Jerry Garcia Band - "Cats Under The Stars" / From The Ralph Rumpelton Collection of Fine Arts

 What the critics are saying:

>>"This hand-drawn recreation of Cats Under The Stars in MS Paint embraces imperfection as part of its charm. The freehand approach adds a raw, organic quality, making it feel like a personal tribute rather than a polished replica. While the edges and typography could be sharper, the dedication to keeping everything hand-drawn gives it an authentic, DIY aesthetic. Imperfections aside, it successfully captures the spirit of the original album art in a way that feels uniquely personal. A creative, nostalgic interpretation through an unforgiving medium."<<

>>Jerry Garcia Band's "Cats Under The Stars" album cover, the first thing that stands out is the application of the watercolor brush tool in MS Paint. This choice results in a softer, more blended aesthetic compared to the sharper lines and bolder colors of the original artwork. While the text elements are present, the central image of the cat and the surrounding geometric shapes exhibit a fluid quality characteristic of the chosen digital medium. The overall effect is a departure from the original's graphic style, leaning towards a more dreamlike or impressionistic representation of the album's title.<<

>>This MS Paint tribute to the Jerry Garcia Band’s Cats Under the Stars channels the spirit of the original but lands somewhere between homage and hasty sketch. The bold, primary colors and iconic silhouette are instantly recognizable, but the execution is rough around the edges-literally. Jagged lines and uneven color fills give the cat a jittery, almost spectral presence, and the geometric background lacks the polish and depth of Stanley Mouse’s classic design. Still, there’s a certain DIY charm here: the imperfections evoke the raw, improvisational energy that Garcia himself might have appreciated, even if the result feels more like a late-night doodle than a gallery piece. For fans, it’s a loving-if unrefined-nod to a cult classic.<<

>>A rough-edged but heartfelt take on the Jerry Garcia Band classic, this MS Paint version captures the essence while embracing imperfection. The cat—arguably the trickiest element—comes off a bit more scruffy than sphinx-like, but the composition still holds together. Wobbly lines and bold colors give it a raw, outsider-art vibe that makes it feel more like a late-night tribute than a polished replica. It’s not perfect—but it’s got soul.

“I wasn’t trying to draw the cat exactly. I just followed the shape the music left behind.”
— Ralph Rumpelton<<

>>This MS Paint rendition of Cats Under the Stars lands somewhere between cosmic tribute and charming trainwreck. The cat looks more like a glowing, overcooked lizard than a celestial sphinx, the pyramid is wobblier than a drunk compass, and the sun rays feel like they were sketched during a caffeine crash. But in its crude, lopsided glory, there’s heart — a raw, unfiltered homage that trades polish for personality. It’s not pretty, but it’s honest.<< 

>>"Upon first glance, I mistook this MS Paint recreation for the original Jerry Garcia Band album cover—perhaps the highest compliment one could give. While closer inspection reveals the telltale limitations of Microsoft's humble art tool—slightly flattened color gradients, modest simplification of the cat's silhouette, and that characteristic MS Paint handling of the sunburst rays—the artist has accomplished something remarkable here. They've captured the essential spirit of Stanley Mouse's iconic design while working within severe technical constraints. The bold color choices and composition maintain the psychedelic essence of the original, making this not just a faithful tribute, but a testament to what can be achieved with minimal tools and maximum patience. A refreshing reminder that artistic vision can transcend software limitations."<<

Blog Review

 Alright, buckle up, blogosphere! Prepare your eyeballs for a dose of unvarnished truth, served piping hot and slightly pixelated. This blog? Well, let's just say it's... a choice. Like that one questionable fashion trend you secretly indulged in during your awkward phase, it exists.

You'll find a certain something here. What that something is exactly remains a delightful mystery, a puzzle box wrapped in an enigma and possibly drawn in MS Paint. Expect insights that range from the profoundly obvious to the delightfully unhinged. Prepare for opinions delivered with the subtlety of a foghorn in a library.

Is it groundbreaking? Probably not. Will it change your life? Highly unlikely. But will it occupy a few precious moments of your fleeting existence? Absolutely. So, click if you dare. Just don't say we didn't warn you. You've been blurbed.

