Recordando a Arsenio is a compilation album with songs written by Arsenio Rodríguez, released in 1972 by Tico Records, and featuring various Latin artists such as Eddie Palmieri, Joe Cuba, Jimmy Sabater, Cortijo, Celia Cruz, Ray Barretto, and Tony Pabon. Chico Alvarez is credited as the album's designer, with the title being displayed in Davison Fandango, shifting from the uncommonly seen lowercase to capitals.

Below the title, an unidentified typeface is used for the artist names, meanwhile Times New Roman is used for the back.

[More info on Discogs]

Joe Bataan (1942–) is “a Filipino and American Latin soul singer, songwriter and musician” (Wikipedia) who earned himself the title “King of Latin Soul” in the Hispanic and Latino music scene. On the cover of “Mr. New York And The East Side Kids”, he poses for photographer Len Bauman, wearing a striped shirt and sitting on an abstract sculpture, surrounded by friends, kids and colleagues. I have not found information about the location of the cover shot, but it’s likely to be somewhere in Spanish Harlem according to a Blogspot article by “bongohead” about Bataan’s New York hangouts, career and album covers.

The cover typography was designed by Izzy Sanabria who picked Buxom, a follower of Baby Fat by fellow New Yorker Milton Glaser, set in all caps and filled with three colors. The album title is set in Futura.

[More info on Discogs]

From the Records.christmas website, as reviewed by Johan Palme in 2015:

Sometimes, the world of Christmas records can seem pretty isolated from the rest of music. There are precious few Christmas records that have had a significant, lasting influence outside their own narrow field. I suppose Phil Spector’s Christmas album is one of them, and the original White Christmas, but if you want real impact, it’s hard to overlook how important Willie Colón’s Asalto Navideño has been for salsa. One of the biggest-selling albums of Fania’s golden era, it launched major hits like “Canto A Borinquen”, “Traigo La Salsa” and especiually “La Murga”, one of the most played and sampled salsa tracks of all time

The first volume was released in 1971, followed by Vol.II in 1973. Even well over half a century later, the album cover designs are *not my favorites*. This is entirely down to me, lacking a gene for bland Christmas humor.

The cover of the first volume was designed by Izzy Sanabria, who chose Johnson’s swirly letters for the cover, which mostly revolves around a curious image shot by Len Bauman. It features Santa Claus and a Christmas elf (enacted by Willie Colón and Hector Lavoe, respectively) doing something awkward with a present that doesn't fit in a bag or stocking. The photography is printed in black and white with a hard filter, and colored in red and blue.

The follow-up album (Vol. II, 1973) lacks the names of photographer and designer in the credentials list. Again, Fania Records chose to stage and photograph a comic scene for the cover. This time, both Lavoe and Colón are dressed in elf suits. Lavoe has arrested a (unknown?) gas station employee, with the help of the gun-wielding Willie Colón. The duo is assisted by singer Yomo Toro, dressed as a cheery Santa Claus sans mustache. Information is set in Pump.

The two albums were complied in a single release on compact disc in 2006, in a design by Sanabria pairing a previously unused photo from the 1973 shoot with ITC Serif Gothic and what looks like custom lettering.

[More info on Discogs]

Haiti Goes Latin is an album of Latin music recorded by Les Docteurs du Rythme in Haiti, and released by Ansonia Records in New York in 1975. The cover photograph depicts the Marché en Fer, or Iron Market, a public market in Haiti’s capital, Port‑au‑Prince. It’s by local artist Jacques Karaha, who might be responsible for the typography, too. At least he’s credited for other cover designs.

The names of the band and of arranger Michel Desgrottes are set in Smoke, while the album title is shown in the inline caps of Metropolis licht. The small print is in Univers.

In 2023, the reincarnation of Ansonia Records reissued some tracks from the album in digital form.

[More info on Discogs]

From Wikipedia:

Celia & Johnny is the first collaborative album between the duo of Celia Cruz and Johnny Pacheco. It was released in 1974 by Vaya Records [a sublabel of Fania Records]. In 2014, the Library of Congress named it to the National Recording Registry as “culturally, historically, or aesthetically significant”. In 2015, it was selected by Billboard magazine as one of the “50 Essential Latin Albums of the Last 50 Years”.

The cover was designed by artist Ron Levine who went ahead to design multiple salsa covers including Hector Lavoe and Willie Colon’s collaborative album Lo Mato. This cover displays a portrait of the two by Lee Marshall, plus the bright red album title set in Ringlet, contrasted by a royal blue background.

Since Latin music was marginalized for many years, the designs of the 1960s and 1970s used a shoestring budget. Considering that Fania All-Stars was neither Columbia nor Atlantic Records, for many of the designs almost everything had to be created manually and with basic techniques such as the use of masks, photocopies, adhesive tape and rubber cement.

[More info on Discogs]

The cover of Siembra, an iconic 1978 salsa album by Willie Colón & Rubén Blades, uses Premier Lightline with its alternate forms for A and R. Credited to designer Irene Perlicz, who also created illustrations for other Latin acts, it is an example of late-1970s style associated to a celebrated album in its genre, praised for its lyrics, arrangements and the ability to bring salsa back to the spotlight.

[More info on Discogs]

Back cover, with track names and credits set in News Gothic.

2021 reissue with unchanged cover art.

Hollie Script Pro used in the Niche project, a monument that best portrays the Cali city identity through the songs composed by Jairo Varela (1949–2012), founder and leader of the celebrated Colombian salsa band Grupo Niche.

Spanish album cover for the 1967 LP by El Gran Combo (1972 reissue, Gma). This design was reused in an adjusted form for the 2005 reissue by Wah Wah Records.

[More info on Discogs]