In 1971, Cuban percussionist Mongo Santamaría played the Montreux Jazz Festival in Montreux, Switzerland. Atlantic Records brought out an album with a live recording of the concert. Haig Adishian used Bifur for the cover, alongside all-caps Kabel and a photo by Tom Hanley.

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Theodore Billards is in use for Cockney-based duo Chas & Dave’s first album, released on Signature Records (which uses Jazzbeau for their logo) in the US, going under the name Oily Rags. Haig Adishian is credited for the album’s design, along with David Redfern for photography.

John Theodore’s Billards was first displayed as four styles in PLINC’s Decotypes, with #6160 as a solid fill, #6161 as an outlined version, #6184 as a solid fill with an outlined southwest-facing shadow, #6185 as a reversed version of #6184, and #6186 completely outlined with southwest-facing shadow.

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The back cover typography features ITC Souvenir and what looks like Helvetica.

All five variants of Theodore Billards as shown in PLINC’s One-Line Manual of Styles from 1971

Album cover for The Flowering by the Charles Lloyd Quartet, released in 1971 on Atlantic Records. Designed by prolific album designer Haig Adishian using Davison Fandango Ornamental and a painting by Jacques Richez.

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Like Plywood, Aztec is a 1960s typeface by Photo-Lettering that was adopted from an Art Deco alphabet found in Publicité Vignettes Lettres Chiffres Monogrammes et Rehauts Modernes, a source book published in 1931 in Paris, France. The original piece of lettering is titled La Massive and was drawn by A. Bardi, the artist who also takes credit for the alphabet adopted as Halloween.

In 1971, Haig Adishian specified it for the cover of an album by vibraphonist Gary Burton and pianist Keith Jarrett, recorded a year earlier together with guitarist Sam Brown, bassist Steve Swallow and drummer Bill Goodwin. The photography is by D.H. Burton.

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This composite detail shows several letterforms with triangular elements, including for crossbars in A and H, a typical element of Art Deco lettering. The wedge shapes are probably also what inspired Aztec’s name – despite the fact that the design originated in 1930s France, and has nothing to do with Mesoamerican art or architecture, apart from some coincidental and superficial formal parallels.

The hairline that’s part of Bardi’s original design was here rendered in white, causing it to disappear when viewed from a distance.

On the back, Aztec is printed in a single color. Additional text is set in two weights of Helvetica.

Sam & Dave released I Thank You on October 25, 1968, on Atlantic Records. The front cover was designed by Haig Adishian, with the combined title and artist name using Photo-Lettering’s Plywood, placed on the top of a photograph of Sam & Dave in performace taken by Jim Cummins.

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In Case You’re in Love is the third studio album by Sonny & Cher, issued in March 1967 by ATCO Records. The opener “The Beat Goes On” was released as the album’s third single and became a huge hit.

The bold cursive is Fulgor. It was originally released in 1930 by the Gans foundry in Spain, together with the lighter Escritura Gloria. When Fulgor was imported to the United States, it was renamed to Gloria, or Gloria Bold.

Design by Haig Adishian with photography by Jerry Schatzberg.

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Retrospective is a compilation album with “the best of Buffalo Springfield”, issued by ATCO Records in February 1969. The group from Los Angeles disbanded several months earlier, and the members including Neil Young, Bruce Palmer, Dewey Martin, Stephen Stills and Richie Furay went on to pursue other projects.

The photomontage is by local artist Eve Babitz (1943–2021). Haig Adishian took care of the layout and typography. The bold and bottom-heavy display typeface with the bulbous terminals is Davison Jumbo. Drawn by Dave Davison, it was mentioned in Photo-Lettering’s 1969 Alphabet Yearbook, and hence was brand new at the time of the album’s release. In a 1971 catalog, it’s shown in seven variants; A (open), B (solid, shown), C (open with gradient stripe fill), D–F (like A–C, but with Southeast split shade), and G (solid with gradient stripe fill). The style used here is Jumbo E, used with different colors for the letters and the shadows.

The album opens with “For What It’s Worth” (listen to it on YouTube). Buffalo Springfield’s greatest hit was covered, sampled and referenced numerous times, probably most prominently for Public Enemy’s “He Got Game” from 1998.

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Detail

Aretha Arrives marks Aretha Franklin’s second album under Atlantic Records. Released on August 4th 1967, the album features notable singles such as “Baby I Love You” and her rendition of The Rolling Stones’ “(I Can’t Get No) Satisfaction”. The album’s cover art, designed by Haig Adishian, showcases Staudel Xenotype J typography.

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For the CD release, everything was moved down so that the photo (by Jerry Schatzberg) aligns with the bottom.

