What about if you are still performing but not releasing stuff?
Case Study 1: I saw Desmond Dekker twice in recent years before he finally popped his clogs last month. I was born years after he released anything decent but I still got to see him in a hot sweaty 100 Club playing all the classics.
Case Study 2: Sister Sledge at Glastonbury 2004 were absolutely amazing. Again, nothing brilliant by them since 1985, a few remixes aside. However James Brown at Glastonbury that same year was a wheezing, shuffling toupeed mess who was over-reliant on his backing band (I'd seen him play a much better gig at the Hammersmith Apollo earlier that year). However both acts still played Greatest Hits Sets to a good crowd reception.
Case Study 3: The Fall. Still churning out fairly decent music 25 years on, showing no signs of 'fading away' just yet. Reluctant to play old songs but they still put on a good show. However The Fall are a rare exception in that MES doesn't seem to give two short sh1ts about his fans, let alone record companies/the public and as such doesn't conform to the generalised pop model.
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timeasmymeasure
Exceptions to the rule
Date: 2006-08-14 12:36 pm (UTC)Case Study 1: I saw Desmond Dekker twice in recent years before he finally popped his clogs last month. I was born years after he released anything decent but I still got to see him in a hot sweaty 100 Club playing all the classics.
Case Study 2: Sister Sledge at Glastonbury 2004 were absolutely amazing. Again, nothing brilliant by them since 1985, a few remixes aside. However James Brown at Glastonbury that same year was a wheezing, shuffling toupeed mess who was over-reliant on his backing band (I'd seen him play a much better gig at the Hammersmith Apollo earlier that year). However both acts still played Greatest Hits Sets to a good crowd reception.
Case Study 3: The Fall. Still churning out fairly decent music 25 years on, showing no signs of 'fading away' just yet. Reluctant to play old songs but they still put on a good show. However The Fall are a rare exception in that MES doesn't seem to give two short sh1ts about his fans, let alone record companies/the public and as such doesn't conform to the generalised pop model.