History WMG / ToddInTheShadowsTrainwreckords

* ''A.K.A.'' by Music/JenniferLopez: Though her commercial peak was way back during the late '90s and early 2000s, she enjoyed a CareerResurrection in 2011 thanks to her duet with Pitbull "On the Floor". Her comeback would prove short-lived, however, due to this ill-fated 2014 album, which was not greeted kindly by the public and failed to earn a certification, despite heavy promotion and some buzz generated by the Music/IggyAzalea collaboration "Booty". Lopez has since kept her media career alive primarily through film and television instead, although she hasn't stopped recording.

* ''Crunk Rock'' by Music/LilJon: Despite being one of the most memorable celebrities of the mid-2000s, thanks to a slew of enormous hit productions and starring performances, not to mention a hugely popular skit on Series/ChappellesShow parodying his over-the-top interjections, Lil Jon's career took a serious turn for the worse after this album, originally planned for a 2006 release with "Snap Yo Fingers" as its leadoff single, got stuck in DevelopmentHell. Though it was creatively ambitious, combining his signature brand of Main/{{Crunk}} with heavy electronic influences, it was a spectacular commercial flop, selling incredibly poorly and producing no hits. It suffered from especially unlucky timing due to being released not only well past crunk rap's period of mainstream relevance, but also mere months after Music/LilWayne’s catastrophic ''Rebirth'' album, which similarly took SouthernRap down an experimental path to bad reviews. Although Lil Jon appeared on the huge single "Turn Down for What" a few years later, that song is remembered far more for its scandalous music video, which he didn't even appear in, and the song did little to revitalize his career otherwise.

* ''Damita Jo'' by Music/JanetJackson: Released a mere two months after the infamous WardrobeMalfunction fiasco at Super Bowl XXXVIII, this album was a huge flop compared to its long string of mega-successful predecessors, largely due to radio stations [[OverShadowedByControversy refusing to promote it]] after the then-recent controversy. Aside from one moderate hit in early 2008, Janet's profile has been remarkably on the low since ''Damita Jo'' underperformed on the charts, with even most of her older hits struggling to overcome the fallout left by the Super Bowl scandal and this album's failure.

* ''Dr. Byrds & Mr. Hyde'' by Music/TheByrds: They had been pioneers of the counterculture music scene in America, but severe internal tensions, multiple lineup changes, and an alienating GenreShift towards country-rock with their previous album, ''Sweetheart of the Rodeo'', left them in utter shambles by the time they recorded this, which awkwardly straddled the fence between both the psychedelia and country-rock styles they had previously flirted with. Despite achieving some success in the UK, the record bombed hard in America and marked the end of their artistic golden age. They would break up a few years later after putting out five more marginally received albums.
* ''Dylan & the Dead'' by Music/TheGratefulDead: This collaborative live album with Music/BobDylan, released during counterculture rock’s late ‘80s renaissance, not only got derided by critics for its tepidness, but was also a contributing factor to the abrupt downfall of the ‘60s comeback movement. While Bob Dylan soon rebounded with ''Oh Mercy'' and later with his Album of the Year-winning ''Time Out of Mind'', the Grateful Dead never fully reclaimed the momentum they had enjoyed following the release of “Touch of Grey” (their sole top 40 hit), despite the positive reception of ''Without a Net'', and they ultimately broke up after guitarist Jerry Garcia’s untimely death in 1995.
* ''Music/{{Dynasty}}'' and/or ''Music/MusicFromTheElder'' by Music/{{Kiss}}: The former album alienated the group's traditional rock-going fanbase with its prevalent disco influences, but the latter, a spectacularly misguided stab at progressive rock (which, like [[Music/GarthBrooks Chris Gaines’]] album, was intended to be the soundtrack for a movie that was ultimately never produced), drove away both the pop audience they had newly acquired with ''Dynasty'', as well as the remainder of their older fans who had not yet given up on them before that point. Due to both of these flops, Kiss spent the entire 1980s incapable of garnering any significant success on the Hot 100, despite that decade's trends seeming to [[HairMetal naturally]] [[Creator/{{MTV}} fit]] their sound and aesthetic, although they did have one big hit at the beginning of the '90s with "Forever".

