R.E.M.’s “Three-Legged Dog” Era produced some good music. It also gave us this terrible album.
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Pearl Jam was about to be the next U2 or Led Zeppelin. But then they took a page out of Neil Young’s book.
The Cars tried to go back-to-basics with “Door to Door.” Instead, they broke up for decades.
Katy Perry was one of the most reliable hit machines in music– until “Witness” happened.
Limp Bizkit were everywhere in the late 90s/early 00s. Then they fell off the face of the earth.
Was Billy Idol ahead of his time with “Cyberpunk”? Of course. But that doesn’t mean the album is good or deserved to be successful.
When done right, concept albums can be career enhancing. Or they can be disasters.
How record label politics, changing times, deteriorating personal relationships and splitting with hitmaking songwriters and producers ended Boyz II Men’s run as chart-topping hitmakers.
It’s hard enough to follow up a great debut album– especially if you rush out a terrible second album.
How “Yes Please!” by the Happy Mondays was like the “Heaven’s Gate” for albums.
How Robin Thicke’s 2014 album about one Paula (Patton) had the effect of turning him into another Paula (Abdul).
Sugar Ray was, perhaps, the ultimate party band of the late 90s/early 00s. Then the party ended.
When is a hit album not a hit album? When it is “Adore.”
One of the few times Mike Love and not Brian Wilson helmed a Beach Boys album. Let’s just say it didn’t go well.
“He said you were a born killer. Is that true?” — Jonathan Wallace. Oh yes, Jonathan. You have no idea.