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2Pac

Career Killers: “Twelve Months, Eleven Days” by Gary Barlow

You’d think that being the primary frontman of a boyband would be an excellent platform for solo superstardom. After all, it’s your voice on all those hit singles and your face getting the most screen-time in music videos. Indeed, Jackson Five frontman Michael Jackson and NSYNC co-lead singer Justin Timberlake were able to parlay their group dominance into individual success. If you consider Wham! to be a boy band (I’m not sure, to be honest), then George Michael is another example.

But others weren’t able to find much success outside of their groups. Ralph Tresvant sang lead on most of New Edition’s hit singles, but only managed two hits on his own. That was one better than either Jordan Knight of New Kids on the Block or Nick Lachey of 98 Degrees managed outside of their popular groups. And, of course, we’ve covered NSYNC co-leader J.C. Chasez’s solo debut album, which flopped so badly it ended his bid for stardom before it really began.

Then there’s the curious case of Gary Barlow. The Take That frontman was a fantastic singer who sang lead on almost all of his band’s songs. And whereas most boybands relied on outside songwriters, Barlow wrote or co-wrote nine Top 10 UK hits, including five #1 singles, during the band’s initial run from 1991 to 1996. When he went solo in 1996, the British media immediately anointed him as the next George Michael. Success was not only expected, it was preordained.

As such, that only made what eventually happened all the more shocking. In 2000, barely four years after Take That’s breakup, Barlow suffered the ignominy of being dropped by his label, all but ending his solo career. Worse, he had to watch as bandmate-turned-nemesis Robbie Williams wrote songs attacking him and making fun of his misfortune en route to becoming one of the best-selling artists in the world.

Where did it all go wrong? It started with his second album, Twelve Months, Eleven Days.

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Career Killers: “Witness” by Katy Perry

It’s strange to think that Katy Perry’s career as a major pop superstar could be over.

Between 2008 and 2016, Perry released three multi-platinum albums and amassed 18 Top 30 singles as a lead artist, including nine #1 hits. Her 2010 album, Teenage Dream, produced a record-tying 5 number one singles (only Michael Jackson’s Bad has managed to match that). She’s been credited with selling 143 million records worldwide, putting her ahead of Bruce Springsteen, Metallica, Lady Gaga, Adele, Britney Spears and many others.

That track record of sustained success should have protected her career from being completely derailed by one flop. And yet, plenty of critics and observers wrote her off after 2017’s Witness, with some even wondering if her decline marked the end of an era in pop music. Perry’s career choices since then have only seemed to confirm that her best days are behind her. In 2018, she went to the place where many music careers go when they’re on life support — the judge’s table at American Idol. Then, she did what a lot of over-the-hill pop stars do when they start to transition to being a nostalgic act: she announced a Las Vegas residency, which is scheduled to begin in December. Meanwhile, her 2020 album, Smile, landed without much fanfare and became her worst-selling record since her 2001 self-titled Christian music debut, when she was still known as Katy Hudson.

So what happened?

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Career Killers: “Turn It Upside Down” by The Spin Doctors

UPDATE (07/06/2021): Thanks to Todd in the Shadows for citing this review in his latest episode of Trainwreckords.

We may remember the 90s as a turbulent period in music, full of angsty grunge and alternative bands like Nirvana, Pearl Jam, Smashing Pumpkins, Alice in Chains, introspective singer-songwriters like Alanis Morissette, Sheryl Crow, Jewel and Sarah McLachlan, gangsta rappers like Dr. Dre, Snoop Dogg, Biggie and 2Pac and superstars going through ironic and/or cynical stages like U2 and R.E.M.

But not everything was doom-and-gloom. Divas like Mariah Carey, Celine Dion, Whitney Houston, Madonna and Shania Twain sold boatloads of records and dominated the pop and album charts. The 90s also brought us the extremely non-ironic and safe-for-mass-consumption Hootie and the Blowfish, who became a cultural phenomenon when they released Cracked Rear View, one of the best-selling debut albums of all time. The decade also saw 80s stars like Bryan Adams, Aerosmith, Bon Jovi and Sting reach even greater heights. Even the hip hop world found room for decidedly non-gangsta acts like The Fugees, PM Dawn, Will Smith, Arrested Development and OutKast. And of course, by the end of the decade, the biggest-selling artists were bubblegum acts and boybands like NSYNC, the Backstreet Boys and Britney Spears.

Then there were the Spin Doctors.

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Career Killers: “Van Halen III”

September 4, 1996. The MTV Video Music Awards are in full swing and the evening is full of historical moments. 2Pac, in his last televised appearance before his death, announced the formation of Death Row East – a provocative incursion onto rival turf at the height of east/west tensions in the hip hop world. A then-unknown No Doubt rocked the pre-show, serving notice to the musical world as to what was to come. A reeling Smashing Pumpkins gave one of their first performances since touring keyboardist Jonathan Melvoin overdosed on heroin and died the previous July. 

But the moment that had everyone talking was a reunion over ten years in the making, and one that fans, music executives, MTV personnel and fellow musicians had been dying for. When David Lee Roth walked out on stage with the other members of Van Halen, it was the first time he, Eddie Van Halen, Michael Anthony and Alex Van Halen had stood together on stage in over a decade. The four had made magic together, establishing Van Halen as one of the greatest and most loved bands of its era. In 1985, at the height of its popularity, Van Halen and Roth parted ways amidst plenty of recriminations and bad feelings. Sammy Hagar had taken over and had done great business for Van Halen. But Roth was the one that we all wanted to see again (heck, in the weeks leading up to the show, MTV ran a 45 second spot featuring some of Dave’s greatest music video moments set to the “Welcome Back Kotter” theme). By appearing together at the VMAs, the classic lineup was surely going to let the past be the past and record a kick-ass record that would restore them to supremacy in a musical world increasingly dominated by alternative music and hip-hop.

Instead, we got Van Halen III.

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