I've just found this magazine from Peru in Budapest, only God knows why.

Textual is the journal of the Peruvian National Institute of Culture. Concerned with literature, humanities, and arts, it was published between 1971 and 1975. CEDOC (Centro de Documentación de la Biblioteca Central UNMSM) has digitizations of all ten issues. The logo is based on Amelia, in lowercase letters and with filled-in counters.

Number 9 is dedicated to philosopher, educator and journalist Augusto Salazar Bondy (1925–1974). Display typefaces used in this issue include Michel, Thalia, and Ludlow Garamond. Body text is set in Helvetica and Permanent, with drop caps from Neo Script.

Thalia with enlarged and descending caps

Colophon (left) and a black-and-white version of Salazar Bondy’s portrait as seen on the cover (right)

All-caps Michel and Thalia in mixed case

More Michel caps combined with pre-Columbian symbols

Text in Helvetica is printed on top of the title in reversed caps from Michel

A mix of caps and lowercase letters from Thalia for “Educación”

This creature apparently is a raptorial bird as depicted by members of the Chavín culture

Spread with drop caps from Neo Script

Detail from the colophon, with text set in two weights of Permanent

Rotated Ludlow Garamond for “Bibliografía”

Source: www.abebooks.com Cross Genre Books (edited). License: All Rights Reserved.

Ellison Wonderland is a collection of short stories by Harlan Ellison (1934–2018). First published in the United States in 1962, this is the jacket for the first UK edition, issued by Millington in 1979.

Instead of working with an illustrator, designer Lorie Epstein opted for a purely typographic approach featuring Quartermaine. She separated the thin and thick strokes of Stuart Longley’s open, dimensional unicase typeface and gave them different colors: blue and purple for the author’s name, and orange and pink for the title.

The Science Fiction Book Club mention in the bottom right corner is set in ITC Avant Garde Gothic, with its alternate e and faux small caps.

[More info on ISFDB]

From Wikipedia:

We Are Family is the third studio album by the American R&B vocal group Sister Sledge, released on January 22, 1979, in the United States and on April 30, 1979, in the United Kingdom by Cotillion Records. The album was written and produced by Nile Rodgers and Bernard Edwards of the band Chic, and includes four hit singles: the title track, “He’s the Greatest Dancer”, “Lost in Music” and “Thinking of You”, all of which have been sampled, remixed, and reissued in the decades after the album’s release. The album reached number one on the Top R&B Albums chart and peaked at number three on the Billboard 200, making it the band’s most commercially successful album. In 2013, NME named it among the 500 greatest albums of all time.

The title is shown in a digonal band, set in tracked out caps from a light weight of Syncopation, featuring its round-top A. The group’s name is added above in Coronet, with an extended exit stroke on the first S. Art direction by Bob Defrin, with cover photography by Jim Houghton.

[More info on Discogs]

The 1976 release of The Modern Lovers, compiled from recordings made earlier in the decade, for an aborted LP for Warner Bros and other sources. The sleeve is a triumph of minimal design, adapting an aerodynamic heart logo that the band used on an early business card, rendering it in the stark, precise form of a neon sign glimpsed on a dark night.

Filmotype Lucky is effortlessly evokes this mid-century aesthetic. Ebony was enjoying a renaissance at the time (see also Blondie’s 1976 debut) – the emerging punk movement favouring clean, strong letterforms over the ornamentation of psychedelia and after. Further examples include Franklin Gothic on Ramones and Gill Sans Extra Bold on the “Neat Neat Neat” single sleeve, both likewise from 1976. (Jamie Reid’s “ransom note” style which would become a cliche of punk design developed independently).

The neon motif is continued in the use of Kaufmann, with its continuous line representing neon tubing, for the LP credits, supported by Gill Sans. The band logo that appears on the labels as well as on the flyer reproduced on the back in in all-lowercase City Bold.

Jim Blodgett is credited with “LP co-ordination”, which may or may not include the sleeve design.

[More info on Discogs]

Back cover. The reproduced flyer for a gig at Gloucester High Auditorium additionally features Futura Black.

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.

[More info on Discogs]

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

A flawless LTypI featuring PLINC’s Tension, for Bantam’s paperback edition of Pre-Menstrual Tension. Written by Judy Lever with Michael G. Brush, the book was designed by Roberta Rezk and first published by the McGraw-Hill Book Company in 1981. Secondary text is in all-caps ITC Tiffany.