* ''Forever'' by Music/BobbyBrown: The former BadBoy of Music/NewEdition, Bobby Brown was kicked out of the group due to his antics but eventually emerged the headlining artist of the NewJackSwing movement of the late '80s and early '90s. By the time that genre's popularity began to falter against the rising tide of G-funk in the mid-'90s, however, he had become more known for his [[OverShadowedByControversy turbulent relationship]] with Music/WhitneyHouston than his music. Despite a successful comeback with New Edition in 1996, he left the group once again in 1997 due to troubles with his bandmates during the tour to promote their new album. He proceeded, later that year, to record this record, which he produced on his own. Breaking mostly clean from the new jack swing style that had catapulted him to solo fame, the resulting product was a tired and generic R&B album that his label MCA refused to promote, leaving it with minuscule sales figures. After ''Forever'' crashed and burned, Brown released no further solo albums until fifteen years later, by which point his period of mainstream relevance had long since expired.

* ''Head over Heels'' by Music/PaulaAbdul: Though Paula Abdul rivaled Madonna and Janet Jackson in fame and success throughout the late '80s and early '90s, she struggled to keep up with her contemporaries as pop music declined in popularity during the mid-1990s. In contrast to the numerous hits her first two albums produced, ''Head over Heels'' only had one fairly modest hit single in "My Love Is for Real", which hastily attempted to establish a more distinct sonic image for her by invoking her Jewish heritage, while the more conventional follow-up single, "Crazy Cool", missed the top 40 of the Hot 100. Following this record's underperformance, Abdul has not recorded a single album since and is nowadays remembered primarily as [[TheHeart the nice judge]] from ''Series/AmericanIdol'' rather than a pop legend.

** Alternatively, ''Music/{{Invincible}}'', which was intended to be Jackson's studio comeback after a long period with very little new material but was plagued by TroubledProduction. Once it arrived in 2001, it produced two decent hit singles, but the reviews were considerably more lukewarm than his previous string of successes and it was forgotten about rather quickly. After the album failed to catch on, Jackson did not release any further new music for the rest of his life aside from one single on his greatest hits compilation ''Number Ones'' and spent most of the 2000s as a tabloid punchline rather than a pop titan.

* ''Music/ListenWithoutPrejudiceVolume1'' by Music/GeorgeMichael: While it did produce a few big hits, it's generally considered to mark the downfall of his career, particularly as a result of friction with his label, which the third single "Freedom! '90" is about. Although he continued to have big hits in America through 1996 and remained extremely popular overseas into the early 2000s, his album sales and pop cultural relevance went significantly downhill following the events surrounding this record, which never saw a sequel as its title promised. Todd stated in his "Jealous" review that people decided they "didn't need the original George Michael" shortly after Donny Osmond's George Michael-wannabe comeback in 1989, which likely implies he considers this album the point when the singer's career stopped mattering.

* ''Rebel Heart'' by Music/{{Madonna}}: While Madonna's hit-making career had lasted an impressive 31 years by the time this album came out, it was her first not to produce a smash single and got marginal reviews, with the general consensus being that it pandered too hard to current trends (although those accusations first truly surfaced with 2008's ''Hard Candy''). Most notable is its infamous collaboration song with Music/NickiMinaj, which many consider the worst track of Madonna's entire career.

** Alternatively, ''Summer in Paradise'', their only album not to feature any new contributions from Brian Wilson. While the band was nowhere near as critically or commercially popular during the '70s and '80s as they had been in the '60s, they still racked up a fair number of hit songs, including the chart-topping, albeit infamous single from ''Film/{{Cocktail}}'', "Kokomo". ''Summer in Paradise'', however, is often considered one of the worst albums by a major rock band in history and was such a notorious bomb that it sold less than 1,000 copies upon release, putting a definitive end to their mainstream presence.