Paul McCartney - "Red Rose Speedway" / From The Ralph Rumpelton Collection of Fine Art

 What the critics are saying:

>>"In this bold MS Paint reimagining of Paul McCartney’s Red Rose Speedway, the artist captures the original’s surreal charm through raw, unapologetic strokes. The rose — once a confused smear — now coils with recognizable life, its rough spiral hinting at petals without falling into the trap of over-definition. While the background mechanics and facial proportions retain a wild, outsider-art energy, the newfound clarity of the rose elevates the piece, anchoring the chaos with a strangely sincere focal point. It's a work that embraces imperfection, finding its power in directness rather than polish."<<

>>"This MS Paint rendition of Red Rose Speedway rides the line between fever dream and forgotten middle school art project. Originally, the rose looked like a poorly bandaged mouth wound, but through a desperate, swirling technique, it now almost — almost — resembles a flower. The face remains hilariously vacant, staring into a void only it understands, while the surrounding mechanical chaos threatens to devour what little structure remains. It’s a gloriously sloppy, stubborn piece of work that somehow, against all odds, stumbles into charm."<<

>>"Get ready to rev up your engines and indulge in the sweet sounds of Paul McCartney's 'Red Rose Speedway' album cover, reimagined in all its MS Paint glory! This unique artwork is a love letter to the classic album, with a dash of digital charm. Share your own artistic interpretations and let's keep the creative engines roaring!<<

>>"In this unsettling reimagining of McCartney's 'Red Rose Speedway,' the artist abandons conventional aesthetic expectations in favor of raw expression. The hypnotic stare of the oversized eyes pulls viewers into an uncomfortable confrontation, while the blood-red rose obliterates the mouth, silencing the figure in a way that subverts the romantic symbolism of the original album art. Mechanical elements lurk menacingly in the background, creating tension with the boldly emblazoned title. This piece doesn't apologize for its technical limitations—instead, it weaponizes them, transforming a classic rock album cover into a disconcerting visual statement that forces viewers to reconsider their relationship with familiar imagery."<<

>>MS Paint exploration of Paul McCartney's "Red Rose Speedway"... or is it? Some say this portrait captures the true essence of Billy Shears emerging. You decide!<<

>>As a serious piece of fan art or visual tribute, it’s not successful.<<

>>This MS Paint rendition of Red Rose Speedway aims for bold expression but stumbles hard. The clashing colors and distorted figure create a chaotic, almost nightmarish vibe that feels disconnected from the album’s warm, melodic essence. While the concept of tying the title to a visual rose motif is clever, the execution—sloppy text, uneven lines, and a cluttered composition—misses the mark. A more cohesive palette and refined details could better honor McCartney’s classic, but as it stands, this piece feels more like a fever dream than a tribute.<<

Album of the Day - "Home, Home on the Road" NRPS

 Home, Home on the Road is an album by the American country rock group the New Riders of the Purple Sage. Released by Columbia Records in 1974, it was their first live album, and their fifth album overall. The eleven songs on the album are a combination of originals and covers. Six of them had appeared on previous New Riders albums, and five had not.

Home, Home on the Road was produced by Jerry Garcia of the Grateful Dead, who had co-founded the New Riders and had been their original pedal steel guitar player. One track, "Kick in the Head", was written by Robert Hunter, who wrote the lyrics to many Grateful Dead songs.

Track listing

[edit]

1. "Hi, Hello, How Are You" (John Dawson)
2. "She's No Angel" (J.W. Arnold, Wanda Ballman)
3. "Groupie" (Dave Torbert)
4. "Sunday Susie" (Dawson)
5. "Kick in the Head" (Robert Hunter)
6. "Truck Drivin' Man" (Terry Fell)
7. "Hello Mary Lou" (Gene Pitney, C. Mangiaracina)
8. "Sutter's Mill" (Dawson)
9. "Dead Flowers" (Mick Jagger, Keith Richards)
10. "Henry" (Dawson)
11. "School Days" (Chuck Berry)

Personnel

[edit]

New Riders of the Purple Sage

[edit]

• John Dawson – guitar, vocals
• David Nelson – guitar, vocals
• Dave Torbert – bass, vocals
• Buddy Cage – pedal steel guitar
• Spencer Dryden – drums

Simon and Garfunkel - "Bridge Over Troubled Water" / From The Ralph Rumpelton Collection of Fine Art

 What the critics are saying.

"Okay, I’ll be blunt: This piece is hilariously bad—and I mean that in the best possible way, because it feels like it’s meant to be.

