#radio music promotion

[undergroundsounds]

[aeolianblues]

Some more promotional Gorillaz CDs sent to our radio station.

Early singles like Tomorrow Comes Today, sent in 2001. The debut album. D-Sides, and second album Demon Days. All with Jamie Hewlett’s lovely artwork!

[stone-cold-groove]

Wings’ Wings at the Speed of Sound teaser ad - 1976.

[yellowmanula]

Jacek Żebrowski na wernisażu Dominika Podsiadłego promuje Rave Fm

[sunburnacoustic]

Track 3 of the US promotional Cave EP that Maverick sent out to radio stations in the US and Canada in late 1999/early 2000.

It's a recording of Unintended from a live acoustic radio session Muse did for KCRW radio in Santa Monica, CA in August 1999, one of their earliest US gigs. This EP only contains Muscle Museum and Unintended, but more songs were played on this session: Falling Down, Overdue, Sunburn and Uno.

Matt sounded kinda nervous on this recording, which I suppose is fair enough given how this session is from before the album came out, before they'd ever properly toured the US, before the massive support slots for RHCP and Foo Fighters that gave them so much confidence in performing and expressing themselves live! Matt's guitar part on this version of the song is also a little different, and he makes a tiny mistake at the start (within the first 30 seconds), he misses a note, and you can hear him just nervously giggling after that. Still, ever the professionals, Muse just carry on without missing a beat, they don't restart the song!

Also god, Matt's falsetto is unreal.

[persephoneflouwers]

It's a new single in Italy too https://twitter.com/radioairplay_it/status/1633769598267932674?s=46&t=mvTAw9jWfh8OZn8f86CleA

Oh good! March 10th, which is tomorrow ✨

[releaseholiday]

[khemistac]

🔥 Fire Comes With The Smoke!💨

Please Share And stream 🙏

[cladriteradio]

Did your grandfather carry a Quikoin coin purse? So did ours! We’ve long wanted to offer a Quikoin emblazoned with our logo as a thank-you to those who help keep our toe-tapping tunes alive and streaming. Now you can have a Cladrite Radio Quikoin all your own! To learn more about the history of the Quickoin and how you can get one, visit bit.ly/CR_Quikoin!

[berlinini]

I have a thought. Do you think that Louis keeps stressing that his music is not pop, its indie/alternative or whatever because he would even be more shunned if he were to try to compete in the pop genre? Do you think that is his way of trying to create a space for himself where they would at least let him be? Unfortunately, he knows he will never be accepted by the wider indie community or will get to play the festivals and stages that those artists play so he has reconciled with that fact and hence is stuck in a no man's land?

Hmmmm I don’t think he has ever defined his musical style as indie? Charlie did for sure. Louis has said the new album is more like the stuff he listens to. And when talking about ooms and silver tongues he described them as punk rock?

I think a good 2/3 of the songs on the new album are still pop. I also think he dislikes the word because it comes with lots of baggage for him (see his famous notes app note). Somehow Louis has also integrated the belief that the music he makes isn’t radio friendly, which is just pure bullshit.

Anyways seeing the different genres on fitf I think he’s just making whatever music he wants to make without trying to fit into a precise category, and he knows he won’t ever be a huge “pop star” and his his ex-boyband label means fans of indie/rock music will always have preconceptions about him. But he makes excellent songs so if people are open to discover his stuff, I’m sure they will admit so.

[faith--in-the-future]

people on twitter dragging him for demand tho because he’s not selling these venues and ngl i feel low-key scared that he won’t sell it and is going to play in empty venues :( i hate the fact that bmg and matt vines don’t have a plan at all to fucking promote louis and his tour. they had so many opportunities ffs, make written all over your face a single and PROMOTE IT, release a fucking documentary and use it to promote his tour, they ‘promoted’ tour along with the album but they didn’t promote the album at all as well 😭 they thought the fans will buy the tickets as always and when it didn’t happen they choose to promote it or whatever they’re doing in the simplest way. it’s embarrassing for them and i can’t even describe how much i hate them. instead of doing these shitty interviews about how louis’ fans are 14 yo maybe they should’ve done with the promotion and stuff better lol fuck them. also i bet louis thinks he was too ambitious with this tour and it makes me so :(

