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Mariah Carey

Career Killers: “Garth Brooks In… The Life of Chris Gaines”

The year is 1999 and Garth Brooks seems bored.

The best-selling male artist of the 90s (only Celine Dion and Mariah Carey outsold him during that decade), Brooks has seemingly figured out the formula for enduring commercial success. All he has to do is come up with 10 songs or so, pose for the album cover in his best Stetson, put on an entertaining live show and watch the money pour in. Indeed, every one of his proper studio albums has gone Diamond up to that point, and the only one that fell short was a lightly-promoted Christmas album that came out in the summer of 1992 and eventually became a staple of the cutout bin. Of course, this being Garth Brooks, that record still managed to go triple platinum and is one of the best-selling Christmas albums of all time.

Most artists would have sold their souls to have experienced a fraction of the success that had become routine for Brooks. Certainly most artists would have been perfectly content to run that formula into the ground in order to keep that conveyor belt going for as long as possible. But Brooks seemed eager for a new challenge. He talked about retiring so that he could raise his children. He signed a minor league deal and played in spring training for the San Diego Padres.

And in September 1999, he made the decision to cross over into pop-rock. Kind of. It’s still really confusing — even 22 years later.

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Career Killers: “Nathan Michael Shawn Wanya” by Boyz II Men

We’ve seen how splitting from hit-making songwriters or producers in an ill-fated bid for creative control can kill an artist’s or band’s careers. We’ve seen how record label politics can kill an artist’s or band’s careers. We’ve seen how failed musical makeovers in the face of changing times can kill an artist’s or band’s careers. We’ve seen how deteriorating personal relationships can fester and kill an artist’s or band’s careers.

What happens when all of those things happen at once? You get Boyz II Men.

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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: “Soul Dancing” by Taylor Dayne

It’s easy to forget, but at one point, Taylor Dayne was one of the biggest pop stars in the world.

The original Tay-Tay (you know, unless you count John Taylor, Mick Taylor, Roger Taylor of Queen, Roger Taylor of Duran Duran, or to pop James Taylor) was a juggernaut from the moment she burst onto the scene in 1987, starting her career with nine consecutive Billboard Top 20 hits. In fact, each of her first seven singles hit the Top 10, including “Love Will Lead You Back,” which went to #1. She also charted well in Canada, Australia and the U.K., while several of her singles were big hits on the Billboard Dance charts. With her deep, soulful voice and dynamic range, she could seamlessly excel at a wide range of songs, including pop, R&B and ballads. In doing so, she amassed a large and devoted fan base — one that continues to support her to this day.

As the 90s got underway, it was clear that Taylor Dayne was a hit machine and pop star. What wasn’t clear, however, was whether she was an artist. Like her label-mate, Whitney Houston, Dayne’s first two albums were made up of songs from outside writers and handpicked by Arista boss Clive Davis for maximum commercial impact. For her third album, 1993’s Soul Dancing, Dayne was determined to prove she had the songwriting chops to go with her vocal and chart topping prowess.

It turns out that she did not.

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Album Review: “Unplugged 1991/2001: The Complete Sessions” by R.E.M.

In 1991, R.E.M. chose the MTV “Unplugged” stage for its coming out party. Recorded at Chelsea Studios in New York City, the band was just about to hit it big. “Out of Time” was one month old, and “Losing My Religion” was beginning its steady climb up the charts. Despite riding the wave of their biggest hit ever and their most successful album to date, R.E.M. chose not to tour. Instead, the “Unplugged” show became one of only a few concerts the band performed to promote “Out of Time.”

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