The photo for the LP’s front cover was taken by photographer Brian Ward and recoloured by illustrator Terry Pastor. Bowie, who was ill with flu went outside just as it started to rain. Not willing to go very far, he stood outside the home of furriers “K. West” at 23 Heddon Street.
The album notes credit Ringo Starr for the photo taken the same day that the drumming Beatle was filming T. Rex documentary Born to Boogie. But it was actually the LP’s famous producer Tony Visconti who toke the shots: “Marc handed me his motorized Nikon and asked me to fire off two rolls of black and white film while we were on the set as Ringo was busy all day with the docu. Marc apparently saw a photo credit opportunity for his good friend gave Ringo the credi. “
Island’s creative director Annie Sullivan: “I remember going to talk to Nick, and he just sat there, hunched up, and even though he didn’t speak, I knew the album was called Pink Moon, and I can’t remember how he conveyed it, whether he wrote it down … he wanted a pink moon. He couldn’t tell me what he wanted, but I had ‘pink moon’ to go on. We picked a piece of surrealist Dalí-esque art by Michael Trevithick.
The artwork is a photo montage by Robert Lockart, featuring prostitutes, standing in
a red-light area from Rouen in France, chosen because of its relevance to the album
title. Walter Becker and Donald Fagen about the artwork: “That album possessed the
most hideous album cover of the seventies, bar none, except perhaps Can’t Buy a Thrill.”
Legendary photographer Mick Rock: “When I showed Lou the contact sheets, he
zeroed in on the transformer shot. I made the print myself – as I usually did in those
days. The first test I made fell out of focus in the exposure. Lou loved the result. It took
me twelve attempts to reproduce this accident for the final larger print.”
“This is the tale of our funky emperor Cleetus Awreetus-Awrightus and his dealings with war and a civic uprising concerning a faction consisting of individuals who don’t like music. As you can see from the cover, horns play a forward role on this record and with George Duke on keys the jazz element is prominent.”