From Wikipedia:

At Carnegie Hall is a jazz live album by the Dave Brubeck Quartet. It was recorded at the famed Carnegie Hall in New York City on Friday, February 22, 1963. Critic Thom Jurek described it as “one of the great live jazz albums of the 1960s” […]

The title is rendered in tight-not-touching caps from Fiedler Gothic, a typeface drawn by Hal Fiedler for Photo-Lettering not too long before the album’s release. It’s shown in PLINC’s 1965 catalog in a range of widths and weights (see further below), with various alternates. Its use on this album cover inspired Austrian type designer David Einwaller to draw a digital interpretation which he released in 2020 as Brubeck.

With George Simon’s liner notes printed on the front (in Century Expanded), this album represents an addition to our “text on cover” tag.

Horn/Griner is credited for the cover photo. Steve Horn and Norm Griner started out in 1959 as a graphic design firm and ventured into photography a little later. It’s unclear whether they had a hand in the album’s typography as well. If not, it probably was done in-house at Columbia Records, under the supervision of John Berg who in 1961 was appointed art director for packaging design.

[More info on Discogs]

Fiedler Gothic came in many styles. Shown here is an overview of the Semi-concensed and Expanded widths (in fact, the Condensed and normal weights, photographically extended), each in five weights.

This Perfect Day is the third novel by Ira Levin (1929–2007), following the Edgar Award winning A Kiss Before Dying (1953), the international bestseller Rosemary’s Baby (1967), and – as mentioned on the cover – the thriller novel The Boys from Brazil (1976). First published by Random House in 1970 with a jacket design by Paul Bacon, this is Dell’s 1979 paperback edition of this classic science fiction novel about a technocratic dystopia. Cover artist unknown.

Author’s name and title are in Amelia, the latter with an extra serif added to the left of the T as well as a descending f. The futuristic display face by Stan Davis was previously used for Alvin Toffler’s Future Shock – which gets name-checked in the blurb. Smaller text appears to be set in Helvetica Rounded which was released the year before, in 1978.

[More info on ISFDB]

An outstanding use of all-caps Pump Bold in the signage for this community leisure centre, which has recently made the news in the UK, having secured additional funding after escalating costs threatened its closure.

The building was officially opened on September 18, 1987, by HRH Princess Margaret. I would hazard a guess this is when the signage dates from.

From BBC News:

A community leisure centre at “serious risk of closure” has secured a £50,000 emergency funding boost to get it through to the new year.

Dalton Leisure Centre in Dalton-in-Furness, Cumbria, opened in the 1980s, with manager Shaun Fisher saying the centre was doing “really well” and was like a “second home” to some people.

Despite that, repair work and rising energy costs have meant the centre has struggled through November and now wants to raise a further £50,000 to secure its long-term future.

A spokesperson for Westmorland and Furness Council, which funded the grant, said “the council recognises the valuable role that the leisure centre plays in the local community”.

The website of the charity-run (not council owned) centre sadly doesn’t feature any further use of Pump.

Detail

The Magic of Doris Day is a 1970 album by Doris Day released on Harmony Records. All-lowercase Blippo is used for her name and title with the i being modified with a flower on top. Song titles are set in Futura, arranged at the left and right. No cover designer has been credited.

[More info on Discogs]

Telarc’s 1986 release of The Planets as recorded by the Royal Philharmonic Orchestra under the guidance of André Previn (1929–2019) has a cover that depicts the planets – and not only the featured seven, but all nine planets of our solar system, including Earth and Pluto.

Cover design by RasicArt with an illustration by A.I.R. Studio Inc. and art direction by Ray Kirschensteiner (1942–2021). The featured typeface is Germanic Sans. Designed by Acey Cypres for Headliners in 1970, it’s similar to Harpers, which was also used for an album cover for The Planets.

[More info on Discogs]

When Classics for Pleasure reissued the BBC Symphony Orchestra’s recording of The Planets in the early 1970s, Hellenic Wide as used in 1960 didn’t cut it anymore. Cover designer Jack Wood looked for something more futuristic, and settled on Ben Bold. This choice may have been inspired by its use for The Sky at Night 3, a book published by the BBC in 1970.

The illustration shows the Apollo CSM with our Blue Planet in the background – an image likely influenced by the iconic Earthrise photograph taken on Christmas Eve 1968, during the Apollo 8 mission.

[More info on Discogs]

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

Harpers is a geometric sans that hasn’t been featured on Fonts In Use before. Designed by artist and illustrator Adrian George (1944–2021) for the British edition of Harper’s Bazaar, it was shown in the Modern Publicity yearbook of 1969 under the name Harper. The typeface with the long extenders was available from London-based Face Photosetting and appears in their catalogs as Harpers. Shin Oka, who refers to the typeface as Bazaar, made a digitization in January 2019.

The lighter weights of Germanic Sans (Headliners, c.1970), a related design in two widths and several weights, come pretty close, see for example the G with large aperture and low bar, the angled e, the g with semi-circle descender and angled ear, and the lazy s/S.

License: All Rights Reserved.

Glyph set of Harpers from a c.1981 Face catalog

No designer/typographer is credited. The illustration by Chesley Bonestell (1888–1986) is titled Saturn as it appears in the dark sky of its satellite Japetus and was first shown in Life magazine, May 29, 1944. Palace Script is used for the import note on the golden sticker.

