History DorkAge / Music

12th Jul '16 4:01:10 AM Q4
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* Music/{{Slade}}'s Dork Age started with the 1976 album "Nobody's Fools", a calculated attempt to appeal to American tastes (inspired by soul, blues rock and folk rock) which completely backfired, not only failing to find an audience in the States, but also all but destroying their career in the UK and Europe. The next four years would see a succession of desperate and often bizarre attempts at re-engaging the mainstream audience - Elvis covers, a football record, even notoriously the "Okey Cokey" - before their set at the 1980 Reading Festival brought them to a new hard rock / metal audience and a career resurrection that lasted into the mid-80s.
21st May '16 5:19:42 AM NiGHTS
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* Music/IronMaiden helmed by Blaze Bayley. The band continued to write good material during this time (some songs from those albums remained in the setlist after he left), and Blaze is a fine singer on his own. But, because of the difference in vocal range, he had a hard time performing the band's earlier material live. Blaze is a baritone, while Bruce Dickinson is a tenor, which is more usual for metal vocalists. A few fans add the two albums before as well, as they lacked guitarist Adrian Smith and had some subpar material and attempts on DarkerAndEdgier (such as raspier vocals) that didn't sit well with them.

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* Music/IronMaiden helmed by Blaze Bayley. The band continued to write good material during this time (some songs from those albums remained in the setlist after he left), and Blaze is a fine singer on his own. But, because of the difference in vocal range, range (Blaze is a baritone, whereas Bruce Dickinson is a tenor, which is more usual for metal vocalists), he had a hard time performing the band's earlier material live. Blaze is a baritone, while Bruce Dickinson is a tenor, which is more usual for metal vocalists.live. A few fans add the two albums before as well, as they lacked guitarist Adrian Smith and had some subpar material and attempts on DarkerAndEdgier (such as raspier vocals) that didn't sit well with them.
18th Apr '16 9:56:56 PM aye_amber
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* Poor, poor Music/MachineHead. In the mid '90s, they were one of the pioneers of the "post-thrash" sound that defined underground American metal during the decade along with Music/{{Pantera}}, Fear Factory, Music/{{Sepultura}}, Music/{{Biohazard}}, Music/LifeOfAgony, and many others. While other bands were emphasizing influences such as {{Industrial}}, {{Funk|Metal}}, {{Hardcore}}, and {{Grunge}}, Machine Head's sound was planted ''firmly'' in {{Thrash|Metal}}, yet still sounding both modern ''and'' timeless. Until 1999's ''The Burning Red'', which showcased a ''drastic'' shift into NuMetal on both an aural and [[ImportantHaircut visual]] level, and the quality of songwiting suffered greatly from the creative dissonance involved. [[FromBadToWorse To make matters even worse]], they/[[IAmTheBand Rob Flynn]] put out a followup up called ''Supercharger'' that was ''even worse'' on these accounts.\\\

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* Poor, poor Music/MachineHead. In the mid '90s, they were one of the pioneers of the "post-thrash" sound that defined underground American metal during the decade along with Music/{{Pantera}}, Fear Factory, Music/{{Sepultura}}, Music/{{Biohazard}}, Music/LifeOfAgony, ''Life of Agony,'' and many others. While other bands were emphasizing influences such as {{Industrial}}, {{Funk|Metal}}, {{Hardcore}}, and {{Grunge}}, Machine Head's sound was planted ''firmly'' in {{Thrash|Metal}}, yet still sounding both modern ''and'' timeless. Until 1999's ''The Burning Red'', which showcased a ''drastic'' shift into NuMetal on both an aural and [[ImportantHaircut visual]] level, and the quality of songwiting suffered greatly from the creative dissonance involved. [[FromBadToWorse To make matters even worse]], they/[[IAmTheBand Rob Flynn]] put out a followup up called ''Supercharger'' that was ''even worse'' on these accounts.\\\
31st Jan '16 1:21:50 PM MarkLungo
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* Music/MotleyCrue. Having to contend with the newfound popularity of {{grunge}}, which pushed glam and hair metal off the charts, as well as internal affairs with [[FaceOfTheBand Vince Neil]] leaving the band, they signed a deal with Elektra Records and seemed to be coming out on top. Unfortunately, their first release, their 1994 SelfTitledAlbum, was underpromoted (their tour was scaled back from stadiums to smaller venues) and largely unknown due to MTV placing them on a blacklist because of interview mishaps, not to mention the loss of Vince Neil which led to fans [[FanonDiscontinuity disregarding]] the album (no one even knew who [[TheOtherDarrin John Corabi]] was). Which is a damn shame, because it really [[SugarWiki/NeedsMoreLove deserves more praise]]. After this, they were able to bring back Vince Neil, but this led to 1997's ''Generation Swine'', which was the result of a [[ExecutiveMeddling tumultuous struggle]] between the band and their producers, and ended up with a very different sound from their previous work, including the grunge-inspired '94 album. This album was far more experimental and spacey, which the fans couldn't really get behind, since they were expecting the original lineup to return to their sleazy, fast-paced metal roots. To make matters worse, shortly after the release of 2000's ''New Tattoo'', their new drummer Randy Castillo [[AuthorExistenceFailure died of cancer]]. From [[http://www.allmusic.com/album/saints-of-los-angeles-mw0000789098 what's been said]] of 2008's ''Saints of Los Angeles'', it seems they've left this period behind them.

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* Music/MotleyCrue. Having to contend with the newfound popularity of {{grunge}}, which pushed glam and hair metal off the charts, as well as internal affairs with [[FaceOfTheBand Vince Neil]] leaving the band, they signed a deal with Elektra Records Creator/ElektraRecords and seemed to be coming out on top. Unfortunately, their first release, their 1994 SelfTitledAlbum, was underpromoted (their tour was scaled back from stadiums to smaller venues) and largely unknown due to MTV placing them on a blacklist because of interview mishaps, not to mention the loss of Vince Neil which led to fans [[FanonDiscontinuity disregarding]] the album (no one even knew who [[TheOtherDarrin John Corabi]] was). Which is a damn shame, because it really [[SugarWiki/NeedsMoreLove deserves more praise]]. After this, they were able to bring back Vince Neil, but this led to 1997's ''Generation Swine'', which was the result of a [[ExecutiveMeddling tumultuous struggle]] between the band and their producers, and ended up with a very different sound from their previous work, including the grunge-inspired '94 album. This album was far more experimental and spacey, which the fans couldn't really get behind, since they were expecting the original lineup to return to their sleazy, fast-paced metal roots. To make matters worse, shortly after the release of 2000's ''New Tattoo'', their new drummer Randy Castillo [[AuthorExistenceFailure died of cancer]]. From [[http://www.allmusic.com/album/saints-of-los-angeles-mw0000789098 what's been said]] of 2008's ''Saints of Los Angeles'', it seems they've left this period behind them.
16th Jan '16 10:08:36 AM Schroeder1174
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** After Tin Machine came to an end, his output is dotted with studio albums that small-but-vocal chunks of the fandom regard as Dork Ages. ''Black Tie White Noise'' (electronic lounge pop, some numbers doubling as [[SugarWiki/HeartwarmingMoments dedications]] to his then-new wife Iman), ''Earthling'' (intelligent drum and bass ''just'' as it was approaching DeaderThanDisco status), ''hours...'' (softer, more introspective fare that prompted Reeves Gabrels, the guitarist who collaborated with Bowie in Tin Machine and his other '90s works, to leave), and ''Reality'' (mainstream alt-rock) all have their haters. This leaves four mostly-loved albums -- ''1. Outside'', ''Heathen'', ''The Next Day'' and [[AuthorExistenceFailure his swan song]], ''Blackstar'' -- and consistently well-received tours.

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** After Tin Machine came to an end, his output is dotted with studio albums that small-but-vocal chunks of the fandom regard as Dork Ages. ''Black Tie White Noise'' (electronic lounge pop, some numbers doubling as [[SugarWiki/HeartwarmingMoments dedications]] to his then-new wife Iman), ''Earthling'' (intelligent drum and bass ''just'' as it was approaching DeaderThanDisco status), ''hours...'' (softer, more introspective fare that prompted Reeves Gabrels, the guitarist who collaborated with Bowie in Tin Machine and his other '90s works, to leave), and ''Reality'' (mainstream alt-rock) all have their haters. This leaves four mostly-loved albums -- ''1. Outside'', ''Heathen'', ''The Next Day'' and [[AuthorExistenceFailure his swan song]], song]], ''Blackstar'' -- and consistently well-received tours.



* Music/FleetwoodMac has had two. The first one was the early-mid '70s period with Bob Welch and between Peter Green's departure and the addition of Lindsey Buckingham and Stevie Nicks. The second was the period between Buckingham's departure and the reformation of the ''Rumors''-era lineup in 1997.

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* Music/FleetwoodMac has had two. The first one was the early-mid '70s period with Bob Welch and between Peter Green's departure and the addition of Lindsey Buckingham and Stevie Nicks. The second was the period between Buckingham's departure and the reformation of the ''Rumors''-era ''Rumours''-era lineup in 1997.
16th Jan '16 10:01:26 AM Schroeder1174
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** After Tin Machine came to an end, his output is dotted with studio albums that small-but-vocal chunks of the fandom regard as Dork Ages. ''Black Tie White Noise'' (electronic lounge pop, some numbers doubling as [[SugarWiki/HeartwarmingMoments dedications]] to his then-new wife Iman), ''Earthling'' (intelligent drum and bass ''just'' as it was approaching DeaderThanDisco status), ''hours...'' (softer, more introspective fare that prompted Reeves Gabrels, the guitarist who collaborated with Bowie in Tin Machine and his other '90s works, to leave), and ''Reality'' (mainstream alt-rock) all have their haters. This leaves three mostly-loved albums -- ''1. Outside'', ''Heathen'', and ''The Next Day'' -- and consistently well-received tours.

to:

** After Tin Machine came to an end, his output is dotted with studio albums that small-but-vocal chunks of the fandom regard as Dork Ages. ''Black Tie White Noise'' (electronic lounge pop, some numbers doubling as [[SugarWiki/HeartwarmingMoments dedications]] to his then-new wife Iman), ''Earthling'' (intelligent drum and bass ''just'' as it was approaching DeaderThanDisco status), ''hours...'' (softer, more introspective fare that prompted Reeves Gabrels, the guitarist who collaborated with Bowie in Tin Machine and his other '90s works, to leave), and ''Reality'' (mainstream alt-rock) all have their haters. This leaves three four mostly-loved albums -- ''1. Outside'', ''Heathen'', and ''The Next Day'' and [[AuthorExistenceFailure his swan song]], ''Blackstar'' -- and consistently well-received tours.
8th Dec '15 12:00:47 PM TheRedRedKroovy
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* Because of Weezer's notorious BrokenBase over their older stuff versus their newer stuff, a proper DorkAge is hard to nail down and agree on. What CAN be said is that the band themselves directly apologized for the dance rock tracks on albums like "Raditude" and "Hurley" in the single "Back to the Shack". To quote the lyrics: "I'm sorry guys I didn't realize/That I needed you so much/I thought I'd get a new audience/I forgot that [[DeaderThanDisco Disco sucks.]]"
* Music/IronMaiden helmed by Blaze Bayley. Even though some songs of those albums remained in the setlist after he left. The band continued to write good material during this time, and Blaze is a fine singer on his own. But, because of the difference in vocal range, he had a hard time performing the band's earlier material live.[[note]]Blaze is a baritone; Bruce Dickinson is a tenor, which is more usual for metal vocalists.[[/note]] A few fans add the two albums before as well, as they lacked guitarist Adrian Smith, had some sub-par material and attempts on DarkerAndEdgier (such as raspier vocals) that didn't sit well with them.
* Similarly, Music/JudasPriest with [[ReplacementScrappy Tim Owens]] on vocals. Their 1997 album ''Jugulator'' was largely panned by fans for having [[TheyChangedItNowItSucks downtuned guitars]] and subpar vocals (although it did contain the Grammy-nominated song "Bullet Train"). While 2001's ''Demolition'' was criticized for pandering to the NuMetal trend of its respective era. The band at least partially regained credibility in 2003 with the return of Rob Halford and the release of ''Angel Of Retribution'' two years later.
* Let's put this simple: the post-''Black Album'' period of Music/{{Metallica}} (''Load'', ''Reload'', ''St. Anger'') doesn't exist for [[BrokenBase many fans]]. Well, maybe ''Death Magnetic'' can be RescuedFromTheScrappyHeap[[note]]if you pirate the ''Guitar Hero'' rip instead of getting the atrociously mastered CD[[/note]], but anyways...
** The [[DeadArtistsAreBetter death of Cliff Burton]]/[[ReplacementScrappy introduction of]] Music/JasonNewsted is often cited as the cause of these problems. Whilst unfair on Newsted (his first album with Metallica, ''...And Justice for All'', ''is'' really good after all), since replacing him with Rob Trujillo, they have improved, though that may simply be coincidence.
** The Napster suit in 2000 perpetuated this for many, as even the people Metallica was (supposedly) pandering to were disgusted with the band afterwards.
** Many fans include the "Black Album" as well, particularly for ItsPopularNowItSucks.
** There's often a tendency among fans to want ''every album'' by that band to sound the same, and when somebody like Kirk Hammett has an adventurous streak and wants to experiment with sound, it alienates part of the fan base. This also happened to Music/{{Motorhead}} when Brian Robertson of Music/ThinLizzy joined them for ''Another Perfect Day''. Robertson's insistence on wearing disco shorts and refusal to play older Motorhead songs didn't help his case any, but the songwriting on that album pretty much defines well-written metal of the early 1980s.

