- In 2016, actor Corey Feldman released the double album Angelic 2 the Core: Angelic Funkadelic/Angelic Rockadelic. It started production in 2006, but also tried (and failed) to finish production through Indiegogo under the Working Title Elev8or 2 Ascension, and it shows. Angelic 2 the Core tried to combine funk with rock... plus dubstep, jazz, and often-outdated dance pop, to incomprehensible results. The guest performers (like Fred Durst, Snoop Dogg, Jon Carin, Nina Hagen, and Kurupt) don't really help save it, thanks to Feldman's bizarre vocals on songs like "We Wanted Change". Whatever reviews this album got were negative, or sarcastically positive. Anthony Fantano also made a 50-minute long Sanity Slippage review of this thing, which you can watch here. Fantano would later go on to label Angelic as the worst album of the 2010s.
- The Broken, wherein brokeNCYDE attempted to paint themselves up as serious artists. The album was filled with them trying to rap and layered with acoustic guitars, with no hint of partying or fun in the music. The album is now out of print and the band members themselves regard it as an Old Shame, to the point of doing a complete 180 on their later musical material.
- Genesis was in a bit of a Dork Age in the late 80's and early 90's with the rise of Alternative Rock and the growing backlash against then-current frontman Phil Collins. But his departure in 1996 left the band struggling to find a new audience, leading to them releasing the catastrophe ...Calling All Stations... in 1997. The album deviates from almost everything the band had previously released in that it attempts to mix the Progressive Rock style that they were known for with 90s Alternative Rock. In an attempt to connect with the modern audience, the band brought in new lead vocalist Ray Wilson, a Post-Grunge musician who has practically no business being in a band previously fronted by Phil Collins. The end result is so bizarre that even Collins' haters would prefer his music over ...Calling All Stations... The synth tunes are out of place, the lyrics are cheesy (the song "Not About Us" has the incomprehensible "It's not about us... it's more about the loneliness we feel"), and some compare the album unfavorably to an album by Mike and the Mechanics, which ironically is headed by Genesis member Mike Rutherford. Genesis fans and critics didn't take the album seriously. To date, the album has sold only around 100,000 units in the United Kingdom and failed to hit Platinum status, their first album to not do so since 1981's Abacab. It did even worse in the US, with no single hitting the Hot 100 and not being certified at all in the country. After a disastrous concert tour the following year, Genesis formally announced its breakup. The album is so despised that the band refused to perform any song from the album during their 2006-07 reunion, and their compilation album Turn It On Again: The Hits contains only one song from the album, "Congo", which was its only Top 40 UK hit.
- Switchfoot's massive fanbase has spent years trying to track down early releases made by members of the band. In the late 2000s, a teenage Jon Foreman demo was found titled ETC. While definitely not high-art, it's considered to be charming in its oddity. After relentless research from the fanbase, it was revealed that Switchfoot was first known as Chin Up and were apparently awful. A demo was released that almost stopped the band's career right in its early days. The very few fans that have heard the tracks recall a band that could barely keep in sync with itself, flat vocals that rivaled the ETC demo, and production that was horrible even for a basic demo. The record company that did eventually sign them only did so on the basis of Foreman's creative lyrics. Other than that, the executives involved called it one of the worst demos they ever had to sit through. Luckily, Switchfoot evolved into the band as they are loved today. While the demo remains lost (likely due to the band making sure it never again sees the light of day), it's become a holy grail for the morbidly curious fans.
- The Goldwaters Sing Folk Songs To Bug The Liberals was the first (and thankfully only) release by the long-forgotten 1964 conservative folk group The Goldwaters. They were originally formed with the intent to promote the Barry Goldwater presidential campaign (it didn't work), but after they released their first album they were never heard from again for obvious reasons. They didn't compose their own music, rather they would cover Public Domain songs but sing their own blatantly pro-conservative/anti-liberal lyrics over them. The "satire" is about as subtle as a hammer to the face and any attempts at "comedy" mostly consist of extremely annoying and condescending "jokes" about how liberals are ruining America. The actual music sounds less like folk and more like stereotypical, nigh-unlistenable, banjo-picking redneck music. The album was supposedly recorded live but clearly isn't the case as one would quickly realize that the same annoying laugh tracks and applause tracks are reused over and over. The album supposedly sold 200,000 copies but since the album was released on a very tiny label, didn't chart, didn't get any radio play, and fell into obscurity shortly after release, the prospect of the album selling 200,000 seems highly unlikely and probably sold only a few hundred copies at best. Oddity Archive took a brief look at the album.
