First released by United Artists Jazz in 1962, this is Solid State’s 1968 reissue of King Pleasure’s Mr. Jazz album, with a more attractive cover, designed by Alex Gnidziejko.

The spectacular three-dimensional typeface is Relievo No. 2, patented by Richard Smith for MacKellar, Smiths & Jordan in 1879. The border elements at the left and right are part of the typeface, too, see them in a period specimen.

[More info on Discogs]

Detail

An undated business card for Jane Lander, who was a representative for Push Pin Studios between 1960 and 1967.

Designed in the neo-Victorian style that was popularized by Push Pin and others in the 1960s, the chosen typefaces all date from the 19th century.

“Jane Lander” is in an Ornamented face with concave stems and pointed terminals in the shape of concave diamonds. This style appears in Boston’s catalog from 1860. There are considerable differences across the sizes, and also between the cuts sold by various foundries. The wide R matches the Two-Line Great Primer Ornamented No. 6 as shown in Farmer’s 1867 specimen. This cut is also listed as 36 Point Ornamented No. 16 in a Morgan Press foundry type specimen, which might have been the source for Push Pin Studios. It’s paired with a light Ionic or Clarendon that’s also used for the smaller text in green.

“The Push Pin” likely is lettering – the P in “Push” appears to be inspired by Crayonette. The typefaces used for the names in cartouches and boxes are the left-leaning Pisa (1897), the dramatic Relievo No. 2 (1879), Rimmed Condensed (1866), and Ronaldson Condensed (before 1889).

Jefferson Airplane Takes Off is the debut album from psychedelic rock band Jefferson Airplane, released in 1966. The cover features a rare (and slightly squooshed) use of William Millstein’s Orientale, with what appears to be hand-rendered outline and shade effects. The floating ‘O’ in the band’s name, with wavy lines below, looks like it was made by raising the baseline of the lowercase ‘o’. There’s also a notably large use of Relievo No. 2.

1968 album from blues artist Aaron “T-Bone” Walker. The credits for “liner design” are attributed to Joe Lebow.

Laini (née Sylvia Abernathy) designed several record covers for Chicago-based Delmark Records in the 1960s. She is one of the few African American women of the period to be credited as a designer.

Read more about Laini in a piece by Florence Fu at Letterform Archive:

Among her album designs, the cover for Joseph Jarman’s Song For… is the most elaborate and typographic, making modern use of antique typefaces, including the Victorian-era Relievo No. 2 (1879) and Windsor Outline (1904). Futura Black and Broadway form a dizzying text frame. Unlike other albums of the time that either take on a cool, mysterious attitude with tinted monochrome photography, or a bouncy, energetic character with kinetic type, Abernathy takes a different approach. By only using contrasting colors of red and green, she produces a vibrating, psychedelic effect where their edges meet — echoed by the optically-ambiguous mirrored portrait in the center.