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[[foldercontrol]]

[[folder:Country and folk]]
* Because of Weezer's notorious BrokenBase Music/GarthBrooks' ''Music/InTheLifeOfChrisGaines'', an experimental alt-rock album and pre-release soundtrack for a movie that never was, did not go over well with his fandom. Not only was the OutOfGenreExperience unwelcome to his country fans, but taking on a new look and the identity of the title character just made it worse. Even still, while the album bombed, failure is relative. The album itself peaked at #2 on the U.S. charts, went double platinum, and had a top 5 single.
* Music/BrooksAndDunn have
their older stuff versus 1999 ''Tight Rope'' album. Following their newer stuff, a proper DorkAge is hard biggest flop to nail down and agree on. What CAN be said is that the band themselves directly apologized for the dance rock tracks on albums like "Raditude" and "Hurley" in the date with "South of Santa Fe" (their only single "Back not to enter the Shack". To quote the lyrics: "I'm sorry guys I Top 40 at all, reportedly because program directors were saying they didn't realize/That I needed you so much/I thought I'd get a new audience/I forgot that [[DeaderThanDisco Disco sucks.]]"
* Music/IronMaiden helmed by Blaze Bayley. Even though some songs of those albums remained in the setlist after he left. The band continued to write good material during this time, and Blaze is a fine singer on his own. But, because of the difference in vocal range, he had a hard time performing the band's earlier material live.[[note]]Blaze is a baritone; Bruce Dickinson is a tenor, which is more usual for metal vocalists.[[/note]] A few fans add the two albums before as well, as they lacked guitarist Adrian Smith, had some sub-par material and attempts on DarkerAndEdgier (such as raspier vocals) that didn't sit well
want another song with them.
* Similarly, Music/JudasPriest with [[ReplacementScrappy Tim Owens]] on vocals. Their 1997 album ''Jugulator'' was largely panned by fans for having [[TheyChangedItNowItSucks downtuned guitars]] and subpar vocals (although it did contain the Grammy-nominated song "Bullet Train"). While 2001's ''Demolition'' was criticized for pandering to the NuMetal trend of its respective era. The band at least partially regained credibility in 2003 with the return of Rob Halford and the release of ''Angel Of Retribution'' two years later.
* Let's put this simple: the post-''Black Album'' period of Music/{{Metallica}} (''Load'', ''Reload'', ''St. Anger'') doesn't exist for [[BrokenBase many fans]]. Well, maybe ''Death Magnetic'' can be RescuedFromTheScrappyHeap[[note]]if you pirate the ''Guitar Hero'' rip
Kix Brooks singing lead instead of getting Ronnie Dunn), they led off ''Tight Rope'' with a lukewarm cover of John Waite's "Missing You" (obviously trying to re-capture the atrociously mastered CD[[/note]], but anyways...
**
magic of their extremely successful cover of B. W. Stevenson's "My Maria") and the honky-tonk "Beer Thirty". Both failed to make Top 10, while "You'll Always Be Loved by Me" very, very slowly climbed to Top 5 in 2000. The [[DeadArtistsAreBetter death album was their worst-selling, and was critically panned for sounding tired and weak overall. It was their last album under original producer Don Cook (and one of Cliff Burton]]/[[ReplacementScrappy introduction of]] Music/JasonNewsted is often cited as his last production gigs period), although he only produced half of it; the cause other half, including all three singles, was produced by Music/TimMcGraw's producer Byron Gallimore, with whom the duo never worked again. The fall was so great that Montgomery Gentry snagged the Duo of these problems. Whilst unfair the Year awards that year despite being brand-new on Newsted (his the scene. Fortunately for B & D, they caught a second wind with ''Steers & Stripes'' in 2001 (their first album with Metallica, ''...And Justice producer Mark Wright), which accounted for All'', ''is'' really good after all), since replacing him with Rob Trujillo, they have improved, their biggest hit in "Ain't Nothing 'Bout You" and was generally lauded for its more energetic sound and tight songwriting. ''Red Dirt Road'' two years later was also hailed as one of their best. When B & D released their second GreatestHitsAlbum in 2004, ''none'' of the singles from ''Tight Rope'' were included, even though that may simply be coincidence.
** The Napster suit in 2000 perpetuated this for many, as even the people Metallica was (supposedly) pandering to were disgusted with the band afterwards.
** Many fans
they ''did'' include "South of Santa Fe"!
* Music/BobDylan grew tired of being viewed as "the spokesman of a generation", and decided to record
the "Black Album" country music album ''Nashville Skyline'' specifically to alienate people who viewed him as well, particularly for ItsPopularNowItSucks.
** There's often a tendency among
such. This continued with ''Self Portrait'' and ''Dylan'', which were popular with critics but sold very poorly. Then Dylan recorded some albums that his original audience liked (including ''Blood on the Tracks''), and then he converted to Christianity and changed his style ''again'', losing most of his original fans over a quarter of a century (and gaining a few back after 1997's ''Time Out of Mind''.)
* The output of Music/RascalFlatts after switching producers from Mark Bright
to want ''every album'' by that band to sound Dann Huff, covering the same, albums ''Me and when somebody like Kirk Hammett has an adventurous streak My Gang'', ''Still Feels Good'', and wants to experiment with sound, it alienates part ''Unstoppable''. While the PowerBallad "What Hurts the Most" was a critical darling and one of the fan base. This few #1 country hits also happened to Music/{{Motorhead}} when Brian Robertson hit #1 on AC, the majority of Music/ThinLizzy joined them their output for ''Another Perfect Day''. Robertson's insistence on wearing disco shorts the next few years was very poorly received almost across the board. Pretty much all of their singles were bombastic, overproduced, over-sung power ballads with whiny, over-the-top vocals and refusal to play older Motorhead lightweight lyrics, while at the same time, anything that ''wasn't'' in that mold ("Me and My Gang", "Bob That Head", "Why") inexplicably flopped. (However, at least ''Me and My Gang'' had a few truly good songs that many fans thought ''should'' be singles instead of what was actually released.) Even when they did score another chart-topper, it was quickly forgotten and never heard again — even "Take Me There", which spent four weeks atop the country charts in an era where spending more than two weeks at #1 is a rarity on that chart. They didn't help his case any, but start to break out of their doldrums until their label (Lyric Street Records) closed in 2010 and they moved to Big Machine. Their first two Big Machine albums, while still produced by Huff, seemed to have the songwriting on that album pretty much defines well-written metal bombast dialed down a bit even if the hits aren't coming quite as strongly. The end of the early 1980s.Dork Age may have fully come with 2014's ''Rewind'', which has some tracks produced entirely by the band itself, a few by pop producer Howard Benson, and only one by Huff; many fans feel that this album is mostly free of the problems that most of their Huff albums had.
* Music/RandyTravis had 1993's ''Wind in the Wire'', a Western-themed one-off for a short lived TV series of the same name, and his first album not to be produced by Kyle Lehning. The singles went nowhere (at least in the US — "Cowboy Boogie" went to #10 on the Canadian country charts), but he soon got back on track with the next few albums. A label exec at Creator/WarnerBrosRecords even referred to that particular album as an "angst period".
* Music/NeilYoung's early-mid '80s output, especially the album ''Trans''. He was fed up with David Geffen and wanted out of his contract. Geffen in return sued for those albums being "not commercial" and "musically uncharacteristic of previous recordings."
[[/folder]]

[[folder:Heavy metal]]
* Music/{{Aborted}} went through a major one of these from 2005 to 2010. It started with ''The Archaic Abattoir'', which, due to its prominent metalcore influences, was fairly polarizing overall; some fans saw it as a unique new twist on their established sound and applauded them for not trying to make ''Goremageddon'' 2.0, while others ''hated'' it and saw it as a sign of worse things to come. It was around this time that the band also started experiencing a truly jawdropping amount of lineup changes, and 2007's ''Slaughter & Apparatus: A Methodical Overture'', which was even more polarizing, failed to win back the fans alienated by the previous album. 2008's ''Strychnine.213'' wound up being the nadir of their career, with its deathcore overtones, anemic riffing, overblown and out-of-place Dimebag/Wylde-aping guitar solos, and Sven's bored-sounding and phoned-in vocal performances leading to a universally despised final product (the band [[OldShame hated it just as much]]). They didn't really emerge from this slump until Sven fired the entire band, hired back Dirk Verbeuren, welcomed in an all-new string section, and released the ''Coronary Reconstruction'' EP in 2010, and even then, lingering bits of the band's notorious proclivity towards unstable lineups remained when Ken Sorceron was fired in 2011 after a falling-out with Sven, followed by the firing of Eran Segal (the other new guitarist) and Mike Wilson (Sorceron's replacement) in 2012 for similar reasons.
* Music/{{Anthrax}} during the '90s. On the one hand, some of the band's most critically acclaimed material and mainstream success occurred during the period, including their famous collaborative version of "Bring The Noise" with Music/PublicEnemy, which is frequently credited for inventing RapMetal. On the other hand, many fans still look poorly on the band's more grunge-influenced material, and on John Bush of Music/ArmoredSaint, who replaced longtime singer Joey Belladonna during this period.
* Music/BlackSabbath went through a DorkAge in the last half of TheSeventies, with their two last albums with Ozzy being mediocre after a run of six mind-blowingly awesome albums. Music/RonnieJamesDio saved them from that, but he left after two albums. Ian Gillan hopped onboard for a decent album, then various more lineups got assembled, that nobody can agree which one is good and which one's a dork age.
** Again, all phases of the band's career have their fans; including the late-'70s period, "Blackmore Sabbath", and the Black Sabbath InNameOnly late '80s Tony Iommi solo albums.
* Music/AliceCooper has a few eras that could qualify, having played in many styles to many audiences, but none are as reviled as the transition he made in 1980: he completed his long transition from hard rock and switched to new wave. Worse, he abandoned his [[LooksLikeCesare famous eye makeup]], cut his hair, and developed a more androgynous image inspired by ''Film/AClockworkOrange''. The new style alienated his remaining fanbase and the four albums he made in this period performed poorly. It took six years (three of them spent in retirement sobering up) before he went back to his hard rock roots and image to great success.\\\
And even then, the success was almost purely commercial, as the "HairMetal" period of Alice Cooper was even more critically reviled than the previous period (as it [[UnintentionalPeriodPiece aged much, much more poorly]]). It wouldn't be until 1994's ''Last Temptation'' and 2000's ''Brutal Planet'' that Alice Cooper's Dork Age would end once and for all.
* The metal community has come to regard ''Cold Lake'', Music/CelticFrost's one-off shot at glam rock, to be synonymous with "total fucking disaster".
* Listening to ''Digimortal'' can be a very, very unpleasant experience, especially to one familiar with Music/FearFactory's classic body of work. It's another thing when a band like Music/{{Megadeth}} attempts to incorporate pop music into their sound; when a band that has built themselves purely on amelodically brutal TestosteronePoisoning tries it, well, "forced" doesn't even begin to describe the end result. Unsurprisingly, the band were thrown into a TenMinuteRetirement, only to return with a fledgeling [[WinBackTheCrowd "comeback"]] album in ''Archetype'' that only further proved their best days were well behind them.



* Music/{{Anthrax}} during the 90s. On the one hand some of the band's most critically acclaimed material and mainstream success occurred during the period, including their famous collaborative version of "Bring The Noise" with Music/PublicEnemy, which is frequently credited for inventing rap-metal. On the other hand, many fans still look poorly on the band's more grunge-influenced material, and John Bush of Music/ArmoredSaint, who replaced longtime singer Joey Belladonna during this period.

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* Music/{{Anthrax}} During the mid-late '90s, Music/InFlames were seen as the definitive melodic death metal band, successfully mixing growled death metal vocals with melodic guitar riffs and even Middle Eastern-styled acoustic melodies. While the band was gradually moving away from their traditional melo-death style since 1999's ''Colony'', it was 2002's ''Reroute To Remain'' that officially marked the beginning of their DorkAge, thanks to its NuMetal influence, simplified songwriting, and greater reliance on clean singing. The album even went so far as to include a ''folksy country rock song'' that bore little resemblance to anything the band had ever done up to that point. The band was believed to have dropped the ultimate bomb, however, with 2004's ''The Soundtrack To Your Escape'', an album that continued the nu-metal sound of ''Reroute to Remain'', contained even more clean singing than the last, relied heavily on synth leads, and was notably devoid of guitar solos. Fortunately, the band regained a fair amount of credibility with 2006's harder and more traditional-sounding ''Come Clarity'' and remained pretty consistent until 2014's ''Siren Charms'', which many consider to be an even worse album than ''Soundtrack to Your Escape''.
* Music/IronMaiden helmed by Blaze Bayley. The band continued to write good material
during this time (some songs from those albums remained in the 90s. On setlist after he left), and Blaze is a fine singer on his own. But, because of the one hand some of difference in vocal range, he had a hard time performing the band's most critically acclaimed earlier material live. Blaze is a baritone, while Bruce Dickinson is a tenor, which is more usual for metal vocalists. A few fans add the two albums before as well, as they lacked guitarist Adrian Smith and had some subpar material and mainstream success occurred during the period, including their famous collaborative version of "Bring The Noise" attempts on DarkerAndEdgier (such as raspier vocals) that didn't sit well with Music/PublicEnemy, which is frequently credited them.
* Similarly, Music/JudasPriest with [[ReplacementScrappy Tim Owens]] on vocals. Their 1997 album ''Jugulator'' was largely panned by fans
for inventing rap-metal. On having [[TheyChangedItNowItSucks downtuned guitars]] and subpar vocals (although it did contain the Grammy-nominated song "Bullet Train"). 2001's ''Demolition'', meanwhile, was criticized for pandering to the NuMetal trend of the era. The band at least partially regained credibility in 2003 with the return of Rob Halford and the release of ''Angel Of Retribution'' two years later.
* Hey, remember Music/{{KISS}}? When they first started they were regarded on the same level as
the other hand, many two pioneering metal groups, Music/BlackSabbath and Music/LedZeppelin. They realized the potential for [[CashCowFranchise making a profit]], but overplayed their hand with a video game, a comic book series, and a universally-panned film. The whole thing culminated in the group attempting to cash in on the disco craze of the late 1970s, and they are today blamed for the downfall of the first generation of metal, leading to the rise of punk, hip-hop, and disco.
** People often forget that KISS was a fairly obscure group for their first year or so of existence. Fans were already getting tired of glam rock by 1974 (Music/AliceCooper was starting to move away from it), and KISS's debut album was [[GermansLoveDavidHasselhoff notably more popular in Japan than in the United States]]. ''Dressed to Kill'' was their true breakout album, as it coincided with the beginning of the "showman" period in which (with a few exceptions) they have since spent their entire career.
** Likewise, their attempt at a ConceptAlbum / RockOpera.
** And there was their attempt in the '80s to drop the facepaint and sci-fi costumes and reinvent themselves as a "hair" band in the Music/TwistedSister mold. In [[VindicatedByHistory retrospect]], it did manage to produce what would later be considered a solid, underrated gem in ''Lick it Up'', their sole album from the era that contained Vinnie Vincent as a member and key songwriter. Furthermore, it worked. The "Unmasked" period coincided with the revival of metal: KISS took an honored spot as patriarchs among the newer bands, and their career was revived. Notably, KISS' great achievement is considered to be combining rock with theater, and it should be considered suspicious that they're appreciated for something that actually has nothing to do with music.
** ''Music From The Elder'', the hair metal period, ''Psycho Circus'' not actually being an original KISS album, Eric Singer and Tommy Thayer performing as psuedo-originals... come to think of it, everything is a dork age except for the original lineup albums, ''Creatures of the Night'', ''Lick it Up'', and ''Revenge''.
* Music/{{KMFDM}} tried to break away from its long history by switching record labels and changing their name to MDFMK. While the "new" band's album was well received,
fans still look poorly on were incensed that they refused to play any of their old songs in concert. The band relented, going back to their old name and playing selections from their entire catalog.
* Though its reviews were comparable to those of their earlier work, Music/LinkinPark's fans trashed their 2007 album ''Minutes to Midnight'', which almost fully abandoned [[RapMetal their use of rapping and turntables]]. 2010's ''A Thousand Suns'' proved even more polarizing with the experimental direction it took in both its sound and its themes. The genre shift is known by fans as a Dork Age, though few of those remaining since those albums' release have left since, mainly due to the band [[WinBackTheCrowd returning to familiar territory]] with ''Living Things'' in 2012 and especially ''The Hunting Party'' in 2014.
* Music/{{Loudness}} has accomplished the feat of having several of these, at least to some fans (other fans will see them as some of the best periods ever in
the band's more grunge-influenced material, history), as a result of being a LongRunner, and John Bush of Music/ArmoredSaint, while very successfully averting WereStillRelevantDammit, at the same time being so in tune with the current trend in metal that people who replaced longtime singer Joey Belladonna hated that trend will hate that era. Pretty much the only era that ''no one'' considers a DorkAge is the 1991-1992 era, because it is solid ThrashMetal regardless of time or culture.
* Poor, poor Music/MachineHead. In the mid '90s, they were one of the pioneers of the "post-thrash" sound that defined underground American metal
during this period.the decade along with Music/{{Pantera}}, Fear Factory, Music/{{Sepultura}}, Music/{{Biohazard}}, Music/LifeOfAgony, and many others. While other bands were emphasizing influences such as {{Industrial}}, {{Funk|Metal}}, {{Hardcore}}, and {{Grunge}}, Machine Head's sound was planted ''firmly'' in {{Thrash|Metal}}, yet still sounding both modern ''and'' timeless. Until 1999's ''The Burning Red'', which showcased a ''drastic'' shift into NuMetal on both an aural and [[ImportantHaircut visual]] level, and the quality of songwiting suffered greatly from the creative dissonance involved. [[FromBadToWorse To make matters even worse]], they/[[IAmTheBand Rob Flynn]] put out a followup up called ''Supercharger'' that was ''even worse'' on these accounts.\\\
Thankfully, they/he [[WinBackTheCrowd dug themselves out of the hole]] by reintroducing their classic Thrash sound on subsequent albums ''Through the Ashes of Empires'' and ''The Blackening'', though a bit too late as their particular DorkAge left a scorching black mark on their/Flynn's reputation that they/he have yet to fully recover from, especially as the band still looms in the shadows of both it and [[ToughActToFollow their classic]] album ''[[FirstInstallmentWins Burn My Eyes]]''.



