|
Post by wrax on Jan 7, 2021 22:56:28 GMT
a) I would probably have a small accident in my pants You're talking about Premature Evacuation? There's a pill for that. Ha! I should have just said "wet myself" and saved all the fuss!! I don't btw.
|
|
|
Post by edog40 on Jan 15, 2021 16:14:05 GMT
But hey, you guys know WAY more about these things of than I do and wow I definitely got a bit carried away with this. You may be surprised..
|
|
|
Post by duckbarman on Jan 15, 2021 19:11:34 GMT
But hey, you guys know WAY more about these things of than I do and wow I definitely got a bit carried away with this. It's become increasingly obvious to me: the more I try to find out, the less I know...
|
|
|
Post by markus on Jan 17, 2021 12:35:46 GMT
From a business solutions perspective...
Just my .02 - the longer some of the higher quality vintage material remains available on-line, the less likely we'll see an 'official' release; past performance is an indication of future behavior.
Now, in light of no end in sight to the pandemic (i.e. touring resuming) and management were to curate some kind of shorter long-term plan to ensure some kind of income stream for the the band and/or the .inc, I would think they would gather this material up, come up with some artwork that's already available, a few liner notes of willing participants (of which there are plenty), and you have - I would think - a pretty decent ROI in the longer term. I have great sympathy when I read here and on other legacy bands' forums that [the band in question] should 'Do it for the fans' when it comes to expending resources/assets; it's a business, certainly not a business in the amazon.com sense.
|
|
|
Post by wrax on Jan 18, 2021 11:16:45 GMT
From a business solutions perspective... Just my .02 - the longer some of the higher quality vintage material remains available on-line, the less likely we'll see an 'official' release; past performance is an indication of future behavior. Now, in light of no end in sight to the pandemic (i.e. touring resuming) and management were to curate some kind of shorter long-term plan to ensure some kind of income stream for the the band and/or the .inc, I would think they would gather this material up, come up with some artwork that's already available, a few liner notes of willing participants (of which there are plenty), and you have - I would think - a pretty decent ROI in the longer term. I have great sympathy when I read here and on other legacy bands' forums that [the band in question] should 'Do it for the fans' when it comes to expending resources/assets; it's a business, certainly not a business in the amazon.com sense. I suppose it boils down to the question "How big is the hardcore audience", that ever diminishing with time group of people who will buy a Blue Oyster Cult release because it is a Blue Oyster Cult release. For example, I have all the tracks on Rarities Vol 1 on various collections, I have the Pasadena 83 show which was re-released as Live '83 in the US last year on Black Friday. It doesn't stop me from wanting to have Rarities Vol 1 or the Live '83 CD/vinyl. However, in 10, 20 years the audience will be even smaller so my advice is to strike while the iron is hot, release more live and rare stuff while we have the cash to pay them.
|
|
|
Post by markus on Jan 18, 2021 13:06:24 GMT
From a business solutions perspective... Just my .02 - the longer some of the higher quality vintage material remains available on-line, the less likely we'll see an 'official' release; past performance is an indication of future behavior. Now, in light of no end in sight to the pandemic (i.e. touring resuming) and management were to curate some kind of shorter long-term plan to ensure some kind of income stream for the the band and/or the .inc, I would think they would gather this material up, come up with some artwork that's already available, a few liner notes of willing participants (of which there are plenty), and you have - I would think - a pretty decent ROI in the longer term. I have great sympathy when I read here and on other legacy bands' forums that [the band in question] should 'Do it for the fans' when it comes to expending resources/assets; it's a business, certainly not a business in the amazon.com sense. I suppose it boils down to the question "How big is the hardcore audience", that ever diminishing with time group of people who will buy a Blue Oyster Cult release because it is a Blue Oyster Cult release. For example, I have all the tracks on Rarities Vol 1 on various collections, I have the Pasadena 83 show which was re-released as Live '83 in the US last year on Black Friday. It doesn't stop me from wanting to have Rarities Vol 1 or the Live '83 CD/vinyl. However, in 10, 20 years the audience will be even smaller so my advice is to strike while the iron is hot, release more live and rare stuff while we have the cash to pay them. That's where management does their homework and finds the potential audience, i.e. recent purchases figures, show attendance (if...), YT views, etc. There is a certain gamble to it; if you provide the fanbase with a mudslide of vintage releases what is the tipping point where they cry uncle? A lot of people thought that by the late 80's-early 90's BOC was on the scrap heap, they clawed their way back, then the SNL skit happened. No one can predict the arc of popularity especially in these days where random media exposure can create a resurgence. I think with the types of releases we're talking about, it's not going to roar up to the charts in any fashion; I'm sure what the band is concerned about now is sustaining the income stream through their golden years and for their posterity, no different than any of us think about the ability to maintain their lifestyle after retirement and the inevitable income drop.