In 1966, Atlantic Records released The Exciting Wilson Pickett, the third album by R&B and soul singer Wilson Pickett. The album propelled four major hits for Pickett, establishing his stature as a prominent ’60s soul act. The album cover, featuring Permanent Headline typography, was designed by Haig Adishian.

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Front cover of 1971 vinyl

From Wikipedia:

Fairyland is a live album by jazz guitarist Larry Coryell. All songs were recorded on June 18, 1971 at the Montreux Jazz Festival in Switzerland and originally released by Mega Records on their Flying Dutchman Series. Coryell is accompanied by Chuck Rainey on bass and Bernard Purdie on drums.

Artist name and album title are set in Green Buzzard’s C style . Additional text on the front and back covers is set in Helvetica. The Flying Dutchman Series mark looks to be set in Annlie.

Cover painting by Gage Taylor. Front cover photo by John Knaggs, BBM Associates. Back cover photo by Giuseppe Pino. Design by Haig Adishian.

Back cover of 1971 vinyl

Cover of the 2017 remaster on Audio CD

Source: archive.org Internet Archive. License: All Rights Reserved.

Fonts from the Flea Market #1332

Milton Glaser’s Push Pin Art Deko, chosen by cover designer Haig Adishian for an album recorded by jazz trumpeter Bobby Hackett (1915–1976) with guest singer Teresa Brewer (1931–2007) and released in 1973 on Flying Dutchman Records.

On the front and back cover, the wide outlined caps are used with a color fill. The gatefold has the artist name and the title in open letterforms, arranged in five lines.

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Source: archive.org Internet Archive. License: All Rights Reserved.

Detail from the gatefold

Source: archive.org Internet Archive. License: All Rights Reserved.

Green Onions is a 1962 album from the instrumental soul quartet Booker T. & the M.G.’s. The title track was a top ten hit on the Billboard 200, and has been used in numerous movies and TV shows, including American Graffiti (1973).

The album title and artist name are set in the extra-bold weight of Folio on both the front and back cover.

Haig Adishian is credited for the design. According to Wikipedia, “the cover photo was shot by Irving Schild, who would go on to have a 52-year career as Mad Magazine’s primary photographer.”

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Atlantic Records SD 1483 (Stereo)

Haig Adishian was a regular customer of Photo-Lettering. Shortly after Davison Art Nouveau was added to the catalog of the New York typesetting company, he used it for the cover of an album by flutist Herbie Mann. Named after the Sonny & Cher song, The Beat Goes On was released on Atlantic Records and announced in July 1967.

Adishian used a whole lot of swash alternates, including the A with the sprawling crossbar that doesn’t lend itself to the use in medial position. The N with the diagonal that turns around to form a swash underscore is spectacular. Three of them – and certainly two in a row – is overkill, though. He obviously wanted to echo the twirls in Dick Luppi’s illustration, but less would have been more in this case.

See also Chick Corea’s Tones For Joan’s Bones from 1968 for another collaboration between Adishian and Luppi.

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DJ copy for promotional use only (Mono 1483)

The copy digitized by the Internet Archive shows slightly different colors.

Back cover with track names set in all-caps Anzeigen-Grotesk. Arnold Shaw’s liner notes and the credits are in News Gothic.

You Devil You is an album by comedian Clerow “Flip” Wilson Jr. (1933–1998), “TV’s first black superstar” (Time magazine), released in 1968. From Wikipedia:

Wilson popularized the phrase “The devil made me do it.” The catchphrase “What you see is what you get,” often used by Wilson’s Geraldine character, inspired researchers at PARC (and elsewhere) to create the acronym WYSIWYG for computer software

The cover design is by Haig Adishian, with photography by Mark Roth. Adishian previously used Dave West’s Bubble Gum for the debut album by Vanilla Fudge.

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Source: www.hhv.de HHV. License: All Rights Reserved.

In my post about Haig Adishian’s cover design for Chick Corea’s Tones For Joan’s Bones, I had mentioned and shown the various contoured variants of Staudel Xenotype J, a series of Art Nouveau faces exclusively available from the phototypesetting studio Photo-Lettering, Inc. in New York City. The ones filled with a decorative pattern are named Staudel Gemutlich.

Adishian put these to use, too, for the 1970 album Feelin’ Alright by Cuban percussionist and bandleader Ramón “Mongo” Santamaría Rodríguez (1917–2003). Staudel Gemutlich came in two styles, A (horizontally striped top half, solid bottom half) and B (reversed), both of which were combined for the cover, and filled with different colors. The illustration is by Izzy Sanabria.