* ''Sound Loaded'' by Music/RickyMartin: The Latin pop craze that Ricky Martin spearheaded in 1999 continued well into the new millennium, but the hype for the former Menudo star died off quickly after this album's underperformance. Its leadoff single "She Bangs" is now more associated with [[Series/AmericanIdol William Hung]] than Martin himself. He attempted a comeback in the English market in 2005, but failed miserably, and to this day has strictly focused on the Spanish market where's he's had reasonable success.

* ''America'' by Music/ThirtySecondsToMars: This album was met by almost universally scathing reviews and made multiple "worst albums of the year" lists, due to it's [[FollowTheLeader perceived attempt at cashing in on]] the popularity of trap rap and the electro-pop-rock style made popular by Music/ImagineDragons. Shortly after the album's released, the band's guitarist announced his departure from the band. As it was released in 2018, time will tell if they can recover however unlikely it seems at this point.

Although ''Man of the Woods'' was only released in early 2018, it has evidently already damaged Timberlake's career quite badly and prospects for a commercial comeback in the future are not high. Todd said in his Worst Hit Songs of 2018 video that the entire album was "a Trainwreckord and a half, stay tuned on ''that'' one".

* ''Twenty 1'' by Music/{{Chicago}}: Although easy listening was still very much mainstream in 1991, this record only produced one minor top 40 hit and did not get a certification from the RIAA. Unlike their 1980 flop ''Chicago XIV'', this record was never followed by a true CareerResurrection. While Chicago's commercial downfall isn't particularly noteworthy compared to other major bands throughout history, covering this album would give Todd the chance to elaborate upon his hatred of the band on a grander scale.

* ''Homebrew'' by Neneh Cherry: Her debut album ''Raw Like Sushi'' was a major critical and commercial hit that quickly established her as one of the most unique faces in pop music and a potent contender to Madonna and Janet Jackson for the title of Queen of Pop. Unfortunately, by the time she released this in 1992, America had lost interest in her, despite the album itself earning positive reviews. It produced one minor hit with "Buddy X" (a diss track directed against Music/LennyKravitz), but failed to chart on the Billboard 200. Although she continued to find plenty of success overseas through the mid-'90s, she never found her way back into the limelight at home.

* ''Queen'' by Music/NickiMinaj: While Todd liked "Chun-Li", this album ran out of steam rather quickly for Nicki Minaj standards and failed to chart any of its songs in Billboard's Year-End List for 2018, while Music/CardiB, whom she beefed with that year, surpassed her as the biggest female rapper of the day. She later had a guest verse on 6ix9ine's "Fefe", but many people consider that song her worst performance to date and more of a desperate attempt to prop up her dying career than a recovery from this album. Time will tell whether or not Nicki can remain a huge star after her fall from grace in 2018.

* ''Return of Dragon'' by Sisqó: This singer rose to prominence in the mid-to-late '90s as the frontman of the widely popular R&B group Dru Hill. His debut solo record ''Unleash the Dragon'' was an explosive success, thanks to the worldwide popularity of the earworm club smash "Thong Song" and #1 ballad "Incomplete". ''Return of Dragon'', however, was such a huge failure that neither of its singles even charted on the Hot 100, despite the album coming out a mere year after the height of his career. He did have one moderate hit in early 2003, "I Should Be...", after reuniting with Dru Hill, but to this day, he's considered little more than the epitome of late '90s/early 2000s pop ephemera and is often misclassified as a one-hit wonder for "Thong Song".

* ''They Came to Rule'' by Daze: Although this Danish eurodance group is only really known for their minor Billboard hit "Superhero", which charted in the wake of Music/{{Aqua}}’s global breakthrough, their 1999 sophomore album is such a goldmine of absurdity that it’s a worthwhile point of discussion purely in its own right. Disillusioned by all the Aqua comparisons following their debut record, Daze took their style in a completely different direction for their next album, which employed the famous Max Martin sound associated with Music/BritneySpears as the basis for a DarkerAndEdgier, anti-authority image, with which they tackled scandalous subjects such as trash television, the manipulative corruption of the media, and prostitution rings. While the record was certainly novel for its time, it badly alienated the group’s original audience and fell completely short to Music/{{Eminem}}’s albums as a rebellious, mainstream satire of popular culture at the time. Though Daze remain together to this day, they never released another album after this flop experiment.

