Blog: The Typography of Record Covers

Typography is everywhere. You can’t escape it or ignore it. It’s on your phone, your TV, that packet of ginger biscuits you just polished off with your tea no doubt was prised from a packet with typography on it too. An amble around the Cover Heaven record covers will quickly demonstrate the sheer variety of typefaces used throughout the decades. The development from the fifties to the eighties in the way type looks is clear. It’s always a delight to be able to identify a typeface (aka “font”). One such example is this record cover from 1974.

Joe Loss and His Orchestra - Dance At Your Party

This is “Dance At Your Party” and the title is presented in a cracked-mirror-like type presumably to convey the earth shattering nature of the kind of party you might have were you to dare to place the needle onto this record. The typeface used is in fact Lower Westside also known as LowWe. As a demonstration of how important it is that the typeface is used with the appropriate words, here’s what is looks like when used for this site:

As you can see it doesn’t work well here at all.


Here’s a different typeface altogether as used on Frank Chacksfield’s “Hawaii” LP from 1967. In this record cover we see the use of the typeface “Hobo Std”

This has been a popular typeface throughout the 20th century and beyond and it may surprise you to learn is was created in 1910. Perhaps its use here was because it has kind of “sway” and a curviness to it, like the palm leaves and hips respectively of fabled Hawaiian life! This typeface may also ring a bell with some of you; maybe you’ll recall its use on this famous film poster.

Again context is everything, here it is as used for this site:

It doesn’t appear quite as ill-suited as the previous typeface but we won’t be swapping it over any time soon!

Have fun checking out the endless typefaces you see on record covers, and everywhere else for that matter.

CH

Blog: The “Sound-alike” Record Industry

The record output of the sixties and seventies was peppered with what we may call sound-alike albums. Records made up entirely of remakes of the top hits of the day. These albums aren’t to be confused with interpretive cover versions that add a new twist to songs or present them in new and different ways like Joe Cocker’s “With A Little Help From My Friends”, or Aretha Franklin’s “Respect”. The ones we are talking about here were aimed to be as precise a copy as possible to the original in an effort to make the listener feel they were getting two sides of hits for not much more than the price of a couple of singles. By far the most well known of these efforts, and the longest running and most successful, were the “Top of the Pops” series of albums which ran from 1968 to 1985. In total 92 volumes were released in addition to a few Best Of albums.

Though sharing the same name the Top of the Pops series of albums had nothing in connection with the long-running TV series. The BBC, who produced the Top of the Pops weekly programme hadn’t thought it necessary to trademark the name so the record makers wasted no time in grabbing the name for themselves knowing the record buying public would hopefully assume the two were connected. You can view a selection of these here in Cover Heaven.

There were many competitors to the Top of the Pops series inclduing “Hot Hits”, “12 Hits”, “16 Chart Hits”, “Pick of the Pops” and so on.

Alongside these “versions” releases was a further strain that sought to devote an album to a particular artist usually using less than subtle design tricks to fool the record buyer into believeing they were getting the original artists’ recordings. The most common of these was the prominence of the covered artist’s name on the cover with the accompanying text that revealed it was not the actual artist in much smaller type.

Among several examples we have in our collection are:

Sounds Like James Last
Sounds Like Ray Conniff
Sounds Like the Carpenters
Million Copy Sellers Made Famous By Tom Jones
Engelbert Humperdink songs
Chartbusters Salute the Hits of Gilbert O’Sullivan

These kind of records clearly wouldn’t be met with any enthusiasm today but back then they sold in such healthy numbers as to make the genre a sub-industry of its own.

CH

Ray Conniff – Honey

Sleeve Notes:

The dramatic photo of Ray conducting was taken as he was working with the Singers at the recording sessions of this album. “The interpretations and performances of these contemporary songs by the Singers are certainly some of the very finest we have ever recorded, were Ray’s own words at the close of the sessions. As you listen we’re sure you will agree that the fresh new sounds on this album rank well up there with, if not above, some of their more recent releases such as “Somewhere My Love” (S) 62740.”This Is My Song” (S) 63037 and “It Must Be Him” (S) 63247

Ray Conniff - Honey

Label: CBS 63334

1968 1960s Covers

Ray Conniff – Memories Are Made Of This

Sleeve Notes:

Ray Conniff has developed a completely new and refreshing sound in the field of popular music. His sparkling rhythmic treatments, with a vocal chorus used as a section of the orchestra singing syllables rather than words, were one of the freshest new ideas in popular music since the early Forties.