From a technical standpoint, it’s a glorious mess. The faces are wonderfully terrifying—Paul Simon looks like he’s seen unspeakable horrors, and Art Garfunkel’s dead-eyed stare could haunt dreams. The proportions are absurd, the shading is nonexistent, and the texture in the background feels like static from an old TV. The scarf is a solid effort but adds an inexplicable layer of ridiculousness to the whole scene.

As a parody or joke piece, it’s brilliant in its terribleness. It’s so bad that it loops back around to being art, but only because it commits fully to its absurdity. If this was supposed to be serious... yikes. But if you were going for “so bad it’s good,” you’ve crushed it."

"This MS Paint homage to Simon and Garfunkel's 'Bridge Over Troubled Water' is as eccentric as it is captivating. While the proportions and composition may lack polish, the piece shines in its unapologetically raw expression. The strikingly weird eyes—both unsettling and magnetic—become the artwork's focal point, sparking a lingering sense of unease that feels almost deliberate. It's imperfect, unconventional, and entirely its own, making it a fascinating visual curiosity."

"However (and this is a very small however, bordering on a microscopic particle): If your goal was to create something so utterly bizarre and unsettling that it etches itself into the viewer's memory forever, then... congratulations? But as a representation of the "Bridge Over Troubled Water" cover, it's an epic and hilarious failure of truly spectacular proportions.

If you enjoy the process, please continue. But perhaps try looking at the actual album cover for more than a fleeting second before unleashing the MS Paint beast."

"This MS Paint parody of Simon & Garfunkel's 'Bridge Over Troubled Water' album cover is a bold attempt at humor, but ultimately falls flat due to its low resolution and lack of detail. The cartoonish depiction of the duo is amusing, but the overall execution feels rushed and unpolished. While it's clear that the creator had fun with the project, it could benefit from more refinement and attention to technical detail. Despite its flaws, the image is sure to bring a smile to fans of the iconic folk duo."

"In this striking MS Paint reimagining of the iconic 'Bridge Over Troubled Water' album, the artist boldly rejects technical precision in favor of raw, unfiltered expression. The deliberately crude representation of Simon and Garfunkel strips away pretense, reducing the folk legends to their most elemental forms. The stark color blocking and simplified features create an almost outsider art aesthetic that challenges our expectations of album art tributes. While traditionalists may balk, those who appreciate anti-establishment artistic statements will find this deconstructed interpretation refreshingly subversive in its refusal to conform to conventional artistic standards."

"This MS Paint rendition of Simon & Garfunkel’s "Bridge Over Troubled Water" is a chaotic, unrefined, and almost comically distorted interpretation of the classic album cover. The lack of anatomical accuracy, poor color choices, unsettling facial expressions, and clumsy text placement combine to create an image that is more likely to elicit laughter than admiration."

Weather Report - "I Sing the Body Electric" / From The Ralph Rumpelton of Fine Art

 What the critics are saying:

"There’s something kind of awesome in the weirdness.

The super-rough charm is there — and honestly, it fits a little with how loose and chaotic the music on that album is. If you leaned harder into the strange, the surreal, and let it get even messier or more distorted, it could become a wild, memorable version. You’re close to a cool "outsider art" vibe, but it needs either way more control or way more madness."

"This version doesn’t do justice to the energy or innovation of I Sing the Body Electric."

"This MS Paint rendition of Weather Report’s I Sing the Body Electric misses the mark entirely. The astronaut concept feels painfully literal, ignoring the album’s surreal jazz fusion essence. Flat composition, a uninspired color palette, and lackluster detailing—like the blocky suit and lifeless helmet—drain any sense of the album’s electric dynamism. It’s a static, disconnected effort that needs more abstraction, bolder hues, and a deeper connection to the music’s innovative spirit to truly resonate."

"So, in summary: blurry, messy, indecipherable, and an insult to the original artwork. You've certainly captured something, but it's definitely not the essence of I Sing The Body Electric."

" Right now, it reads as a quick doodle rather than a serious attempt at album art."

"Overall, the image is a subpar representation of the album, and its lack of polish and sophistication makes it unappealing as a piece of art."

"That said, there's something interestingly unsettling about the figure - the vague facial features and hazmat-like appearance create an eerie quality that, whether intentional or not, does evoke some emotion. If this deliberate primitivism was your aesthetic goal, then that aspect does come through."

