Radiohead "Meeting People Is Easy" Promo Postcard 1998

A promo postcard letting us know that there's a new video coming out featuring a film by Grant Gee about the popular beat combo Radiohead. A barrel of laughs to be sure - "A Hard Day's Night" it ain't.

Paul Weller "Out Of The Sinking" Promo Postcard October 1994

The third coming of Paul Weller... frankly the public had written the former Jam front man off after the demise of The Style Council, who today in the cold light of 2012 seem like the most unlikely band project ever to grace the charts - what on Earth was going on there, and how did they manage-stroke-get away with it for six whole years?. Weller quietly found himself a record contract with Go!Discs, and plugged away with a couple of "back-to-basics" solo albums, the eponymous first of which found critical acclaim but average sales; the second, 1993's "Wild Wood" doing far better, gaining widespread plaudits and considerable commercial success, with three singles gracing the top 20 (in fact, whilst looking this up I've noticed he's actually had a staggering thirty-one top 40 solo singles over the period from May 1991 to April 2010.) 

With the boom in British rock music handily coinciding, Weller's commercial reawakening along with namechecks from the likes of Liam and Noel Gallagher placed him in the bizarre position in the media as the so-called "Modfather" of Britpop. "Out of the Sinking" was initially an interim single released in the Autumn of 1994 between "Live Wood" (the inevitable stop-gap live album) and 1995's soon to be mega selling "Stanley Road", before being re-recorded for that album, nicked by Sky as theme for Sunday Football, and then re-released on the back of that. And a cracking good single it is.  

This is a promo postcard sent out in October 1994.

Erasure "Cowboy" Promo Postcard 2000

Erasure's new album! Hurrah! Err.. hello? Anybody there? Nope, the general public had fallen out with Erasure by 2000 and were selling to the fan-base only. The days of instant top ten hits seemed well and truly over. It's not surprising really, as "Loveboat" was the third average album in a row after "Erasure" and "Cowboy". And just look at the cover. Awful. The lead single "Freedom" was okay, and made a dint in the top 30 by reaching 27, but it seemed Vince and Andy were doomed to get left in the 20th Century.

Fortunately, after a few years off, Erasure's fortunes were revived in 2003 with a cover of Peter Gabriel's "Solsbury Hill", and the second chapter of their career began in earnest, becoming more successful as a top live act than selling albums and singles.     

Embrace "Hooligan" Promo Card 1999

Whatever happened to Embrace? There's been no sign of them since their 2006 England World Cup song. Ah well, the mysteries of pop. Here's a card publicising their kazootastic single "Hooligan" from their "as yet untitled second album" which would go on to sell considerably less than their "half-million selling" "The Good Will Out". Embrace CDs are available in all good charity shops and Cash Converters stores nationwide. Usually. 

"Hooligan" reached number 18 in the charts way back in November 1999 and is still rather good. You'll note that the bottom of the card implores you to return the enclosed reply card and include your e-mail address if you've got one. Oh dear, it was the beginning of the end for promotional mail-outs...

Heineken Music Festival, Preston - Flyer 1994

A flyer publicising something you don't see these days. A free music festival.

This was I think the second Heineken Music Festival to be held in Preston, and a grand line up it was. Of course, idiot me doesn't go on the Saturday to see Oasis. Oh no. I think it was The Boo Radleys headlining that put me off.

But I did go down to Avenham Park and braved the pouring rain on the Thursday to see my faves Inspiral Carpets, supported by the (then) little known Shed Seven, who I'd seen earlier in the year supporting Suede at the Blackpool Tower Ballroom. The Inspirals were promoting what turned out to be their final album "Devil Hopping" and were in fine form for a band close to splitting up.

I can't remember much about Baby Chaos (there was a promo card for them which I sent off) but the Sheds and Inspirals were excellent, and the big tent leaked the  alarmingly.

Don't forget - large cans from only 89p.

Blur "Beetlebum" Promo Postcard 1997

Wow. We never expected this. Blur shed their "cheeky chappy music hall" image and go lo-fi. Signifying a back-to-basics approach seemingly led by guitarist Graham Coxon, "Beetlebum" placed Blur back at the top of the Britpop Premier League after a few missteps with "The Great Escape" allowing Oasis to barge in and sit in the driving seat as Britain's biggest band.

