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Gary Burden, designer of rock album covers, dies at 84

By Harrison Smith, The Washington Post
Published: March 24, 2018, 6:00am

Gary Burden, a designer and art director who crafted some of the most enduring images of California rock – record covers from the 1960s and 1970s that featured the blue-tinged face of Joni Mitchell, a surreal shot of Neil Young on the beach and a cheeky photo of the Doors outside the Morrison Hotel — died March 7 in Los Angeles. He was 84.

His wife, Jenice Heo, confirmed the death to the New York Times but did not give a cause. She and Burden collaborated through their design firm, R. Twerk & Co., and received a Grammy in 2010 for designing the boxed set “Neil Young Archives Vol. 1 (1963-1972).” It was Burden’s fourth Grammy nomination for album design, following nominations that led him to appear at the ceremony in a silver-ornamented mariachi suit and a sequined tuxedo purportedly made for Elvis Presley.

Burden, a Marine Corps veteran, came relatively late to rock-and-roll. He was working as a bowtie-clad architect in the late 1960s when a client — Cass Elliot, singer “Mama Cass” of the Mamas & the Papas — suggested he stop renovating houses and start designing album covers.

“She’s the one who said, ‘You know, Gary, you should make our new cover, you know how to design stuff,'” he told the NPR radio program World Cafe in 2015. “I don’t know anything about that. I have never been interested in being a graphic artist or any of that stuff. But she insisted that I do it, and she was right. She handed me a career.”

Trading his square three-piece suit for an outfit of denim and plaid, Burden began devising covers for artists including the Mamas & the Papas, Jackson Browne, and Crosby, Stills & Nash.

The latter group hadn’t finalized its name when Burden and photographer Henry Diltz took a picture of the trio for the cover of their 1968 debut. Only later, when Crosby, Stills and Nash settled on their name, did Burden realize that the musicians had been arranged in reverse order. Some time after that, he learned that the house they were photographed in front of had been demolished, squelching his plans for a correctly ordered reshoot — and resulting, Burden said, in Nash’s yearslong misidentification as Crosby.

It was an inauspicious start for Burden, who soon found himself battling the band’s record label over the relatively expensive, high-quality paper he sought to use for the album cover. “The famous line,” Burden later recalled, “was: ‘You could put a good record in a paper bag and no one would care.'”

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