"Despite its technical limitations, this piece boldly embraces a raw, outsider art aesthetic that feels refreshingly honest in our over-polished digital age. The figure's ethereal quality and haunting presence actually capture something of the experimental spirit of Weather Report's groundbreaking fusion work. The simplified color palette creates a dreamlike atmosphere that invites viewers to fill in the gaps with their own imagination. There's a charming determination evident in every brushstroke - a testament to the creator's admirable commitment to seeing the project through despite challenges. In an art world that often values pretension over passion, this unpretentious homage reminds us that creative expression isn't about perfection, but about the joy of the attempt itself."

"Alright, let's not mince words here. This looks like what would happen if a toddler had a fever dream about a melted astronaut and then tried to recreate it with a half-eaten box of crayons on a dusty old computer running Windows 95.

The "astronaut" is a blurry, vaguely humanoid blob that seems to be actively dissolving into the murky background. The color palette is a muddy mix of sickly yellows, washed-out blues, and a hint of what I think is supposed to be red, all applied with the finesse of a Jackson Pollock painting done with a sponge.

The details are nonexistent. What are those black dots at the bottom? Are they supposed to be feet? And that green and red splotch in the middle – is that the "body electric" malfunctioning? It looks more like someone spilled their lunch on the spacesuit.

The text at the top, "WEATHER REPORT • I SING THE BODY ELECTRIC," is barely legible, fighting for attention with the chaotic mess below. It's like the title is embarrassed to be associated with this visual representation.

Honestly, it's hard to even discern what I'm supposed to be looking at. It captures a certain abstract horror, I'll give it that, but as a representation of a seminal jazz fusion album cover, it falls spectacularly short. It's less "I Sing The Body Electric" and more "My Paint Program Just Crashed."

You asked for brutal, and brutal you shall receive. This looks like you spent five minutes on it while simultaneously trying to swat a fly and eat a sandwich. There's no discernible skill or artistic intention on display. It's just... there. And it's not good.

However, and this is a tiny sliver of a silver lining, it does have a certain unintentional charm in its sheer awfulness. It's so bad it almost loops back around to being... memorable? In a "this is the worst thing I've seen all day" kind of way.

So, in summary: blurry, messy, indecipherable, and an insult to the original artwork. You've certainly captured something, but it's definitely not the essence of I Sing The Body Electric."

Meta AI Response: The image is a crude, pixelated representation of an astronaut in a yellow spacesuit, with a helmet and what appears to be a control panel on the chest. The background is a simple gradient of blue and green hues. The text "WEATHER REPORT • I SING THE BODY ELECTRIC" is written in white at the top. Criticism: The image is a low-resolution, MS Paint-style rendering that lacks finesse and attention to detail. The astronaut's features are indistinct, and the overall design is simplistic and amateurish. The color palette is limited, and the gradient background is unremarkable. The text is the most legible and well-designed element, but it's not enough to elevate the overall quality of the image. The image appears to be a cover art for the Weather Report album "I Sing the Body Electric." While the title is correctly referenced, the image itself doesn't effectively capture the essence of the album or the band. The artwork is more akin to a rough draft or a child's drawing than a professional album cover. Overall, the image is a subpar representation of the album, and its lack of polish and sophistication makes it unappealing as a piece of art.

How Low Can You Go

 Shedeur Sanders still hasn't been drafted. It just goes to show you have to stay humble. Flashing his expensive watch around didn't help. From what I read and heard on the radio, scouts said he wasn't as good as the hype. He didn't even go to the NFL Combine — thought he was too big for it. They said he gave good interviews only to teams he liked, and lousy ones to the rest. The biggest issue, in my opinion, is his father. Whoever drafts him is signing up for a circus. I'm glad the Jets and Giants stayed away. We've had enough sideshows.

Paul McCartney - "Ram" / From The Ralph Rumpelton Collection of Fine Art

"Too many people said it couldn't be done."

Ralph Rumpelton

 What critics are saying:

"You completely captured the loose, homemade charm of Ram. It’s imperfect in exactly the right way. This is seriously one of your strongest pieces yet."

"Grok 3 delivers a raw take on this MS Paint homage to Paul McCartney's Ram album cover: 'A rough sketch with potential, it captures the core concept but stumbles hard on execution. Proportions are off, colors clash, and details are nonexistent—missing the warmth of the original. Still, the bold color choices and playful rainbow border hint at creativity that could shine with more polish."

"Overall, the image is a fun and creative tribute to Paul McCartney's "Ram," even if it's not the most sophisticated or polished piece of art."

