1930s or 1940s "Give Victor Record for Christmas" advertising stamp making use of Beton extrafett, or Extrabold, for “Victor Records”. The decorative script styles for “Give” and “for Christmas” are custom lettering (Kaufmann comes somewhat close for the latter).

B-side of 78 rpm shellac single “I Guess I’ll Have To Dream The Rest” / “Take The ‘A’ Train” by Glenn Miller and His Orchestra, recorded on May 28, 1941.

Released on June 20, 1941 on Bluebird, a lower-priced subsidiary label of RCA Victor founded in 1932. The two concentric rings of unequal length at the rim indicate this single was pressed in Indianapolis.

The Bluebird logo uses Cheltenham with an enlarged initial cap. News Gothic is used for the catalog number, “For best results use Victor Needles”, and the names of the artist, song, and songwriter. Bank Gothic appears for the patent notices on the inside of the rim, and the very outside text parallel with the rings (“RCA Manufacturing Co.”) is Monotype’s version of Copperplate Gothic, without serifs in this small size casting.

Designed by parent company Victor Records and most likely made in April or May 1939, this promotional poster highlights the single “Sunrise Serenade” backed with “Moonlight Serenade”, Glenn Miller’s theme song, Bluebird record number B-10214, a shellac 78 rpm release.

It features the 1936 ATF face Kaufmann Bold (“Made by Victor”) as well as Futura Condensed Bold (1930, “Sunrise Serenade”, “Moonlight Serenade”) and Futura Medium and Medium Italic (“On Record No. B-10214”). The “Printed in U.S.A” at the bottom of the white stripe is handwritten.

Image from Heritage Auctions; poster is in the Public Domain as it was never published with a copyright notice.

An early use of California Grotesk [edit: rather Europa Grotesque, see comments] titles the monaural cover of The Beach Boys’ last intended summer-themed release and their 6th studio album, released on July 13, 1964 on Capitol Records. No cover designer credited. Photography by Capitol Photo Studio, George Jerman, Ken Veeder, with images taken in Paradise Cove, California. In supporting roles: Italic caps from Univers and Trade Gothic for the song titles, Venus Light Extended for “High Fidelity”, and Futura Bold for “File under”.

[More info on Discogs]

From Wikipedia:

Shake, Rattle and Roll is the title of an early rock and roll compilation album issued by Decca Records (DL 5560) in 1955, and featuring music by Bill Haley & His Comets. […] The cover art for this album, depicting a cartoon image of Haley and the Comets riding a hot rod, would later be reused by Bear Family Records for their 2006 Haley box set release Rock ’n’ Roll Arrives.

The cover typography combines bichromatic Orplid on a bouncing baseline (“SHAKE”), black sans-serif caps, possibly from Twentieth Century Ultrabold Italic, with an added scribbled inline (“RATTLE”), and red caps from a straight-sided gothic, maybe Alternate Gothic, set on a curve (“ROLL”). The handwritten “and” is probably just that, and not type. The songs are set in regular and condensed styles of Futura (or one of its US epigones like Twentieth Century or Tempo).