* ''Music/{{Reputation}}'' by Music/TaylorSwift: Despite the album doing well commercially, Todd dismissed its relative success as being due to name recognition in the 'Worst Hit Songs of 2018' video (a similar comment to what he said about the success of "Dark Horse" in his Pop Song Review of it), has referred to it as a flop in the past, and said that the album may spell the end of her career. Time will tell if it's the case. While "Me!", her first single since ''reputation'', has done well commercially, Todd called it the "[[https://twitter.com/ShadowTodd/status/1121630442631753728 least event-y of her event singles]]", which is consistent with his belief that her relevance has dramatically plummeted since her previous album.

* ''Music/TheWhiteAlbum'' by Music/TheBeatles: The Fab Four were already creatively splintered to the point of no longer touring by 1968, but due in large part to the influence of Music/YokoOno on Music/JohnLennon, not to mention Music/GeorgeHarrison's [[Music/WonderwallMusic debut solo album]] coming out at the same time, among other things, their dysfunction reached a critical limit during the making of this double-album, which also spanned the infamous "Revolution 9". That didn't stop them from pumping out [[Music/YellowSubmarine three]] [[Music/AbbeyRoad more]] [[Music/LetItBe albums]] before finally folding two years later, but this was definitely the biggest showcase of everything that led to their demise. That said, a ''Trainwreckords'' episode may be unlikely simply because the history of the Beatles is already so ingrained in the mainstream that Todd may feel it's not worth discussing any further.

* ''Evanescence'' by Evanescence: This band was absolutely enormous in the early 2000s but declined in popularity rather quickly. Their sophomore record, ''The Open Door'', was a huge disappointment compared to their world-conquering debut, but it still went multi-Platinum, thanks to the success of "Call Me When You're Sober". This self-titled third album, however, was yet another steep fall from grace. Not only did it come out at a time when rock music was just about gone from the mainstream, it failed even to capitalize on the recent trend of [[Music/{{Adele}} piano]] [[Music/ChristinaPerri ballads]], which the band had proven they were capable of with "My Immortal". While this album topped the Billboard 200 upon release, it lacked hit singles and was quickly forgotten. The band has been mostly dormant since then.

* ''Zingalamaduni'' by Arrested Development: This conscious hip-hop group managed to hit the zeitgeist in the early 1990s with their debut album, earning critical acclaim and a few hit singles. Their second album, however, was criticised for being an underproduced, tuneless SophomoreSlump and completely torpedoed their momentum (in the US market at least).
* ''The Cure'' by Music/TheCure: In 2004, this album seemed to be about to set the band on another few years of success, albeit not nearly to the extent as their 1989-1993 peak of popularity, coming after the goodwill amongst fans and critics that 2000's ''Bloodflowers'' and the 2003 ''Trilogy'' concerts had brought. They even tried experimenting with their sound a little, bringing in veteran Nu Metal producer Ross Robinson to work on the album. Unfortunately, this backfired, with Robinson seemingly trying to force the band into being overly angsty and heavy emo godfathers, which is something they never were in the first place, resulting in a forced, uninspired and overly depressing album which is pretty reviled by fans and was unsuccessful, torpedoing the momentum that had been built up to that point and damaging the band's career pretty badly, to the point that followup ''4:13 Dream'' received only average reviews, was pretty unsuccessful and then became their last album for a whopping ''11 years'', with their next album coming out in late 2019 (which may yet improve the band's fortunes) due to Robert Smith developing a severe case of writer's block, resulting in the band entirely becoming live act in that time.
** Alternatively, 1996's ''Wild Mood Swings'': By the time this album was released, The Cure had just come off their peak period of success from 1989-1993. However, the classic lineup had splintered, with drummer Boris Williams and guitarist Pearl Thompson having left. Not helping matters was the changing musical landscape since their peak of popularity, with Grunge having come and gone in America and Britpop at its peak in the UK, and The Cure didn't fit in with either genre. Adding to all of this was the four-year gap between it and its predecessor ''Wish'', at the time the longest gap between Cure albums, which resulted in heightened expectations for it. The band tried to recapture the GenreRoulette style of 1987's ''Kiss Me, Kiss Me, Kiss Me'' and unfortunately failed badly at it, with the whole thing feeling very forced and uninspired, and some of the genre experiments, such as the jazz-influenced "Gone!" and the mariachi horn-laden "The 13th" being reviled as some of the band's absolute worst songs. Adding salt to the wound was the fact that the band had actually written and recorded some fantastic songs, but out of sheer poor judgement left great songs such as "It Used To Be Me" and "A Pink Dream" as B-sides and put the aforementioned and reviled "Gone!" and "The 13th", amongst others, on the album instead. The end result was the lowest-selling Cure album in ''12 years'' with all of its' singles flopping and pretty mixed reviews. While the album does have its highpoints, it is a very mixed album overall and is generally considered the band's worst album aside from their 2004 SelfTitledAlbum.

