Wikipedia:

Sound Affects is the fifth studio album by the English rock band the Jam. The album was released on 28 November 1980 by Polydor Records. It is the only Jam album to be co-produced by the band themselves, and contains the only album track co-written by the entire band, “Music for the Last Couple”.

The cover art is a pastiche of the artwork used on various Sound Effects records produced by the BBC during the 1970s.

Jam frontman Paul Weller has opined that Sound Affects is the Jam’s best album.

Despite being a tribute to the BBC Sound Effects records, the album title uses a surprisingly different font: Vineta, in italic caps with shadow. “JAM” and “NO. 80” appear to be added in Univers Bold Italic. “POW!” is in Stencil. The artist and title on the back useEurostile Bold Extended, accompanied by Helvetica.

The back cover of the album features an excerpt from Percy Bysshe Shelley’s poem The Masque of Anarchy.

Cover of the April 1973 reissue with a photo by Ian Dickson. [More info on Discogs]

A choice selection from Bowie’s 1960s output for Decca opportunistically repackaged to capitalise on “Ziggymania”. At a budget price, this LP would prove to be an initiatory purchase for many a young Bowie fan.

Bookman Swash was used consistently throughout the original run of Decca’s “The World of …” series. Accessible, due to price, and prolific, it can be said that the font enjoys an iconic stature among members of a certain generation. See “Quality Street” by World of Twist for perhaps the most notable homage.

The “World of …” imprint has been periodically revived, for CD releases in the 1990s and for the label’s 90th anniversary in 2019 – where, disastrously, Bookman Swash was forsaken). A World of Morrissey compilation was released in 1995 – in reference to the Decca series – but the gesture was blunted by a failure to utilise Bookman Swash.

The identity of the lettering in the Decca logo, with its distinctive rounded A, and very 1930s look, has so far eluded me - Modernized Alt. Gothic is close, but the A for example has longer stems.

The original release from 6 March 1970 also had typography in Bookman Swash. The photo is by David Bebbington. [More info on Discogs]

The cover of a French single with two songs by Billie Davis, “Make The Feeling Go Away” and “I’ll Come Home”. The song titles are set in a condensed version of Roc. Her name apparently is custom lettering.

[More info on Discogs]

Billie Davis’s self-titled debut album from 1970 was released by Decca Records. The album is a mix of genres including pop rock, beat, mod, and soul music. Her name is set in caps from Koster

[More info on Discogs]

Futura Black with an usually wide A, on the cover of the first German pressing of The Who’s My Generation. The debut album by the English rock band was first released on 3 December 1965 by Brunswick Records in the United Kingdom, with an identical cover design. In the United States, it was released on 25 April 1966 by Decca Records as The Who Sings My Generation, with a different cover and a slightly altered track listing.

From Wikipedia:

The UK release featured a cover image of the band standing beside some oil drums and looking upward to the camera, with splashes of colour added by the red and blue stencilled letters of the title and a jacket patterned after the Union Flag thrown over John Entwistle's shoulders. Pete Townshend was wearing his school scarf. For the US release, this was replaced with a portrait of the band standing beneath Big Ben.

Text on the back cover is set in some version of Trade Gothic or similar, distinguished by an oddly narrow S.

[More info on Discogs]

Fonts from the Flea Market #1212

Halloween in use on the cover of Puppet on a String, an album by English pop singer Sandie Shaw (b. 1947). Released by Pye Records in May 1967, it’s named after the opening track with which Shaw represented the United Kingdom in the Eurovision Song Contest 1967 held in Vienna. “Puppet on a String” won the contest, making it the first of the United Kingdom’s five Eurovision wins.

[More info on Discogs]

Cover for an easy listening album first released in 1959 as Tribute to Jerome Kern by Stradivari Strings, Al Goodman’s Orchestra (Spin-O-Rama). Other versions include The Music Of Jerome Kern (Gala Records, 1961) and Ping Pong Percussion Jerome Kern (Spin-O-Rama, 1964). This undated version credited to The Limelight Strings was released by Power Records in the Apple Honey Series probably sometime in the late 1960s or early 1970s.

The band name is in all-lowercase Schmale Herold, the compressed style added to Berthold’s Herold series in 1904. The title combines slightly stretched Umbra, the shaded variant of Ludlow’s Tempo, and Sans Serif Shaded. Track names are set in caps from Windsor Elongated.

Here’s the latest thing in hospital fashions: BODY STICKERS!!

From the Peculiar Manicule’s groovy assortment of mod miscellania. The two sheets of stickers are undated, but the inclusion of ITC Avant Garde Gothic reveals they can’t be any older than from 1970.

“This is a no-no!” uses one of the copies of Mexico Olympic, probably Photo-Lettering’s Olympic or the Lettergraphics version known as Hotline.

The typeface used for “Soft shoulders!” is unidentified. Syncopation is similar.

“Right On” in Stripes, with alternates used to make ligatures. Some of its eight lines were filled in as it was suggested by Letraset.

From the Peculiar Manicule’s superb collection of mod miscellania: A sheet of six colorful stickers with popular 1960s/70s sayings like “Right on” and “Keep on truckin’”. The sheet is undated, but the inclusion of Stripes reveals it can’t be printed any earlier than 1973, when this typeface was first issued by Letraset.

