From Wikipedia:

Our Mother the Mountain is the second studio album by country singer/songwriter Townes Van Zandt, released in 1969. It is considered to be one of his greatest recordings and features some of his best known works, including “Be Here To Love Me”, “Snake Mountain Blues” and “Our Mother The Mountain”. […] The artwork for Our Mother the Mountain was designed by Milton Glaser and the album cover features an arresting shot of Van Zandt taken by Allen Vogel.

The heavy geometric sans used for the title looks a lot like Futura Extra Bold (Intertype, 1952). In fact, it’s the earlier Airport Black, issued by Baltotype c.1943. Differences include the smaller counters (see for example the O), the lower crossbar in A, and the lighter middle bar in E, see this 1959 specimen. Photo-Lettering carried an adaptation of Airport Black for phototypesetting.

For the logo of Poppy Records, Glaser used his own Baby Teeth.

[More info on Discogs]

The Fake Nostalgia calendar was created as a collaboration between photographer Hyungyung Jang and graphic designer Jiun Kwon.

Living as a foreigner in Germany heightens photographer Hyun’s sense of continual misalignment with the places she inhabits. Feelings of estrangement from her present surroundings and the unfamiliarity she encounters when revisiting once-familiar landscapes gradually loosen the boundary between memory and reality. Confronted with this disjunction, the artist turns to images rather than physical spaces to construct an imaginary refuge. The places that appear in her work resemble fictional scenes composed from memory, imagination, and fragmented images, rather than direct representations of actual landscapes. This produces an uncanny atmosphere that permeates her photographs and installations.

Her interest in the ways images stand in for reality expands from personal memories to the fabricated natural imagery produced by consumer culture. Calendar photographs, catalog spreads, and decorative objects present standardized images of nature that function as packaged substitutes for the real landscape. Hyun examines how this kind of “regulated nature” (verpackte Natur) circulates between familiarity and strangeness, unsettling and reshaping our sensory experience.

As a graphic designer, Jiun used a combination of Airport Black and Futura Extra Bold for the typefaces in the Fake Nostalgia calendar. Futura Extra Bold is Edwin W. Shaar’s 1952 weight extension of Futura, the geometric sans-serif typeface developed in the 1920s by the German designer Paul Renner. It became widely used in global corporate branding and advertising and came to represent the visual language of industrialization and mass production. Airport Black (c.1943) is the heaviest weight of and a unique addition to Baltotype’s unofficial copy of Futura, functioning as a kind of American, consumer-oriented Futura.

Just as natural imagery in Hyun’s work is consumed as simulated nature rather than an actual landscape, these typefaces also operate within a relationship of originals and reproductions. Image and type share a mechanism of replication that replaces reality, articulating the artist’s concept of fake nostalgia.

This just in…

An early example of the wild and wonderful Stromberg Graphic dated to 1966! For The Troggs’s debut US album (originally released as From Nowhere), the little known typeface created by Harvey Stromberg and issued by Photo-lettering is used in reverse for the album’s name and for the B-side’s opening track, “With A Girl Like You”. Along with that, the trailblazing Cooper Black appears as the typeface below the title for additional songs on the album, with Monotype Grotesque for the tracks and Jere Real’s liner notes on the back. An alternate design for the album eliminates Stromberg in favor of Airport Black, except for the band name.

[More info on Discogs]

The catalog number uses Microgramma.

Detail from back cover

Alternate cover

Baby Teeth in early use on Take a Look, a compilation album by Aretha Franklin, released in September 1967 by Columbia Records. The uncredited designer filled Milton Glaser’s graphic letterforms with a four-color stripe pattern of alternating rotation.

The song names are in Twentieth Century Ultrabold, which was carried by PLINC as Futura Ultra Bold. Interestingly, “Featuring” uses a different, almost identical typeface: judging from the wide A, the round G, and the thin middle bars in E and F, this is Airport Black.

[More info on Discogs]

Design House were frequent users of Airport Black. Baltotype’s extension to their adaptation of Futura can here be seen on the cover of a jazz album released on Allegro-Royale in 1952. Futura is used for the track listing, with Franklin Gothic for other text.

