“The reincarnated Space Opera never really played out,” he said. “Once again, they had the ensemble from Juilliard. I tried to talk them into going out there, but they were up there for the sole purpose of being heard by record companies. That was their marketing plan. I mean, I could feel it. When you’re a band, you have to be a Mack Truck and there was something lost after fifteen years of hard work and not breaking through.
“Maybe they thought they had a better shot at getting a contract as an electric band. I was very happy working with Bullock-Fraser because by then David and Scott were talking music theory. And in terms of economics, it was a lot easier for me to work with, control and market the Juilliard/Bullock-Fraser setup, even though it was somewhat out there. I mean, there were plenty of roads between Boston and Washington, D.C. that had 400-seat and 500-seat venues. That would have been absolutely perfect, as I was trying to market Bullock-Fraser to film companies like Troma.”
“I would have been happy to continue doing the Bullock-Fraser thing,” Bullock stated. “It was just that Space Opera, the full band, was so much more Polska brudar dating fun that we always gravitated back to it. Rex had agreed to manage me and Scott, and it was presumptuous of us to suddenly hit him with managing Space Opera. From that, Rex had the contacts to book Scott and myself into a couple of clubs, which was fine, but supporting and managing a full-blown rock band – really an electric orchestra – was something Rex hadn’t bargained for, and he was in over his head.”
“They didn’t go into a recording studio during that period,” Farr recollected. “There was no money to go into a studio. We had our own studio, in a way, where they rehearsed with the equipment they had. Money was beginning to be a problem. We were paying loft, we were paying expenses for rehearsal, and there was the expense of working the phones constantly.
My marketing plan was for Bullock-Fraser
“After probably six months at the loft, it became apparent that either they had to make the commitment to go out on the road and be a band, the four of them, because no one was going to sign them. Not after what happened with the first record and no matter how good that record was. We probably got heard by six or eight labels in the course of eight months. (This incarnation of) Space Opera was playing some new things and some things from the album, maybe a blend of the old and new.”
His first experience in music management had been with Jack Hardy, a Village folk singer
“Because the labels showed no interest,” Bullock said, “in March of ’79, the others headed back to Texas. I stayed in New York and moved back into the Yorkville apartment where Scott and I had lived. I married Carole Wagner, my girlfriend from Texas, and we lived there happily for another six years. Life in Manhattan was sometimes nerve-wracking, but it was exhilarating to be there, young and free to do as we pleased.
“I began playing shows in the Village, sometimes backed by a trio of flute, oboe and cello, or just with my oboe player, Gary Hamme. Carole and I, and Gary and his wife, became good friends. Gary was a member of the Brioso Woodwind Quintet, who performed annual concerts at Carnegie Recital Hall. In 1982, I played with them there as a guest artist.