- CONELRAD did an interview with ex-Goldwater Ken Crook (for whom the album is a major Old Shame) which revealed a lot about the backstory of the album: it was originally recorded under the name "Folk Songs to Bug the New Frontier" and contained several direct references to President Kennedy. Said original version was produced by, of all people, songwriter John D. Loudermilk. He did not participate, however, in the recording of the final album, which had the Kennedy references written out following his assassination. For what it's worth, the group did a promotional tour of Republican gatherings with some success, with their act having improved since the recording session.
- Discharge are one of the most critically acclaimed Hardcore Punk bands from The '80s, but Grave New World, their last album before their first breakup, is considered to be a total disaster. The band had been leaning towards Heavy Metal for a while, but they went fully metal on this album (even incorporating Hair Metal elements) and they just couldn't master it. The instrumentation was messy, lead singer Cal Morris' newer high-pitched vocal style sounded stupid, the lyrics were uninspired, and the production quality was too squeaky-clean for a band of their type. They regained their brilliance with their return in 1991, but this album is often brought up in conversation between Discharge fans as a disgrace.
- Having Fun with Elvis on Stage is often considered one of the worst albums of all time. "But," you say, "Elvis Presley was a great singer and conversationalist, plus he cracked some good jokes! How can an Elvis album be that bad?!" Imagine an Elvis concert without said music, interesting monologues, and all the jokes that make sense. What remains is this, a solid 35 minutes of Elvis just...talking, with all context removed so you have no clue what he's talking about. It was a ploy by his manager to make money off him by releasing an album that RCA Records had no rights to - not that it stopped them from distributing it themselves under their own label. Elvis was (quite rightly) infuriated and humiliated by the album's release to the point that he personally had the album taken off store shelves. Nevertheless, and bizarrely enough, it charted at #130 on the Billboard album chart and at #9 on the Hot Country LPs chart, saw numerous bootlegs, and even got a fan-made sequel.
- Emerson, Lake & Palmer is seen as a joke in the modern age, which is sad if you're a Progressive Rock fan. Regardless, the album Love Beach is the only all-around horrible thing they ever released. The album was recorded after ELP had crossed the Despair Event Horizon because of their hatedom - they were legally required to record one more album to finish their record contract. The album itself is based on disco music and AOR, and is hated by prog fans for helping to wreck the popularity of progressive rock, since it came out around the time Disco itself was becoming Deader Than Disco. Even the band has expressed their hatred of the album.
- Murder in the Recording Studio is the only known album by Scottish satire/experimental band Prit Stik. Infamously, this was the lowest-rated album on the now-defunct mp3.com, and for good reason: the two singers sound too low-pitched, distorted, and strangely auto-tuned, making their vocals hard to hear. The beats of the albums are similarly muffled, yet somehow louder than the actual singing. The instrumentation sounds less "experimental" and more like cats being beaten with sticks. Even the lyrics don't make more sense than random mumbling, meaningless Studio Chatter, and constant band namedrops. The most infamous song off this album was "Prit Stik (1987)": Disguised as an unreleased Björk demo in her heyday, it opens with the brilliant line "I hate chess pieces because I keep stepping on them" and only gets worse - shrill title drops, distorted synth, bizarre drum and guitar "solos", and annoying invocations of Ending Fatigue. For years, it was the only proof of the album's existence until someone found it archived on the band's website. There's another version of this song recorded in 1986; it's just as bad, but not as pitch-shifted as the rest of the album.