the fans did buy the tickets! I'm sure once all the dates are out and u count the tickets sold they won't be less than what he sold for ltwt the problem is that if u make a bigger tour u HAVE to EXPAND your fanbase, you can't rely on the existing one bc well.. the math just doesn't make sense! and Matt vines is so fucking stupid for saying he doesn't care about radioplay and charts bc bitch that's the only way people van actually listen to his music and become fans !! if u don't make the fanbase grow how can u expect to make the tour grow !! it's DUMB! I'm sure the latam leg will sell easily once the dates are out but Europe and North America are I think around 60% /70% sold rn (which doesn't mean empty venues but considering how little he's charging and how much more everything costs after the pandemic that could very possibly be a problem in terms of covering the costs imo)

i really hope that louis doesn't start blaming himself for this bc it.is not his fault tbh, he isn't a manager or a tour organizer or a marketing expert, he should blame the people who he pays for that and who are clearly not doing their jobs ! and I hope he realizes that this can't go on !

[aeolianblues]

“The masterplan was, there was no masterplan. Except to write good songs. Oh yeah, and to be the biggest band in the world. A modest ambition, but it put Oasis on the road to greatness.”

OASIS - THE MASTERPLAN (1998)

Plus some more pics of Oasis albums we have at our stations, sent to us promotionally by Sony Canada on behalf of Creation Records.

Liner notes below the cut:

The masterplan was, there was no masterplan. Except to write good songs. Oh yeah, and to be the biggest band in the world. A modest ambition, but it put Oasis on the road to greatness. "Me mam always used to say, God loves a tryer," Noel Gallagher says. "And I went, 'Why? Has he got a car?' She went, 'No, a tryer-Not a tyre." So the Gallagher boys did try, and if you want proof of how hard they tried then hear these tracks - B-sides, all of them, made by a band who believe a B-side is no excuse not to care. Outside of Britain it hasn't always been easy to hear Oasis B-sides. But in Britain or anywhere else, they sound majestic played back-to-back.

We open heroically with ACQUIESCE which is one of those all-time "shoulda been an A-side" numbers. (Creation Records certainly thought so, and who could blame them?) The song is about friendship in the widest sense and not, as often speculated, about the Gallagher brothers themselves. Noel sings the chorus because, he claims, Liam couldn't reach the high notes. Or he was in the pub. Whatever, it was written on a slow train to Wales and made possible because Noel likes to travel with his guitar. It's no surprise that Acquiesce is present: via the Internet, Oasis fans were asked to vote on this album's choice of tracks.

But the inclusion of UNDERNEATH THE SKY might have been "influenced" by Noel, who cites this as a favourite song. Its happy-wanderer feel was inspired by a pocket-book of travellers' quotes he came across, and the jollity's enhanced by a four-handed piano part courtesy of him and Bonehead (who tackles the tinkly bits, apparently).

TALK TONIGHT is another self-selecting choice, from Noel's acoustic repertoire. Beautifully tender, its thoughtful air derives from a Texas studio session: Noel was back after his brief flounce from the band on a US tour: "Me and Liam had a disagreement, probably about what shoes he was wearing, so I'd fucked off to Las Vegas." It was an Oasis fan in San Francisco who talked him down off the ledge. The same reflective interlude gave us another song, in HALF THE WORLD AWAY (which is Paul Weller's favourite Oasis track). The pressure was already building, though, when Noel began writing (IT'S GOOD TO BE FREE, at the start of those troubled American dates. He finished it in Las Vegas: "Cocaine psychosis," reckoned producer Owen Morris, detecting a Fear And Loathing vibe in that sinister guitar feedback. Accordion expert Bonehead donates the breezy coda, which lends a misleadingly cheerful touch to what was a deeply fraught Oasis session: "Believe me, it was horribe. it wasn't funny at all." The Morse Code segment, by the way, is meaningless so far as anyone knows.