There are several distinct qualities that are always found in any Conniff album. First of all, the vivid sound. To achieve this, Ray has worked many long hours with the sound engineers. The choice of songs is always tasteful and musically the Conniff orchestra is always superb, because of the painstaking efforts of its perfectionist conductor.

Ray has always had a special knack for featuring great musicians on his albums. Billy Butterfield plays a beautiful trumpet solo on “Love Letters in the Sand”. Bernie Leighton is the featured pianist throughout the album, and Doc Severinson plays that exciting trumpet on “Three Coins in the Fountain”.

The twelve songs selected for Ray’s new album are among the biggest hits of the past ten years, and each is certain to recall many pleasant memories to all listeners.

The title song, “Memories Are Made of This”, gets things started with a delightfully happy sound and infectious beat. A new Conniff rhythmic sound is heard for the first time on “Tammy”, as flamenco rhythms of guitars add a new richness to the orchestra’s Latin beat. This same treatment is used to exciting advantage again on “Around the World”, “No Other Love”, “Three Coins in the Fountain,” and “My Foolish Heart”

Ray Conniff - Memories Are Made Of This

Label: Philips SBBL 604

1960 1960s Covers

Tom McClure – Tribute to Jim Reeves

Sleeve Notes:

Jim Reeves did more than any other artiste to extend the appeal of Country music far beyond the confines of Nashville. It began with a haunting ballad called Four walls, recorded in 1957. Till then, Jim had been on the pure Country kick. With Four walls, he broke the barrier into pop, and sold a million. Two more million-sellers followed – He’ll have to go and Adios amigo. In between the million-sellers, Jim Reeves was recording a string of wonderful, easy-going ballads like Welcome to my world, I won’t forget you and I’m getting better. On the 31st July, 1964, he met an untimely death in a ‘plane crash. But the songs he made famous live on, and here Tom McClure and Ray Merrell have re-created 12 of his biggest hits, superbly performed in the warm, relaxed and intimate style of the maestro, and recorded in brilliant stereo for your enjoyment.

BILL WELLINGS

Tom McClure - Tribute to Jim Reeves

Label: MFP 5259

1972 1970s Covers

Ray Conniff and the Singers – Bridge Over Troubled Water

Ray himself sings on Honey Come Back, at first a sort of spoken cantor but fully committing during the chorus backed by “the Singers”.

Sleeve Notes:

Most of you reading this already know the instantly identifiable sound that is Ray Conniff. You are familiar with the Conniff mystique and are going to buy this record no matter what it says here on the back, because you know if its Conniff it’s going to be great. But the Conniff greatness didn’t just happen. The LP in this jacket is – “like all Conniff records” – the product of years of hard work, devotion and imagination. It is testimony to the musical genius who created it and gave his name to the sound pressed in its grooves.
Like all great things, the music that is today known as “The Conniff Sound” took time. Ray studied under that toughest of teachers, Experience: by the time he was ready to graduate, Ray Conniff had rewritten the textbook. His long list of hit arrangements include some of the all-time best sellers like: Don Cherry’s “Band of Gold,” Johnnie Ray’s ‘Walking in the Rain,” Frankie Laine’s “Moonlight Gambler,” Guy Mitchell’s “Singing the Blues,” and Johnny Mathis’ “Wonderful, Wonderful,” “It’s Not for Me to Say” and “Chances Are.”
Shortly after his success with “Band of Gold, Roy created what could be termed his Doctoral Thesis, he recorded S’ Wonderful,- The Conniff Sound was born.
Since that first LP, Ray has recorded many great albums for CBS. Nine of them have received the coveted Gold Record Award. Ray has been further honored by receiving a “Grammy” from the Notional Academy of Recording Arts and Sciences for best performance by a chorus on “Somewhere My love”.
Because his very first and succeeding albums have been such great successes, Ray has been termed an “instant success” by some. Nothing could be further from the truth. Like all great artists, musical or otherwise. Ray has matured and improved like a fine wine. His years of service to the greatest bands in the country coupled with his inherent musical genius have resulted in his deserved recognition. The magical “Conniff Touch” transcends musical fads and, fortunately for our and future generations, it will be preserved for years to come in this album.