|
|
|
Post by Buck on Jan 18, 2021 14:06:27 GMT
Is anybody here today because of the SNL skit 20 years ago? Just curious. As far as the engine that drives all commerce BOC, it's about 90% DFTR.
|
|
|
Post by The Ocean on Jan 18, 2021 14:13:14 GMT
Is anybody here today because of the SNL skit 20 years ago? Just curious. As far as the engine that drives all commerce BOC, it's about 90% DFTR. The Stand and Halloween for me. The SNL skit came out after I had already bought Agents, Secret Treaties, and Fire of Unknown Origin. Then for my birthday I was given the Workshop of Telescopes compilation and that convinced me to just buy the rest of the catalog. But I joined J&A around that time and I think it was early 2002 I joined the first incarnation of BDTE.
|
|
|
Post by markus on Jan 18, 2021 14:23:44 GMT
Is anybody here today because of the SNL skit 20 years ago? Just curious. As far as the engine that drives all commerce BOC, it's about 90% DFTR. For this particular group here, I would venture to say your implication is correct, but this is a pretty special gathering of devotees, skit or not; but the skit does comes up in any type of mainstream media profile which leads me to believe it's part of the historical/legacy mosaic regarding BOC. Would the band have its current level of profile without the skit, who can say for sure. BD what's your take on the ROI regarding legacy releases, do many, many outlying crumbs make for a quality pumpernickel?
|
|
|
Post by marty on Jan 18, 2021 16:02:21 GMT
The skit aired on my birthday, I jumped up out of bed and said, “It’s about time SNL did a Behind The Music on BÖC, but what will they talk about?” And then, the cowbell, and I’m like, WTF, in between laughter. Haven’t watched it, in years. There was a noticeable bump in show attendance, among younger people, but I seriously doubt it helped or would help, financially. As for concert boots, etc. check out 208Gerry on YouTube.
|
|
|
Post by wrax on Jan 18, 2021 16:12:37 GMT
Is anybody here today because of the SNL skit 20 years ago? Just curious. As far as the engine that drives all commerce BOC, it's about 90% DFTR. Buck, I'm here because of the Max Bell articles in the New Musical Express in 1975. The first BOC song I'd heard was Summer of Love because Agents was the first BOC record I was able to buy - I was 14, I think. (Don't Fear) The Reaper was therefore the third song by BOC I'd heard and it didn't get any (or much) UK radio play in 1976.
|
|
|
Post by marty on Jan 18, 2021 16:46:23 GMT
Is anybody here today because of the SNL skit 20 years ago? Just curious. As far as the engine that drives all commerce BOC, it's about 90% DFTR. Buck, I'm here because of the Max Bell articles in the New Musical Express in 1975. The first BOC song I'd heard was Summer of Love because Agents was the first BOC record I was able to buy - I was 14, I think. (Don't Fear) The Reaper was therefore the third song by BOC I'd heard and it didn't get any (or much) UK radio play in 1976. I’m not sure any of us would be here, we’re it not for, first, DFTR, and second, Burnin’ For You being added to FOUO. Otherwise, I think the band might not have stayed together long enough to be interested in connecting with fans, electronically. But who knows, with Burnin’ For You on Flat Out, Buck may still have been viable long enough to start this forum. Woulda been, with me, anyway. I’m glad things turned out like they did. Having said all of this, I was hooked way before Reaper, starting in April, 1972, when I first heard the opening riff of Trans MC, on our local college radio station, during station ID promo.
|
|
|
Post by sirrastus on Jan 18, 2021 17:07:54 GMT
WPLJ played Astronomy in '74 and I bought the album.A friend had the first two records so I borrowed those and that's all she wrote.
|
|
|
Post by luxexterior on Jan 18, 2021 17:45:31 GMT
Before Reaper & SNL. I walked into a record shop sometime in 1976 & bought Secret Treaties after being intrigued by it's cover & song titles. After a couple a plays I became a lifelong fan. By the end of 76 I had backtracked/caught up with all of the albums to date. They rarely left my turntable.
|
|
|
Post by frog on Jan 18, 2021 18:11:28 GMT
After Reaper, but not because of it, and long before SNL... Muggles go see BÖC because of the Reaper, the fans go see the band and buy the records, because everything else.
|
|