The oldest song here is GOING NOWHERE, written around 1990 before the band was signed ("It's about what we were going to do when we got a shitload of money off Creation"); it was not recorded until after the Be Here Now album, when there was a hankering for something less massive. Noel and drummer Alan White are the only Oasis members involved, with piano, brass and horn players to bring a vaguely Burt Bacharach atmosphere. Noel only wishes he knew another rhyme for "car" and

"Jaguar." Nearly as vintage in its origins, however, was HEADSHRINKER: recorded for Some Might Say in '95, it was written about three years earlier, during the band's punkier phase. It's also one of Liam's greatest vocals, partly because of the freedom from pressure that doing B-sides can offer. Although a load of drug references were binned from the lyric, a manic edge remains to this tale of an early girlfriend Liam could not shake off. It may start out like The Faces' Stay With Me, but Noel says he was thinking of The Rolling Stones at the time. And ROCKIN' CHAIR dates from Noel's days in Manchester, planning to leave his own girlfriend and dreaming of the good life down in London.

FADE AWAY first surfaced on Cigarettes & Alcohol, and was probably elbowed off Definitely Maybe in favour of Slide Away. Since then the chorus alone has guaranteed its popularity with Oasis fans: "The dreams we have as children fade away...

It's about growing up but not growing old," says Noel, echoing a John Lennon belief that you won't get anything unless you've got the vision to imagine it. It's a classic Buzzcocks trick, this, placing a wistful lyric inside the most glorious rush of punk rock energy. That said, it was a relief for Noel to do a track like THE SWAMP SONG, which required no words at all. Alongside Roll With It, The Swamp Song was a warm-up exercise for the Morning Glory sessions; it was also used to set the sound levels at Glastonbury, which is where Alan White's thunderous drumming was taped. Later on, when Paul Weller turned up for Champagne Supernova, he added The Swamp Song's harmonica and duelling guitars: "Very rock'n'roll," chortles Noel, "but we didn't manage to stand back to back once, which I was very upset about!" Its working title "The Jam" was scrapped, tragically.

Contrary to previous credits, I AM THE WALRUS was not recorded at the Glasgow Cathouse, but at a conference of Sony executives, gathered to hear Creation's new signings. Oasis used to play it at gigs in Liverpool, as an act of bravado aimed at the local bands, even The Beatles never did this one live. Technical note: any "looseness" in Noel's guitar playing here is attributed to half a bottle of Sony-financed gin. Speaking of guitars, the soaring LISTEN UP used to boast a solo much longer than the one you hear in this version; Liam had wanted it shorter, so Noel had disagreed on principle ("If you don't argue with Liam he gets upset"). Four years later, Liam has got his way. The poppy STAY YOUNG, meanwhile, was first ear-marked to be "the Digsy's Dinner" of Be Here Now, until Noel wrote Magic Pie and dumped it. Stay Young wound up on D'You Know What I Mean?, and could have been another A-side if its composer had actually liked the song. But he doesn't. (Audiences, who have more sense than songwriters, all love it.)

But we end with a track that Noel Gallagher is definitely proud of. In fact he regards THE MASTERPLAN as his finest piece of work. Even Liam now wishes he'd sung it himself. The writing came easily, inspired in equal measure by a Japanese hotel corridor and a good, relaxing smoke. "I'm the best lyricist in Oasis, is how I like to say it," Noel shrugs. "But to me this sums up your journey through life. All we know is that we don't know." Is it, we might wonder, sung to Liam? ("Please brother let it be") Again the answer is No.

"We're all brothers and sisters," says Noel. And so we are, and so are Oasis whether named

Gallagher, McGuigan, White or indeed Bonehead. They're brothers and they're tryers, all five. They try for themselves and they try for the rest of us. No wonder God loves them.

[stone-cold-groove]

Most becoming legends. Shorewood Packaging Corporation ad - 1973.

[deepbluececil]

Tag dump 2

[lalilsa]

forever era is already finished ??????

[teufelsaugenn]

Tag Dump 2!