The title page of he hardback edition is set in ITC Souvenir Bold, with initials from Thorowgood Sans Shaded.

Source: www.abebooks.com Between the Cover. License: All Rights Reserved.

Front panel of the 1974 book jacket

Jimi. An Intimate Biography of Jimi Hendrix was authored by fellow musician Curtis Knight (1929–1999) and first published in hardback in 1974. Praeger issued a paperback edition by 1976.

Source: www.amazon.de License: All Rights Reserved.

Back, spine and front panels of the jacket

Photo: Martyn Wilson. License: All Rights Reserved.

Front cover of the paperback edition

Photo: Martyn Wilson. License: All Rights Reserved.

Back cover of the paperback edition

The tenth volume in New Dimensions, an annual series of science fiction anthologies, was edited by Robert Silverberg and published by Harper & Row in July 1980.

One Plus One Studio provided the typographic jacket design, starring a large “10” in numerals from Calypso. Or rather, it’s the letters I and O: the original Calypso glyph set included a set of caps (A–Z) only.

The bold spurless sans is neo-Pacifica by Headliners, which must have been released shortly before: it’s not yet listed in a 1978 catalog.

[More info on ISFDB]

Filmotype Holly was used on the cover of King Crimson’s 1974 album Red. From Wikipedia:

During the mixing stage, ideas for the album’s title and artwork were discussed. The needles on the meters on the studio's mixing desk were observed to be “bouncing and crashing sharply into the red”; for Wetton, this symbolised the direction of the band's music and was to influence the planned front cover of Red. However, EG [the band’s management] suggested that a group photograph would be easier to sell, particularly for the American market. EG director Mark Fenwick pitched to hire John Kosh, who subsequently commissioned Gered Mankowitz to produce photographs of the meters (for the album’s back cover) and the group, but tensions within the group led to each member being photographed alone and being combined into a composite. The resulting cover’s chiaroscuro style has been compared to that of the Beatles’ 1963 album With the Beatles […]

[More info on Discogs]

Text on the back cover appears to be set in some wonky phototype version of Futura Bold. The album was released on Island Records in the UK. The images show the US release on Atlantic Records.

Rudi Carrell (1934–2006) was a Dutch entertainer from Alkmaar, North Holland. After starting his career in the Netherlands, he moved to Germany in the 1960s. There, he succeeded as TV host for game shows and comedy formats, but also had stints as singer and actor. More than three decades on television made Carrell arguably the best-known Dutchman in Germany.

This memoir from 1979 comes with a title that may sound funny – “Give me back my bike” – and the excessive swashes add to the jocular mood. It has a grim background, though. “Eerst mijn fiets terug” (“First my bicycle back”) is a Dutch saying that refers to events in World War II. In 1942, the German occupiers confiscated about 100,000 bicycles from Dutch citizens. In the first two postwar decades, the phrase was used to express a desire for reparations – starting with the beloved bikes – and anti-German sentiment in general. By the time the book came out, it had degenerated into an ironizing joke. From the 1990s onward, “mijn fiets terug” was used mainly as self-mockery – a light-hearted look back at how people had previously viewed the war.

The typeface is a bold display style of the original phototype version of Basta, distinguished from the text version by its narrow proportions. Basta is a design by Georg Salden (b. 1930), who got interested in letterform design through his uncle, Helmut Salden (1910–1996). As an opponent to the Nazis, Helmut fled Germany in 1934, and eventually settled in the Netherlands, not suspecting that the Wehrmacht would soon invade the country. Helmut Salden was arrested in 1942, and condemned to death for desertion. After his sentence was commuted, he survived the war in various prisons and concentration camps. In 1946 he returned to the Netherlands, where he became a prolific book designer and lettering artist. For more about Helmut Salden, see a previous post about the 2018 exhibition at Museum Meermanno.

The jacket design is by Hans Schaumberger who served as Molden’s art director from 1965 to 1982. In his final year with the publisher, he reworked the signet when the name was changed to Molden Seewald.

This is Amerpub’s 1975 rerelease of Henry D. Bomze’s Treasury of American Turfs, a book about the economic know-how of horse racing.

The title typeface is Radiant, with the tagline on top in Tempo Heavy Condensed Italic. On the bottom-right corner is Admiral Script plus Vogue Extrabold Oblique and Extra Bold Condensed. With the exception of Vogue, all typefaces were designed by Robert Hunter Middleton for Ludlow.