"Beetlebum" went straight in at Number One, their second to do so, the previous being the notorious "Country House" during the Britpop battle of Summer 1995.

The artwork from here on is a departure from the preceding years. No more spoofs of beer mugs or condom packets. Here we've got someone lying in the leaves looking well out of it, reflecting the lyrical content.

Full marks again for issuing it on 7" red vinyl, and look at the tour dates. Cheap and available by queueing only. Those were the days, eh kids?

Pulp "Common People" Promo Postcard 1995

A small card to tell us that Pulp have a new single out. The pre-release "buzz" for this was massive - "Common People" was going to be the smasheroonie of 1995. It seemed to be Pulp's time to take the spotlight, with Blur and Oasis taking a time out before the release of their new material later that Summer.

And the buzz wasn't wrong. This was their best single yet, lovingly packaged in a sleeve by the awfully talented Designers Republic. It stuck at Number Two, but became Pulp's biggest hit and their (and probably Britpop's) anthem.

The stakes had been raised. Your call Albarn & Gallagher.

Oasis "D'ya Know What I Mean?" / "Be Here Now" Promo Mailouts

"As you may have heard, Oasis are back." There read the tag line on the latest Oasis mailing list promotional card, and in the mid-summer of 1997, you couldn't avoid them. A now legendary ridiculous publicity campaign would begin here with the first single "D'You Know What I Mean?" and then the accompanying third album "Be Here Now". Overblown isn't the word. And really, although nothing could live up to the hype generated by Creation and the media (most of whom slagged "Morning Glory" and got caught out of step with the public taste by it's massive success), the record wasn't that good. Not bad by any means, but in need of someone during the making of it to take the band aside and say "no". No to seven minute songs with interminable feedback intros and outros, no to overdone guitar solos, no to Johnny Depp, no to songs that two years earlier wouldn't have made an extra track on a cassette single.

"Be Here Now" was and remains a bit of an own goal. It could have been brilliant, had Noel saved some of his better songs for the album and not tossed them off as extra tracks on singles. Or if someone had decided to edit the bloody thing down to a reasonable length. As Noel admits now, it was a creation of the rock and roll lifestyle in which band had now found themselves immersed - open the CD box and you expect a couple of grammes of coke to fall out of the booklet. It was a product of indulgence and everybody got swept up in giddy excitement. I was as guilty, having been there since day one when "Supersonic" was released one gloomy Monday in 1994. I couldn't wait to hear the new stuff - would they up their game in the same way Blur did earlier in the year with "Beetlebum" and the "Blur" album? It was promising... "D'Ya Know What I Mean?", overlong as it was, was a classic Oasis chugging anthem, and sounded great LOUD. The signs of something amiss were apparent listening to the rest of the CD single... "Stay Young" had a great Liam vocal but treaded old ground musically and lyrically, "Angel Child" stayed a demo for good reason and the cover of Bowie's "Heroes" was abysmal. Where's the quality control?

And the album was no better really. Six good tracks, the rest poor. I won't state what they are, it's obvious. Never write a song with "Pie" in the title. Honestly I can say I've never played the CD all the way through since I bought it. Actually I can say that for all their following albums as well.

So that was Oasis then. As big as they would ever be, but from here it would be a slow, slow bumpy ride to the inevitable split.

I wish I'd ordered that boxset though.

Electronic "Vivid" Promo Card 1999

Another big postcard to promote the return of Electronic, and their first single "Vivid" from their third album "Twisted Tenderness". The back of the card tells the full story of how the album came about - it's always been a disappointing album for me, kind of getting away from the original "New Order meet The Smiths" vibe of the magnificent first album. Anyway, I didn't receive any more mail-outs after this one, as Electronic were once again put on hold whilst Barney went back to New Order and Johnny Marr had his own band The Healers.

Dubstar "No More Talk" Newsletter 1997

More bizarre design for "No More Talk", Dubstar's first single from their forthcoming album "Goodbye". This is a newsletter issued at the end of June 1997, which also implores the reader to return the enclosed card to stay on the mailing list. The single scraped in at No.20 in the chart, and plummeted the following week, in the classic "everybody buys in week one" scenario we saw through the 90's.

