Source: www.abebooks.com Between the Cover. License: All Rights Reserved.

Front panel of the 1974 book jacket

Jimi. An Intimate Biography of Jimi Hendrix was authored by fellow musician Curtis Knight (1929–1999) and first published in hardback in 1974. Praeger issued a paperback edition by 1976.

Source: www.amazon.de License: All Rights Reserved.

Back, spine and front panels of the jacket

Photo: Martyn Wilson. License: All Rights Reserved.

Front cover of the paperback edition

Photo: Martyn Wilson. License: All Rights Reserved.

Back cover of the paperback edition

This is a wild one. In 1972/73, a record company known as Audio Tape, Inc issued two pirated vinyl box sets containing music from various Beatles albums without any credits, in an attempt to exploit the Sound Recording Amendment of 1971.

From Discogs:

The “Alpha Omega” box set was a pirate/illegal collection of Beatles recordings sold in a four-part 8-track collection and 4LP box set in 1972. It also included several then-contemporary solo tracks, and was advertised in print, on TV, and radio, and sold via mail order. This compilation was sourced from American Capitol LPs featuring the Dave Dexter, Jr. edits found exclusively on those albums – compression, bass reduction, and additional reverb. Some of the tracks were edited haphazardly; Sgt. Pepper’s Lonely Hearts Club Band fades out early, for example.

Either a group or person titled Art Wing designed the cover, which uses Charles Papirtis’s Pink Mouse shaded “E” style, issued in 1970 by Photo-Lettering, with News Gothic used for the back titles. Alternate colored sleeves were produced along with single color ones. CD releases were also produced further in time with the same full-colored cover design.

Cover with color

Releases without “ΑΩ”, includes the numerals 1 and 2 for Pink Mouse

Detail

CD release

Mark Radice (b. 1957) had an early entry into the world of music. The son of a well-known recording engineer, he started writing songs at the age of seven – and got a record deal with RCA Records the same year.

Shown here is the cover of his full-length debut LP, released in July 1972 on Paramount Records. The design is by Sid Maurer (1926–2017), who himself entered the business at a younger age than most others: he was hired by Columbia Records as assistant art director at seventeen. Maurer is also credited with the personal management of Radice. For the type, he chose the contoured and shaded Papirtis Pink Mouse E, set on a circle.

[More info on Discogs]

Pink Mouse, designed by Charles Papirtis and issued by Photo-Lettering is used in all caps from its contoured and shaded “E” style for Wilson Pickett’s Don’t Knock My Love album, released on the Atlantic label in 1971.

[More info on Discogs]

From Blue Note:

John Patton, often known as Big John Patton, was one of Blue Note’s busiest soul-jazz organists during the golden age of the Hammond B-3s. Between 1963 and 1970 Patton cooked up 11 albums’ worth of material as a leader and sat in with a dizzying procession of skilled improvisers, and his best work has since been compared with that of tragically short-lived innovator Larry Young. Patton also enjoyed a long overdue comeback during the ’90s when he collaborated with saxophonist and composer John Zorn.

The cover of his album Accent on the Blues from 1969 was designed by Bob Venosa. He made early use of Papirtis Pink Mouse, and specifically its contoured “C” style, in all-lowercase letters.

[More info on Discogs]

Movie tie-in edition from ca. 1974

When “Rock Around the Clock” returned to the U.S. charts in 1974 after being used as the theme for the movie American Graffiti (1973), Pickwick Records brought out a new pressing of a best-of compilation by Bill Haley and the Comets, featuring a cover design that was already used for their 1970/1971 issue. The same album was first released in 1968 under the title Biggest Hits.

The main typeface is Pink Mouse (PLINC, 1970) by Charles Papirtis, here used in its “E” style, i.e. with contour and drop shadow, in trichromatic lowercase letters. The song titles are in all-caps Futura, likewise set on an angle. The movie tie-in edition adds Frankfurter with Univers.

[More info on Discogs]

An earlier pressing from 1971, without the reference to American Graffiti

Source: archive.org Internet Archive. License: All Rights Reserved.

Fonts from the Flea Market #1258

Two styles of Papirtis Pink Mouse, “D” (with heavy outline) and “E” (contoured and shaded), both used in all caps, for the cover of a compilation of disco and funk music. The featured artists are listed in two colums of center-aligned text, with the song names set in Helvetica caps, framing six square snapshots of the dancing party crowd. Cover design by Ted Pettus at Kameny Associates, Inc.

The Spring Records logo is set in Skin & Bones featuring its alternate g.

[More info on Discogs]

Two of the spurless geometric sans-serif designs from Photo-Lettering, Inc., used together for the first edition of Space for Hire, a science fiction novel by William F. Nolan (b. 1928). The heavy one used in all-lowercase letters for the title is Pink Mouse E, the contoured and shaded variant of a series drawn by Charles Papirtis. Nolan’s name and the refererence to his earlier novel Logan’s Run are set in Ed Benguiat’s Bauhaus Geometric, a precursor to ITC Bauhaus (1975). Both typefaces were first presented in PLINC’s Art Deco catalog (Alphabet Directions no. 11) from 1970, with “Decotypes For The Dynamic Seventies”. They also appear together on the cover of Our Time is Now (Bantam, 1970).

[More info on ISFDB]

Magnum Books #74778, 1971.

Papirtis Pink Mouse E for the cover of the paperback edition of Barry N. Malzberg’s Beyond Apollo, published by Pocket Books in 1973. Cover art by Charles Moll. From Goodreads:

A two-man mission to Venus fails and is aborted; when it returns, the Captain is missing and the other astronaut, Harry M. Evans, is unable to explain what has happened. Or, conversely, he has too many explications; his journal of the expedition—compiled in the mental institution to which NASA has embarrassedly committed him—offers contradictory stories: he murdered the Captain, mad Venusian invaders murdered the Captain, the Captain vanished, no one was murdered and the Captain has returned in Evans’ guise.

See also the jacket of the hardback edition by Faber & Faber, which likewise presents the title in two stacked lines of geometric sans-serif caps (but avoids tacky depictions of half-naked Venusians).

“Published in 1970, Our Time is a collection of writings from high school student published underground newspapers from the late sixties.” — Anthony Buccino

“There were a bunch of these high school underground free press digests published in the ’70s ✊ My high school didn’t have a newspaper so we made zines ?” — Sean Flannagan

The fonts on this paperback cover of Our Time is Now were very fresh at the time, released within a few months of this Bantam edition. The title type epitomizes the Burko / Bauhaus / Blippo style that really took off in the early 1970s, but this particular typeface is much heavier than most, with a deep shadow. The name is Papirtis Pink Mouse by Charles Papirtis, first shown by Photo-Lettering, Inc. in their 1970 catalog, Art Deco. (Unfortunately, the ‘N’ is cruelly stretched to get some extra height.) The small type is Bauhaus Geometric, precursor to the much more common ITC Bauhaus.

Five styles of Papirtis Pink Mouse (then unnamed) in Photo-Lettering’s Art Deco catalog, 1970.