Top one looks like
Univers Light Ultra Condensed.
or Univers Thin Ultra Condensed.

the type over the blue sky looks like
Friz Quadrata.

and for $10 BJ can tell you what paper they used. ;^D

hee
dunno what PSYCHO is set in …

but in the email confirmation, the first
thing that caught my eye was $10 BJ.
I thought it was spam.

Heh, you’re lucky it got through. :-)

We still haven’t identified the main title. We’re looking for something
like Compacta with a more angular uc “S”.

Or maybe they modified the “S” and the”P” (counter?) of Compacta to have more of the crack on.

This isn’t the right font, but funny.

It’s not exact, but Jay Gothic Extra Bold gets you very, very close if you squooosh

I finally decided to go and look for that book through boxes and dust (hard decision, believe me) but I think it’s been worth it, didn’t remember some interesting details.

Alfred Hitchcock and the making of Psycho by Stephen Rebello, Marion Boyars Publishers.

From the chapter 2 — The Novel

… At Simon & Schuster, the corridor talk pegged Psycho as a sensational read and a highly exploitable commodity. Art director Jeffery Metzner hired graphic artist Tony Palladino to design a title concept that would convey the shock aspect of the storyline. …. The illustrator recalled: “The book and tittle were on the tongues of a lot of people at Simon & Schuster at the time. That title was so descriptive, I let the tittle become the graphic. It was much stronger than any illustration one could do. The guy [in the novel] was quite cracked up, so, in the graphic, I cracked up the lettering to reinforce the tittle.”

From the chapter 9 — Publicity

… First, Hitchcock concentrated not on the stars of the picture but on the title itself. Having taken a particular fancy to the title design for the book jacket by artist Tony Palladino, Hitchcock contacted the advertising agency, McCann-Erickson, to arrange a deal. “[Hitchcock] called me one day,” artist Palladino said, “telling me it was a smashing design and that he thought it would be perfect for the ads for this film. He wanted the lettering to dominate the newspaper and poster advertising, with just a few photographs of the main actors. I found it exciting learning how absolutely pragmatic he was. He preplanned so carefully, he could skim off the fat. I really got the sense he respected creative accomplishment in others.” Palladino received $5.000 for a complete buy-out of his concept, hardly a paltry sum when one considers that novelist Robert Bloch had received little more for the rights to the original book!

And not directly related with the Psycho logo but from the chapter 6 —  Postproduction

… Observed Adler* of his experiences with Hitchcock on Psycho: “We made it work. Oh, god, I would have hated it to work in the Hitchcock office. It was so strait-lace and formal when he was present. Mr. Hitchcock was the most articulate person I ever met. And he always had specific ideas of what he wanted. I was amazed to see that his library in his large office contained more art books and current magazines on graphics than I owned. He would specify specific new type styles that he had seen advertised in Graphis, a magazine mostly graphic artists would get.

*… It was the task of Harold Adler, a movie advertising artist and title design letterer, to make the Bass concepts work on film. (For the movie titles).