* Hell, even ''Music/{{Slayer}}'' wasn't immune to the crippling power of TheNineties. They lost [[TheAce their drummer Dave Lombardo]], and experimented with NuMetal for a while (something [[OldShame Kerry King himself openly wishes to forget]]). The horror! However, since the mid-[[TheNoughties Noughties]], Lombardo is back, and Slayer is making straight ThrashMetal again.

to:

* Let's put this simple: the post-''Black Album'' period of Music/{{Metallica}} (''Load'', ''Reload'', ''St. Anger'') doesn't exist for [[BrokenBase many fans]]. Well, maybe ''Death Magnetic'' can be RescuedFromTheScrappyHeap (if you pirate the ''VideoGame/GuitarHero'' rip instead of getting the [[LoudnessWar atrociously-mastered]] CD), but anyways...
** The [[DeadArtistsAreBetter death of Cliff Burton]]/[[ReplacementScrappy introduction of]] Music/JasonNewsted is often cited as the cause of these problems. Whilst unfair on Newsted (his first album with Metallica, ''...And Justice for All'', ''is'' really good after all), since replacing him with Rob Trujillo, they have improved, though that may simply be coincidence.
** The Napster suit in 2000 perpetuated this for many, as even the people Metallica was (supposedly) pandering to were disgusted with the band afterwards.
** Many fans include ''The Black Album'' as well, particularly for ItsPopularNowItSucks.
** There's often a tendency among fans to want ''every album'' by that band to sound the same, and when somebody like Kirk Hammett has an adventurous streak and wants to experiment with sound, it alienates part of the fan base. This also happened to Music/{{Motorhead}} when Brian Robertson of Music/ThinLizzy joined them for ''Another Perfect Day''. Robertson's insistence on wearing disco shorts and refusal to play older Motorhead songs didn't help his case any, but the songwriting on that album pretty much defines well-written metal of the early 1980s.
* Music/MotleyCrue. Having to contend with the newfound popularity of {{grunge}}, which pushed glam and hair metal off the charts, as well as internal affairs with [[FaceOfTheBand Vince Neil]] leaving the band, they signed a deal with Elektra Records and seemed to be coming out on top. Unfortunately, their first release, their 1994 SelfTitledAlbum, was underpromoted (their tour was scaled back from stadiums to smaller venues) and largely unknown due to MTV placing them on a blacklist because of interview mishaps, not to mention the loss of Vince Neil which led to fans [[FanonDiscontinuity disregarding]] the album (no one even knew who [[TheOtherDarrin John Corabi]] was). Which is a damn shame, because it really [[SugarWiki/NeedsMoreLove deserves more praise]]. After this, they were able to bring back Vince Neil, but this led to 1997's ''Generation Swine'', which was the result of a [[ExecutiveMeddling tumultuous struggle]] between the band and their producers, and ended up with a very different sound from their previous work, including the grunge-inspired '94 album. This album was far more experimental and spacey, which the fans couldn't really get behind, since they were expecting the original lineup to return to their sleazy, fast-paced metal roots. To make matters worse, shortly after the release of 2000's ''New Tattoo'', their new drummer Randy Castillo [[AuthorExistenceFailure died of cancer]]. From [[http://www.allmusic.com/album/saints-of-los-angeles-mw0000789098 what's been said]] of 2008's ''Saints of Los Angeles'', it seems they've left this period behind them.
* Funnily, while a lot of metal bands and musicians were entering a Dork Age in the '90s, Music/OzzyOsbourne was slowly coming out of one. While his first two solo albums (''Blizzard Of Ozz'' and ''Diary Of A Madman'') were hugely successful, things took a major turn for the worse when famed lead guitarist Randy Rhoads was unexpectedly killed in a plane crash. His first replacement, Jake E. Lee, was actually a pretty capable guitarist. But the two albums made with him in the band, ''Bark At The Moon'' and ''The Ultimate Sin'', were total disasters. The latter album, especially, was heavily criticized for pandering to the then-emerging glam metal scene (though it did contain one of Ozzy's most popular songs, "Shot In The Dark"). To make matters worse, Ozzy's problems with substance abuse were spiraling out of control, as was his relationship with wife Sharon Osbourne. Fortunately, Ozzy slowly began to pick himself back up in the late-80's, beginning by hiring guitarist Zakk Wylde for 1988's underrated ''No Rest For The Wicked''. After that, he cleaned up most of his personal issues and released the album ''No More Tears'' in 1991, which was and still is widely regarded as one of his best ever solo albums.
* Music/SixFeetUnder went through one of these in the early 2000s. Their first three albums are regarded as solid '90s death metal records, with their debut ''Haunted'' in particular being considered a classic by fans. In 2000, however, they released the phoned-in cover album ''Graveyard Classics'', which polarized people; some fans liked it for their death metal take on classic rock songs, while others felt it was unnecessary and SoBadItsGood at best. But the band's fourth original album ''True Carnage'' is when they started to go downhill. To date, it's their lowest-rated record, being trashed for its sludgy production values, experimentation with NuMetal, sluggish performances, and a pretty clear lack of effort. As if that weren't bad enough, their very next record ''Bringer of Blood'' dialed up the nu-metal considerably, and featured even more vapid songwriting along with shallow lyrics that would make even [[Music/LimpBizkit Fred Durst]] cringe. Fans hoping for improvement ended up getting the final nail in the coffin; a second ''Graveyard Classics'' album that was a cover of Music/{{ACDC}}'s entire ''Back in Black'' album, which is universally despised even by the band's most diehard fans, and the standalone song "Dead and Buried", which featured Chris Barnes' worst vocal performance of all time. They managed to win some people back with three solid records in a row, but it wasn't until 2012's ''Undead'' that they managed to get themselves out of their rut entirely.
* Hell, even ''Music/{{Slayer}}'' wasn't immune to the crippling power of TheNineties.that TheNineties had on metal. They lost [[TheAce their drummer Dave Lombardo]], and experimented with NuMetal for a while (something [[OldShame Kerry King himself openly wishes to forget]]). The horror! However, since the mid-[[TheNoughties Noughties]], Lombardo is back, and Slayer is making straight ThrashMetal again.



* Music/MotleyCrue. Having to contend with the newfound popularity of Grunge, which pushed glam and hair metal off the charts, as well as internal affairs with [[FaceOfTheBand Vince Neil]] leaving the band, they signed a deal with Elektra Records and seemed to be coming out on top. Unfortunately, their first release, 1994's ''[[SelfTitledAlbum Motley Crue]]'', was underpromoted (their tour was scaled back from stadiums to smaller venues) and largely unknown due to MTV placing them on a blacklist because of interview mishaps, not to mention the loss of Vince Neil which led to fans [[FanonDiscontinuity disregarding]] the album (no one even knew who [[TheOtherDarrin John Corabi]] was). Which is a damn shame, because it really [[SugarWiki/NeedsMoreLove deserves more praise]]. After this, they were able to bring back Vince Neil, but this led to 1997's Generation Swine, which was the result of a [[ExecutiveMeddling tumultuous struggle]] between the band and their producers, and ended up with a very different sound from their previous work, including the grunge-inspired '94 album. This album was far more experimental and spacey, which the fans couldn't really get behind, since they were expecting the original lineup to return to their sleazy, fast-paced metal roots. To make matters worse, shortly after the release of 2000's New Tattoo, their new drummer Randy Castillo [[AuthorExistenceFailure died of cancer]]. From [[http://www.allmusic.com/album/saints-of-los-angeles-mw0000789098 what's been said]] of 2008's Saints of Los Angeles, it seems they've left this period behind them.
* Funnily, while a lot of metal bands were entering a Dork Age in the 90's, ''Music/OzzyOsbourne'' was slowly coming out of one. While his first two solo albums (''Blizzard Of Ozz'' and ''Diary Of A Madman'') were hugely successful, things took a major turn for the worse when famed lead guitarist Randy Rhoads was unexpectedly killed in a plane crash. His first replacement, Jake E. Lee, was actually a pretty capable guitarist. But the two albums made with him in the band, ''Bark At The Moon'' and ''The Ultimate Sin'', were total disasters. The latter album, especially, was heavily criticized for pandering to the then-emerging glam metal scene (though it did contain one of Ozzy's most popular songs, "Shot In The Dark"). To make matters worse, Ozzy's problems with substance abuse were spiraling out of control, as was his relationship with wife Sharon Osbourne. Fortunately, Ozzy slowly began to pick himself back up in the late-80's, beginning by hiring guitarist Zakk Wylde for 1988's underrated ''No Rest For The Wicked''. After that, he cleaned up most of his personal issues and released the album ''No More Tears'' in 1991, which was and still is widely regarded as one of his best ever solo albums.
* Music/{{Aerosmith}}: After becoming one of America's most successful bands in the 70's, Aerosmith went through one of music's most famous examples in the 80's after Joe Perry and Brad Whitford's departures in 1979 and 1981 respectively. Their two albums released during this period, "Night In The Ruts" and "Rock In A Hard Place", don't exist in any greatest hits compilations. When Joe and Brad returned they had fallen so far it took a hip-hop collaboration with RUN D.M.C and 1987's "Permanent Vacation" to return them back to the spotlight. Their success since then has managed to be greater than their 1970's heyday and is considered the greatest comeback story in popular music history.
** Their stuff post "Nine Lives" is looked upon by many (even the band themselves) as a second Dork Age which continues today, depending on how you feel about "Legendary Child".
*** In a way, the early 80's were a personal Dork Age for Joe Perry himself, as he tried going at it solo and went nowhere until rejoining Music/{{Aerosmith}}.
* Music/BillyIdol went through one of these in the early '90s, when, faced with waning popularity and flagging album sales, he attempted to reinvent his image (and cash in on the emergent hacker subculture) in 1993 by replacing his [[EightiesHair bleached-blonde spiky haircut]] with bleached-blonde dreadlocks and releasing the album ''Cyberpunk'', a fusion of glam rock and electronic dance music. With the exception of the single, "Shock to the System" (which was closer in style to his earlier work), the album's songs consisted of overwrought synthesizer riffs, pretentious monologues, and lines lifted directly from Creator/WilliamGibson novels. The album flopped, hard: critics universally panned it, Billy's old fans were left feeling betrayed, and real cyberpunks saw him as nothing but a hopeless poser. Even though the album has managed to acquire a cult following in recent years, it's still universally agreed that the cover of the Music/VelvetUnderground's "Heroin" that appeared on this album is the absolute ''worst'' version of the song ever recorded.
* Many fans consider PearlJam to have been in their Dork Age since 2012 or so, with their song "Olé!" considered uncharacteristically derivative and their following album ''Lightning Bolt'' (on which the song did not appear) bland and forgettable.
** A milder Dork Age of the same band took place from 1998 to 2002 (known as the "black" era because of the album covers), give or take a couple years. For many longtime fans, ''Yield'' was rather structured and post-grungey, ''Binaural'' was spacey and samey, and ''Riot Act'' veered too far into strange genres (folk, punk, Middle Eastern music, etc.), [[UncommonTime odd time signatures]], and the overly confrontational and mean-spirited George W. Bush criticism piece, "Bu$hleaguer." Their self-titled 2006 effort, which largely returned to the band's roots, was better received and spawned more hits.
* Though its reviews were comparable to those of their earlier work, LinkinPark's fans trashed their 2007 album ''Minutes to Midnight'', which almost abandoned their use of rapping and turntablism. The genre shift is known by former fans as a Dork Age, though few of those remaining since that album's release have left since.
* One example of a band that tried for a new, DarkerAndEdgier image and just... shouldn't have is demonstrated in the video and song, "Dirty Dawg". Let's just say, it '''really''' didn't go over well with Music/NewKidsOnTheBlock's established fandom.
* Similarly, Music/GarthBrooks' experimental pop album and pre-release soundtrack for a movie that never was, ''The Life of Chris Gaines'', did not go over well with his fandom. Not only was the OutOfGenreExperience unwelcome to his country fans, but taking on a new look, and the identity of the title character just made it worse. Even still, while the album bombed, failure is relative. The album itself peaked at #2 on the U.S. charts, went double platinum, and had a top 5 single.
* Music/{{Loudness}} has accomplished the feat of having several of these, at least to some fans (other fans will see them as some of the best periods ever in the band's history), as a result of being a LongRunner, and while very successfully averting WereStillRelevantDammit, at the same time being so in tune with the current trend in metal that people who hated that trend will hate that era. Pretty much the only era that ''no one'' considers a DorkAge is the 1991-1992 era, because it is solid ThrashMetal regardless of time or culture.
* Music/XJapan has been in one since 2008 with the possible exception of the 2010 Yokohama show, according to the part of the fandom that believes they stopped being good in 1992 or 1996.
* And then there's Music/{{Jewel}}, who, for a thankfully brief period, abandoned her trademark sensitive folkie singer Lilith Fair poet persona in order to become... a clone of every crappy pop singer of the noughties. She ''claimed'' that her [[LoveItOrHateIt violently-impossible-to-like]] song, "Intuition", was meant [[ParodyRetcon as a ''satire'']] of interchangeable pretty blond pop singers. Sadly for her, that's a little hard to believe, considering she made a bunch of money off said song being used to launch a [[ProductPlacement women's razor line called "Intuition"]].
* In a rare case of by the band's own admission, {{Oasis}} had at least one of these. Noel Gallagher writes off much of the late 1990s output, and also chunks of the mid-2000s. He even went as far on a Greatest Hits DVD as to ask why somebody didn't just to tell them to "stop", also making much of it an OldShame.
* Music/BobDylan grew tired of being viewed as "the spokesman of a generation", and decided to record the country music album ''Nashville Skyline'' specifically to alienate people who viewed him as such. This continued with ''Self Portrait'' and ''Dylan'', which were popular with critics but sold very poorly. Then Dylan recorded some albums that his original audience liked (including ''Blood on the Tracks''), and then he converted to Christianity and changed his style ''again'', losing most of his original fans over a quarter of a century (and gaining a few back after 1997's ''Time Out of Mind''.)
* Music/NeilYoung's early to mid-'80s output, especially the album ''Trans.'' He was fed up with David Geffen and wanted out of his contract. Geffen in return sued for those albums being "not commercial" and "musically uncharacteristic of previous recordings."

