthem for peace.
The World Music Theatre of Jon Appleton
Linear forms of the typeface relate to the modulated sound of the electronic music on this album. Appleton's "hip," tinted sunglasses are rendered in a tone derived from the red "o's," a subtle play on the "apple" in his name and a visual device that commands the viewer's attention.
Songs from the Depths of Hell
The stark, nightmarish figure of the dead child held by the leaning, robed figure in Gertrude Degenhardt's drawing conveys the hopelessness and depth of human misery in the concentration camps. Degenhardt's emotive and highly expressive style takes its impetus from earlier German Expressionist art.