[More info on Discogs]

I Gotta Be Me is the first and only album release by gospel group Gideon & Power. In a feature from August 9, 1971, Newsweek wrote:

Gideon (his full name is Gideon Daniels) is a lanky, black, 30-year-old son of a Georgia church deacon who praises the Lord in a piercing falsetto or a rasping bass, rattling a furious tambourine as he holy-dances across the stage and down through the audience, singing and sermonizing, jerking and jiving in a joyful-noise act that crackles with electricity and drive. Backed by three white and two Filipino singer-musicians who somehow manage to pack all the flailing fervor of a black revival meeting into their voices and gyrations, Gideon conducts his interracial gospel train around the tables and down the aisles, working up “the spirit” with glory-glories and exhortations to the Holy Ghost, bouncing with the vertical jumps made famous by soul-mother Clara Ward, whose songs the group often performs. […] The “power” of their title turns out to come not from the Bible but from New Left rhetoric (“the only reason we picked the name we did,” says Gideon, “is because we can bring power to the people”), and in fact the group’s pitch seems more political than religious.

Album design by Michael Mendel of Maurer Productions, with photography by David Keller and art direction from the Bell staff. Green Buzzard is used with a gradient fill. The heavy sans is Airport Black, used in all caps with so-called sign painters’ quotes.

[More info on Discogs]

Detail: Green Buzzard came in four variants. This is the C style which is distinguished by a pattern of horizonal lines.

Text on the back cover is set in Helvetica.

Long before Edwin Shaar at Intertype added an Extra Bold to Paul Renner’s Futura series in 1952, Baltotype realized that there is potential in a heavyweight geometric sans. While most of their Airport series is a direct copy of Futura, Airport Black is an original addition, cut about 1943.

On this album cover from 1954, it’s used together with Franklin Gothic and less bold style from Futura (technically, it’s probably Airport, too). The song names are shown inside the cowboy’s lasso noose.

[More info on Discogs]

A late 1940s advertisement for Northwest Orient Airlines, as seen in TIME magazine, August 29, 1949.

The condensed face used for the headline and a few other areas is Franklin Gothic Extra Condensed. It’s paired up with Futura and, for the top line, Edwin Shaar’s Flash (with a 0 being used in “Northwest”).

The Northwest Orient Airlines logo pairs Airport Black Condensed (Title?) with Brush Script.

Cover for an album with selections from the musical South Pacific, recorded by the Varsity Singers and Orchestra and released by Gramophone Records in 1954. There’s also a later release with a blue cover variant.

[More info on Discogs]

Billy Swan’s debut album I Can Help from 1974, featuring the hit single of the same name.

Cover design by Bill Barnes and Julie Holiner, with photography by Ken Kim. The typeface is Blimp C (solid), designed by Seymour Chwast for Photo-Lettering in the late 1960s. The text on the sticker is in caps from an extrabold geometric sans, possibly Spartan Extra Black [or rather Airport Black, see comments]. Note the use of sign painters’ quotes.

“The planet was overcrowded — until people started vanishing into thin air!”

Pyramid Publications, NYC, second printing, October 1970. The Dreaming Earth was first published in 1963. In 1969, John Brunner (1934–1995) was awarded the Hugo Award for Stand on Zanzibar, a novel with a similar topic involving an overpopulated world.

Brunner is credited with coining the term “worm” and predicting the emergence of computer viruses in his 1975 novel The Shockwave Rider, in which he used the term to describe software which reproduces itself across a computer network. — Wikipedia

The cover art is by Gail Burwen (1945–2017).

Her outstanding talent led to her to become art director for the National Lampoon. In conjunction with her fellow artists at Cloud Studio in New York, she published Drool Magazine and Cloud Comix with a fresh, satirical outlook of current events.

Burwen’s illustration is combined with Mierop Ginger Snap C for the typography.

Varsity Records 2041. A similar design was used for other recordings by Eric Silver, see Piano Favorites (6965) in red and green as well as Chopin (6985) in red.

Side 1.

Art by Jack Davis.

Side 2 with the half-tone West Bubble Gum Benday

Interior.