to:

* Music/MotleyCrue. Having to contend with When irreplaceable guitarist Michael Schenker left UFO in the newfound popularity 1970s, a sizable portion of Grunge, which pushed glam and hair metal off the charts, fan base considered them to have ceased existing, despite a resultant run of albums that were more consistent than the ones during Schenker's difficult tenure.
* Music/VanHalen's recruitment of Gary Cherone (formerly of Music/{{Extreme}}) after Sammy Hagar's departure is currently regarded
as well as internal affairs with [[FaceOfTheBand Vince Neil]] leaving [[CanonDiscontinuity "never happened"]] by the band, they signed a deal with Elektra Records and seemed to be coming out on top. Unfortunately, their first release, 1994's ''[[SelfTitledAlbum Motley Crue]]'', was underpromoted (their tour was scaled back having been excluded completely from stadiums to smaller venues) and largely unknown due to MTV placing them on a blacklist because of interview mishaps, not to mention the loss of Vince Neil which led to fans [[FanonDiscontinuity disregarding]] the album (no one even knew who [[TheOtherDarrin John Corabi]] was). Which is a damn shame, because it really [[SugarWiki/NeedsMoreLove deserves more praise]]. After this, they were able to bring back Vince Neil, but this led to 1997's Generation Swine, which was the result of a [[ExecutiveMeddling tumultuous struggle]] between the band and their producers, and ended up with a very different sound from their previous work, including the grunge-inspired '94 album. This album was far more experimental and spacey, which the fans couldn't really get behind, since they were expecting the original lineup to return to their sleazy, fast-paced metal roots. To make matters worse, shortly two-disc greatest hits collection put out years after the release of 2000's New Tattoo, their new drummer Randy Castillo [[AuthorExistenceFailure died of cancer]]. From [[http://www.allmusic.com/album/saints-of-los-angeles-mw0000789098 what's been said]] of 2008's Saints of Los Angeles, it seems they've left this period behind them.
* Funnily, while a lot of metal bands were entering a Dork Age in
''Van Halen III'', the 90's, ''Music/OzzyOsbourne'' was slowly coming out of one. While his first two solo albums (''Blizzard Of Ozz'' and ''Diary Of A Madman'') were hugely successful, things took a major turn for the worse when famed lead guitarist Randy Rhoads was unexpectedly killed in a plane crash. His first replacement, Jake E. Lee, was actually a pretty capable guitarist. But the two albums made only album featuring that singer. The second album they had planned to release with him was scrapped after they realized how unpopular he was. Ironically, he's also the only singer of the band that doesn't hate Eddie Van Halen.
[[/folder]]

[[folder:Hip-hop/rap]]
* Music/{{Eminem}} on the albums ''Encore'' and ''Relapse''. His career peaked around 2002-03 with his fourth album ''Music/TheEminemShow'' and his film debut in ''Film/EightMile'' (a [[BasedOnATrueStory loose biopic]] of his upbringing), but by the time he began writing and recording ''Encore'', his drug problems had begun to overwhelm him. The resulting album, released in 2004, was seen as a critical misstep filled with juvenile lyrics, shallow pop-culture references, and a {{Flanderization}} of his persona. His follow-up ''Relapse'' in 2009 was intended as a comeback, but most critics thought it was just dull, going too far
in the band, ''Bark At The Moon'' opposite direction. Eminem's actual comeback would come with ''Recovery'' in 2010 and ''The Ultimate Sin'', were total disasters. The latter album, especially, was heavily criticized for pandering to the then-emerging glam metal scene (though it did contain one Marshall Mathers LP 2'' in 2013, and as of Ozzy's most popular songs, "Shot In The Dark"). To make matters worse, Ozzy's problems with substance abuse were spiraling out of control, as was his relationship with wife Sharon Osbourne. Fortunately, Ozzy slowly began to pick himself back up in the late-80's, beginning by hiring guitarist Zakk Wylde for 1988's underrated ''No Rest For The Wicked''. After that, he cleaned up most now he's restored much of his personal issues and released the album ''No More Tears'' in 1991, which was and still is widely regarded as one of former popularity, putting his best ever solo albums.
* Music/{{Aerosmith}}: After becoming one of America's most successful bands in the 70's, Aerosmith went through one of music's most famous examples in the 80's after Joe Perry and Brad Whitford's departures in 1979 and 1981 respectively. Their two albums released during this period, "Night In The Ruts" and "Rock In A Hard Place", don't exist in any greatest hits compilations. When Joe and Brad returned they had fallen so far it took a hip-hop collaboration with RUN D.M.C and 1987's "Permanent Vacation" to return them back to the spotlight. Their success since then has managed to be greater than their 1970's heyday and is considered the greatest comeback story in popular music history.
** Their stuff post "Nine Lives" is looked upon by many (even the band themselves) as a second
mid-late '00s Dork Age which continues today, depending on how you feel about "Legendary Child".
*** In a way, the early 80's were a personal Dork Age for Joe Perry himself, as he tried going at it solo and went nowhere until rejoining Music/{{Aerosmith}}.
firmly behind him.
* Music/BillyIdol went through one of these in the early '90s, when, faced with waning popularity and flagging Music/MCHammer's 1994 album sales, he attempted to reinvent his image (and cash in on the emergent hacker subculture) in 1993 by replacing his [[EightiesHair bleached-blonde spiky haircut]] ''The Funky Headhunter'' -- with bleached-blonde dreadlocks and releasing the album ''Cyberpunk'', a fusion of glam rock and electronic dance music. With the possible exception of the single, "Shock to single "Pumps and A Bump" (as long as you [[http://www.youtube.com/watch?v=KZqG3f-jhqg ignore the System" (which video]]). While the song was closer in style to a platinum-selling success at the time, his earlier work), attempt to jump on the album's songs consisted of overwrought synthesizer riffs, pretentious monologues, and lines lifted directly from Creator/WilliamGibson novels. The album flopped, hard: critics universally panned it, Billy's old GangstaRap bandwagon destroyed the clean-cut, churchgoing image he'd built in the early '90s. His fans were left feeling betrayed, turned against him, and real cyberpunks fans of gangsta rap saw him as nothing but a hopeless poser. Even though the album has managed poser.
[[/folder]]

[[folder:Pop]]
* Music/ToriAmos' eighth album, ''The Beekeeper'', qualifies according
to acquire some critics and even a cult following in recent years, it's still universally agreed that the cover sizable number of the Music/VelvetUnderground's "Heroin" that appeared on this album is the absolute ''worst'' version of the song ever recorded.
* Many fans consider PearlJam to have been in their Dork Age
fans, especially since 2012 or so, with their song "Olé!" it followed the widely popular ''Scarlet's Walk''. It has gotten a bit more appreciation, if only from fans, for how the songs delve into some complex and unlikely themes, including Gnostic Christianity.
* Music/{{B2ST}} was
considered uncharacteristically derivative and to have gone through this after their following megahit "Fiction". Neither of their next two mini albums did well in comparison, and the single "Shadow" was particularly underwhelming. They turned this around with the release of "Good Luck", which was composed by rapper Junhyung and fit the group much better, resulting in a return to popularity.
* Pat Boone, icon of whitebread, mocked this trope once by appearing at an event with Music/OzzyOsbourne's family in leather and with pierced nipples and temporary tattoos.
** He even released an
album ''Lightning Bolt'' (on of metal covers, called ''In a Metal Mood: No More Mister Nice Guy'', performed in his signature whitebread style. His take of "Crazy Train" was used as the theme for ''Series/TheOsbournes'' (He and Ozzy were next door neighbors for many years until Ozzy and company moved shortly before the series' run). He's since claimed that his fanbase views that album as not just a DorkAge, but a ''Devil'' Age, and it actually resulted in him getting kicked out of his church for a while.
* Music/DuranDuran, contrary to myth, did continue its popularity in the wake of its "Fab Five" lineup being whittled down to Simon, Nick, and John, but the one album where their future was in serious jeopardy was with 1990's ''Liberty'',
which while containing such fan-beloved songs as "Serious" and "My Antarctica", was the song did not appear) bland and forgettable.
** A milder
one moment when the band were at the brink of falling apart. Then they came back with 1993's ''The Wedding Album''. More recently, the period after the short-lived "Fab Five" reunion period brought forth a ''loathed'' element of Dork Age with ''Red Carpet Massacre'', which not only contained no songs of any musical merit but had Timbaland and Music/JustinTimberlake getting involved with the production of the same band took place from 1998 to 2002 (known as album, which many die-hard fans simply could not stomach. Thankfully, they've gotten back their mojo with 2010's ''All You Need is Now'', produced by the "black" era because of much more appropriate Mark Ronson.
* For a thankfully brief period with
the 2003 album covers), give or take a couple years. For many longtime fans, ''Yield'' was rather structured and post-grungey, ''Binaural'' was spacey and samey, and ''Riot Act'' veered too far into strange genres (folk, punk, Middle Eastern music, etc.), [[UncommonTime odd time signatures]], and the overly confrontational and mean-spirited George W. Bush criticism piece, "Bu$hleaguer." Their self-titled 2006 effort, which largely returned to the band's roots, was better received and spawned more hits.
* Though its reviews were comparable to those of their earlier work, LinkinPark's fans trashed their 2007 album ''Minutes to Midnight'', which almost
''0304'', Music/{{Jewel}} abandoned their use her trademark sensitive, folksy, Lilith Fair poet persona in order to become... a clone of rapping and turntablism. The genre shift is known by former fans every sexy pop princess of the early '00s. She ''claimed'' that her [[LoveItOrHateIt violently-impossible-to-like]] song "Intuition" was [[ParodyRetcon meant as a Dork Age, though few satire]] of those remaining interchangeable, pretty, blonde pop singers. Sadly for her, that's a little hard to believe, considering she made a bunch of money off that song being used to launch a [[ProductPlacement women's razor line called "Intuition"]].
* Jewelry was this ever
since that album's Seo In Young's departure from the group, with release have left since.
few and far in between and lacklustre.
* The period in between 1986's ''The Bridge'' and his 1993 pop music swan song ''River Of Dreams'' is not often considered an artistic high point in the career of Music/BillyJoel, at least compared with his previous albums. ''The Bridge'' was somewhat marred by an overabundance of '80s synthesizers (only slightly tempered on 1989's ''Storm Front'') and an overall cynical flavor to many of his lyrics (written during his CreatorBreakdown due to financial litigation and the breakup of his marriage to Christie Brinkley), while there's a general dropoff in songwriting quality. While this era produced many good songs ("River Of Dreams", "Leningrad"; "The Downeaster 'Alexa'", "I Go To Extremes", "A Matter Of Trust", "Shameless", "This Is The Time"), and the LoveItOrHateIt "We Didn't Start The Fire", Joel's last number one single, the post-''An Innocent Man'' studio albums received mixed reviews by the Joel-faithful critics (and sites like the [=AllMusic=] Guide).
* Two come to mind with Music/EltonJohn: 1977-1982, when his lyricist Bernie Taupin had little or no influence on the albums of that period, his sales slowed, he dabbled in [[DeaderThanDisco disco]] for an album just as the style grew out of fashion, and his albums in general were of an inconsistent quality, and 1985-1990, where Taupin was more involved, but Elton's music became overly produced and synth-heavy, much of the classic '70s Elton John Band who backed him in his 1983-84 period were fired and replaced by session musicians, and Elton's [[SexDrugsAndRockAndRoll drug and alcohol habits]], bulimia, and [[AnythingThatMoves reckless love life]] were taking a toll on him.
* One example of a band that tried for a new, DarkerAndEdgier image and just... shouldn't have is demonstrated in the video and song, [[https://www.youtube.com/watch?v=o5OY_H2_rQ8 "Dirty Dawg". Dawg"]]. Let's just say, it '''really''' ''really'' didn't go over well with Music/NewKidsOnTheBlock's established fandom.
* Similarly, Music/GarthBrooks' experimental pop album and pre-release soundtrack for a movie that never was, ''The Life of Chris Gaines'', did not go over well with his fandom. Not only was the OutOfGenreExperience unwelcome to his country fans, but taking on a new look, and the identity of the title character just made it worse. Even still, while the album bombed, failure is relative. The album itself peaked at #2 on the U.S. charts, went double platinum, and had a top 5 single.
* Music/{{Loudness}} has accomplished the feat of having several of these, at least to some fans (other fans will see them as some of the best periods ever in the band's history), as a result of being a LongRunner, and while very successfully averting WereStillRelevantDammit, at the same time being so in tune with the current trend in metal that people who hated that trend will hate that era. Pretty much the only era that ''no one'' considers a DorkAge is the 1991-1992 era, because it is solid ThrashMetal regardless of time or culture.
* Music/XJapan has been in one since 2008 with the possible exception of the 2010 Yokohama show, according to the part of the fandom that believes they stopped being good in 1992 or 1996.
* And then there's Music/{{Jewel}}, who, for a thankfully brief period, abandoned her trademark sensitive folkie singer Lilith Fair poet persona in order to become... a clone of every crappy pop singer of the noughties. She ''claimed'' that her [[LoveItOrHateIt violently-impossible-to-like]] song, "Intuition", was meant [[ParodyRetcon as a ''satire'']] of interchangeable pretty blond pop singers. Sadly for her, that's a little hard to believe, considering she made a bunch of money off said song being used to launch a [[ProductPlacement women's razor line called "Intuition"]].
* In a rare case of by the band's own admission, {{Oasis}} had at least one of these. Noel Gallagher writes off much of the late 1990s output, and also chunks of the mid-2000s. He even went as far on a Greatest Hits DVD as to ask why somebody didn't just to tell them to "stop", also making much of it an OldShame.
* Music/BobDylan grew tired of being viewed as "the spokesman of a generation", and decided to record the country music album ''Nashville Skyline'' specifically to alienate people who viewed him as such. This continued with ''Self Portrait'' and ''Dylan'', which were popular with critics but sold very poorly. Then Dylan recorded some albums that his original audience liked (including ''Blood on the Tracks''), and then he converted to Christianity and changed his style ''again'', losing most of his original fans over a quarter of a century (and gaining a few back after 1997's ''Time Out of Mind''.)
* Music/NeilYoung's early to mid-'80s output, especially the album ''Trans.'' He was fed up with David Geffen and wanted out of his contract. Geffen in return sued for those albums being "not commercial" and "musically uncharacteristic of previous recordings."
fandom.