“Pow” is derived from Optex (Letraset, 1970). P and W are customized.

Bottleneck (Letraset, 1972) for “Stay loose”. The bottom-heavy face was designed by Tony Wenman who also created Stripes.

Futura Black for “Keep on truckin’’”. Originally issued by the Bauer foundry in 1929, the modernist stencil face was adopted by Letraset, too.

Full sheet. “Love” appears to be lettering modeled after an extrabold sans. “Wow” is based on Optex.

Kinksize Session is the first EP from British rock group The Kinks, released in the UK in 1964 shortly after their first LP.

The cover features extra-large, all-caps settings of Franklin Gothic and Antique Olive Nord incorporated with a photo of the band to further accentuate the Kinksized sense of scale. The back cover is less confidently styled, using a hodgepodge of British sans-serifs in a somewhat awkward composition.

[More info on Discogs]

This album by singer Tamiko Jones (b. 1945) and jazz flutist Herbie Mann (1930–2003) was released by Atlantic Records in 1967.

Cover design by Haig Adishian, with a photograph by Jerry Czember and Cooper Nouveau Swash 10 by Dave West.

Actress Susan Dey (“The Partridge Family,” “L.A. Law”) in Seventeen magazine, November 1969

A collection of ads for New York fashion brand “The Red Eye”, as shown in two American (teen fashion) magazines from the late 1960s. The type on type logo, made with Futura Black, is used in different versions in the ads. Secondary texts in Futura.

Advertisement in Aileen Fashion Knits, 1968

Susan Dey, Seventeen magazine 1969.

Aileen Fashion Knits magazine, 1971

Caslon Rounded AKA (Old) Bowery for the German picture sleeve of Scott Walker’s first solo single in 1967. “Jackie” was originally written by Jacques Brel and Gérard Jouannest.

The single met with controversy in the UK likely because of lyrics like “authentic queers and phony virgins” and drug references. The song was banned by the BBC and was not performed on the corporation's TV or played on the mainstream radio channels. — Wikipedia

Volta on the German picture sleeve for the sixth single by The Walker Brothers from 1966.

Their worldwide biggest hit. One of the milestones of the 1960s! A no. 1 in the UK, no. 3 in Germany and no. 13 in the US. Originally a song from The Four Seasons. I never heard their version. — Klaus Hiltscher

A mix between mid-1960s American soul and British beat, produced by Andrew Loog Oldham (then Rolling Stones manager), Rik Gunnell, Keith Richards and Mick Jagger. First release on Immediate, a label started by Oldham and Tony Calder in London in 1965.

Mono release

Super song. Great British 1960s Beat.

The Grapefruit were the first signing to The Beatles’ Apple Publishing company, and the launch party to celebrate the event was attended by various fans, plus Donovan and a bearded Brian Jones. Paul McCartney even directed a promo film for the band’s “Elevator” single at London's Albert Memorial. — Opulent Conceptions

“Dear Delilah” was Grapefruit’s inaugural single, which peaked at number 21 in the UK Singles Chart in the spring of 1968. The sleeves for both German releases use Herold.

Stereo release

“Cool Jerk” is a song written by Donald Storball and originally performed by The Capitols. Released in 1966, it reached No. 2 on the American Rhythm & Blues Singles chart, No. 7 on the Billboard Hot 100 and No. 9 on the Canadian Singles Chart. The backing track for this song was actually recorded (secretly) by the Motown house band The Funk Brothers.

Per one of the Funk Brothers, the song was originally to be called “Pimp Jerk.” This was taken from watching neighborhood pimps, who would dance in the clubs, but were too “cool” to do the jerk like regular folks. The producer was afraid that a song with the word pimp in the title would be banned or not receive much positive attention, and had the title changed to its current form. — Wikipedia

Loring Eutemey’s colorful “Swinging London” illustration is complemented by typography in Ed Benguiat’s Buffalo and two-color Sanserif Shade Blockshadow.

To make room for the “Stereo” cartouche at the top, the whole cover design was shifted to the bottom.

Back cover. The album title could be Swiss Gothic Extra Condensed by Photo-Lettering, Inc. or similar. The track list appears to be in Neue Aurora Extra Bold Condensed, probably PLINC’s Aurora Graphic.

Art direction by David Krieger. Illustration by Bernie Karlin.

This is the sleeve of the original US release of “Eight Miles High” from March 1966. The single preceded the band’s third album Fifth Dimension and became their biggest hit after “Mr. Tambourine Man” and “Turn! Turn! Turn!” from 1965.

The cover design is uncredited, but the typeface used for the band’s name, Novel Gothic, was often used by John Berg, long-time art director at Columbia Records. The title is in caps from (Neue) Aurora Bold Condensed, or Anzeigen-Grotesk. See also the 2017 Sundazed reissue with a cover by John Sellards Design, using another popular choice by Berg and Columbia Records, Gothic, paired with Aurora Condensed a.k.a. Inserat-Grotesk.

Photography by Hiro

New Kick! The New Christy Minstrels Sing The Hits of Today and Tomorrow, Columbia Records/USA (1966)