* ''The Cure'' by Music/TheCure: In 2004, this album seemed to be about to set the band on another few years of success, albeit not nearly to the extent as their 1989-1993 peak of popularity, coming after the goodwill amongst fans and critics that 2000's ''Bloodflowers'' and the 2003 ''Trilogy'' concerts had brought. They even tried experimenting with their sound a little, bringing in veteran Nu Metal producer Ross Robinson to work on the album.
Unfortunately, this backfired, with Robinson seemingly trying to force the band into being overly angsty and heavy emo godfathers, which is something they never were in the first place, resulting in a forced, uninspired and overly depressing album which is pretty reviled by fans and was unsuccessful, torpedoing the momentum that had been built up to that point and damaging the band's career pretty badly, to the point that followup ''4:13 Dream'' received only average reviews, was pretty unsuccessful and then became their last album for a whopping ''11 years'', with their next album coming out in late 2019 (which may yet improve the band's fortunes) due to Robert Smith developing a severe case of writer's block, resulting in the band entirely becoming live act in that time.
** Alternatively, 1996's ''Wild Mood Swings'': By the time this album was released, The Cure had just come off their peak period of success from 1989-1993. However, the classic lineup had splintered, with drummer Boris Williams and guitarist Pearl Thompson having left. Not helping matters was the changing musical landscape since their peak of popularity, with Grunge having come and gone in America and Britpop at its peak in the UK, and The Cure didn't fit in with either genre. Adding to all of this was the four-year gap between it and its predecessor ''Wish'', at the time the longest gap between Cure albums, which resulted in heightened expectations for it.
The band tried to recapture the GenreRoulette style of 1987's ''Kiss Me, Kiss Me, Kiss Me'' and unfortunately failed badly at it, with the whole thing feeling very forced and uninspired, and some of the genre experiments, such as the jazz-influenced "Gone!" and the mariachi horn-laden "The 13th" being reviled as some of the band's absolute worst songs. Adding salt to the wound was the fact that the band had actually written and recorded some fantastic songs, but out of sheer poor judgement left great songs such as "It Used To Be Me" and "A Pink Dream" as B-sides and put the aforementioned and reviled "Gone!" and "The 13th", amongst others, on the album instead. The end result was the lowest-selling Cure album in ''12 years'' with all of its' singles flopping and pretty mixed reviews. While the album does have its highpoints, it is a very mixed album overall and is generally considered the band's worst album aside from their 2004 SelfTitledAlbum.

