The cover shown above uses ITC Serif Gothic (Herb Lubalin & Tony Di Spigna, 1972), tightly spaced, stacked and interlocked, with a red i dot marking a second focal point next to the microphone. The typeface is used with some of its alternates: the uncial E, the descending s, and the spurless r (in “Lord”). This version of the record was distributed by Charlie’s Records in Brooklyn, NY, with “design and graphics by Leo Hoyte for Bon Bagai Inc.”
The album was also issued by the artist’s own Shorty Music in Trinidad, with a different cover, depicted below. It uses another expressive and typical 1970s typeface, Stripes (Tony Wenman, 1973), albeit in less accomplished arrangement, and unfortunately with feeble color contrast, at least in this reproduction. The credits on the back cover read “Artwork/Layout/Type selection/Design: Sam (Langa) RodneyJr.”
In his profile of Tony Di Spigna on Tenth Letter of the Alphabet, Alex Jay has included scans from a 1972 brochure by Photo-Lettering, Inc. showing ITC Serif Gothic & Bold with its alternates.
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In his profile of Tony Di Spigna on Tenth Letter of the Alphabet, Alex Jay has included scans from a 1972 brochure by Photo-Lettering, Inc. showing ITC Serif Gothic & Bold with its alternates.