- Farrah Abraham's album My Teenage Dream Ended. The lyrics and dubstep-esque beats are inanely generic, and her Auto-Tune voice does nothing but harm the songs. Upon the release of the album closer "Finally Getting Up from Rock Bottom", pretty much every popular news source that wrote about the song called it "the worst song ever". The album was a massive flop and has a 1.5 (out of 5) rating on iTunes. An interview with producer Fredrick M. Cuevas revealed some details of how the album came to be so odd - in particular, it turns out Abraham tried to turn original poems without consistent rhyme schemes or meters into song lyrics, requested the heavy abuse of autotune on her voice because she thought it would sound "edgy", and would record her singing while listening to a click track rather than the actual backing music.
- Waking the Cadaver's Perverse Recollections of a Necromangler. The band's steadily improved since, to the point of even gaining something of a devout fanbase, but this was both their lowest point and a horrendous first impression. Everyone was overly repetitive, obnoxious, or both, except for the bass, who couldn't even be heard. The singer sounded like a pig in mid-castration, which worsened the immature, trite, appalling lyrics by making them incomprehensible. The opening samples were clichéd, the band could not keep time, channeled all their focus into pointless brutality, and padded the album by recording themselves getting stoned.
- Kevin Federline, aka K-Fed, second husband of pop diva Britney Spears, released a rap album called Playing with Fire in 2006. The album was critically panned and currently holds the lowest score in the history of Metacritic with 15 out of 100. So what makes it such a disaster? Well, people had hopes leading up to the release thanks to "PopoZão", which was actually closer to So Bad, It's Good and wasn't taken seriously by anyone. Unfortunately, America's Most Hated did want to be taken seriously, and the album is filled with dull, uncharismatic rhymes about his fame, his marriage to Britney, cannabis and gangsta cliches, and music way too generic to really put any of his posturing over. One review said it best: "Perhaps we were too harsh on Vanilla Ice." As a footnote, Britney left him within a couple of weeks of the album's release, and Federline has since fallen into obscurity. Entertainment Weekly, since about 2006, usually lists a recommended song or two from an album when doing a review, since these days you can buy any song separately, but were unable to find anything listenable on Playing with Fire. To add insult to injury, "PopoZão" isn't featured on the album. The Music Video Show attacked his one and only music video here.
- Poser Holocaust, by Thrash or Die, has a 0% general rating on Metal Archives. The album suffers from obnoxious vocals, weak and repetitive Thrash Metal riffs repeated throughout the album, generic party lyrics, low production values, and a generally dated feel. The band later improved slightly, but this is a horrid debut.
- Celtic Frost, legends of Black Metal, had a stinker with their 2002 demo Prototype. Here, Celtic Frost attempted to experiment with electronica, industrial rock, and hip hop and sound nothing like Celtic Frost at all. Starting with a butchering of "Helter Skelter", going through songs that feature barely-comprehensible vocals and finishing with the hilariously-terrible "Hip Hop Jugend", which sounds like Rammstein attempting to create a rap song and failing miserably, this obscure demo makes Cold Lake, widely considered their worst album, sound like a masterpiece in comparison.
- Ratt has an album of demo recordings on Spotify, which is practically unlistenable. It features several of their big classics, except the guitars are consistently off-beat, out of tune, poorly mixed, overly saturated, and generally incredibly sloppy. Many early live recordings of the band reveal that this is how they actually sounded when playing live.
- While Deep Purple's Stormbringer and Come Taste the Band were heavily criticized upon release, they've since been Vindicated by History; the Mark V lineup's Slaves and Masters did not get the same privilege. Allmusic compared the album's sound to "a generic Foreigner wannabe", with its cheesy AOR songwriting and titles (like "Love Conquers All"). While the rest of the band has since disowned the album, vocalist Joe Lynn Turner continues to perform its singles "Love Conquers All" and "King of Dreams", admittedly the only salvageable songs on it.