* Many fans consider that everything Music/TheWho did after Keith Moon's death as an extended Dork Age. Even more will agree that it started with John Entwistle's death in 2002.
* Fans of the Music/DaveMatthewsBand generally hate the albums ''Stand Up'' and ''Everyday'' for leaning towards a mainstream pop sound.
* Music/BlackSabbath went through a DorkAge in the last half of TheSeventies, with their two last albums with Ozzy being mediocre after a run of six mind-blowingly awesome albums. Music/RonnieJamesDio saved them from that, but he left after two albums. Ian Gillan hopped onboard for a decent album, then various more lineups got assembled, that nobody can agree which one is good and which one's a dork age.
** Again, all phases of the band's career have their fans; including the late-'70s period, "Blackmore Sabbath", and the Black Sabbath InNameOnly late '80s Tony Iommi solo albums.
* Most fans of Music/TheSmashingPumpkins, despite differences in opinion on the recent material, would like to pretend that ''Zeitgeist'' [[FanonDiscontinuity never happened]].
** Billy Corgan's assertion that the existing concept of a band releasing an album is a dead one leading to his current ''Teargarden by Kaleidyscope'' releases may well prove to be a Dork Age in progress. Time will tell.
* The whole of Music/DavidBowie fandom seems to consist of various factions who love and hate different phases of his decades-long career, due to his frequent sound/image makeovers.

to:

* Many fans consider that everything Music/TheWho did after Keith Moon's death as an extended Dork Age. Even more will agree that it started Creator/KenjiSawada has had two. First, his 1969 debut album ''Julie'' has been essentially disowned by him, having come out during a brief lineup hiatus for his band The Tigers and sounding vaguely easy-listening, with John Entwistle's death a simple studio orchestra and little to no live potential. Second, there was his second "self produced" period of 1995-1999 due to taking on increasingly avant garde musical direction (1995's ''Sur<-'' was stated to be IndiePop by Sawada himself) and frequently changing membership in 2002.
his live band JAZZMASTER.
* Fans of [[Music/GirlsGeneration SNSD]]' "I got a Boy" is best described an erratic song without focus, and their subsequent song "Galaxy Supernova" was considered underwhelming at best.
* Music/ScottWalker entered into such a phase in
the Music/DaveMatthewsBand generally hate early '70s. After the entirely self-penned ''Scott 4'' failed to chart, his following five albums ''Stand Up'' consisted almost entirely of covers and ''Everyday'' for leaning towards a mainstream pop sound.
* Music/BlackSabbath went through a DorkAge in the last half of TheSeventies, with their two last albums with Ozzy being mediocre after a run of six mind-blowingly awesome albums. Music/RonnieJamesDio saved them from that, but he left after two albums. Ian Gillan hopped onboard for a decent album, then various more lineups got assembled, that nobody can agree which one is good and which one's a dork age.
** Again, all phases of the band's career have their fans; including the late-'70s period, "Blackmore Sabbath", and the Black Sabbath InNameOnly late '80s Tony Iommi solo albums.
* Most
outside compositions. These days, most fans of Music/TheSmashingPumpkins, despite differences in opinion on the recent material, would like to just pretend that ''Zeitgeist'' Walker's solo career [[FanonDiscontinuity never happened]].
** Billy Corgan's assertion that
stopped entirely]] until ''Climate of Hunter'' in 1984.
[[/folder]]

[[folder:Rock (non-metal)]]
* Music/{{Aerosmith}}: After becoming one of America's most successful bands in
the existing concept of a band releasing an album is a dead '70s, Aerosmith went through one leading of music's most famous examples in the '80s after Joe Perry and Brad Whitford's departures in 1979 and 1981 respectively. Their two albums released during this period, ''Night In The Ruts'' and ''Rock In A Hard Place'', don't exist in any greatest hits compilations. When Joe and Brad returned, they had fallen so far it took a hip-hop collaboration with Music/RunDMC and 1987's ''Permanent Vacation'' to his current ''Teargarden by Kaleidyscope'' releases may well prove return them back to the spotlight. Their success since then has managed to be greater than their '70s heyday, and is considered the greatest comeback story in popular music history.
** Their stuff post ''Nine Lives'' is looked upon by many (even the band themselves) as
a second Dork Age in progress. Time will tell.
which continues today, depending on how you feel about "Legendary Child".
** In a way, the early '80s were a personal Dork Age for Joe Perry himself, as he tried going at it solo and went nowhere until rejoining Music/{{Aerosmith}}.
* There's argument over whether Music/{{AFI}} entered this or left it by switching their sound from hardcore punk to new wave glam rock.
* The whole of Music/DavidBowie Music/DavidBowie's fandom seems to consist of various factions who love and hate different phases of his decades-long career, due to his frequent sound/image makeovers.



* Music/VanHalen's recruitment of Gary Cherone (formerly of Extreme) after Sammy Hagar's departure is currently regarded as [[CanonDiscontinuity "never happened"]] by the band, having been excluded completely from a two-disc greatest hits collection put out years after the release of ''Van Halen III'', the only album featuring that singer. The second album they had planned to release with him was scrapped after they realized how unpopular he was. Ironically, he's also the only singer of the band that doesn't hate Eddie Van Halen.
* Hey, remember Music/{{KISS}}? When they first started they were regarded on the same level as the other two pioneering metal groups, Music/BlackSabbath and Music/LedZeppelin. They realized the potential for [[CashCowFranchise making a profit]], but overplayed their hand with a video game, a comic book series, and a universally-panned film. The whole thing culminated in the group attempting to cash in on the disco craze of the late 1970s, and they are today blamed for the downfall of the first generation of metal, leading to the rise of punk, hip-hop, and disco.
** People often forget that KISS was a fairly obscure group for their first year or so of existence. Fans were already getting tired of glam rock by 1974 (Music/AliceCooper was starting to move away from it), and KISS's debut album was [[GermansLoveDavidHasselhoff notably more popular in Japan than in the United States]]. ''Dressed to Kill'' was their true breakout album, as it coincided with the beginning of the "showman" period in which (with a few exceptions) they have since spent their entire career.
** Likewise, their attempt at a ConceptAlbum / RockOpera.
** And there was their attempt in the '80s to drop the facepaint and sci-fi costumes and reinvent themselves as a "hair" band in the Music/TwistedSister mold. In [[VindicatedByHistory retrospect]], it did manage to produce what would later be considered a solid, underrated gem in ''Lick it Up'', their sole album from the era that contained {{Vinnie Vincent|Invasion}} as a member and key songwriter.
*** Nevertheless...it worked. The "Unmasked" period coincided with the revival of metal: KISS took an honored spot as patriarchs among the newer bands, and their career was revived. Notably, KISS' great achievement is considered to be combining rock with theater, and it should be considered suspicious that they're appreciated for something that actually has nothing to do with music.
**** The Elder, the hair metal period, Psycho Circus not actually being an original KISS album, Eric Singer and Tommy Thayer performing as psuedo-originals...come to think of it, everything is a dork age except for the original lineup albums, Creatures of the Night, Lick it Up and Revenge.
* Pat Boone, icon of whitebread, mocked this trope once by appearing at an event with Music/OzzyOsbourne's family in leather and with pierced nipples and temporary tattoos.
** He even released an album of metal covers, called ''In a Metal Mood: No More Mister Nice Guy'', performed in his signature whitebread style. His take of "Crazy Train" was used as the theme for ''Series/TheOsbournes'' (He and Ozzy were next door neighbors for many years until Ozzy and company moved shortly before the series' run). He's since claimed that his fanbase views that album as not just a DorkAge, but a Devil Age, and it actually resulted in him getting kicked out of his church for a while.
* There's argument over whether Music/{{AFI}} entered this or left it by switching its sound from hardcore punk to new wave glam rock.
* There's also Music/MCHammer's gangsta rap album -- with the possible exception of the single "Pumps and A Bump" (as long as you [[http://www.youtube.com/watch?v=KZqG3f-jhqg ignore the video]]).
* And [[Music/TheRamones Dee Dee Ramone]]'s rap album.
** However, the song "The Crusher" was revived for the Ramones' last studio album, ''Adios Amigos.''
* Many Music/{{Queen}} fans hate the disco album ''Hot Space'' with a passion. Ironically, it contains "Under Pressure", the famous duet with Music/DavidBowie.
** Not only Queen fans hate it: both John Deacon and Roger Taylor expressed their dislike for it several times. On the other hand, Freddie virtually wrote its sequel for his debut solo project, and Brian[[note]]who also dislikes the album but argues that "Put Out The Fire" was a great song[[/note]] still claims that without it, there'd have been no 'Thriller' (ridiculous as it sounds).
** Moreover, while most people tend to acknowledge 'The Cosmos Rocks', some of the other activities Taylor have been involved with (e.g. recording with Britney Spears and 5ive) are treated as if they'd never happened. If only...
* Some fans of Music/{{Rush}} look at their mid-80s output as this, due to heavy reliance on sythesizers. Although there are still some songs from this period that are considered classics.
* Ween's ''12 Golden Country Greats'' was probably a deliberate attempt to create one.
* The metal community has come to regard ''Cold Lake'', Celtic Frost's one-off shot at glam rock, to be synonymous with "total fucking disaster".
* Music/FleetwoodMac has had two. The first one was the early- to mid-'70s period with Bob Welch and between Peter Green's departure and the addition of Lindsey Buckingham and Stevie Nicks. The second was the period between Buckingham's departure and the reformation of the ''Rumors''-era lineup in 1997.

to:

* Music/VanHalen's recruitment of Gary Cherone (formerly of Extreme) after Sammy Hagar's departure is currently regarded as [[CanonDiscontinuity "never happened"]] by the band, having been excluded completely from a two-disc greatest hits collection put out years after the release of ''Van Halen III'', the only album featuring that singer. The second album they had planned to release with him was scrapped after they realized how unpopular he was. Ironically, he's also the only singer John Cale of the band that doesn't hate Eddie Van Halen.
* Hey, remember Music/{{KISS}}? When they first started they were regarded on the same level as the other two pioneering metal groups, Music/BlackSabbath and Music/LedZeppelin. They realized the potential for [[CashCowFranchise making a profit]], but overplayed their hand with a video game, a comic book series, and a universally-panned film. The whole thing culminated in the group attempting to cash in on the disco craze of the late 1970s, and they are today blamed for the downfall of the first generation of metal, leading to the rise of punk, hip-hop, and disco.
** People often forget that KISS
Music/VelvetUnderground was a fairly obscure group drug-addled, overweight, mentally-unwell shell of his former self for their first year or so of existence. Fans were already getting tired of glam rock by 1974 (Music/AliceCooper was starting to move away from it), and KISS's debut album was [[GermansLoveDavidHasselhoff notably more popular in Japan than in the United States]]. ''Dressed to Kill'' was their true breakout album, as it coincided with the beginning of the "showman" a period in which (with a few exceptions) they have since spent their entire career.
** Likewise, their attempt at a ConceptAlbum / RockOpera.
** And there was their attempt in
the '80s early to drop the facepaint and sci-fi costumes and reinvent themselves as a "hair" band in the Music/TwistedSister mold. In [[VindicatedByHistory retrospect]], it did manage to produce what would later be considered a solid, underrated gem in ''Lick it Up'', their sole album from the era that contained {{Vinnie Vincent|Invasion}} as a member and key songwriter.
*** Nevertheless...it worked. The "Unmasked" period coincided with the revival of metal: KISS took an honored spot as patriarchs among the newer bands, and their career was revived. Notably, KISS' great achievement is considered to be combining rock with theater, and it should be considered suspicious that they're appreciated for something that actually has nothing to do with music.
**** The Elder, the hair metal period, Psycho Circus
mid-eighties. Fortunately, he cleaned himself up, but not actually being an original KISS album, Eric Singer and Tommy Thayer performing as psuedo-originals...come to think of it, everything is a dork age except for the original lineup albums, Creatures of the Night, Lick it Up and Revenge.
* Pat Boone, icon of whitebread, mocked this trope once by appearing at an event with Music/OzzyOsbourne's family in leather and with pierced nipples and temporary tattoos.
** He even released an album of metal covers, called ''In a Metal Mood: No More Mister Nice Guy'', performed in his signature whitebread style. His take of "Crazy Train" was used as the theme for ''Series/TheOsbournes'' (He and Ozzy were next door neighbors for many years until Ozzy and company moved shortly
before the series' run). He's since claimed that his fanbase views that album as not just a DorkAge, but a Devil Age, and it actually resulted in him getting kicked out of his church for a while.
* There's argument over whether Music/{{AFI}} entered this or left it by switching its sound from hardcore punk to new wave glam rock.
* There's also Music/MCHammer's gangsta rap album -- with the possible exception of the single "Pumps and A Bump" (as long as you [[http://www.youtube.com/watch?v=KZqG3f-jhqg ignore the video]]).
* And [[Music/TheRamones Dee Dee Ramone]]'s rap album.
** However, the song "The Crusher" was revived for the Ramones' last studio album, ''Adios Amigos.''
* Many Music/{{Queen}} fans hate the disco album ''Hot Space'' with a passion. Ironically, it contains "Under Pressure", the famous duet with Music/DavidBowie.
** Not only Queen fans hate it: both John Deacon and Roger Taylor expressed their dislike for it several times. On the other hand, Freddie virtually wrote its sequel for his debut solo project, and Brian[[note]]who also dislikes the album but argues that "Put Out The Fire" was a great song[[/note]] still claims that without it, there'd have been no 'Thriller' (ridiculous as it sounds).
** Moreover, while most people tend to acknowledge 'The Cosmos Rocks',
filming some of the other activities Taylor have been involved with (e.g. recording with Britney Spears and 5ive) are treated as if they'd never happened. If only...
* Some fans of Music/{{Rush}} look at their mid-80s output as this, due to heavy reliance on sythesizers. Although there are still some songs from this period that are considered classics.
* Ween's ''12 Golden Country Greats'' was probably a deliberate attempt to create one.
* The metal community has come to regard ''Cold Lake'', Celtic Frost's one-off shot at glam rock, to be synonymous with "total fucking disaster".
very embarrassing live performances.
* Music/FleetwoodMac has had two. The first one was the early- to mid-'70s early-mid '70s period with Bob Welch and between Peter Green's departure and the addition of Lindsey Buckingham and Stevie Nicks. The second was the period between Buckingham's departure and the reformation of the ''Rumors''-era lineup in 1997.1997.
* Those Music/GangOfFour fans who preferred their rougher, harsher, punkier edge in albums such as ''Entertainment'' feel this way about their 1984 album ''Hard'', which was funkier and poppier than anything they'd released before. Others see ''Hard'' as a catchy, logical extension of the musical themes explored in their previous album, ''Songs of the Free'' (which included their most famous song, "I Love a Man in a Uniform").
* Music/BillyIdol went through one of these in the early '90s. Faced with waning popularity and flagging album sales, he attempted to reinvent his image (and cash in on the emergent hacker[=/=]{{cyberpunk}} subculture) in 1993 by replacing his [[EightiesHair bleached-blonde spiky haircut]] with bleached-blonde dreadlocks and releasing the album ''Cyberpunk'', a fusion of glam rock and electronic dance music. With the exception of the single "Shock to the System" (which was closer in style to his earlier work), the album's songs consisted of overwrought synthesizer riffs, pretentious monologues, and lines lifted directly from Creator/WilliamGibson novels. The album flopped hard: critics universally panned it, Billy's old fans were left feeling betrayed, and real cyberpunks saw him as a hopeless poser. Even though the album has managed to acquire a cult following in recent years, it's still universally agreed that the cover of the Music/VelvetUnderground's "Heroin" that appeared on this album is the absolute ''worst'' version of the song ever recorded.
* Much of the Music/{{Japan}} fan base is divided between those who preferred their glam rock era (''Adolescent Sex'', ''Obscure Alternatives'', et. al.) and those who preferred their New Wave/New Romantic era (e.g. ''Gentlemen Take Polaroids'' and ''Tin Drum''). David Sylvian himself considers the debut album (1977's ''Adolescent Sex'') "{{old shame}}" and his whole solo career has been an extension of the musical themes first explored with ''Tin Drum'', from the Eastern musical elements to the esoteric lyrics about such things as inner pain and loneliness.
* Fans of the Music/DaveMatthewsBand generally hate the albums ''Stand Up'' and ''Everyday'' for leaning towards a mainstream pop sound.
* In a rare case of by [[OldShame the band's own admission]], Music/{{Oasis}} had at least one of these. Noel Gallagher writes off much of the late '90s output, and also chunks of the mid '00s. On a greatest hits DVD, he even went so far as to ask why somebody didn't just to tell them to "stop".
* Music/PearlJam fans usually feel that the band had two of them.
** The first one took place from 1998 to 2002 (known as the "black" era because of the album covers), give or take a couple years. For many longtime fans, ''Yield'' was rather structured and post-grungey, ''Binaural'' was spacey and samey, and ''Riot Act'' veered too far into strange genres (folk, punk, Middle Eastern music, et cetera), [[UncommonTime odd time signatures]], and the overly confrontational and mean-spirited UsefulNotes/GeorgeWBush criticism piece "Bu$hleaguer". Their self-titled 2006 effort, which largely returned to the band's roots, was better received and spawned more hits.
** Many fans consider the band to have been in a second one since 2012 or so, with their song "Olé!" considered uncharacteristically derivative and their following album ''Lightning Bolt'' (on which the song did not appear) bland and forgettable.



