And so it may be with the acts in this list.Ī comeback is often as humbling as it is triumphal. No one expects any of these shows to hit their previous numbers in a practically infinite channelscape, they offer a baseline. Reboots and revivals of Twin Peaks, Will & Grace, Hawaii 5-0, Dynasty, Charmed, Queer Eye For The Straight Guy, American Idol, and Roseanne have dropped, with versions of Murphy Brown, Roswell, Charmed, and Cagney And Lacey on the way. We’ve seen this happen in film for years since the first installment of this series was published, television has joined the onslaught. In an age of vanished album revenues, we’re going to see more and more veterans of music’s middle class and fringe leverage their most appreciable asset: name recognition. And as big as it ended up being, this article doesn’t include a host of acts who missed our arbitrary cutoff: The Jesus And Mary Chain, Steven Van Zandt, Gas, Boss Hog, Squirrel Nut Zippers, Royal Trux, At the Drive-In, Bell Biv Devoe, American Football, A Tribe Called Quest, Letters To Cleo. I had to revamp this piece after four acts announced 2018 comebacks. Since the last article, we’ve gotten long-awaited long-players from solo rock legends (Chuck Berry, Keith Richards, Roger Waters, David Crosby), noise-pop darlings (Ride, Slowdive, the Dream Syndicate), and cult acts (Emitt Rhodes, Shirley Collins, the Rezillos, Flamin’ Groovies). Six comebacks on this list occurred in the ’90s, 14 in the 2000s, and 44 this decade. Quite a few acts here used websites like Kickstarter, Indiegogo, and PledgeMusic to subsidize the cost of recording, mastering, and distribution.īut that’s more of the how, not the why. In researching this batch, I realized I missed another factor: the rise of crowdfunding. (A nice benefit of that last one is the ability to collaborate via email, all the better for far-flung or estranged bands.) To varying degrees, these all encourage acts to record new material, rather than coasting on the hits. I touched on a few explanations in the first piece: the rise of festival culture, the emergence of digital distribution, and the reduced cost of recording. But these 64 acts - like the 48 in our original article - did not stop, not completely.

There are, perhaps, a small number of reasons why one would want to make records, but even more reasons why one would stop. They took up jobs in architecture and art therapy, tabloid journalism and coffee farming - but most often, of course, they kept gigging.

What took you so long? For the artists and bands in this list, the answers include poverty, market indifference, drug addiction, and catastrophic hearing loss.

Art garfunkel discography 320