and even more reminiscing.

I dug up a lot of stuff while I was writing the last month or so of entries.  Here’s the last of it.

 

A page of the radio reporting list for Nurture.

A page of the radio reporting list for Nurture.

In my last “reminiscing” entry I mentioned that I still did a lot of stuff on notebooks, and on paper.  This is a page from one of my radio “tracking sheets.”  This one is for nurture.  Essentially, I’d just print out my mailing list and then each week, I’d go through the CMJ reports to see where (or, in most cases, if) each station was reporting our record in their Top 35.

Each week I’d write the result in a different color ink, so that I could track the progress of the record over time.   You can see I did this for seven weeks.

This sheet has some interesting stuff.  First, you can see that cuppa joe received some pretty decent airplay on WTSR in Trenton (which makes sense, since doug went to college there and actually worked at that station when he was a student), WKHR in Ohio, and WFNM in Pennsylvania.

Second, you can see that the music director at WHTG in Asbury Park was Matt Pinfield, later of MTV fame.  

Third, you can see what a pain in the ass this must have been.

 

Thank you mommy  Here’s the letter that Adam and The Mommyheads left for us after they crashed at our place the night of their gig at the Court Tavern in New Brunswick.  They totally cleaned up after themselves, left the apartment spotless.  This after letting us put out their CD, which raised the profile of our label immensely.  And then they thanked us.

A few weeks after the Court show, they came back and played another gig at the Knitting Factory, which at the time was one of my favorite clubs in the city.  They were absolutely amazing.

 

 

 

 

 

 

 

Busy, busy, busy.  It's amazing I work in the ad business today.

Busy, busy, busy. It's amazing I work in the ad business today.

This horrific piece of shit was the ad that we ran in the early fall of 2004, before we had any idea when (or if) Lippy would be ready.  I stole the art from an old album I bought at Archie’s Resale Shop, and used a bunch of stolen copy and design elements from other albums of that period.  We ran this as a quarter-page ad, so not only was it ugly, it was busy – copy everywhere, lots of irrelevant information, and tons of stupid graphics, laid out unbelievably poorly.

Note my suggestion “buy Ratfish records, too!”  I thought it would be cool to advertise my buddies’ labels along with my own.  Sadly, that concept never caught on with my buddies.

I work in the ad business today.  If a client of mine ever came to me with an ad like this, I’d feel like I needed to take a shower after looking at it.

 

 

 

 

 

 

 

Cha Cha Ad  Here’s another ad that we did after Flying Suit came out; another one of my typical “cut and paste” jobs.  I stole the “cha cha” art from an old record album that Sandy’s grandfather had, and all the other stuff was done in these cheesy art deco and 1950s-looking typefaces that Rich gave me.  

As always, I would print out the copy on my inkjet printer, cut it out with scissors, and scotch tape it to a sheet of paper.  Then I’d make xerox copies of the whole thing, and send the resulting “camera ready” artwork to the zines in which we advertised – which at this point included pop zines like Yellow Pills and Popwatch as well as the traditional punk zines in which we’d always advertised.

When we did this one, we must have been getting closer to releasing the Footstone CD, because I actually name it in the ad.  I continue the “We’re Your Best Friend” tagline (which I actually like), and broaden my call to action for buddy labels by adding Silver Girl to the list of labels to support.  I’m sure that Ron at Ratfish and Keith and Paul at Silver Girl were thrilled to have their labels’ names associated with these piece of shit ads I was developing.

As much as I criticize them, though, they sure were fun.  They made absolutely no sense whatsoever, they were made up kindergarden-style on my kitchen table, and there were no restrictions at all with respect to content or appearance.  It felt very creative.

Matt XMas This was our coolest Christmas present.  It came from our friend Matt, always the first of us to send out Christmas cards each year (I usually got Matt’s card just after Thanksgiving).  It speaks for itself.

We laughed.  

 

 

 

 

 

 

 

Xmas card  Lastly, our Christmas card.  Our friend Dave Felton had made us a Christmas card, which we modified when we moved from Lodi to Boonton, to make it look like the dromedary camel was moving all our stuff for us.

This time, we erased the band name from the bottom bag, and replaced it with “The Mommyheads,” printed out a bunch, and hand-colored them in crayon – cuppa joe-style.  That became our Christmas card for 1994.

We sent it to everybody, including people in the indie business that we hardly knew, or even people that we didn’t know at all.  Overall, we felt that 1994 was a good year for Dromedary despite the setbacks, and we envisioned that 1995 would be a breakout year for us.  So I figured we’d start it out by introducing ourselves to everyone on the planet with a holiday card.  We sent out something like 200 of them.

~ by Al on July 30, 2009.

2 Responses to “and even more reminiscing.”

  1. It’s a weird feeling to see all this promotional now. I never realized quite how much of it you guys put out there. And cool on the airplay – I didn’t realize we had even that much. We did go to TSR one night, just Doug and I, and did an interview (no performance) to, I guess, incent them to play us more. I guess it helped.

  2. It wasn’t pretty, but we did a lot of regular advertising at this point. I think there were probably 15 or 20 different zines that we were in, plus a quarterly mailorder thing, postcards for every show, and in early ’05 we started a broadcast email that I sent out every month or so. We really did try like hell.

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