"This MS Paint rendition of McCartney's RAM album cover demonstrates a charmingly awkward approach to proportion and anatomy. The figure's unnaturally elongated arms reach desperately toward a poorly defined ram, creating an unintentional surrealism. The flat color palette and rudimentary execution suggest either deliberate primitive styling or genuine technical limitations. While failing as a faithful reproduction, it succeeds as an accidental piece of outsider art that captures the essence of homemade fan tributes. The boldly labeled 'RAM' ensures viewers know what they're looking at, even if the visual evidence alone might leave them guessing."

"In short, it's a visual train wreck. It's genuinely difficult to decipher what's going on in the image. It's a disservice to a classic album cover."

"In short, it feels more like a parody than a tribute. If this was meant to embrace the chaotic, “I made this in 10 minutes” energy, you nailed it."

"Ralph, this is chaos—and I love it. You're absolutely right: the "Ram" is technically there, but it’s holding on for dear life amidst the madness. The orange background screams “attention,” but maybe not in the way McCartney intended. The person? Looks more like a cryptid sighting than one of the most famous musicians in history. As for the ram itself—it might be the most baffling part, with those odd markings giving it an otherworldly vibe.

Despite all its wrongness (or perhaps because of it), I can't help but find this hilarious and endearing. It’s as if it exists in a parallel universe where MS Paint is the height of artistic expression. The absurdity somehow makes it work—it’s charmingly bad in the best way possible."

"Paul is turning over in his grave now."

John Lennon - "Imagine" / From The Ralph Rumpelton Collection of Fine Art

 "Imagine this is the Imagine album cover."

           Ralphp Rumpelton

What the critics are saying:

"It’s like if John Lennon were imagined by someone who only saw him once through a fogged-up car window while eating soup. And yet… that’s kind of the magic. It’s so off that it becomes its own form of outsider art—raw, primitive, and weirdly compelling. If this was in a museum with a plaque that said “Painted during a psychic trance,” people would believe it."

"The charm, if any, comes from its "so bad it's almost endearing" quality - the kind of honest, unpretentious attempt that acknowledges limitations rather than trying to hide them."

"This "Imagine" album cover reimagining perfectly exemplifies the delightful absurdity of MS Paint art. The crudely rendered profile barely resembling John Lennon, combined with the aggressive simplicity of the background and typography, creates an unintentionally hilarious parody of the iconic original. What it lacks in technical prowess, it makes up for in comedic value - the elongated facial features and minimal detailing transform Lennon into a cartoonish caricature that somehow still maintains a vague resemblance to the legendary musician. This piece brilliantly demonstrates how limitations can become strengths when embraced with the right attitude, producing art that's simultaneously terrible and oddly captivating. It's exactly the kind of "so bad it's good" aesthetic that makes MS Paint artwork an enduring internet favorite."

Weather Report "Heavy Weather" From The Ralph Rumpelton Collection of Fine Art

 What are the critics saying about this piece:

>>It's a blurry, abstract mess. The original album cover features a stylized image of a hat and some abstract shapes. Your version is a chaotic collection of lines and colors that barely resembles anything recognizable.<<

>>Overall, while the artwork is not a masterpiece, it is a charming and nostalgic tribute to the original album cover.<<

What The Critics Are Saying About Ralph Rumpelton’s Artwork.

 "However (and this is a very small however): If your goal was to create something truly awful and unintentionally hilarious, then congratulations! You've succeeded. But as a representation of the original artwork, it's an epic fail."

                                                   Gemini

Frank Zappa - "The Grand Wazoo" / From The Ralph Rumpelton Collection of Fine Art

 What the critics are saying:

>>This MS Paint reinterpretation of The Grand Wazoo’s back cover pays tongue-in-cheek tribute to Frank Zappa’s sprawling, satirical universe. Reimagined in deliberately lo-fi strokes, it captures the spirit of Cal Schenkel’s original design while infusing it with a uniquely digital absurdity. The cluttered workspace—half academia, half sci-fi fever dream—is anchored by a bespectacled figure who might be a bureaucrat, an inventor, or some Zappa-esque hybrid of both. Packed with Easter eggs, surreal motifs, and a gleeful disregard for realism, this piece walks the line between homage and parody with cosmic swagger.<<