This recording of The Planets by the London Philharmonic Orchestra under conductor Bernard Haitink (1929–2021) was issued by Philips Records in 1970. From Geoffrey Crankshaw’s liner notes:

“The Planets” suite was composed between 1914 and 1917 and received its first public performance in 1918 under Adrian Boult. Holst was always keen on astrology and the idea of a musical representation of the different “characters” of the planets held irresistible attraction for him. But there was much more to this vast conception than the mere satisfaction of an astrological whim. The work would never have held such wide appeal if its content had been limited to celestial portraiture. Deeper issues are involved. Holst was a man of vast culture, rich humanity, and powerfully experienced national affections. He was an expert in Sanskrit literature, an enthusiast for English folk-music and, withal, a visionary. All these facets of his protean make-up are fused in the unique totality of “The Planets.” For the most remarkable aspect of the work is its universality. The seven movements combine, though with no thematic linkage, to produce an effect far greater than consideration of each part would suggest. As the stillness of Neptune’s closing bars draws us towards infinity we feel that a vast journey has transpired – and, even more significantly – that a wider exploration awaits us.

This recording is the first to use the newly revised score, published in 1969 by Messrs Curwen and Sons, which incorporates amendments made by the composer himself on the margins of his own score. These are mainly concerned with the dynamics, and represent the fruits of experience in the handling of the vast orchestral tissue. Even more recent corrections — including one vital “wrong note” — are listed on a slip issued with the new edition.

[More info on Discogs]

Colin Brignall’s Superstar used together with light Kabel caps for the German sleeve of “Let’s All Chant”, a 1977/1978 disco hit written by Michael Zager and Alvin Fields, and performed by the Michael Zager Band.

[More info on Discogs]

Each Kiss member put out a solo album in 1978. Of the four albums Ace Frehley’s was the most commercially and critically successful. Its success was mostly owed to Ace's cover of “New York Groove”, originally by the band Hello. These single sleeve covers were released in the French market for the lead single from each album, with names in all-lowercase Hot Dog and titles in all-caps Horatio. Art direction by Dennis Woloch, cover paintings by Eraldo Carugati.

[More info on Discogs]

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One Sheet (27″×41″) poster

Two geometric sans serifs from opposite ends of the weight spectrum: Kabel Black and L&C Hairline were used together on the poster for The Hot Rock. Directed by Peter Yates, the 1972 crime comedy-drama stars Robert Redford (as John Dortmunder), George Segal, Ron Leibman, Paul Sand, Moses Gunn and Zero Mostel.

The Dinosaur Review vii, fall 1985

Formerly known as The Camerose Review, The Dinosaur Review is a Canadian publication on contemporary writing. Edited by Robert Kroetsch, Aritha van Herk, and Monty Reid, this journal is published by the Dinosaur Society.

Drawing inspiration from the design of its predecessor The Camerose Review, The Dinosaur Review retains Pump as the title typeface and explores variations in left and right alignment, alternating between uppercase and lowercase lines. It is paired with Caxton for the first seven issues, emphasizing the magazine's previous name.

The Dinosaur Review vi, winter 1985/6

The Dinosaur Review viii, summer 1986

The Camrose Review ii

Front cover

Evolution is a studio album by Nektar released in 2004. It was the first Nektar album since 1977’s Magic Is a Child to feature original drummer Ron Howden, who rejoined other founding members Roye Albrighton and Taff Freeman.

The cover art is by Helmut Wenske. Layout by Phil Smee, using Harry Light for the typography.

[More info on Discogs]

Countdown (1965) and Linear (1969), two Letraset faces, used together on the sleeve of a single by Ike & Tina Turner released in West Germany in 1973.

Farewell to Tina Turner (1939–2023), whose life was pretty much the opposite of being a linear countdown.

[More info on Discogs]

Front cover

From Wikipedia:

Sonic Youth is the debut EP by American rock band Sonic Youth. It was recorded between December 1981 and January 1982 and released in March 1982 by Glenn Branca’s Neutral label. It is the only recording featuring the early Sonic Youth lineup with Richard Edson on drums. Sonic Youth differs stylistically from the band’s later work in its greater incorporation of clean guitars, standard tuning, crisp production and a post-punk style. […] It was released in Europe on the German Zensor label in 1984.

All-caps Eurostile Extended Regular is used for all text on both the front and the back cover. See sonicyouth.com for more info about this record.

[More info on Discogs]

Back cover

Two cassette inserts from different brands, but apparently by the same manufacturer. At least the virtually identical design and wording suggest as much. Both inserts have Churchward Design and Futura. The one shown above additionally features ITC Busorama for “International” (with both its left- and right-leaning A).

45spaces lists International (ITN) as a brand from Hong Kong. Their ITN logo with concentric squares is a riff on the classic BASF logo with concentric circles.

Via Bruce Jamieson’s collection of tape cassette inserts.

The only way Cherry could get places was by going bad … and Cherry wanted to get places!

All-caps Futura Display and Mistral for the cover of Sin Doll, with all text integrated into the door of a trailer. The cover art might be by Paul Rader, but that’s unconfirmed. The novel by prolific paperback writer Orrie Hitt (1916–1975) was published by Beacon Books as B-655, 1963.

2X 12AX7 Fuzz Unit.

With the Valve Klipper Distortion Unit, Fausto Pérez aimed “to capture in a pedal one of the ingredients in the signature sound of Tony Iommi of Black Sabbath: the distortion circuit of the Laney Klipp amplifiers he played in the early ’70s.”

The typeface for “Valve Klipper” was apparently chosen in reverence to the period, too: Released in 1965, Countdown was big in the 1970s. The Faustone logo is set in caps from Futura Display (1932), while the interface labels and other small type show Gill Sans (1928) [edit: it’s Johnston Underground, see comments]. The script used for “Hand built in Spain” on the MKII model (see below) reveals that these stompboxes are not really from the 1970s: Sloop Script was first issued in 1994.

MKII Distortion Unit.