Can you guess the location of each album cover?
Fans were stunned when American pop-rock band Haim featured a photo of themselves on Portland Street near Manchester's Piccadilly Gardens on the front of their new single, Take Me Back.
They are far from the only band to put a UK street firmly on the uber-cool place map by using it on a record cover.
The Beatles did it, as did Oasis, The Clash, The Jam, The Streets and Madness - to name but a few - as this great gallery of album covers shows.
Now it's time to put your musical and geographical knowledge to the test. Take a look at the album covers and the photographs and see if you can name that street!
1. Manchester's Oasis went down south to film the cover of this iconic album, which celebrates its 20th anniversary. The setting was a popular location for record shops in the 1990s.
2. The Jam's 1977 masterpiece This Is the Modern World shows Paul Weller, Bruce Foxton and Rick Buckler, lurking under an overpass. That same year The Clash refers to the same road in their song about a certain city burning.
3. And pigs might fly … according to Pink Floyd's 1977 Animals album cover. But where is the landmark, that has recently had a very impressive facelift?
4. David Bowie's Ziggy Stardust cover was shot as monochrome and vividly coloured afterwards. The K West sign that hung above a furrier in 1982 has now been removed, but it remains an iconic street for Bowie fans
5. In 1977, The Clash released their debut studio album with a cove true to the spirit of punk rock—in a bohemian area popular with rebels young and old and home to iconic music venues like The Roundhouse.
6. The Beatles made this zebra crossing famous worldwide when it was used on the cover of their1969 studio album. Fans still flock here to recreate the image, outside the recording home of the Merseyside beat. But where is it?
7.Kendrick Lamar's 2015 Pimp A Butterfly album cover was shot in atmospheric monochrome and features a large group of black men and children, plus a baby cradled by Lamar himself on this US lawn, belonging to possibly the world 's most famous house.
8. English rapper Mike Skinner from The Streets chose this building in East Anglia for his 2011 Computer and Blues album after playing a student gig here.
Answers:
What's The Story Morning Glory, Berwick Street. Soho, London.
The Westway, West London
Battersea Power Station
23 Heddon Street, Soho, London,
Alleyway directly opposite the band's 'Rehearsal Rehearsals' HQ in Camden Market, North London
Abbey Road, near Abbey Road Studios, North West London
The White House 1600 Pennsylvania Avenue NW, Washington, D.C.
Norfolk Terrace halls of residence at the University of East Anglia.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mirror
21 minutes ago
- Daily Mirror
Inside Mel B's 'spiritual' Moroccan wedding after lavish St Paul's Cathedral ceremony
Singer Melanie Brown MBE has said 'I do' again with her husband Rory McPhee in a stunning ceremony in Morocco, which was very different from her recent nuptials Melanie Brown MBE has married her husband, Rory McPhee, again. The Spice Girls icon and hair stylist, Rory, had their legal ceremony in the UK just a number of weeks ago, tying the knot at the iconic St Paul's Cathedral. But last night, the musician, 50, and Rory, 37, married for the second time in Morocco, during a ceremony which oozed glamour and paid tribute to her fiery roots. The couple were joined by their closest friends and family, including Melanie's three children from previous relationships, as well as her sister Danielle Brown, and Rory's family. Also on the guest list was Melanie's Spice Girls bandmate, Melanie C, who had been unable to attend the St Paul's ceremony due to work commitments as part of her huge tour. Speaking of the weekend, Melanie C said: "What a weekend!" The singer previously said her second ceremony would be "sexy". Now, the Mirror can reveal an exclusive insight into Melanie and Rory's second wedding. It comes after Taylor Swift sparks engagement rumours as fans spot Travis Kelce's lock screen. Mel's stunning wedding dress glistened under the Marrakesh sunshine with red crystals, in collaboration with Evelie and Justin Alexander. The pair tied the knot again at their favourite place, the Selman Hotel. In contrast to her regal white gown in London, Melanie opted for something a little spicier, reflecting on her personal style. Previously, Melanie was guided by wedding dress legend Caroline Black from Evelie Bridal, who proudly helped the chart-mauling musician choose the perfect Josephine Scott dress for their UK ceremony. Meanwhile, she chose American designer, Justin Alexander, to reflect her current life, as she is splitting her time between Leeds and the US, where she is working on America's Got Talent. Evelie Bridal owner Caroline said: "For Mel's Morocco wedding dress, we focused on trying Justin Alexander gowns with a little extra sparkle. Mel loved the idea of a red dress—something bold, with lots and lots of shimmer—but it also had to feel light and easy to move in. "We drew inspiration from a variety of dresses she tried on at Evelie South Kensington, then went back and forth brainstorming with Justin Alexander and his design team. After several conversations and sketches, the first design took shape. Mel gave us clear feedback on what she liked and what she didn't, and the final result was beautiful. Mel had such a strong sense of what she wanted—it was a joy working with her and Justin Alexander to bring her vision to life." Melanie and Caroline worked with Creative Director Justin Warshaw and Chief of Design Terri Hilferty to create the jaw-dropping, sheer gown, which oozed glamour, as well as flares. The silhouette was created entirely with hand-fitted red crystals and bulge beads, offering a mesmerizing floating effect throughout the bodice and skirt. The team was created by six artisans and took a staggering 850 hours to complete. The sweetheart neckline of her dress was filled with red crystal detailing, eventually dispersing across the corset. Elsewhere, the asymmetrical detailing at the waistline added another touch of dimension. In true Mel B fashion, a daring side split revealed a glimpse of her toned legs, with crystal beading scattered down the length of her skirt. Meanwhile, the back featured a lace-up corset and red ribbons, which highlighted her gym-honed physique, before eventually flowing off into a magical cathedral-length train. The musician completed her look with a Moroccan-inspired veil, custom-draped in mocha tulle and accented with red crystals to mirror the dress's embellishments. The warm-toned veil blends seamlessly with the dress, offering a radiant, skin-toned glow. Crystals accent the veil's crown and cascade delicately down the back drape, with additional sparkle scattered throughout the train to finish the look. Melanie's husband, Rory, who previously wore tartan and a kilt at the St Paul's ceremony, opted for UK based designer, Alexander McQueen, and a traditional black tie look. Speaking about the design, Justin Warshaw, CEO and Creative Director of Justin Alexander, said: "We had such an enjoyable time working with Mel. Every meeting felt like a creative burst of energy and laughter, and that spirit is absolutely woven into the dresses we created together. "There was so much joy and trust in the process, and creating these dresses together felt like a true celebration of her love story and personal style."
