These 10 Classic Album Covers Are Suitable for Framing

With Kate Bush, John Prine, Taylor Swift and more

We frame our favorite photos because they remind us of a time in our lives that we loved, someone special to keep in mind, or a celebration of a milestone. When an artist chooses to frame or border their photo on their album cover, it creates both an intimacy with the photograph of the artist, like they are a friend or lover worthy of display on our mantle, while simultaneously making them seem out of reach, farther away, and preserved in a moment that has passed. I love album covers that have a border and the stories they tell. On my latest album release Sequoia, I chose an arched border that alludes to a window, perhaps of a church, revealing myself, but still at a distance. Maybe I am outdoors in the wild, as opposed to my listener who is cozy next to their turntable. It subtly implies that my music evokes nostalgia in a path less trampled by. I have set out to choose 10 of my favorite albums that use a border on the cover.

Erykah Badu

Mama’s Gun (2000)

The second record to come from the queen of neo-soul, Mama’s Gun proves more direct and confessional lyrically than its predecessor. She’s protected by many layers of border, one being made up with her name, as well as a heavy, drooping hat, dreadlocks, and a tough-guy tooth pick in her mouth. Something about it reminds me of a hacky sack, lopping rhythmically from a baggy jean leg by the high school basketball courts. No phones, just a boombox. 

Kate Bush

Hounds of Love (1985)

With the strength of her hit “Running Up That Hill,” Hounds of Love is commonly referred to as one of the best albums of all time. Although Kate did eventually have a son, the photograph of her cuddling two prized dogs, despite wearing what appears to be a formal gown, brings to mind the “childless cat ladies” commentary that has surfaced in response to the campaign against Kamala Harris, and other photos of celebrities with their pets, like Taylor Swift’s Rolling Stone cover. There is more individuality and independence in affection to pets than any companionship with a man, and the border that surrounds this photo brings out the drama and campiness of the shoot, as well as her music.

Julia Jacklin

Pre Pleasure (2022)

This is one of my favorite albums, with catchy, interesting songs that say big things. The cover lends an interesting opportunity where Julia expands on the album’s lead track, “I Was Neon,” about fearing the loss of herself. The border allows for an elated image of Julia, filtered to look a bit neon-like, as if on a TV or billboard, with another version of the artist with her back turned, reaching to that other self. The album’s title sits so satisfyingly above and below the image, creating a well-balanced and easy-to-spot album cover, like a neon sign. 

The Weather Station

All of It Was Mine (2011)

The Weather Station is one of my favorite artists, and the use of the border for her second studio album lends itself to the warm, folky call to the past that is this collection of songs. With the earth tones chosen in line with her hair and the reflection of nature, and the film grain of the photograph, we can imagine that some of Tamara’s influences are from the folk explosion of coffeehouses, Dylan and Joni Mitchell. 

Janis Joplin

Pearl (1971)

Borders are a great way to add the associations of color to the album art. Not quite a royal purple, not quite a seducing red, burgundy is the melange of queen and cabaret, the perfect color to frame Janis Joplin. The frame is a separator—she is too untouchable to be without the guard of a frame—but the use of color also tells us more about her and her music, and draws the eye to the bold red flare pants and the feather headdress. 

Taylor Swift

Midnights (2022)

This border is different from the others on my list, because it doesn’t frame the photo completely. It adds interest in its obscure layout, and also an opportunity to include the track list right on the front, evocative of some vintage-y scrapbook, or perhaps a polaroid. You would think the border chosen would have a dark color to allude to midnight, but the white draws the eye to the flame of the lighter and makes the cover seem even more moody. It cuts off the top of her head, as if she’s not the focus of the cover, or maybe that there is still a lot to her she isn’t revealing. (Although I’m doubtful—it’s Taylor Swift after all.)

Angel Olsen

Phases (2017)

It makes sense that an album called Phases portrays Angel in different thoughts and emotions during a live show. The frame allows the album’s title to stylistically exhibit Angel’s retro branding and can give a listener a sense that her music and her voice are evocative of time past, wisdom and longing. 

Dolly Parton, Emmylou Harris, Linda Ronstadt

Trio (1987)

I adore this collaboration, I adore these women, and I adore this album art. It reminds me of those touristy photo shoots where families can dress up like they’re in an old-timey saloon and pose with muskets and boas. They are leaning into a campy side of the Old West meets the ’80s, using the opportunity of the border to include ladylike, cartoon drapes, and a very ’80s navy backsplash shape that reminds me of Saved by the Bell. If I remember correctly, the back or inner lining of the album has doll cut-outs of each artist. So smart and fun. 

Sharon Van Etten

Are We There (2014)

Even though she’s looking away, the border lends to the viewer feeling like we are in a car with her, and she’s driving us recklessly and nonchalantly through her messy truth. “Every Time the Sun Comes Up” is one of the most played songs in my house, and I think this album art has me always wishing I was going where she was going, even if I got in trouble for it. 

John Prine

Sweet Revenge (1973)

Keeping this iconic photo of John Prine in the shape of a developed photograph, as opposed to a square album cover, lends to the authenticity of Prine. This feels like a casual and cool moment captured, as opposed to a photo shoot, and that is what makes this such a great cover.