This limited edition box set features 6 iconic album & single covers. Each mounted photograph is individually signed and numbered by the photographer Michael Spencer Jones.
The set of 6 artworks include album & single covers by Oasis, The Verve and Suede each coming with their own interesting and candid story about how the artwork was created.
The artworks come in a beautiful hand made solander box covered with durable pellaq and luxuriously lined with red sil-suede. Each artwork is mounted on acid free museum quality mount board.
Only 50 copies of this wonderful set are being produced; order now to avoid disappointment and whilst the price remains low. A fabulous memento from the Britpop era which can be kept together in its Solander box or displayed on the wall.
This was the first single released from their second album A Northern Soul. The sleeve, a statement against poverty and inequality, shows a ‘gritty’ northern scene emulating the style of Bill Brandt the famous German born photographer who had captured working class life in England in the 1940’s. The location is Headingly in Leeds, specifically chosen as it is one of the only areas in England that had back to back terraced housing.
Shot on a particularly cold and dreary day, singer Richard Ashcroft made for a good subject. It had just finished raining when the sun unexpectedly came out, creating a silvery reflection on the road surface and a natural vignette. The location has a complete absence of cars which gives it a timeless and historic dimension. Despite its appearance the text on the sandwich board was for real and not added later as many people think. This colourised version was specifically designed for this portfolio box set.
The release of Wonderwall marked the transition of Oasis from a successful band into a global supergroup. Shot on Primrose Hill in London on black and white infra red film. The girl within the frame is Anita Heyret, an employee working for Creation Records. This colourised image was created specifically for this box set.
Suede, who in many ways had spearheaded Britpop in the early nineties, had seen a photograph by the photographer Helmut Newton, in which a woman was seated on a stone lion in a provocative manner, and had wanted to depict something similar for this single release. The idea developed, and it was suggested that a statue of a horse should be used instead.
After several days of reccying, Michael Spencer Jones came across this statue of a wounded stag in a stately home in Bradford, Yorkshire altogether more visually powerful than a statue of a horse. The girl seated on the stag was not a professional model and was chosen for her androgynous looks. The photograph was shot on medium format black and white film using a Bronica SQ camera and later hand coloured by the photographer.
A bucolic scene which depicted the album’s title A Storm in Heaven. A black and white version of this shot was one of four photographs featured on the artwork. This colour version later featured on the back cover to This Is Music: The Singles 92-98 which was released in November 2004.
Incredibly, no Photoshop manipulation was involved in any of this shot and what you see is for real. The car had been driven to the location from a nearby scrap yard and was placed in situ and then doused in petrol and set alight; a particularly dangerous shoot according to Michael Spencer Jones. By the time this photograph was taken the car was burning out of control and giving off a tremendous amount of heat and there was some concern that it may blow up.
Whilst it appears that the Verve are relaxed and had been present at the scene for some time, this was not the case; they quickly took positions and were ‘in shot’ for only a few seconds before having to evacuate the scene for their own safety. The fire brigade were on hand and eventually had to put out the blaze. One of the most classic ‘rock’n’ roll' photographs ever taken.
Shot on location in Tring Herfortdshire. This is the former home of the Playboy tycoon Victor Louness, who held many outrageous parties here in the 1960’s. A suitable location therefore for a surrealist shot of rock’n’roll excess. The original idea was inspired from a story in which Keith Moon was supposed to have driven a Rolls Royce into a swimming pool although other stories say that it was a Chrysler Wimbledon and that there was no water in the pool at the time. There are however many myths about Keith Moon and cars in swimming pools and it seems that the truth has somehow become mixed up with the myth.
The number plate on the Rolls Royce SYO 724F is the same number plate as seen on the police van on the cover to Abbey Road by the Beatles. There is no digital manipulation or Photoshop to this shot; the Rolls Royce is actually in the swimming pool and was placed there using a large crane and was supported by scaffolding. The date of the 3rd September was the original date placed on the calendar at the time; this was later replaced with the official release date of 21st August on the final cover. This is a rare outtake version with Liam sitting on the scooter.
This image with Noel looking into the camera had originally been intended to feature on the front cover to Definitely Maybe but was replaced at the last minute in favour of one of Noel looking at the TV whilst playing guitar. It is this shot however that is on all the early design mock ups of the album and was Michael Spencer Jones' preferred choice.
Shot in Paul ‘Bonehead’ Arthurs living room at number 8 Stratford Avenue, South Manchester. The wide angle lens used gives the impression that the room is larger than it actually is. There are many interesting elements to this shot; Liam lying ‘in state’ on the floor with his eyes closed - a first for a singer on an album cover. Burt Bacharach (Noel Gallagher’s favourite songwriter) is featured to the left of the shot. Footballing legends George Best and Rodney Marsh can also be seen. The film being played on the TV in this particular shot is from A Fistful of Dollars. The glass of ‘red wine’ to the right is in fact Ribena.
There is no digital manipulation in the photograph; the movement of the globe (which was hung from the ceiling using invisible thread) was captured using a long two second exposure in which time the band had to keep still. The colour negative film was then processed in the ‘wrong’ photographic chemistry, a technique known as ‘cross processing’ to create a positive image with muted colours of yellow and blue, which came to characterise the sleeve.