This paper serves as an analysis of cover art on Moroccan albums and cassettes from the 1970s and 1980s, examining the photographs, designs, colors, and other visual elements used to market popular music. It specifically concentrates on cover art associated with music produced by Nass el Ghiwane, Izenzaren, Mahmoud Gania, and others. It examines how music was understood as a mechanism of social change and a means to express various, often competing views of an emerging Moroccan post-colonial identity. Music that protested state repression used rhythms and instruments associated with marginalized groups, such as the descendants of the enslaved (Gnawa) and Imazighen. It asserts that the covers of albums and cassettes can be just as crucial to the identity of a group as their music. Cover art impacts people’s expectations and perceptions of a musical group. Everything from the language used to write a group’s name (Arabic, French, or Tamazight), the typeface, and the photo included on the cover would be recognized by the larger public as carrying meaning. The period of the 1970s and 1980s was particularly poignant in Morocco, as it was a time of political unrest and government oppression. Furthermore, national politics impacted racial and ethnic identities, gender roles, and language policies. Moroccan cover art draws from artistic styles found across the Arab world and the African continent during the post-colonial period, as artists attempted to create national artistic styles free from colonial influence. Inspired by Arabic calligraphy, Amazigh geometric motifs, and Sufi spiritual practices, Moroccan cover art represents a collusion of artistic influences from abstraction to African Diaspora visual culture. Cover art contributed to the marketing of musical groups and illustrates how folkloric identities were popularized and commodified. While mass produced albums and cassettes served to bring music to the larger Moroccan public, and eventually, a global music audience, this paper asks what impact commodification had on the political efficacy of Moroccan music. Urban-based musicians often recorded songs from socially and politically marginalized groups and reconstituted them for wider audiences. Cover art contributed to the elevation of individual musicians at the expense of community-based music.