From Wikipedia:

Can’t Buy a Thrill is the debut studio album by American rock band Steely Dan, released in November 1972, by ABC Records. It was written by band members Walter Becker and Donald Fagen, and recorded in August 1972 at the Village Recorder in Los Angeles with producer Gary Katz. The album is one of Steely Dan’s most stylistically eclectic, encompassing the sounds of soft rock, folk rock, jazz rock and pop, alongside philosophical, elliptical lyrics. […]

The title of the album is a reference to the opening line of the Bob Dylan song “It Takes a Lot to Laugh, It Takes a Train to Cry”. The album cover features a photomontage by Robert Lockart. It includes images of muscle-men and a line of prostitutes […] waiting for clients, which was chosen because of its relevance to the album title.

The album contains some of the group's best known hits including “Do It Again”, “Dirty Work”, and “Reelin’ In the Years”.

While the band logo is custom lettering, Lockart used a font for the title: it’s Roger Excoffon’s Mistral. The liner notes one the back are credited to Tristan Fabriani – a pseudonym for Walter Becker and Donald Fagen, They are set in Trump-Mediäval featuring its italic with some swash alternates and terminal forms.

[More info on Discogs]

Countdown to Ecstasy is the second studio album by American rock band Steely Dan, released in July 1973. Album design by Dorothy White, credited under her alias Dotty of Hollywood. Photography by Ed Caraeff.

“Steely Dan” is written in Eurostile Extended Bold, and “Countdown to Ecstasy” is in Eurostile Extended Regular. Song names and credits on the back are set in two weights of ITC Serif Gothic.

From Wikipedia:

The album’s title was selected as a joke about attempts to rationalize a state of spirituality. The original cover painting was done by [lead singer Donald] Fagen’s then girlfriend, Dorothy White. The president of ABC Records, Jay Lasker, disliked it and insisted it be re-drawn. The art proofs were subsequently stolen by [bass guitarist Walter] Becker and Fagen during an argument over the final layout.

[More info on Discogs]

Gaucho is the seventh studio album by the American rock band Steely Dan, released by MCA Records on November 21, 1980.

The cover was art directed and designed by Susanne Walsh, with assistance from John Tom Cohoe. It is based upon a low relief sculpture by Argentine artist Israel Hoffmann, see below.

The band name is set in lowercase letters from ITC Avant Garde Gothic’s X-Light, with tight letterspacing. In ITC’s digital version, the bottom of s was made narrower and the n wider. One digitization that follows the original more closely is Avalon. The album title is added in Friz Quadrata Bold.

[More info on Discogs]

A photo of the Gaucho artwork inspiration, Israel Hoffman’s wall art Guardia Vieja Tango, located in La Boca, a neighborhood of Buenos Aires, Argentina. Buenos Aires, Argentina.

The Royal Scam is the fifth album from American rock band Steely Dan, released on ABC Records in 1976.

The artist and album title are set in all-caps Koloss, with an added shadow effect. On the back cover, the track listing and credits appear in all-caps Optima.

From Wikipedia:

The album's cover features an image of a man in a suit sleeping on a bus stop bench in Boston and dreaming of skyscrapers with monstrous animal heads at the top. [Larry] Zox originally created the painting of the skyscraper/beast hybrids for an unreleased Van Morrison album, and designer Ed Caraeff suggested superimposing a photograph of a sleeping vagrant taken by Charlie Ganse to make the cover for The Royal Scam. In the liner notes for the 1999 remastered reissue of the album, Fagen and Becker called it has “the most hideous album cover of the seventies, bar none (excepting perhaps Can’t Buy a Thrill).”

Tom Nikosey is credited with the typographic design.

[More info at Discogs]

The back cover

German sleeve for the first single from Steely Dan’s second album Countdown to Ecstasy (1973), featuring both weights of Letraset’s Cut-In. The designer used underlines and some of the included alternates to turn the Bauhaus-inspired design into a semi-connected face with novel ligatures.

Photography by Dorothy White