** Waters himself described ''Momentary Lapse'' as a "pretty fair forgery."
*** Waters accused pretty much anything Gilmour did with the Floyd post-1985 as a "forgery" (except ''The Division Bell'', which was instead upgraded to "rubbish" and "nonsense from beginning to end"), given the band's in-fighting and power struggles. Waters' "Radio KAOS" from 1987 was equally '80's synth-driven, and later the production values became an OldShame to him.
* When irreplaceable guitarist Michael Schenker left UFO in the 1970s, a sizable portion of the fan base considered them to have ceased existing, despite a resultant run of albums that were more consistent than the ones during Schenker's difficult tenure.
* Music/DuranDuran, contrary to myth, did continue its popularity in the wake of its "Fab Five" lineup being whittled down to Simon, Nick, and John, but the one album where their future was in serious jeopardy was with 1990's ''Liberty'', which while containing such fan-beloved songs as "Serious" and "My Antarctica", was the one moment when the band were at the brink of falling apart. Then they came back with 1993's ''The Wedding Album''. More recently, their post-"Fab Five" reunion (which was short-lived) period brought forth a ''loathed'' element of Dork Age with ''Red Carpet Massacre'', which not only contained no songs of any musical merit but had Justin Timberlake getting involved with the production of the album, which many die-hard fans simply could not stomach. Thankfully, they've gotten back their mojo with 2010's ''All You Need is Now'', produced by the much more appropriate Mark Ronson.

to:

** Waters himself described ''Momentary Lapse'' as a "pretty fair forgery."
***
" Then again, Waters accused pretty much anything Gilmour did with the Floyd post-1985 as a "forgery" (except ''The Division Bell'', which was instead upgraded to "rubbish" and "nonsense from beginning to end"), given the band's in-fighting and power struggles. Waters' "Radio KAOS" from 1987 was equally '80's '80s synth-driven, and later the production values became an OldShame to him.
* When irreplaceable guitarist Michael Schenker left UFO Many Music/{{Queen}} fans hate the disco album ''Hot Space'' with a passion. Releasing a {{disco}} album in 1982 proved to be a very poor move, and indeed it rendered them DeaderThanDisco [[AmericansHateTingle in the 1970s, US]] for quite some time. The only song from it that most people will defend is "Under Pressure", the famous duet with Music/DavidBowie.
** Not only Queen fans hate it: both John Deacon and Roger Taylor expressed their dislike for it several times. On the other hand, Freddie virtually wrote its sequel for his debut solo project, and Brian[[note]]who also dislikes the album but argues that "Put Out The Fire" was
a sizable portion great song[[/note]] still claims that without it, there'd have been no [[Music/MichaelJackson "Thriller"]] (ridiculous as it sounds).
** Moreover, while most people tend to acknowledge "The Cosmos Rocks", some
of the fan base considered them to other activities Taylor have ceased existing, despite a resultant run of albums that were more consistent than the ones during Schenker's difficult tenure.
* Music/DuranDuran, contrary to myth, did continue its popularity in the wake of its "Fab Five" lineup being whittled down to Simon, Nick, and John, but the one album where their future was in serious jeopardy was with 1990's ''Liberty'', which while containing such fan-beloved songs as "Serious" and "My Antarctica", was the one moment when the band were at the brink of falling apart. Then they came back with 1993's ''The Wedding Album''. More recently, their post-"Fab Five" reunion (which was short-lived) period brought forth a ''loathed'' element of Dork Age with ''Red Carpet Massacre'', which not only contained no songs of any musical merit but had Justin Timberlake getting
been involved with (e.g. recording with Britney Spears and 5ive) are treated as if they'd never happened. If only...
* [[Music/TheRamones Dee Dee Ramone]]'s 1989 rap album ''Standing in
the Spotlight'', recorded as "Dee Dee King". The only thing of value to come from it was the song "The Crusher", which was revived for the Ramones' last studio album, ''Adios Amigos.''
* Some fans of Music/{{Rush}} look at their mid '80s output as this, due to heavy reliance on sythesizers. There are, however, still some songs from this period that are considered classics.
* Most fans of Music/TheSmashingPumpkins, despite differences in opinion on the recent material, would like to pretend that ''Zeitgeist'' [[FanonDiscontinuity never happened]].
** Billy Corgan's assertion that the existing concept of a band releasing an album is a dead one leading to his current ''Teargarden by Kaleidyscope'' releases may well prove to be a Dork Age in progress. Time will tell.
* Music/{{Supertramp}} and former [[FaceOfTheBand co-leader]] Roger Hodgson [[WereStillRelevantDammit tried desperately to update their sound]] in the mid-to-late '80s with then-modern synthesizers, drum machines, and '80s
production of the album, which many die-hard fans simply could not stomach. Thankfully, they've gotten back their mojo techniques, with 2010's ''All You Need is Now'', produced not always successful results. In Hodgson's case, not long after he released his synth-heavy, L.A. session musician-laden 1987 solo album ''Hai Hai'', he sadly [[HeroicBSOD fell out of a hammock and broke both his wrists, with doctors telling him that he would not be able to play music again]]. With therapy and determination, Hodgson got better, and returned to performing and recording by the much 1997, more appropriate Mark Ronson.fully embracing his classic styles and sounds.



* Those Gang of Four fans who preferred their rougher, harsher, punkier edge in albums such as ''Entertainment'' feel this way about their 1984 album ''Hard'', which was funkier and poppier than anything they'd released before. Others see ''Hard'' as a catchy, logical extension of the musical themes explored in their previous album, ''Songs of the Free'' (which included their most famous song, "I Love a Man in a Uniform").
* Much of the Japan fan base is divided between those who preferred their glam rock era (''Adolescent Sex'', ''Obscure Alternatives'', et. al.) and those who preferred their New Wave/New Romantic era (e.g. ''Gentlemen Take Polaroids'' and ''Tin Drum''). David Sylvian himself considers the debut album (1977's ''Adolescent Sex'') "{{old shame}}" and his whole solo career has been an extension of the musical themes first explored with ''Tin Drum'', from the Eastern musical elements to the esoteric lyrics about such things as inner pain and loneliness.
* On a lighter note, some fans feel that Music/WeirdAlYankovic entered an aesthetic Dork Age after he got LASIK surgery, got rid of his glasses, grew out his hair, and ''shaved his mustache''. *GASP!*
* John Cale was a drug-addled, overweight, mentally-unwell shell of his former self for a period in the early to mid-eighties. Fortunately, he cleaned himself up, but not before filming some very embarrassing live performances.



* Music/{{KMFDM}} tried to break away from its long history by switching record labels and changing their name to MDFMK. While the "new" band's album was well received, fans were incensed that they refused to play any of their old songs in concert. The band relented, going back to their old name and playing selections from their entire catalog.
* Two come to mind with Music/EltonJohn: 1977-1982, when his lyricist Bernie Taupin had little or no influence on the albums of that period, his sales slowed, he dabbled in [[DeaderThanDisco disco]] for an album just as the style grew out of fashion, and his albums in general were of an inconsistent quality, and 1985-1990, where Taupin was more involved, but Elton's music became overly produced and synth-heavy, much of the classic 1970's Elton John Band who backed him in his 1983-84 period were fired and replaced by session musicians, and Elton's [[SexDrugsAndRockAndRoll drug and alcohol habits]], bulimia and [[AnythingThatMoves reckless love life]] were taking a toll on him.
* The output of Music/RascalFlatts after switching producers from Mark Bright to Dann Huff, covering the albums ''Me and My Gang'', ''Still Feels Good'', and ''Unstoppable''. While the PowerBallad "What Hurts the Most" was a critical darling and one of the few #1 country hits also to hit #1 on AC, the majority of their output for the next few years was very poorly received almost across the board. Pretty much all of their singls were bombastic, overproduced, over-sung power ballads with whiny, over-the-top vocals and lightweight lyrics, while at the same time, anything that ''wasn't'' in that mold ("Me and My Gang", "Bob That Head", "Why") inexplicably flopped. (However, at least ''Me and My Gang'' had a few truly good songs that many fans thought ''should'' be singles instead of what was actually released.) Even when they did score another chart-topper, it was quickly forgotten and never heard again — even "Take Me There", which spent 4 weeks atop the country charts in an era where spending more than two weeks at #1 is a rarity on that chart. They didn't start to break out of their doldrums until their label (Lyric Street Records) closed in 2010 and they moved to Big Machine. Their first two Big Machine albums, while still produced by Huff, seemed to have the bombast dialed down a bit even if the hits aren't coming quite as strongly. The end of the Dork Age may have fully come with 2014's ''Rewind'', which has some tracks produced entirely by the band itself, a few by pop producer Howard Benson, and only one by Huff; many fans feel that this album is mostly free of the problems that most of their Huff albums had.
* To most fans of the British [[PostPunk post-punk]] outfit {{Wire}}, their early '90s output almost certainly qualifies. ''The Drill'', made up entirely of variations on the band's revolutionary 1985 track "Drill", is interesting in concept but tedious in execution; ''Manscape'', on the other hand, is a continuation of the band's explorations in MIDI technology and programmed rhythm. The latter is notable for being the album that prompted long-standing drummer Robert Gotobed to leave the group, thinking that he had been rendered obsolete, which led to the band changing their name and not releasing another album as Wire until 2000. Both [=LPs=] have their defenders, and few will say that ''Manscape'' is completely devoid of good material—"Torch It!", "Children Of Groceries" and "You Hung Your Lights In The Trees" are all fairly popular among fans of the band—but likewise even fewer will call them flawless or deny that they are extremely dated (a rare quality in Wire's output).

to:

* Music/{{KMFDM}} tried Ween's ''12 Golden Country Greats'' was probably a deliberate attempt to break away from its long history by switching record labels and changing create one.
* Because of Music/{{Weezer}}'s notorious BrokenBase over
their name to MDFMK. While the "new" band's album was well received, fans were incensed that they refused to play any of older stuff versus their old songs in concert. The newer stuff, a proper DorkAge is hard to nail down and agree on. What CAN be said is that the band relented, going back to their old name and playing selections from their entire catalog.
* Two come to mind with Music/EltonJohn: 1977-1982, when his lyricist Bernie Taupin had little or no influence on
themselves directly apologized for the dance rock tracks on albums of like ''Raditude'' and ''Hurley'' in the single "Back to the Shack". To quote the lyrics:
-->"I'm sorry guys I didn't realize/That I needed you so much/I thought I'd get a new audience/I forgot
that period, his sales slowed, he dabbled in [[DeaderThanDisco disco]] for an album just as the style grew out of fashion, and his albums in general were of an inconsistent quality, and 1985-1990, where Taupin was more involved, but Elton's music became overly produced and synth-heavy, much of the classic 1970's Elton John Band who backed him in his 1983-84 period were fired and replaced by session musicians, and Elton's [[SexDrugsAndRockAndRoll drug and alcohol habits]], bulimia and [[AnythingThatMoves reckless love life]] were taking a toll on him.
Disco sucks.]]"
* The output of Music/RascalFlatts Many fans consider everything Music/TheWho did after switching producers from Mark Bright Keith Moon's death to Dann Huff, covering the albums ''Me and My Gang'', ''Still Feels Good'', and ''Unstoppable''. While the PowerBallad "What Hurts the Most" was a critical darling and one of the few #1 country hits also to hit #1 on AC, the majority of their output for the next few years was very poorly received almost across the board. Pretty much all of their singls were bombastic, overproduced, over-sung power ballads be an extended Dork Age. Even more will agree that it started with whiny, over-the-top vocals and lightweight lyrics, while at the same time, anything that ''wasn't'' John Entwistle's death in that mold ("Me and My Gang", "Bob That Head", "Why") inexplicably flopped. (However, at least ''Me and My Gang'' had a few truly good songs that many fans thought ''should'' be singles instead of what was actually released.) Even when they did score another chart-topper, it was quickly forgotten and never heard again — even "Take Me There", which spent 4 weeks atop the country charts in an era where spending more than two weeks at #1 is a rarity on that chart. They didn't start to break out of their doldrums until their label (Lyric Street Records) closed in 2010 and they moved to Big Machine. Their first two Big Machine albums, while still produced by Huff, seemed to have the bombast dialed down a bit even if the hits aren't coming quite as strongly. The end of the Dork Age may have fully come with 2014's ''Rewind'', which has some tracks produced entirely by the band itself, a few by pop producer Howard Benson, and only one by Huff; many fans feel that this album is mostly free of the problems that most of their Huff albums had.
2002.
* To most fans of the British [[PostPunk post-punk]] outfit {{Wire}}, Music/{{Wire}}, their early '90s output almost certainly qualifies. ''The Drill'', made up entirely of variations on the band's revolutionary 1985 track "Drill", is interesting in concept but tedious in execution; ''Manscape'', on the other hand, is a continuation of the band's explorations in MIDI technology and programmed rhythm. The latter is notable for being the album that prompted long-standing drummer Robert Gotobed to leave the group, thinking that he had been rendered obsolete, which led to the band changing their name and not releasing another album as Wire until 2000. Both [=LPs=] have their defenders, and few will say that ''Manscape'' is completely devoid of good material—"Torch material — "Torch It!", "Children Of Groceries" Groceries", and "You Hung Your Lights In The Trees" are all fairly popular among fans of the band—but band — but likewise even fewer will call them flawless or deny that they are extremely dated (a rare quality in Wire's output).



