
The Cure “4:13 Dream”
In 2008, The Cure released “4:13 Dream.” Robert Smith was nearly fifty at the time, but looked and sounded very much like the man who made “Friday I’m in Love” in 1992 and “Boys Don’t Cry” in 1979. “4:13 Dream” sold poorly and featured no hit singles. It was either overlooked or under-appreciated. Or both. At the time, it seemed certain that another album would follow soon thereafter. But nothing came. So, if “4:13 Dream” served as a temporary, or accidental, coda, it undoubtedly begs the question: “what did we all miss?”

The Grateful Dead “In the Dark”
1987. The Hippies were all grown up. Their kids now wore the tie dye shirts with the bears and skulls. The Dead were an industry by this point, albeit one that showed signs of great decay. Their last studio album, seven years earlier, was unimaginably tepid. In 1986, forty-four year old Jerry Garcia fell into a medically induced coma, caused by his worsening addiction. However, a year later, the band released “In the Dark,” their penultimate studio album. It was the beginning of the final chapter of a book that would end in 1992, but what a dramatic and unlikely final chapter it was.

The New York Dolls “One Day It Will Please Us to Remember Even This”
Morrissey is both notoriously impossible and capable of the impossible. In 2004, he proved as much when he invited David Johansen, Sylvain Sylvain and Arthur Kane, the Dolls’ surviving members, to play a festival in London. Incredibly, the band agreed. For a group so doomed and so frozen in ember, a reunion seemed unthinkable. And yet, it happened. If any band deserved a life after death, it was assuredly the New York Dolls. By 2006, with only Johansen and Sylvain left to carry the flag, they released “One Day It Will Please Us to Remember Even This,” their first album in over thirty years.

Queen “The Miracle”
In the 1980s Queen frayed. Three of the four members released solo albums. Their chart positions, especially in America, had taken a precipitous downturn. For much of the decade, the band sounded like four polite gentlemen, contributing doll parts to albums which were sewn together by synthesizers. However, 1989s “The Miracle” was supposed to be different. It was the first album wherein all songs were credited simply to Queen, rather than to the individual players. What was not advertised in 1989, though widely rumored, was Freddie Mercury’s declining health. In retrospect, “The Miracle” is surprisingly enduring and entirely consumed with the optimism, loneliness and love that would define the lead singer’s final years.

Steve Miller Band “Italian X Rays”
By 1983, the Steve Miller Band was, perhaps unknowingly, a cynical Pop music algorithm. With each record they had become more refined in their cynicism and in the lack of struggle and humanity in their music. While it no doubt took a great deal of work and talent to make the music that Miller made then, none of the grit could be heard. “Abracadabra” was the Steve Miller Band at its most optimized and at its Waterloo. His follow-up to “Abracadabra” was 1984s “Italian X Rays,” an album that pushed the algorithm so far as to make one wonder if Miller was being ironic or experimental.

Nick Cave and The Bad Seeds “The Boatman’s Call”
“The Boatman’s Call” is the album wherein Nick Cave ascends from Art Punk poet, to spiritual Folk singer. “Murder Ballads,” considered a career apex at the time, came in 1996. Then, like a drenching storm, “The Boatman’s Call” arrived one year later and the band no longer sounded like it was playing in a back country Aussie church. No -- they sounded like they were playing in Nick Cave’s living room, on Persian rugs, watching the ocean, singing directly to you.

The Beach Boys “The Beach Boys Love You”
Promiscuity and excess have been the gold standard for rockers running in terror from the middle age slump. But there’s a less commonly utilized strategy that can be effective: regress farther. Past adult, past teenager, past kid. Go full baby. Wear only a bathrobe, write a song called “Ding Dang.” Build a sandbox in your bedroom and put your piano in the middle. Take one listen to “The Beach Boys Love You” and you will know that Brian Wilson alone conceived this deeply personal, bat-shit, Beach Boys in name only album.