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Source: www.hhv.de HHV. License: All Rights Reserved.

Back cover with liner notes by Ralph J. Gleason.

Source: www.hifido.co.jp Photo: hifido. License: All Rights Reserved.

Front cover.

Tones for Joan’s Bones is the debut solo album by jazz pianist Chick Corea, who previously was a member of Miles Davis’s band. It was recorded in late 1966, but not released before April 1968 by Atlantic Records on their then new sublabel Vortex.

The cover was designed by Haig Adishian, featuring a powerful illustration by Dick Luppi that depicts the musician’s face in semi-profile, entangled in a multicolored floral pattern. The title is shown in amorphous capitals with a contour, set on a curve. They are taken from one of the variants of Photo-Lettering’s Staudel Xenotype J. First shown in Art Nouveau Xenotypes 1895–1905 from 1962 as Xenotype 3481, the caps of the solid basic style are virtually identical to Roberta III by Facsimile Fonts. I haven’t yet found out which of the two came first. Chances are they both go back to a historical source. Photo-Lettering had a number of other Staudels, some of which were more or less directly based on alphabets by Chicago-based lettering artist J.M. Bergling, see Staudel Xenotype K and Staudel Xenotype N.

Photo: Florian Hardwig. License: CC BY-NC-SA.

The contoured variants of Staudel Xenotype, as shown in Photo-Lettering’s Alphabet Thesaurus Vol. 3 from 1971. The style that’s listed here as Staudle [sic] Contour H-V is shown in the One Line Manual of Styles (also from 1971) as Staudel Contour V. Staudel (or Staudle) Gemutlich is filled with a decorative pattern. It comes in two variants; A (horizontally striped top half, solid bottom half) and B (reversed).

According to a 2006 interview, it was in 1968 – when this album was released – that Corea “came into contact with L. Ron Hubbard’s material in 1968 with Dianetics”. Since the early 1970s, he’s been an active Scientology member (and even recorded music composed by the cult’s founder to promote one of his book) – a fact that tainted his perception as artist. Chick Corea died on February 9, 2021, at age 79.

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Source: www.hifido.co.jp Photo: hifido. License: All Rights Reserved.

Back cover with liner notes by Nat Hentoff. The title here is set in the much soberer News Gothic Bold.

Seymour Chwast’s Blimp Open with color fill, for the cover of a gospel record by singer and songwriter Brook Benton (1931–1988), released by Cotillion Records in 1971.

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This album by singer Tamiko Jones (b. 1945) and jazz flutist Herbie Mann (1930–2003) was released by Atlantic Records in 1967.

Cover design by Haig Adishian, with a photograph by Jerry Czember and Cooper Nouveau Swash 10 by Dave West.

An (early?) and typical use of Futura Dot with matching under- and overlines on the debut album of The Fabulous Counts, named after the last track on the record.

From the marquee-lights style typography to the unform green suits this cover screams typeical sessiuon band, which couldn’t have been further from the truth. And placing them in wooded surroundings comes in direct contrast with the gritty Detroit funk sound that these cats were laying down. Although they began with this record as primarily an instrumental group, they would soon transform to a full-on funk machine when they dropped the “Fabulous” and signed to the Westbound label. — Funk & Soul Covers (Taschen)

Cover photo: Ted Robinson. Cover design: Haig Adishian.

First German issue, reusing the US sleeve design, 1967. Distributed through the German Metronome.

The cover of Vanilla Fudge’s self-titled debut album represents an early use of West Bubble Gum, designed by Dave West for Photo-Lettering, Inc.

While Bubble Gum Benday (a style with halftone fill) was first shown in PLINC’s Alphabet Yearbook 1967, the Blockshadow variant used here was presented only in Alphabet Yearbook 1969. Since 2012, West Bubble Gum Blockshadow is available in digital form, thanks to Jess Riddle who revived this ’60s gem for the reincarnation of Photo-Lettering orchestrated by House Industries.

Album design by Haig Adishian, with cover photography by Richard Stevens. When the band initially known as the Pigeons landed a deal with the Atlantic subsidiary Atco, the record company requested a name change:

The band settled on Vanilla Fudge; they were a white group singing and playing with the soul of the brothers. The band toured extensively behind its covers-heavy, jam-oriented debut album, Vanilla Fudge, to expand their fan base. Vanilla Fudge, the album, was released on June 2, 1967 the day after The Beatles’ released their Sergeant Pepper’s Lonely Hearts Club Band. The Vanilla Fudge first album rose up the charts to #4 without the aid of a big hit single. — vanillafudge.com

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Original 1967 BIEM French pressing on Atco label.