The Herald Scotland
an hour ago
- The Herald Scotland
Seven of the best spots to visit on the Clyde Coast
Whether you're seeking outdoor adventure, cultural immersion or simply the restorative power of sea air and stunning vistas, the Clyde Coast always delivers. Tighnabruaich Hotel, Tighnabruaich With an elevated position above the village shoreline, the fuss-free beer garden at the Tighnabruaich Hotel benefits from uninterrupted views over the Kyles of Bute. Yet despite its enviable position it never gets too busy, even on a sunny day, making it a glorious spot to enjoy the best of the Clyde Coast scenery. Sugar Boat, Helensburgh This little gem of a restaurant and bar is surely one of the best in Helensburgh. It's named after the famous shipwreck that can be seen from the town, and it has become a real community favourite since first opening in Colquhoun Square. Visit on a weekend morning for their high-end brunch, or late in the evening for a cocktail – you can bring your dog, too. (Image: Gourock Outdoor Pool) Gourock Outdoor Pool Now immortalised in the pop world after an image of it adorned the cover of Blur's recent album, The Ballad of Darren, Gourock's refurbished outdoor attraction is Scotland's oldest salt water, open air swimming pool. Heated to a relatively balmy 29 degrees, it is open seven days a week and over the summer and offers spectacular views of the Clyde estuary during the day and the heavens at night with its magical Starlight Swims. Hill House Perched high overlooking the Firth of Clyde, Hill House in [[Helensburgh]] is regarded as Charles Rennie Mackintosh's domestic design triumph. Completed in 1904 for Glasgow publisher William Blackie, the exterior and interior were created by Mackintosh in collaboration with his wife Margaret Macdonald. [[Hill House]] is currently encased in a protective mesh box to protect it from the weather, but the exquisite interior is open to visitors, while gangways and steps inside the box provide unique angles from which to view the outside of the building. Cathedral of the Isles Cumbrae, just four miles long, epitomises the perfect Scottish island getaway accessible within an hour from Glasgow. The Cathedral of the Isles, Britain's smallest cathedral, sits in the charming town of Millport, where Victorian villas line the seafront and traditional seaside amusements endure. Founded in 1849 and consecrated in 1851, the Cathedral and adjacent College of the Holy Spirit, were designed by William Butterfield, one of the greatest nineteenth century British architects. The buildings remain with little alteration. Culzean Castle and Country Park Perched dramatically on Ayrshire clifftops, this Robert Adam masterpiece represents 18th-century architecture at its finest. The castle's oval staircase and circular saloon demonstrate Adam's innovative design genius, while the Eisenhower apartment commemorates the American president's connection to Scotland. The surrounding 600-acre country park features woodland walks, a restored walled garden, and the famous Culzean Beach with its distinctive volcanic rock formations. Red deer roam the parkland, while the clifftop paths offer spectacular views across to Ailsa Craig and Arran. (Image: Getty Images) Wemyss Bay Station Enter a world when rail was king and stations were designed and built to reflect its exalted status. Opened in 1865 and then rebuilt in 1903 to a design by James Miller for the Caledonian Railway, Wemyss Bay Station is widely regarded as one of the UK's finest. An architectural masterpiece which utilises glass and steel curves to assist the flow of passengers it is a much loved remnant of the age of the Clyde steamers. It still links with the Rothesay ferry and there are regular trains from Glasgow Central.