This classical music album was released in 1978 by Columbia Odyssey. It features three musical pieces by various composers, performed by pianist Gary Graffman (b. 1928): Sonata No. 4 by Benjamin Lees, Suite, Op. 14 by Béla Bartók, and Sonata No. 2 in D Minor, Op. 14 by Sergei Prokofiev.

The striped typeface is Karl Hermann Schaefer’s Fatima, originally released in 1933 and effectively serving as a more decorative counterpart to Schriftguss’s earlier Capitol by the same designer. Accompanying it is the ultralight Gershwin, released in 1968 as a Face Photosetting original. The back of the album possesses a third art deco-inspired typeface: Vladimir Andrich’s Slenderella Refined, which looks like ITC Kabel from a distance if it weren’t for a few key differences in the glyphs.

[More info on Discogs]

The Moonstone, an early example of the modern detective novel, was written by Wilkie Collins in 1868. It tells the complex story of the theft and recovery of an Indian diamond in colonial England and takes a critical look at social and political issues. An authorized German translation by Emil Lehmann was published as Der Mondstein as early as 1869. Another one titled Der Monddiamant appeared after the copyright expired in 1949, when Hera-Verlag published a “free adaptation” by Siegfried H. Engel.

This jacket is for a book club edition published by Deutscher Bücherbund in 1974. The title is in the Demi weight of ITC Souvenir, stacked and interlocked, with a lowered i dot and a swash initial D. The pre-digital ITC Souvenir came with a number of swash alts, but I don’t think I’ve ever seen such a D. Did the designer repurpose the swash of a different glyph and graft it onto the D?

The setting of the author’s name is interesting, too: it’s Letraset’s adaptation of Desdemona which is distinguished from the foundry versions by various details, including the W without crossing diagonals. Apart from an alternate S, it didn’t come with any extras. This suggests that the smaller, raised O and the nested double L are customizations.

Of Orc-Rags, Phials, & A Far Shore: Voices of Paradise in The Lord of the Rings by Bruce Palmer. T-K Graphics, Kansas City, Missouri, 1976. The title is in Book Jacket by Ursula Suess, used with various alternates, including two forms for n s A C L P R S. The price is added in Eurostile Bold.

These four pamphlets were issued by T-K Graphics between 1974 and 1977. The covers are printed in black on colored paper and feature typefaces that all seem to stem from the catalogs of VGC, ITC and Letraset.

Fanlore has a page about this publisher:

T-K Graphics was a distributor/retailer of pro books, but it is more well-known for publishing fan-created chapbooks and other amateur zines.

It was based in Baltimore, Maryland was founded in the early 1970s, perhaps earlier.

Via jell-o biafra says, a great (but sadly dormant) Tumblr for all things pulp, pop and underground.

The Drama of Ray Bradbury by Ben P. Indick. T-K Graphics, 1977. [More info on ISFDB] The title uses outlined caps from ITC Souvenir, with a timid swash initial. The author’s name is in Peignot, the price info in Book Jacket.

Middle Earth: A World in Conflict by Stephen O. Miller, with illustrations by James Shull. T-K Graphics, 1975. [More info on ISFDB] ITC Ronda is used in lowercase letters from the Bold, with alternates for a e r. The other fonts are Eurostile Light Extended, Grotesque No. 9 Italic, Windsor, and ITC Bolt.

An Arthurian Concordance by Dennis Lerond, with illustrations snagged from Aubrey Beardsley. T-K Graphics, Baltimore, 1974. [More info on ISFDB] Libra is paired with wide caps from Folio. The author’s name is added in Univers Condensed, the price info appears to be in Venus Extended.

From Wikipedia:

El Ídolo de Mexico is an album by Mexican singer Vicente Fernández, released in 1974 by CBS. In 2015, it was selected by Billboard magazine as one of the “50 Essential Latin Albums of the Last 50 Years”.

[More info on Discogs]

The Science Fiction Hall of Fame, Volume Two is an anthology edited by Ben Bova (1932–2020) and first published in the U.S. by Doubleday in 1973 in two volumes titled “Two A” and “Two B”. In 1975, British publisher Sphere Books issued ten of the twenty-two novellas in a series of three paperbacks.

The illustrations by Eddie Jones wrap around to the back cover. All-caps Zipper is paired with Bullion. Both faces were released in 1970. While Bob Newman’s Zipper is a Letraset original, Bullion was drawn by Tony Geddes for Face Photosetting. The shaded style, Bullion Shadow, was eventually also produced by Letraset and consequently saw a lot of use, but the Solid style seen here was exclusive to the phototype provider from London.