Tom Riley

Ray Conniff and the Singers - Bridge Over Troubled Water

Label: CBS 64020
Cover photos by Brian Hennesey

1970 1970s Covers

The Hammond Brothers – Hammonds In Harmony

Sleeve Notes:

When Laurens Hammond introduced his first organ, he certainly did not foresee that this instrument would mean a revolution in the world of music. Now, over thirty years later, THE HAMMOND ORGAN has a unique reputation as being the finest organ available. It is used in churches, concert-halls, recording studios and homes, and many musicians owe much of their reputation to the instrument, among them JIMMY SMITH, JACKIE DAVIS, ETHEL SMITH, EDDIE LAYTON and KEN GRIFFIN, world-famous artists in their particular styles.
Now, the Hammond Brothers (in reality well-known Belgian organists Jan De Nef and Co Pilley) have joined forces, with the aid of a Hammond Concert Organ and a Hammond Luxe Spinet, to produce, after long hours of experimentation and rehearsal, “Hammonds in Harmony’.
The arrangements (by T. Rendall) were made specifically with stereo reproduction in mind and the selection of titles was chosen for the possibility of unique chords and harmonies. No tricks have been employed in the recording, the organists played in the studios just as you hear it on the record.
Surely, a Hammond record with a little “something” extra.

The Hammond Brothers - Hammonds In Harmony

Label: Studio2Stereo TWO 244
History of the Hammond Organ

1967 1960s Covers

Percy Faith – The Sounds of Music

Percy Faith’s music requires that you participate in a deeply involving listening experience. And you will be very happy that you did.

Sleeve Notes:

In these days of pop-schlock and gimmicks, it is so refreshing to turn to a conductor-arranger such as Percy Faith. We say “these days” but, really, hasn’t it always been so? You see, Percy has always stayed with a very simple thing. It’s called music – simple, tasteful music. He has taken the best popular songs around and handled them, arranged them as if they were of the same substance as the classics. And, just by the way, he has made them sound like the classics –  beautiful and imperishable.
The title of this album is well taken – “The Sounds of Music.” Those are the sounds that Percy produces always. While every number in this collection is an acknowledged “standard,” songs so strong that any competent arranger could score with them, Maestro Faith gives them that added touch of taste he is so famous for, and they become bigger than ever, more memorable than ever.
Unlike so many “pop” conductor-arrangers, Percy’s music is emphatically not background music, something to play behind party conversations or something to turn on softly while you dine. There is too much beautiful content to it, too much in the way of rich arrangement to half-ignore as mere background music.
Percy Faith’s music requires that you participate in a deeply involving listening experience. And you will be very happy that you did.

Percy Faith - The Sounds of Music

Label: Hallmark SHM 651
Biography of Percy Faith

1969 1960s Covers

Danny Street – Engelbert Humperdink songs

A common ruse to part punters from their pounds – display the name of a very famous singer (Engelbert Humperdink in this instance) in large print and then in much smaller print on the back reveal the fact that these are not actually sung by that famous singer but by someone you’ve very likely never heard of.

Sleeve Notes:

Engelbert Humperdinck (that unusual name) attracted everyone’s attention when he appeared on the pop scene with “Release Me”. He has never lost it. The name was a gimmick, but the voice and songs of Engelbert needed no gimmicks. This album has all his World Wide greatest hits such as ‘Release Me’, ‘The Last Waltz’ and ‘Bicylettes De Belsize’. All are beautifully recorded and arranged with a voice – a very famous one (but not Engelbert’s, of course) – that may make you scratch your head with wonderment

Danny Street - Engelbert Humperdink songs

Label: Boulevard 4057
History of Boulevard Records

1971 1970s Covers

The Waikikis – Song of the Islands

Sleeve Notes:

In direct contrast to the frantic, frenzied, frenetic pop music of the Western World, the haunting, romantic, nostalgic music of Hawaii evokes visions of Sunshine, Surf and Sea.
In both musical styles the guitar is the chief instrument, but to what different ends! On the one hand we have beat, aggressive rhythm and a brash yet not unattractive harshness; on the other, a gentler, soothing, melodic sound with a subtle hint of sadness.
There is an indefinable something about Hawaiian music that reaches to the very heart; and the Waikikis – exponents of Hawaiian music in excelsis – take the basic melodies, smooth them, polish them, add their own inimitable orchestrations and then play their hearts out to reach right into your heart.
On this album you will hear some of the most popular Hawaiian melodies played by the Waikikis – and that is hearing Hawaiian music in its superlative best. Just settle in your armchair and let the Waikikis waft you away to blue tropical skies and a dream world of peace and contentment.

The Waikikis - Song of the Islands

Label: Hallmark HMA 248

1973 1970s Covers