* Music/ScottWalker entered into such a phase in the early 70s. After the entirely self-penned ''Scott 4'' failed to chart, his following five albums consisted almost entirely of covers and outside compositions. These days, most fans just pretend that Walker's solo career [[FanonDiscontinuity stopped entirely]] until ''Climate of Hunter'' in 1984.
* Music/ToriAmos' eighth album, ''The Beekeeper'', qualifies according to some critics and even a sizable number of fans, especially since it followed the widely popular ''Scarlet's Walk''. It has gotten a bit more appreciation, if only from fans, for how the songs delve into some complex and unlikely themes, including Gnostic Christianity.
* Music/RandyTravis had 1993's ''Wind in the Wire'', a Western-themed one-off for a short lived TV series of the same name, and his first album not to be produced by Kyle Lehning. The singles went nowhere (at least in the US — "Cowboy Boogie" went to #10 on the Canadian country charts), but he soon got back on track with the next few albums. A label exec at Creator/WarnerBrosRecords even referred to that particular album as an "angst period".

to:

* Music/ScottWalker entered into such a phase Music/XJapan has been in one since 2008, with the early 70s. After possible exception of the entirely self-penned ''Scott 4'' failed to chart, his following five albums consisted almost entirely of covers and outside compositions. These days, most fans just pretend that Walker's solo career [[FanonDiscontinuity stopped entirely]] until ''Climate of Hunter'' in 1984.
* Music/ToriAmos' eighth album, ''The Beekeeper'', qualifies
2010 Yokohama show, according to some critics and even a sizable number of fans, especially since it followed the widely popular ''Scarlet's Walk''. It has gotten a bit more appreciation, if only from fans, for how part of the songs delve into some complex and unlikely themes, including Gnostic Christianity.fandom that believes they stopped being good in 1992 or 1996.
* Music/RandyTravis had 1993's ''Wind in the Wire'', a Western-themed one-off for a short lived TV series of the same name, and his first album not to be produced by Kyle Lehning. The singles went nowhere (at least in the US — "Cowboy Boogie" went to #10 on the Canadian country charts), but he soon got back on track with the next few albums. A label exec at Creator/WarnerBrosRecords even referred to that particular album as an "angst period".[[/folder]]

[[folder:Other]]



* Music/BrooksAndDunn have their 1999 ''Tight Rope'' album. Following their biggest flop to date with "South of Santa Fe" (their only single not to enter the Top 40 at all, reportedly because program directors were saying they didn't want another song with Kix Brooks singing lead instead of Ronnie Dunn), they led off ''Tight Rope'' with a lukewarm cover of John Waite's "Missing You" (obviously trying to re-capture the magic of their extremely successful cover of B. W. Stevenson's "My Maria") and the honky-tonk "Beer Thirty". Both failed to make Top 10, while "You'll Always Be Loved by Me" very, very slowly climbed to Top 5 in 2000. The album was their worst-selling, and was critically panned for sounding tired and weak overall. It was their last album under original producer Don Cook (and one of his last production gigs period), although he only produced half of it; the other half, including all three singles, was produced by Music/TimMcGraw's producer Byron Gallimore, with whom the duo never worked again. The fall was so great that Montgomery Gentry snagged the Duo of the Year awards that year despite being brand-new on the scene. Fortunately for B & D, they caught a second wind with ''Steers & Stripes'' in 2001 (their first album with producer Mark Wright), which accounted for their biggest hit in "Ain't Nothing 'Bout You" and was generally lauded for its more energetic sound and tight songwriting. ''Red Dirt Road'' two years later was also hailed as one of their best. When B & D released their second GreatestHitsAlbum in 2004, ''none'' of the singles from ''Tight Rope'' were included, even though they ''did'' include "South of Santa Fe"!
* [[Music/GirlsGeneration SNSD]] with "I got a Boy" is best described an erratic song without focus and their subsequent song Galaxy Supernova was considered underwhelming at best.
* Jewelry was this ever since Seo In Young's departure from the group, with release few and far in between and lacklustre.
* Music/{{B2ST}} was considered to have gone through this after their megahit "Fiction". Neither of their next two mini albums did well, comparatively, and the single Shadow, in particularly, was very underwhelming. They turned this around with the release of Good Luck, which was composed by rapper Junhyung and fit the group much better, resulting in a return to popularity.
* AliceCooper has a few eras that could qualify, having played in many styles to many audiences, but none are as reviled as the transition he made in 1980: He completed his long transition from hard rock and switched to new wave. Worse, he abandoned his [[LooksLikeCesare famous eye makeup]], cut his hair and developed a more androgynous image inspired by ''Film/AClockworkOrange''. The new style alienated his remaining fanbase and the four albums he made in this period performed poorly. It took six years (three of them spent in retirement sobering up) before he went back to his hard rock roots and image to great success.\\
And even then, the success was almost purely commercial, as the "HairMetal" period of Alice Cooper was even more critically reviled than the previous period (as it [[UnintentionalPeriodPiece aged much, much more poorly]]). It wouldn't be until 1994's ''Last Temptation'' and 2000's ''Brutal Planet'' that Alice Cooper's Dork Age would end once and for all.
* Music/{{Supertramp}} and former [[FaceOfTheBand co-leader]] Roger Hodgson [[WereStillRelevantDammit tried desperately to update their sound]] in the mid-to-late [[TheEighties 1980's]] with then-modern synthesizers, drum machines and '80s production techniques, with not always successful results. In Hodgson's case, not long after he released his synth-heavy, L.A. session musician-laden 1987 solo album ''Hai Hai'', he sadly [[HeroicBSOD fell out of a hammock, broke both his wrists, and doctors had claimed he would not be able to play music again]]. With therapy and determination, Hodgson got better, and returned to performing and recording by 1997, more fully embracing his classic styles and sounds.
* The period in between 1986's ''The Bridge'' and his 1993 pop music swan song ''River Of Dreams'' are not often considered artistic high points, at least compared with his previous albums, in the career of BillyJoel. ''The Bridge'' was somewhat marred by an overabundance of [[TheEighties 1980s]] synthesizers, only slightly tempered on 1989's ''Storm Front'', an overall cynical flavor to many of his lyrics (written in between his CreatorBreakdown due to financial litigation and the breakup of his marriage to Christie Brinkley) while there's a general dropoff in songwriting quality. While this era produced many good songs ("River Of Dreams", "Leningrad"; "The Downeaster 'Alexa'", "I Go To Extremes", "A Matter Of Trust", "Shameless", "This Is The Time"), and the LoveItOrHateIt "We Didn't Start The Fire", Joel's last number one single, the post ''An Innocent Man'' studio albums recieved mixed reviews by the Joel-faithful critics (and sites like AllMusicGuide).
* Listening to ''Digimortal'' can be a very, very unpleasant experience, especially to one familiar with Music/FearFactory's classic body of work. It's another thing when a band like Music/{{Megadeth}} attempts to incorporate pop music into their sound; when a band that has built themselves purely on amelodically brutal TestosteronePoisoning tries it, well, "forced" doesn't even begin to describe the end result. Unsurprisingly, the band were thrown into a TenMinuteRetirement, only to return with a fledgeling [[WinBackTheCrowd "comeback"]] album in ''Archetype'' that only further proved their best days were well behind them.
* Poor, poor MachineHead. In the mid-1990s they were one of the pioneers of the "post-thrash" sound that defined underground American metal during the decade along with {{Pantera}}, Fear Factory, {{Sepultura}}, Music/{{Biohazard}}, LifeOfAgony and many others. While other bands were emphasizing influences such as {{Industrial}}, {{Funk|Metal}}, {{Hardcore}} and {{Grunge}}, Machine Head's sound was planted ''firmly'' in {{Thrash|Metal}}, yet still sounding both modern ''and'' timeless. Until 1999's ''The Burning Red'', which showcased a ''drastic'' shift into NuMetal on both an aural and [[ImportantHaircut visual]] level, and the quality of songwiting suffered greatly from the creative dissonance involved. [[FromBadToWorse To make matters even worse]], they/[[IAmTheBand Rob Flynn]] put out a followup up called ''Supercharger'' that was ''even worse'' on these accounts.\\
\\
Thankfully, they/he dug [[WinBackTheCrowd themselves out of the hole]] by reintroducing their classic Thrash sound on subsequent albums ''Through the Ashes of Empires'' and ''The Blackening'', though a bit too late as their particular DorkAge left a scorching black mark on their/Flynn's reputation that they/he have yet to fully recover from, especially as the band still looms in the shadows of both it and [[ToughActToFollow their classic]] album ''[[FirstInstallmentWins Burn My Eyes]]''.
* A very similar thing happened to InFlames. During the mid/late-1990s, they were seen as the definitive melodic death metal band, successfully mixing growled death metal vocals with melodic guitar riffs and even Middle Eastern styled acoustic melodies. While the band was gradually moving away from their traditional melo-death style since 1999's ''Colony'', it was 2002's ''Reroute To Remain'' that officially marked the beginning of their DorkAge, thanks to its NuMetal influence, simplified songwriting and greater reliance on clean singing[[note]]the album even went so far as to include a ''folksy country rock song'' that bore little resemblance to anything the band had ever done up to that point[[/note]]. The band was believed to have dropped the ultimate bomb, however, with 2004's ''The Soundtrack To Your Escape''. An album that continued the nu-metal sound of [=RTR=], contained even more clean singing than the last, relied heavily on synth leads and was notably void of guitar solos. Fortunately, the band regained a fair amount of credibility with 2006's harder and more traditional sounding ''Come Clarity'' and remained pretty consistent until 2014's ''Siren Charms'', which many consider to be an even worse album than [=STYE=].
* Music/{{Aborted}} went through a major one of these from 2005 to late 2009-early 2010. It started with ''The Archaic Abattoir'', which, due to its prominent metalcore influences, was fairly polarizing overall; some fans saw it as a unique new twist on their established sound and applauded them for not trying to make ''Goremageddon'' 2.0, while others ''hated'' it and saw it as a sign of worse things to come. It was around this time that the band also started experiencing a truly jawdropping amount of lineup changes, and 2007's ''Slaughter & Apparatus: A Methodical Overture'', which was even more polarizing, failed to win back the fans alienated by the previous album. 2008's ''Strychnine.213'' wound up being the nadir of their career, with its deathcore overtones, anemic riffing, overblown and out-of-place Dimebag/Wylde-aping guitar solos, and Sven's bored-sounding and phoned-in vocal performances leading to a universally despised final product (the band hated it just as much). They didn't really emerge from this slump until Sven fired the entire band, hired back Dirk Verbeuren and welcomed in an all-new string section, and released the ''Coronary Reconstruction'' EP in 2010, and even then, lingering bits of the band's notorious proclivity towards unstable lineups remained when Ken Sorceron was fired in 2011 after a falling-out with Sven, followed by the firing of Eran Segal (the other new guitarist) and Mike Wilson (Sorceron's replacement) in 2012 for similar reasons.
* Music/SixFeetUnder went through one of these in the early 2000s. Their first three albums are regarded as solid '90s death metal records, with their debut ''Haunted'' in particular being considered a classic by fans. Then in 2000 they released the phoned-in cover album ''Graveyard Classics'', which polarized people; some fans liked it for their death metal take on classic rock songs, while others felt it was unnecessary and SoBadItsGood at best. But the band's fourth original album ''True Carnage'' is when they started to go downhill. To date, it's their lowest-rated record, being trashed for its sludgy production values, experimentation with NuMetal, sluggish performances, and a pretty clear lack of effort. As if that weren't bad enough, their very next record ''Bringer of Blood'' dialed up the nu-metal considerably, and featured even more vapid songwriting along with shallow lyrics that would make even [[Music/LimpBizkit Fred Durst]] cringe. Fans hoping for improvement ended up getting the final nail in the coffin; a second ''Graveyard Classics'' album that was a cover of ACDC's entire ''Back in Black'' album, which is universally despised even by the band's most diehard fans, and the standalone song "Dead and Buried", which featured Chris Barnes' worst vocal performance of all time. They managed to win some people back with 3 solid records in a row, but it wasn't until 2012's ''Undead'' that they managed to get themselves out of their rut entirely.
* KenjiSawada has had two. First in 1969, his first self-titled album JULIE has been essentially disowned by him, having come out during a brief lineup hiatus for his band The Tigers and sounding vaguely easy-listening, with a simple studio orchestra and little to no live potential. For his fans, his second "self produced" period of 1995-1999 due to taking on increasingly avant garde musical direction(1995's Sur<- was stated to be IndiePop by Sawada himself) and frequently changing membership in his live band JAZZMASTER.

to:

* Music/BrooksAndDunn have their 1999 ''Tight Rope'' album. Following their biggest flop to date with "South of Santa Fe" (their only single not to enter the Top 40 at all, reportedly because program directors were saying they didn't want another song with Kix Brooks singing lead instead of Ronnie Dunn), they led off ''Tight Rope'' with On a lukewarm cover of John Waite's "Missing You" (obviously trying to re-capture the magic of their extremely successful cover of B. W. Stevenson's "My Maria") and the honky-tonk "Beer Thirty". Both failed to make Top 10, while "You'll Always Be Loved by Me" very, very slowly climbed to Top 5 in 2000. The album was their worst-selling, and was critically panned for sounding tired and weak overall. It was their last album under original producer Don Cook (and one of his last production gigs period), although he only produced half of it; the other half, including all three singles, was produced by Music/TimMcGraw's producer Byron Gallimore, with whom the duo never worked again. The fall was so great that Montgomery Gentry snagged the Duo of the Year awards that year despite being brand-new on the scene. Fortunately for B & D, they caught a second wind with ''Steers & Stripes'' in 2001 (their first album with producer Mark Wright), which accounted for their biggest hit in "Ain't Nothing 'Bout You" and was generally lauded for its more energetic sound and tight songwriting. ''Red Dirt Road'' two years later was also hailed as one of their best. When B & D released their second GreatestHitsAlbum in 2004, ''none'' of the singles from ''Tight Rope'' were included, even though they ''did'' include "South of Santa Fe"!
* [[Music/GirlsGeneration SNSD]] with "I got a Boy" is best described an erratic song without focus and their subsequent song Galaxy Supernova was considered underwhelming at best.
* Jewelry was this ever since Seo In Young's departure from the group, with release few and far in between and lacklustre.
* Music/{{B2ST}} was considered to have gone through this after their megahit "Fiction". Neither of their next two mini albums did well, comparatively, and the single Shadow, in particularly, was very underwhelming. They turned this around with the release of Good Luck, which was composed by rapper Junhyung and fit the group much better, resulting in a return to popularity.
* AliceCooper has a few eras that could qualify, having played in many styles to many audiences, but none are as reviled as the transition he made in 1980: He completed his long transition from hard rock and switched to new wave. Worse, he abandoned his [[LooksLikeCesare famous eye makeup]], cut his hair and developed a more androgynous image inspired by ''Film/AClockworkOrange''. The new style alienated his remaining fanbase and the four albums he made in this period performed poorly. It took six years (three of them spent in retirement sobering up) before he went back to his hard rock roots and image to great success.\\
And even then, the success was almost purely commercial, as the "HairMetal" period of Alice Cooper was even more critically reviled than the previous period (as it [[UnintentionalPeriodPiece aged much, much more poorly]]). It wouldn't be until 1994's ''Last Temptation'' and 2000's ''Brutal Planet'' that Alice Cooper's Dork Age would end once and for all.
* Music/{{Supertramp}} and former [[FaceOfTheBand co-leader]] Roger Hodgson [[WereStillRelevantDammit tried desperately to update their sound]] in the mid-to-late [[TheEighties 1980's]] with then-modern synthesizers, drum machines and '80s production techniques, with not always successful results. In Hodgson's case, not long after he released his synth-heavy, L.A. session musician-laden 1987 solo album ''Hai Hai'', he sadly [[HeroicBSOD fell out of a hammock, broke both his wrists, and doctors had claimed he would not be able to play music again]]. With therapy and determination, Hodgson got better, and returned to performing and recording by 1997, more fully embracing his classic styles and sounds.
* The period in between 1986's ''The Bridge'' and his 1993 pop music swan song ''River Of Dreams'' are not often considered artistic high points, at least compared with his previous albums, in the career of BillyJoel. ''The Bridge'' was somewhat marred by an overabundance of [[TheEighties 1980s]] synthesizers, only slightly tempered on 1989's ''Storm Front'', an overall cynical flavor to many of his lyrics (written in between his CreatorBreakdown due to financial litigation and the breakup of his marriage to Christie Brinkley) while there's a general dropoff in songwriting quality. While this era produced many good songs ("River Of Dreams", "Leningrad"; "The Downeaster 'Alexa'", "I Go To Extremes", "A Matter Of Trust", "Shameless", "This Is The Time"), and the LoveItOrHateIt "We Didn't Start The Fire", Joel's last number one single, the post ''An Innocent Man'' studio albums recieved mixed reviews by the Joel-faithful critics (and sites like AllMusicGuide).
* Listening to ''Digimortal'' can be a very, very unpleasant experience, especially to one familiar with Music/FearFactory's classic body of work. It's another thing when a band like Music/{{Megadeth}} attempts to incorporate pop music into their sound; when a band that has built themselves purely on amelodically brutal TestosteronePoisoning tries it, well, "forced" doesn't even begin to describe the end result. Unsurprisingly, the band were thrown into a TenMinuteRetirement, only to return with a fledgeling [[WinBackTheCrowd "comeback"]] album in ''Archetype'' that only further proved their best days were well behind them.
* Poor, poor MachineHead. In the mid-1990s they were one of the pioneers of the "post-thrash" sound that defined underground American metal during the decade along with {{Pantera}}, Fear Factory, {{Sepultura}}, Music/{{Biohazard}}, LifeOfAgony and many others. While other bands were emphasizing influences such as {{Industrial}}, {{Funk|Metal}}, {{Hardcore}} and {{Grunge}}, Machine Head's sound was planted ''firmly'' in {{Thrash|Metal}}, yet still sounding both modern ''and'' timeless. Until 1999's ''The Burning Red'', which showcased a ''drastic'' shift into NuMetal on both an aural and [[ImportantHaircut visual]] level, and the quality of songwiting suffered greatly from the creative dissonance involved. [[FromBadToWorse To make matters even worse]], they/[[IAmTheBand Rob Flynn]] put out a followup up called ''Supercharger'' that was ''even worse'' on these accounts.\\
\\
Thankfully, they/he dug [[WinBackTheCrowd themselves out of the hole]] by reintroducing their classic Thrash sound on subsequent albums ''Through the Ashes of Empires'' and ''The Blackening'', though a bit too late as their particular DorkAge left a scorching black mark on their/Flynn's reputation that they/he have yet to fully recover from, especially as the band still looms in the shadows of both it and [[ToughActToFollow their classic]] album ''[[FirstInstallmentWins Burn My Eyes]]''.
* A very similar thing happened to InFlames. During the mid/late-1990s, they were seen as the definitive melodic death metal band, successfully mixing growled death metal vocals with melodic guitar riffs and even Middle Eastern styled acoustic melodies. While the band was gradually moving away from their traditional melo-death style since 1999's ''Colony'', it was 2002's ''Reroute To Remain'' that officially marked the beginning of their DorkAge, thanks to its NuMetal influence, simplified songwriting and greater reliance on clean singing[[note]]the album even went so far as to include a ''folksy country rock song'' that bore little resemblance to anything the band had ever done up to that point[[/note]]. The band was believed to have dropped the ultimate bomb, however, with 2004's ''The Soundtrack To Your Escape''. An album that continued the nu-metal sound of [=RTR=], contained even more clean singing than the last, relied heavily on synth leads and was notably void of guitar solos. Fortunately, the band regained a fair amount of credibility with 2006's harder and more traditional sounding ''Come Clarity'' and remained pretty consistent until 2014's ''Siren Charms'', which many consider to be an even worse album than [=STYE=].
* Music/{{Aborted}} went through a major one of these from 2005 to late 2009-early 2010. It started with ''The Archaic Abattoir'', which, due to its prominent metalcore influences, was fairly polarizing overall;
lighter note, some fans saw it as a unique new twist on their established sound and applauded them for not trying to make ''Goremageddon'' 2.0, while others ''hated'' it and saw it as a sign of worse things to come. It was around this time feel that the band also started experiencing a truly jawdropping amount of lineup changes, and 2007's ''Slaughter & Apparatus: A Methodical Overture'', which was even more polarizing, failed to win back the fans alienated by the previous album. 2008's ''Strychnine.213'' wound up being the nadir of their career, with its deathcore overtones, anemic riffing, overblown and out-of-place Dimebag/Wylde-aping guitar solos, and Sven's bored-sounding and phoned-in vocal performances leading to a universally despised final product (the band hated it just as much). They didn't really emerge from this slump until Sven fired the entire band, hired back Dirk Verbeuren and welcomed in Music/WeirdAlYankovic entered an all-new string section, and released the ''Coronary Reconstruction'' EP in 2010, and even then, lingering bits of the band's notorious proclivity towards unstable lineups remained when Ken Sorceron was fired in 2011 aesthetic Dork Age after a falling-out with Sven, followed by the firing he got LASIK surgery, got rid of Eran Segal (the other new guitarist) his glasses, grew out his hair, and Mike Wilson (Sorceron's replacement) in 2012 for similar reasons.
* Music/SixFeetUnder went through one of these in the early 2000s. Their first three albums are regarded as solid '90s death metal records, with their debut ''Haunted'' in particular being considered a classic by fans. Then in 2000 they released the phoned-in cover album ''Graveyard Classics'', which polarized people; some fans liked it for their death metal take on classic rock songs, while others felt it was unnecessary and SoBadItsGood at best. But the band's fourth original album ''True Carnage'' is when they started to go downhill. To date, it's their lowest-rated record, being trashed for its sludgy production values, experimentation with NuMetal, sluggish performances, and a pretty clear lack of effort. As if that weren't bad enough, their very next record ''Bringer of Blood'' dialed up the nu-metal considerably, and featured even more vapid songwriting along with shallow lyrics that would make even [[Music/LimpBizkit Fred Durst]] cringe. Fans hoping for improvement ended up getting the final nail in the coffin; a second ''Graveyard Classics'' album that was a cover of ACDC's entire ''Back in Black'' album, which is universally despised even by the band's most diehard fans, and the standalone song "Dead and Buried", which featured Chris Barnes' worst vocal performance of all time. They managed to win some people back with 3 solid records in a row, but it wasn't until 2012's ''Undead'' that they managed to get themselves out of their rut entirely.
* KenjiSawada has had two. First in 1969,
''shaved his first self-titled album JULIE has been essentially disowned by him, having come out during a brief lineup hiatus for his band The Tigers and sounding vaguely easy-listening, with a simple studio orchestra and little to no live potential. For his fans, his second "self produced" period of 1995-1999 due to taking on increasingly avant garde musical direction(1995's Sur<- was stated to be IndiePop by Sawada himself) and frequently changing membership in his live band JAZZMASTER.mustache''. *GASP!*
[[/folder]]
5th Dec '15 12:26:37 AM Twentington
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* Music/BrooksAndDunn have their 1999 ''Tight Rope'' album. Following their biggest flop to date with "South of Santa Fe" (their only single not to enter the Top 40 at all, presumably because program directors were saying they didn't want another song with Kix Brooks singing lead), they led off ''Tight Rope'' with a lukewarm cover of John Waite's "Missing You" (obviously trying to re-capture the magic of their extremely successful cover of B. W. Stevenson's "My Maria") and the honky-tonk "Beer Thirty". Both failed to make Top 10, while "You'll Always Be Loved by Me" very, very slowly climbed to Top 5 in 2000. The album was their worst-selling, and was critically panned for sounding tired and weak overall. It was also their last album with original producer Don Cook, although Byron Gallimore — whom the duo never worked with again — produced all three singles. Fortunately for them, they caught a second wind with ''Steers & Stripes'' in 2001 (their first album with producer Mark Wright), which accounted for their biggest hit in "Ain't Nothing 'Bout You" and was generally lauded for its more energetic sound. When B & D released their second GreatestHitsAlbum in 2004, ''none'' of the singles from ''Tight Rope'' were included, even though they ''did'' include "South of Santa Fe"!

to:

* Music/BrooksAndDunn have their 1999 ''Tight Rope'' album. Following their biggest flop to date with "South of Santa Fe" (their only single not to enter the Top 40 at all, presumably reportedly because program directors were saying they didn't want another song with Kix Brooks singing lead), lead instead of Ronnie Dunn), they led off ''Tight Rope'' with a lukewarm cover of John Waite's "Missing You" (obviously trying to re-capture the magic of their extremely successful cover of B. W. Stevenson's "My Maria") and the honky-tonk "Beer Thirty". Both failed to make Top 10, while "You'll Always Be Loved by Me" very, very slowly climbed to Top 5 in 2000. The album was their worst-selling, and was critically panned for sounding tired and weak overall. It was also their last album with under original producer Don Cook, Cook (and one of his last production gigs period), although he only produced half of it; the other half, including all three singles, was produced by Music/TimMcGraw's producer Byron Gallimore — Gallimore, with whom the duo never worked with again — produced all three singles. again. The fall was so great that Montgomery Gentry snagged the Duo of the Year awards that year despite being brand-new on the scene. Fortunately for them, B & D, they caught a second wind with ''Steers & Stripes'' in 2001 (their first album with producer Mark Wright), which accounted for their biggest hit in "Ain't Nothing 'Bout You" and was generally lauded for its more energetic sound.sound and tight songwriting. ''Red Dirt Road'' two years later was also hailed as one of their best. When B & D released their second GreatestHitsAlbum in 2004, ''none'' of the singles from ''Tight Rope'' were included, even though they ''did'' include "South of Santa Fe"!
3rd Nov '15 8:08:22 PM NemesisKane
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* Those Gang of Four fans who preferred their rougher, harsher, punkier edge in albums such as ''Entertainment'' feel this way about their 1984 album ''Hard'', which was funkier and poppier than anything they'd released before. Others see ''Hard'' as a catchy, logical extension of the musical themes explored in their previous album, ''Songs of the Free'' (which included their most famous song, "I Love a Man in a Uniform"). Much of the Japan fan base is divided between those who preferred their glam rock era (''Adolescent Sex'', ''Obscure Alternatives'', et. al.) and those who preferred their New Wave/New Romantic era (e.g. ''Gentlemen Take Polaroids'' and ''Tin Drum''). David Sylvian himself considers the debut album (1977's ''Adolescent Sex'') "{{old shame}}" and his whole solo career has been an extension of the musical themes first explored with ''Tin Drum'', from the Eastern musical elements to the esoteric lyrics about such things as inner pain and loneliness.

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* Those Gang of Four fans who preferred their rougher, harsher, punkier edge in albums such as ''Entertainment'' feel this way about their 1984 album ''Hard'', which was funkier and poppier than anything they'd released before. Others see ''Hard'' as a catchy, logical extension of the musical themes explored in their previous album, ''Songs of the Free'' (which included their most famous song, "I Love a Man in a Uniform").
*
Much of the Japan fan base is divided between those who preferred their glam rock era (''Adolescent Sex'', ''Obscure Alternatives'', et. al.) and those who preferred their New Wave/New Romantic era (e.g. ''Gentlemen Take Polaroids'' and ''Tin Drum''). David Sylvian himself considers the debut album (1977's ''Adolescent Sex'') "{{old shame}}" and his whole solo career has been an extension of the musical themes first explored with ''Tin Drum'', from the Eastern musical elements to the esoteric lyrics about such things as inner pain and loneliness.
6th Sep '15 1:22:19 PM SPBurke
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* Because of Weezer's notorious BrokenBase over their older stuff versus their newer stuff, a proper DorkAge is hard to nail down and agree on. What CAN be said is that the band themselves directly apologized for the dance rock tracks on albums like "Raditude" and "Hurley" in the single "Back to the Shack". To quote the lyrics: "I'm sorry guys I didn't realize/That I needed you so much/I thought I'd get a new audience/I forgot that [[DeaderThanDisco Disco sucks.]]"
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http://tvtropes.org/pmwiki/article_history.php?article=DorkAge.Music