Depeche Mode "The Singles 81>85" Promo Postcard 1998

Mute Records decided to repackage the original DM singles compilation for 1981 to 1985 in the style of the latest compilation, and jolly nice it looks too. Two bonus tracks always help as a sweetener.

James "Runaground" Promo Postcard 1998

Another big postcard through the letterbox, informing that James have a new single coming out. The second of the two new tracks recorded for the "Best Of", "Runaground" is what they call "a bit of a grower". It's not classic James but passes three or so minutes entertainingly enough.

It only got to 29 in the charts though, despite the three CD Singles - fans only bought this one methinks, and the general public will have bought the album instead.

Pulp "Help The Aged" Promo Card 1997

This was the promotional card sent out to publicise Pulp's first offering following the massive success of the "Different Class" album and singles. "Help The Aged" was a change in direction, slower and less immediate, and gave a hint as to the sound of the album which would be released the following year. "Help the Aged" reached number 8, but would be their last single to trouble the top ten. Extra track on the formats was Jarvis's rejected Bond theme, cunningly retitled so you'd never know...

Pet Shop Boys "Drunk" Promo Postcard

Pet Shop Boys go down the sneaky "Iron Maiden" route of releasing a single in the quiet post Christmas period when nobody releases anything in order to score a Top Ten hit.

Lo and behold, a number 8 hit, improving on the previous two singles placings in the 'teens. It's a great track though from an otherwise lacklustre album.

CD3 was excellent by the way, with terrific live versions from their recent "Nightlife" tour. Ooh and a slipcase. Nice.

James "Jam J / Say Something" Newsletter 1994

A mailout with all the latest James news from early 1994.

The Beautiful South "Blue Is The Colour" Promo Beermat

The Beautiful South beermat. Why not?

This was sent out to promote their "Blue Is The Colour" album in 1996. I recall they decked out several pubs up and down the UK with flyers and posters to publicise the release. Paul Heaton now owns a pub, the King's Arms in Salford, which seems entirely appropriate. "Blue Is The Colour" was the band's first album since the release of the multi-platinum selling "Carry On Up The Charts" singles compilation, and like many other bands releases following a greatest hits (see James for example), did okay but not outstanding, and thus the downward spiral in sales begins, until the next "Best of"...

Louise "No Sweat" Tour Flyers

These flyers are here for no other reason than I liked Louise Nurding. So there.

Oasis "Live Forever" Newsletter July 1994

A mail-out newsletter from Oasis, informing fans of the forthcoming release of "Live Forever", their third single release. You'll note they've got an album release at the end of August. No title given.

Pet Shop Boys "Bilingual Special Edition" Promo Postcard

Generally known as the album where the wheels fell off, "Bilingual" saw the Pet Shop Boys "Imperial Phase" come to an end. Or at least popular opinion would have it. The singles "Before" and "Se A Vida E (That's The Way Life Is)" did respectably in the charts, reaching numbers 7 and 8 respectively, and the other singles reached the top 20. So why the bad reputation? Was it the lack of a tour to accompany the album? Was it the overt Latin feel on some of the tracks? Was Neil Tennant's disclosure that he was gay a factor? Maybe, but perhaps the real reason is that it was just dull. Yes, dull, which they'd never been before. Even Farrow's art work was below par. Bored of white? Try yellow.

So it was that Parlophone tried to revive sales of "Bilingual" on the back of a hit cover version of "Somewhere" by issuing a "Special Edition" of the album with a bonus disc of mixes. "Limited" it was, and who are we to doubt them? Apart from the fact you can easily pick up a copy today. Anyway, enjoy the promo postcard from 1997. 

Orbital "Style" Promo Flyer March 1999

Here's a nice bit of Mark Farrow design on a promotional flyer for Orbital's "Style" single. This was the first single from their "The Middle Of Nowhere" album, the follow up to the best selling "In Sides" from 1996. They'd become a massive live act since the early nineties, as well as soundtracking computer games and movies ("The Saint") and there were high hopes for this album. Alas, it never got the recognition it deserved for some unknown reason. Which is a shame as it's one of the Hartnoll brothers' best IMHO. "Style" reached the giddy heights of number 13 in the singles chart, and was their last brush with the Top 20 to date.

Tickets £12. Bloody hell, that takes me back.