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I picked up:
The White Stripes 7"
Karen Elson 7"
Arctic Monkeys 7"
Brad 7"
Pussy Galore 7"
Black Angels 7"
Death From Above 1979 LP[/quote:1abp18ct]
Nicely done!
you know what is interesting, in order to make a statue of a guy that ripped (muscular), they must have had some example to go by. who looked like that back then? did they work out constantly? take steroids?
well, i took my son to the soccer game. which was harder than i thought, because i was very hungover.
i know the ride to nashville is a good 2.5 hours, plus, gas to get there and back, plus like bram said, no guarantee of me actually obtaining one. but man, that is a record i would like to own one day. not just because of the liquid aspect, but i really like the song too. there is a colored 7\" and a black vinyl version as well, so i imagine the liquid one is extremely limited.there is a copy on eBay now, i think? i saw the same seller list another copy after i bought mine. mine came in pretty okay condition (the plastic ring inside the jewel case was broken up).
Your son will get over missing a soccer game. Take him along and get there now. For $100 you can own a liquid 12" which we both know will be worth way more than that in the morning. Be sure to get the laser cut lace KE for $30. Those two will be worth your trip alone. Nevermind all the other fun you’d have.
Let me know if you hear of someone who can help me out.[/quote:23oo81tx]
how many liquid 12"s are they making?
no, i’m US as well. in typical US fashion, i was being lazy. i would consider a trip to nashville for some records from third man records, but i imagine the whole world is already there, plus, my son has a soccer game tomorrow.
the gold obelisks from teagarden (only 99 ever made!) are a lot cheaper.
[/quote:3pf3k99u]as far as i can tell, there are about 90% less of these (recovered anyway).
i wonder how much a golden sp obelisk that fell from the sky would be worth?
the only real problem i see with the model (i’m no business man, mind you) is the gauging of the fan, er sorry, engaged consumer’s reaction. here is why:
how are you going to effectively gauge any online response/interest/commitment? let’s say http://www.lucky13.com is established (probably not a bad idea). at least this way, you have a somewhat official \"hub\" for interested parties to participate in, not a bunch of pieces scattered across multiple forms of social media and/or messageboards that are all interested in their own niches and self-promotion.
in either event, what metric do you use? hit counts? polls? are you going to track IP addresses to eliminate spam? are people that express interest effectively signing some sort of monetary bond? of course not. also, not every fan will participate in the information exchange. sure, we are empowered, but the casual fan is just that, casual. they don’t sit around devoting time to the release, they go online and to the store and pick up something that is new by an artist they recognize and make a decision based on the content. i think this is by far the majority of who will \"pay\" for these releases to come to fruition. people, like me, who are devoted to messageboards and the like, make up an extremely small percentage of the consumer market. and as you can see by this thread, only 1% of us are even voicing an opinion. writing shit down takes time, and no one has any of that anymore.
by the time you assess public opinion, interest may have waned by the time the actual release is delivered (this has happened with the teargarden releases, if you recall). a song would come out after 2 months of nothing, and it was like, so what? no one gave a shit, because the process took too long.
it’s quite sad, but we live in a society that cannot remember the headlines from yesterday. i don’t know if it’s the evolution of advanced technology or devolution on the part of the human psyche to keep itself entertained. however you look at it, it’s reality. create a buzz, deliver a product immediately or no one will care, and what’s worse, they will probably not participate out of frustration or just simply having moved on to something else.
i don’t believe gathering any numbers regarding how many people are interested in a release is really possible, it’s always a game. it’s always a mystery until whatever it is is released. and then of course, it will be pirated immediately and disseminated that way. so the idea of the initial 500-1000 of some hardcore fans buying something physical seems to make sense to me, as long as it’s offered at a low price. collectors don’t pay outrageous prices right out of the gate, that’s not how collecting works.
i’m not going to get specific, but keep the costs low, make shit limited, and keep buzz to a minimum until such a time as a release is merely a pressing of a button. otherwise, our society cannot be relied upon to follow through with any sort of devotion or calculated participation.
that right there is why rock will never die. the first video reminds me of pre-gish pumpkins, to be honest. not super impressed with the second, but nevertheless, it is an interesting cover.
he’s no beiber!
i was thinking about a semi-new band (crosses) that are fronted by deftones lead vocalist, chino moreno. this band has actually been around the exact same amount of time as the pumpkins. the very, VERY interesting thing that they did with the release of their music is basically do it on their own (through topspin as well) and literally used no promotion. they just relied on word of mouth.
now, word of mouth hasn’t gotten them very far, but that is okay, because the music is so good, that’s all they need, which is what i’m hearing from WPC as well. they (i believe) had 3 EPs worth of music, 5 tracks on each one, and the first EP was free, and the second was a cheap download. can’t remember the price, but maybe $7 or something, which i was glad to fork over the DAY it came out, through topspin.
i have no hangups with topspin. i received my boxset versions of the reissues from them late, but maybe by a week or two. hell, i didn’t really care, i was just happy when they arrived and that is that.
crosses also created a very cool limited edition (500 copies) of the first EP and sold it via topspin. that record has long since sold out and goes for over $100 on eBay currently. i have no idea what they charged initially, i missed that, but i guess my point is that even with absolutely zero promotion, people who liked the music, and were fans of the deftones, and had heard of this new side project band, were given a tiny taste for free and the money started rolling right in.
it was nice to be a part of something again in 2011 that not everyone knew about. it had an underground feeling to it, a discovery of a band, something personal, and whatever they did generated enough interest for a tour. i think BC has the right idea here. they don’t need a big push from anyone, the interest is already there, as long as the music is good. that’s always going to be a judgement call on the \"engaged consumer\".
i’m drawing these comparisons because i see the situation as almost identical and while the brand crosses is new, if you know who is involved, it’s not new at all. it’s just a push in a different direction, wholeheartedly supported by the initial fanbase. not much else is required.
thanks for the link debby.
i think that was a very well executed interview (monte), so thank you for sharing.
it was honestly a little overwhelming to listen to all the details involved with the reissues and also quite astonishing to hear how much money is exchanging hands all over two guitars, a bass, and a drum set.
i guess i have to take back what i said about lucky13 not being associated with the reissues and it sounds like you have a LOT of work to do by the end of 2012. which is great, because the world is going to end anyway, so at least we’ll have TAFH reissue boxset by then to carry us into hell.
good luck, lucky13
can anyone explain this video to me?
[youtube]http://www.youtube.com/watch?v=DsixWMdScUI&ob=av3e[/youtube]
is that poseidon? or maybe neptune? the guy who looks like he beat the woman into submission after a long day of fishing…
i think it is important to distinguish that this lucky13 team is only in charge of the sprc. and so far, the sprc has only released digital downloads (that i can recall, anyway). so to ask for things that are probably going to appear with upcoming reissue releases seems quite misguided.
i think we should stick to small, individual tracks or whatever. individual concerts. if we keep the requests small (at least at the beginning), i think it has a better chance to gain traction.
if we ask for full releases, or demos in their entirety, i think we are defeating the purpose and putting too much pressure and expectations on the lucky13 group.
that is just my opinion.
well, i know this may never see the light of day, but billz tweeted about listening to the oceania vinyl test press recently.
Lots of info about this initiative here:
http://www.smashingpumpkins.com/board_n … opic=19403
Gossamer seems like a no go, since they focus on < 2000. Bleh. It’s a pity.[/quote:2j5htpt4]
that thread is really disturbing. i hope no one from lucky13 reads that.