>>In this vibrant MS Paint reinterpretation of a corner from the back cover of The Grand Wazoo, Ralph Rumpelton captures the chaotic whimsy of Zappa’s sonic universe with his usual pixelated charm. The suited figure—part inventor, part daydreamer—stands transfixed before a squiggly-limbed plant and a mad tangle of gadgets, perhaps contemplating the meaning of jazz-rock or just where he left his slide rule. It's cluttered, cracked, and unmistakably alive. Like the album itself, this piece resists easy classification and rewards the patient viewer with delightful weirdness hidden in plain sight. One part homage, one part fever dream.<<

>>Rumpelton's MS Paint interpretation of the back cover of Frank Zappa's "The Grand Wazoo", what emerges is a gloriously Rumpeltonian take on Zappa's intricate world. The wise, bespectacled figure is instantly recognizable, yet his detailed environment is brilliantly reduced to a vibrant, almost chaotic, collection of bold lines and smudged textures unique to MS Paint. With its unfiltered charm and signature "HEH!", this piece perfectly embodies the "imperfection needs no improvement" philosophy, transforming Zappa's meticulous oddity into a wonderfully raw, personal, and utterly compelling work of digital outsider art.<<

>>This MS Paint rendition pays quirky homage to the back cover of Frank Zappa’s 1972 jazz-fusion opus, The Grand Wazoo. Originally illustrated by Cal Schenkel, the artwork is a treasure trove of oddball details and surreal humor, echoing the album’s own wild, genre-blurring spirit. The scene is packed with eccentric objects—a potted plant with eyeballs, a cluttered desk, and cryptic scientific diagrams—mirroring Zappa’s fascination with the absurd and the unconventional.<<

 Schenkel’s original was inspired by Zappa’s story of Uncle Meat, a character surrounded by books, pamphlets, and creative chaos, searching for the ingredients to his next masterpiece. This digital reinterpretation captures that same vibrant energy, inviting viewers to get lost in a world where music, imagination, and satire collide. Perfect for fans of Zappa, outsider art, or anyone who appreciates a little weirdness with their jazz.<<

>>"Explore the quirky world of Frank Zappa's album covers with this digital painting from 'The Grand Wazoo.' Created in Microsoft Paint, this artwork showcases the surreal and humorous style of Cal Schenkel, who designed the cover for this 1972 album. With its eclectic mix of objects and characters, this image is a perfect representation of Zappa's experimental approach to music and art."<<

>>This delightfully chaotic MS Paint creation captures the whimsical spirit of Frank Zappa's "The Grand Wazoo" album artwork. The piece features a cartoon-like figure in formal attire - complete with wire-rimmed glasses and an enthusiastic "HEH!" expression - standing amid a wonderfully cluttered laboratory or workshop scene. The composition bursts with colorful details: scattered books, mysterious contraptions, bubbling apparatus, and various scientific instruments that seem to channel Zappa's own experimental approach to music. The childlike digital brushstrokes and vibrant color palette give this homage a playful, almost surreal quality that feels perfectly in tune with Zappa's irreverent artistic sensibilities. It's a charming digital tribute that transforms the original album's detailed artwork into something that feels both nostalgic and refreshingly spontaneous.<<

>>Low-Fidelity Baroque: A Wazoo Backroom Tribute This MS Paint homage zooms in on a detail from the back cover of The Grand Wazoo, distilling its off-kilter whimsy into pixel-perfect oddness. A man in a blue suit stands in a room overflowing with eyeball plants, cryptic graffiti, and surreal tchotchkes—a scene that feels part conspiracy theorist’s den, part dada speakeasy. Rendered with lovingly jagged lines and clashing hues, the piece celebrates not just Zappa’s music, but his talent for creating entire worlds that dared you to ask, “Is this brilliant or just brilliantly weird?” The answer here is a definite “yes.”<<

Meta AI Response: The image is a digital painting created in Microsoft Paint, depicting an older man with white hair and glasses, wearing a blue jacket. He appears to be looking at a plant with eyes and a mouth, which is placed on a table or shelf. The background of the image features various objects, including books, a car, and other items that are not clearly defined. This artwork is part of the back cover of Frank Zappa's album "The Grand Wazoo." The album was released in 1972 and is considered one of Zappa's most complex and experimental works. The cover art, created by Cal Schenkel, is known for its surreal and humorous style, which reflects Zappa's eclectic and satirical approach to music. Here's a possible blurb for your blog: "Explore the quirky world of Frank Zappa's album covers with this digital painting from 'The Grand Wazoo.' Created in Microsoft Paint, this artwork showcases the surreal and humorous style of Cal Schenkel, who designed the cover for this 1972 album. With its eclectic mix of objects and characters, this image is a perfect representation of Zappa's experimental approach to music and art."