* ''The Cure'' by Music/TheCure: In 2004, this album seemed to be about to set the band on another few years of success, albeit not nearly to the extent as their 1989-1993 peak of popularity, coming after the goodwill amongst fans and critics that 2000's ''Bloodflowers'' and the 2003 ''Trilogy'' concerts had brought. They even tried experimenting with their sound a little, bringing in veteran Nu Metal producer Ross Robinson to work on the album. Unfortunately, this backfired, with Robinson seemingly trying to force the band into being overly angsty and heavy emo godfathers, which is something they never were in the first place, resulting in a forced, uninspired and overly depressing album which is pretty reviled by fans and was unsuccessful, torpedoing the momentum that had been built up to that point and damaging the band's career pretty badly, to the point that followup ''4:13 Dream'' received only average reviews, was pretty unsuccessful and then became their last album for a whopping ''11 years'', with their next album coming out in late 2019 (which may yet improve the band's fortunes) due to Robert Smith developing a severe case of writer's block, resulting in the band entirely becoming live act in that time.
** Alternatively, 1996's ''Wild Mood Swings'': By the time this album was released, The Cure had just come off their peak period of success from 1989-1993. However, the classic lineup had splintered, with drummer Boris Williams and guitarist Pearl Thompson having left. Not helping matters was the changing musical landscape since their peak of popularity, with Grunge having come and gone in America and Britpop at its peak in the UK, and The Cure didn't fit in with either genre. Adding to all of this was the four-year gap between it and its predecessor ''Wish'', at the time the longest gap between Cure albums, which resulted in heightened expectations for it. The band tried to recapture the GenreRoulette style of 1987's ''Kiss Me, Kiss Me, Kiss Me'' and unfortunately failed badly at it, with the whole thing feeling very forced and uninspired, and some of the genre experiments, such as the jazz-influenced "Gone!" and the mariachi horn-laden "The 13th" being reviled as some of the band's absolute worst songs. Adding salt to the wound was the fact that the band had actually written and recorded some fantastic songs, but out of sheer poor judgement left great songs such as "It Used To Be Me" and "A Pink Dream" as B-sides and put the aforementioned and reviled "Gone!" and "The 13th", amongst others, on the album instead. The end result was the lowest-selling Cure album in ''12 years'' with all of its' singles flopping and pretty mixed reviews. While the album does have its highpoints, it is a very mixed album overall and is generally considered the band's worst album aside from their 2004 SelfTitled album.

* ''The Cure'' by Music/TheCure: In 2004, this album seemed to be about to set the band on another few years of success, albeit not nearly to the extent as their 1989-1993 peak of popularity, coming after the goodwill amongst fans and critics that 2000's ''Bloodflowers'' and the 2003 ''Trilogy'' concerts had brought. They even tried experimenting with their sound a little, bringing in veteran Nu Metal producer Ross Robinson to work on the album. Unfortunately, this backfired, with Robinson seemingly trying to force the band into being overly angsty and heavy emo godfathers, which is something they never were in the first place, resulting in a forced, uninspired and overly depressing album which is pretty reviled by fans and was unsuccessful, torpedoing the momentum that had been built up to that point and damaging the band's career pretty badly, to the point that followup ''4:13 Dream'' received only average reviews, was pretty unsuccessful and then became their last album for a whopping ''11 years'', with their next album coming out in late 2019 (which may yet improve the band's fortunes) due to Robert Smith developing a severe case of writer's block, resulting in the band entirely becoming live act in that time.

* ''Zingalamaduni'' by Arrested Development: This conscious hip-hop group managed to hit the zeitgeist in the early 1990s with their debut album, earning critical acclaim and a few hit singles. Their second album, however, was criticised for being an underproduced, tuneless SophomoreSlump and completely torpedoed their momentum (in the US market at least).

* ''Adore'' by Music/SmashingPumpkins: After reaching the height of their career with the Diamond-certified ''Mellon Collie and the Infinite Sadness'', these alt-rock juggernauts were forced to wrestle with several challenges simultaneously while recording this followup. Not only were tensions heated between Billy Corgan and the rest of the band, but an overdosing incident during their 1996 tour resulted in the death of their touring keyboardist Jonathan Melvin, as well as the departure of drummer Jimmy Chamberlin from the lineup. Haunted by deep personal issues, including public backlash, as well as a divorce, Corgan became an unstable control freak during the production of ''Adore''. Once the record came out in 1998, during the elder days of the '90s alternative movement, it produced a couple of hit singles but was a huge slump compared to ''Siamese Dream'' and ''Mellon Collie and the Infinite Sadness''. The band subsequently released a pair of albums in 2000 that achieved decent success before breaking up, but even by then, they were no longer the A-list superstars they had been in the preceding years.

