“I came from a very conservative family,” he said, “and I didn’t fit in. I don’t know why it was chosen for me to be their kid.”
But his escape route from that conservatism was unusual: At 16, persuading his mother to lie about his age, he left home to join the Marines. After leaving the service, he ended up in California, living what he described as a beatnik life for a time but eventually studying architectural design at the University of California at Berkeley. It was Cass Elliot of the Mamas and the Papas who redirected his career in the 1960s.
“I met her and she asked me to do a remodel of her home in Laurel Canyon,” he said, referring to the section of Los Angeles where many musicians were settling. “So she’s the one who said, ‘You know, Gary, you should make our new cover; you know how to design stuff.’ ”
He designed the group’s 1968 album, “The Papas & the Mamas,” and that was that.
“I blew off my three-piece suit and never looked back,” he said. “That was kind of when I was born, the real me. Before that I was living somebody else’s idea of who I should be.”
The Mamas and the Papas were on the Dunhill label, and Mr. Burden in short order got the designing assignments for other Dunhill groups like Steppenwolf and Three Dog Night. Through Ms. Elliot, he also met numerous other performers living in and around Laurel Canyon, including Mr. Young, who became a regular customer and collaborator.
Mr. Burden designed more than 40 albums for Mr. Young, beginning in 1970 with “After the Gold Rush,” and later they collaborated on designs. When Mr. Young won his first Grammy Award, in January 2010, it wasn’t for his music, but for “best boxed or special limited-edition package” for “Neil Young Archives Vol. 1,” an art-direction honor he shared with Mr. Burden and Ms. Heo.
In a 2015 interview with the Canadian Broadcasting Corporation , Mr. Burden said that his cover for Mr. Young’s “On the Beach” was his favorite.
“This was about America in the ’70s when everything was cheaper than it looks,” he said. The cover is a photograph of a beach scene, a piece of a Cadillac jammed into the sand beside some yellow beach furniture, Mr. Young in the background, his back to the camera.
“Neil and I went to a store that sold cheap polyester clothing and we got a jacket and pants for him to wear,” he recalled.
The band with which Mr. Young has often performed, Crazy Horse, released an album in 1971, titled simply “Crazy Horse,” that provided Mr. Burden with another of his many stories. The cover is a distorted close-up of a horse.
“I seldom, if ever, took the photos myself, because I was very intimidated by the camera,” he told the CBC. “But I took the picture of that horse. It was trying to bite me, and after I had the image, I stretched it so it looked totally weird.”
Mr. Burden teamed with Mr. Diltz for many of his covers. One assignment became the Doors’ 1970 album “Morrison Hotel,” featuring the band (whose lead singer was Jim Morrison) in the window of the Morrison Hotel in Los Angeles. The manager at the front desk, Mr. Burden recalled, refused them permission to take the shot.
“So we went outside and I thought we could just take the picture outside with the sign in the background,” he said, “but as we were doing that I noticed the desk manager leave and get into the elevator, and we ran in.”
Mr. Diltz, who was outside, photographed the band members just inside the front window looking out.
The first Crosby, Stills & Nash album cover, a photograph also taken by Mr. Diltz, is among the most famous rock images of the period, and resulted in an amusing tale that Mr. Burden liked to tell. The image shows Graham Nash, Stephen Stills and David Crosby — in that order — on a beat-up couch in front of an equally beat-up house. The group, Mr. Burden said, was so new it hadn’t named itself when the picture was taken.
Once the band was named, “we decided, O.K., we’ll just go back tomorrow and reshoot it, and you guys can sit in the proper order,” Mr. Burden said in the “World Cafe” interview. But they found an empty spot where the house had been.
“Back at the back of the lot was a stack of wood and building materials,” he said. “They had bulldozed it and just pushed it back out of the way. We obviously decided that was God telling us that we should go with what we had, so we did.”
There was no immediate information on survivors other than his wife.
The advent of the CD and digital downloading naturally affected Mr. Burden’s work, though he continued to design.
“As times changed in the music industry,” Mr. Oberst said, “he adapted to the new formats and technology, but the LP was always his favorite — he said because it felt the best to hold in your hand and was the easiest to roll a joint on.”