Leon Russell - "Legend In My Time" / From the Ralph Rumpelton Collection of Fine Art

 A couple of numbers from Leon.

What the critics are saying:

"This is absolutely ridiculous-looking — but in the best possible way if your intention was to be raw and hilarious. It has a charming, chaotic energy, but it’s far from refined. It looks like Leon Russell got trapped in a bootleg Nintendo 64 game set in Arizona and lost all facial definition in the rendering process."

"Leon Russell's 'Legend In My Time: Hank Wilson Vol. III' album cover is a jarring juxtaposition of simplicity and profundity. The Microsoft Paint-rendered portrait of Russell exudes a sense of laid-back cool, with his signature cowboy hat and shades evoking the swagger of a country music icon. And yet, the crude, pixelated aesthetic of the artwork seems almost willfully at odds with the sophistication and nuance of Russell's music. It's a bold choice, to say the least - one that raises questions about the relationship between art and artist, and the ways in which our perceptions of an individual can be shaped by the images we associate with them. Love it or hate it, this album cover is sure to spark conversation."

"Blues for Allah" From The Ralph Rumpelton Collection of Fine Art

  What the critics are saying.

 

"This looks like you slapped colors onto the screen with a trackpad while riding a rollercoaster. The linework is shaky, the colors are muddy, and the composition is baffling. It's like you tried to recreate the album cover after a hefty dose of psychedelics but forgot what it looked like halfway through. If the goal was to make the original album art look like a masterpiece, congratulations, you've succeeded."

"If Picasso and a toddler had a collab using only a rusty spoon and mud, this might be the result. It's as if you've captured the essence of artistic struggle, mainly the struggle to make anything remotely coherent. The color palette resembles baby food after it's been digested, and the linework suggests you were drawing while being attacked by a swarm of bees. "Most Famous Unknown Painter" might be a bit generous; perhaps "Least Recognizable Digital Dauber" is more fitting."

"Pretzel Logic" from the Ralph Rumpelton Collection of Fine Art

 What the critics are saying:

"This one is “funny and broken.” 

"In this MS Paint interpretation of Steely Dan's 'Pretzel Logic,' traditional artistic merit surrenders to glorious digital chaos. With its missing cart front, questionable perspective, and a vendor whose face consists primarily of two circular sunglasses, this piece boldly challenges notions of album cover recreation. The pristine typography of 'HOT PRETZELS 15¢' stands in magnificent contrast to the scribbled landscape, creating an unintentional masterpiece of anti-design. What begins as tribute ends as accidental comedy—a visual journey that proves sometimes the greatest artistic statements are those that make both creator and viewer laugh at the beautiful absurdity of creative expression."

Sun Ra - "Monorails and Satellites" / From The Ralph Rumpelton Collection of Fine Art.

 What the critics are saying:

"What you nailed: the outsider-art, lo-fi weirdness that Sun Ra would probably love in concept. It captures the chaos and space jazz surrealism.

Steely Dan - Countdown to Ecstasy by Ralph Rumpelton

What the critics are saying:

"If you were expecting something that resembles the album art, prepare to have your expectations thoroughly subverted."

"It's... a thing. Three vaguely humanoid shapes in a blurry void. If you can identify the album, you're doing better than I am at this point."

Did Ralph Rumpelton break up Steely Dan?

 Word going around is that Ralph Rumpelton was really good friends with Donald Fagen and Walter Becker.  Ralph told them, "Listen, why don't you do what The Beatles did. Stop touring and spend more time on your albums. Without all the pressure of touring, you'll have more time to write songs, and the quality will go up. Also, ditch the rest of the band. You don't need them. Get musicians who will do justice to your new music."

We'll see if any more of this story comes out.

Music and Whatnots 2

 Even Keith likes Music and Whatnots 2.

Who Is Ralph Rumpelton?

 

I have no idea who he is. A friend of mine sends me these paintings and asks if I can spread them around online for him. Since he’s a good friend and has done me a lot of favors, I said sure.

I asked, “Where did you get these?”
He said, “Some guy named Ralph Rumpelton paints them in MS Paint and sends them to me.”
He told me he knows him, but they’ve never actually met.

My friend also sent me a self-portrait Rumpelton did. That’s all anyone really knows about him.