* ''Witness'' by Music/KatyPerry: Todd claimed that 2017 was the year Katy Perry's career "imploded spectacularly". He also [[https://twitter.com/shadowtodd/status/975833354665971712?s=21 tweeted]] that despite liking "Chained To The Rhythm", the rest of the album was "...oof". However, time will tell if ''Witness'' becomes Katy's downfall.

* ''Voicenotes'' by Music/CharliePuth: Despite earning significantly better revies than Puth's previous work, including from Todd ("Attention" was his #3 Best Hit Song of 2017, while "The Way I Am" was an honorable mention in 2018), the album had disappointing sales and Puth has failed to score any real hits since it came out. Todd has attributed this to 2018 being a year in which pop music was close to nonexistent, so whether or not Puth can make a comeback remains to be seen.

* ''Head'' by Music/TheMonkees: By 1968, the band members had grown defiant of the manufactured reputation their [[Series/TheMonkees eponymous television series]] had stained them with and wanted to establish themselves as credible artists in their own right. Released months after the cancellation of their TV show as the soundtrack to the theatrical film ''Film/{{Head}}'', this album, notably compiled by a young Creator/JackNicholson (who also starred in the movie), deeply alienated the band's audience with its DarkerAndEdgier tone, which essentially revoked what had propelled them to chart success in the first place. Both the film and the album itself were massive commercial bombs, and the band broke up a few years later after their subsequent albums failed to catch on. They have since reunited on multiple occasions, even scoring one more top 40 hit in 1986 on the heels of nostalgia, but they have not been a cohesive force in popular music since the events surrounding the release of ''Head''. Although the movie has since developed a [[VindicatedByHistory cult fanbase]], Todd called it "near-unwatchable" in the Toni Basil OHW, making this an especiallu likely candidate for ''Trainwreckords''.

* ''Head'' by Music/TheMonkees: By 1968, the band members had grown defiant of the manufactured reputation their [[Series/TheMonkees eponymous television series]] had stained them with and wanted to establish themselves as credible artists in their own right. Released months after the cancellation of their TV show as the soundtrack to the theatrical film ''Film/{{Head}}'', this album, notably compiled by a young Creator/JackNicholson (who also starred in the movie), deeply alienated the band's audience with its DarkerAndEdgier tone, which essentially revoked what had propelled them to chart success in the first place. Both the film and the album itself were massive commercial bombs, and the band broke up a few years later after their subsequent albums failed to catch on. They have since reunited on multiple occasions, even scoring one more top 40 hit in 1986 on the heels of nostalgia, but they have not been a cohesive force in popular music since the events surrounding the release of ''Head''.

* ''¡Uno! ¡Dos! ¡Tre!'' trilogy by Music/GreenDay: Released after the death of traditional rock music as a mainstream genre, all three of these albums received poor reviews and failed to produced any hits that transcended the rock airplay charts (except one song that charted at a negligible #97 on the Hot 100), a sharp decline for a band that had released [[Music/AmericanIdiot one of the biggest albums of the 2000s]] less than a decade earlier. Their next album, ''Music/RevolutionRadio'', fared a little better, but still wasn’t an enduring smash like their ‘90s and 2000s records had been.

* ''Music/{{Reputation}}'' by Music/TaylorSwift: Despite the album doing well commercially, Todd dismissed its relative success as being due to name recognition in the 'Worst Hit Songs of 2018' video (a similar comment to what he said about the success of "Dark Horse" in his Pop Song Review of it), has referred to it as a flop in the past, and said that the album may spell the end of her career. Time will tell if it's the case.

* [[WMG/ToddInTheShadows Main WMG page]]
* [[WMG/ToddInTheShadowsYearEnd Year-End Predictions]]
* [[WMG/ToddInTheShadowsOHW One Hit Wonderland Predictions]]

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