From Wikipedia:

“War Child” is a 1982 song by the American rock band Blondie, featured on their sixth studio album The Hunter. The song was released as a second single from the album in various countries, but not in the band's native US. […] [It was] the last new Blondie single for seventeen years, when the band reformed and released “Maria” in 1999.

The title typeface is Bruce Mikita, which originated at the Bruce type foundry in New York City – where Blondie formed in 1974 – under the name of Rustic Ornamented Shaded around 1867.

[More info on Discogs]

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 9, announcing the premature death of Jimi Hendrix. Cover typography in Thorowgood Sans Shaded.

Pelo (“Hair”) was the first Argentine magazine dedicated entirely to rock music, with a special emphasis on the local scene. Founded by Osvaldo Daniel Ripoll in Buenos Aires in 1970, it soon was distributed across Latin America, and became especially popular in Peru and Uruguay.

The logo features lowercase letters from Art Tone. The bottom-heavy face was designed by Seymour Chwast in 1964 and subsequently added to Photo-Lettering’s library. Pelo used this logo from the first issue in February 1970, made under the art direction of Juan Bernardo Arruabarrena, to the very last one in September 2001. The wordmark was shown in all kinds of colors, in various sizes and alignments, occasionally rotated, on an angle, partly obscured, and sometimes illustrated. The only major change was introduced in No. 95 from 1978 when the letterforms were embellished with a bombastic chrome effect. In this issue, Juan Carlos Piña is credited as jefe de arte.

The National University of Quilmes is carrying out a complete digitization of the magazine and is making the issues available online in the Archivo Histórico Digital de la Revista Pelo. This post shows a few selected covers.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 1 (February 1970), ft. Mike and Paul McCartney and the first appearance of the Pelo logo in Chwast Art Tone. The cover typeface is Cooper Black.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. 1, No. 6, ft. Paul McCartney. “Letras del LP …” uses letterforms from an unidentified source (possibly a dry-transfer face?). “Super Poster” is in Columbus, “Exclusivo desde Londres” uses PLINC’s Staudel Xenotype J or Roberta III, while “Los Beatles” features Siegfried.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-ND.

Vol. 3, No. 33 (1972), with a title story about “the lies of Argentine rock” presented in Countdown. “Arco Iris” is in Helvetica.

License: All Rights Reserved.

Vol. V, No. 49 (1974) about the “decadence of rock”, ft. David Bowie, Alice Cooper, Marc Bolan, Ringo Starr, Cooper Black Italic, and Tip-Top.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. V, No. 51 (1974), ft. Elkie Brooks. The main cover typeface is Tip-Top.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. IX, No. 105, with a review of the year 1978, ft. Queen and Kushell.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. XIII, No. 158 (1982), ft. Debbie Harry, caps from Flash Bold, and some ITC Souvenir.

Source: www.revistapelo.com.ar Archivo histórico digital de la revista Pelo. License: CC BY-NC-SA.

Vol. XXXI, No. 505 (2001), ft. Kurt Cobain, Helvetica, and ITC Garamond.

Via Found in Mom’s Basement.

This may be an American photocompositor copy of Signal. More info from Florian Hardwig at Typophile:

“Yes, with that e and n, it is clearly some version/descendant of Signal. Note that Wege’s original version had three weights (with Script-Signal being lighter, and Block-Signal bolder). It also offered both forms of the lowercase r. It is a pity that the digital version is so limited.”

More samples of the original Signal from Indra Kupferschmid.