Scotsman
an hour ago
- Scotsman
EIF Music reviews: The Veil of the Temple
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The Veil of the Temple Usher Hall ★★★★☆ How to open a festival? In recent decades, Edinburgh International Festival has presented a raft of ideas: mighty Schoenberg to alarm the great and the good, huge orchestras and choruses, impressive ensembles in stadiums and dazzling light shows around historic monuments. We may miss some, regret others, but for sure Sir John Tavener's extraordinary spiritual marathon The Veil of the Temple could not feature anywhere but at a festival of global importance. The Usher Hall transforms into a sanctuary for John Tavener's magnum opus, The Veil of the Temple | © Andrew Perry Tavener died in 2013 after a spiritual life mainly focused on Christianity but with swerves into various esoteric byways. He wanted, he said, to produce music that was the sound of God, surely a red-alert statement for non-believers, but his intention was to separate his creativity from any sense of his own life´s story. The Veil of the Temple, written in 2003, eight epic hours of spiritual outpouring, filled the Usher Hall with awe – a mesmeric, heart-grabbing, experience which allowed every listener to expand into a personal space in which to contemplate, be it from a beanbag or seat. So saying, it was hard to listen without descending into remarkably conflicting spirals: doubt, life´s ethereality, moments of numb disbelief, and great surges of joy. Advertisement Hide Ad Advertisement Hide Ad Those who dismiss Tavener as a over-emotional peddler of mystic ear-pleasing are simply wrong. Tavener is no cynic. His extraordinary courage in exploring our miseries, our outrage at sin, ultimately builds a stupendous celebration. We may be wretched, but glowing radiance has its place. While Tavener´s early work included jolly barbs at what he saw as pretentiousness – a late 1960s cantata was released on The Beatles' Apple record label no less – his music for this new century has extreme stillness and a unique seriousness. Generally tonal, The Veil careers into cacophony and chaos – usually through clattering repetitive text, with long devastating monotone solo narratives which inform and sometimes wail in alarm, sung here with astonishing and unflinching resonance. To dispense with the practical at an event of totally splendid impracticality, we heard massed choral forces: Edinburgh Festival Chorus and the Monteverdi Choir joined latterly with thrilling verve by Scotland´s National Youth and Chamber Choirs. Four principal soloists sang from an ingenious tiered platform mid-stalls and from the main stage. A further three roamed far recesses, and choristors brought a heady sense of ritual, bearing candles, wraith-like among the audience. The Monteverdis sang unseen from balcony areas, unearthly sounds floating towards the platform where great blasts of harmony reeled towards them. The youth choirs, flanking the Grand Circle, made a shining noise. Wonderfully strange instruments sat onstage, a duduk sounding like a wonky, seductive oboe, a growling Tibetan horn and percussion flanked by an Indian harmonium. The Usher Hall organ muttered dark and menacing bass. Two silent contributors shared Tavener´s triumph: Sophie Jeannin, conducting, did what great conductors do: in an astonishing feat given the mass of moving parts, with clear, disciplined actions, she simply disappeared into the music. The results were seamless, beautiful, supremely varied and confident. Tom Guthrie, directing, brought theatricality and ritual to hours which passed as minutes. His distinctive hallmarks are a pristine attention to detail which then transmutes into a profound simplicity. In a work where gestures might slip into cliché, we felt only community, the sense of sharing something monumental. Fine soloists Sophie Burgos, Florian Stortz, baritone and tenor Hugo Hyman sang still as statues soared, startling. So we reached Part 8 long after the sky had darkened. Brass players from Scottish National Orchestra joined in a riot of overwhelming sound as Alleluhias roared from the stage and balcony. Tears flowed, from the music, the audience, and most probably the heavens. For a festival just beginning, we have a lot more truth to seek. MARY MILLER Advertisement Hide Ad Advertisement Hide Ad Colin Currie & The King's Singers Queen's Hall ★★★★☆ The mix of percussionist Colin Currie and The King's Singers for Saturday's Queen's Hall series opener was intoxicating, Currie exclusively on marimba like a mellow energiser to the vocal sextet's silken trademark ensemble. Steve Martland's caustic Street Songs framed an interweaving miscellany of Stanley Glasser's charmed Zulu lullaby Lala Mntwana, Francesca Amewudah-Rivers' sweet-scented pop ballad Alive, the beguiling mini-drama of Peter Louis van Dijk's Horizons, plus a new commission from James MacMillan, along with bespoke arrangements of their own existing works by Missy Mazzoli and baritone-turned-composer Roderick Williams. If death was a permeating theme, it wasn't always in the most miserable sense. Take MacMillan's A Bunch o' Craws, a sardonic play on the kids' song Three Craws Sat Upon a Wa', redrafted (now seven craws) as a parodic skit, the Oxbridge vowels of the Singers admirably replaced by Glaswegian street brogue, Currie joining in vocally, and convincingly, as the craw 'that couldnae sing at a'' Advertisement Hide Ad Advertisement Hide Ad Williams' homage to Renaissance composer Thomas Weelkes, Death Be Not Proud, uttered ghostly sighs. Magical elements in Mazzoli's introspective Year of Our Burning were dampened by emptier moments. A couple of the King's voices tired towards the end, but the group's legendary charisma prevailed. KEN WALTON