Science Fiction Hall of Fame: The Novellas, Book 1 [More info on ISFDB]

Science Fiction Hall of Fame: The Novellas, Book 2 [More info on ISFDB]

Science Fiction Hall of Fame: The Novellas, Book 3 [More info on ISFDB]

Music Minus One was an educational record label specializing in “play-along albums intended to accompany a melodic instrument (or vocalist) as an aid for practicing.”

This album from 1976 contains songs by former Beatles members Ringo Starr (“You’re Sixteen”, “Photograph”, “Oh My My”, “No No Song”), Paul McCartney (“Jet”, “Band on the Run”, “My Love”, “Listen To What The Man Said”), and John Lennon (“Whatever Gets You Thru The Night”, “Only You”). It offers the solo voice in the right channel and the band with backing vocals in the left one.

The title is repeated eight times, wrapping around the four sides of the cover. The lowercase-only typeface is the elusive Hairpin. Designed by J. Stone, it was issued by VGC in 1975.

The list with the names of the songwriters (which also includes the fourth Beatle, George Harrison) uses ITC Avant Garde Gothic with alternates.

[More info on Discogs]

Paredon Records was founded in 1969 by Barbara Dane (b. 1927) and Irwin Silber (1925–2010) to “publish recordings of cultural expressions, especially protests, in order to preserve them.” Over its 15 years of active production, Paredon released 50 albums with “songs, music, poetry, speeches, documents of class struggle, national liberation, women's emancipation and democratic rights”. Today it’s a sublabel of Folkways Records. The Smithsonian writes about Carlos Puebla (1917–1989):

Carlos Puebla challenged foreign influences and the forces of imperialism in 1950s Cuba with songs about his oppressed countrymen. Then, in his music, he chronicled and celebrated the 1959 revolution. He and his group have toured throughout Cuba, Latin America, and “anywhere they are needed by the revolution.” Liner notes in Spanish and English include song lyrics and an account of Puebla's service to his lifelong cause.

Many of the album covers for Paredon Records were designed by Ronald Clyne (1925–2006), who’s also responsible for countless interesting sleeves for Folkways Records. For Cuba: Songs for Our America, he chose Joc Line. This display face is the work of Catalan designer Gabriel Fumanal Martinez who drew it when he was 20. Joc Line was chosen and released as one of the winners of a competition held by Letraset in 1973. Earlier this year, Brazilian designer Rafael Nascimento released a digital interpretation named Joc.

The chromatic setting of Joc Line is complemented by Helvetica. For the second line, Clyne used its Thin (a.k.a. Ultralight) weight, with extratight spacing. Helvetica Thin was added to the family in 1970. See this starveling in use on Clyne’s cover design for Music of the Bhutan from 1978.

[More info on Discogs]

The track names on the back are set in Times New Roman Bold.

The debut album by American singer George McCrae (b. 1944) was released in 1974 by T.K. Records. It opens with the number one hit single “Rock Your Baby”. From Wikipedia:

Written and produced by Harry Wayne Casey and Richard Finch of KC and the Sunshine Band, “Rock Your Baby” was one of the landmark recordings of early disco music. […] The chord progression of John Lennon’s number-one single “Whatever Gets You thru the Night”, released a few months later, bears a great resemblance to the one found in “Rock Your Baby”. Lennon later admitted to using the song as an inspiration […]  ABBA’s Benny Andersson and Björn Ulvaeus have also cited the song as an inspiration for the backing track of their 1976 smash hit “Dancing Queen”.

“Rock Your Baby” is in all-caps, set in Neil Bold, and “George McCrae” uses a drop-shadowed version of Lazybones, with a custom terminal swash. Design by Drago Fernandez, with photography by Antonio Carlin.

Text on the back cover is set in Futura and a second, yet unidentified sans.

First published by Gallimard in Paris in 1964 under the title Une mort très douce, this autobiographical book covers the time Simone de Beauvoir spent visiting her aging mother, who was dying of cancer. Patrick O’Brian provided the English translation. Shown here is the paperback edition published in the Warner Paperback Library in August 1973.

The display typeface is Benguiat Caslon, set stacked and interlocked with a lowered B, and used with swash caps. Around the same time, Bantam employed a similar typographic setup for their Philip Roth paperbacks.