- Suicide Silence, by the band of the same name. While Suicide Silence themselves were a divisive act, they still were respected, especially with their risky decision to continue the band with Eddie Hermida following the death of original vocalist Mitch Lucker. The self-titled album was met with very negative reviews due to a very flimsy Genre Adultery change from Deathcore to Nu Metal, with one review comparing it to terrible covers in a garbage can while Rock Sound ripped the album a new one by saying the band got rid of everything that made them good. Hermida's attempts to do clean vocals such as "Doris" and "Dying in a Red Room" are incredibly botched, and the instrumentation is so messy it makes Limp Bizkit look like King Crimson. The album (and the band) became laughing stocks because of these songs, in particular with "Doris" which featured terrible clean vocals, with one line ("To be...") sounding more like if Hermida said "TEE HEE". Like the below-mentioned Cryptopsy, the band's responses to anybody who criticized the album or the band (even before the release date, which is why some feel the album tanked so poorly) did not help their image as well. Take his word for it as he tried to give the album the benefit of the doubt but ended up putting it at No. 1 for his Top 10 Worst Albums of 2017, criticizing the aformentioned clean vocals and the band's less than stellar responses to everyone who blasted the album. It's pretty bad when a band with a very vocal hatedom is able to release an album with high praise while Suicide Silence's attempt has labeled them as an example of Jumping the Shark.
- What happens when you try to make a Beach Boys album without Brian Wilson? You get Summer in Paradise, in which Mike Love embarrasses himself and the rest of the band for 12 excruciating tracks. The album's atrocities include "Summer of Love", in which Mike comes across like a creepy old man lecherously pining after teenage girls, and a horrible version of the classic Dennis Wilson ballad "Forever" sung by John Stamos. This is one of only two Beach Boys albums that has never been reissued (the other album being Still Cruisin'). It sold fewer than 10,000 copies, and it is rumored to have sold less than 100 copies on its release date. The album's US distributor, Navarre, went bankrupt not long after this album's release.
- The next album in line, 1996's Stars and Stripes Vol. 1, fared no better. Although Brian Wilson had rejoined by this point, and was credited as co-producer, he apparently had very little say in the final product and it shows note . The album, released on a short-lived and obscure independent label owned by Record Producer Joe Thomas, relegated the Beach Boys to backing vocalists on re-recordings of some of their biggest hits, with the lead vocals taken by a mostly-unimpressive cast of Country Music acts (the only really big name on it was Willie Nelson, who wasn't even doing much of anything for most of the 90s anyway). However, it couldn't even stick to that premise, as it also featured Eagles bassist Timothy B. Schmit, Christian pop singer Kathy Troccoli, and Al Jardine's son Matt. The Beach Boys didn't even contribute instrumentally, as nearly every note was played by either Thomas or a Nashville-based session musician. While the lead single (Troccoli's take on "I Can Hear Music") made some noise on the AC charts, three more tracks were tested at country radio ("Don't Worry Baby" by Lorrie Morgan, "Little Deuce Coupe" by James House, and "Long Tall Texan" by Doug Supernaw) to no success, with each only spending a single week at the very bottom of the Hot Country Songs charts (although to be fair, none of River North's original content was that much more successful, and neither Supernaw nor House was signed to a label at the time). It was also torn apart by critics for lifeless singing and production: The Encyclopedia of Popular Music called it an "awful legacy", Allmusic rated it 1.5 out of 5, and Entertainment Weekly gave it a "D". Fans were no more approving, as the album only went to #101 on the Billboard 200 and did not crack the Top Country Albums charts at all, and its Rate Your Music score is 1.75 out of 5. Many even pointed out that the album didn't make sense conceptually, as the Beach Boys were never a significant influence on country music or vice-versa (indeed, the three cuts above are the only time that they ever entered the country music charts). No second volume was ever released, but a version of "In My Room" with Tammy Wynette originally recorded for it later appeared on the 1998 compilation Tammy Wynette Remembered. The failure of this album combined with the failure of Summer in Paradise killed off any chance of another proper Beach Boys album until 2012's That's Why God Made the Radio.
- Serial offender Mike Love released a new album in 2017, to the horror of Beach Boys fans everywhere. Unleash the Love, released 37 years after his last album, is half forgettable Love originals and half Beach Boys classics butchered by the current touring lineup. Love's already grating voice is drowning in Auto-Tune here; particularly on the "Do It Again" remake, featuring Mark McGrath and John Stamos desperately trying to make the best out of it.
- One For All, Peter Criss's 2007 solo release, is venomously boring. With mind-numbingly dull musicianship consisting of nothing but slow, generic filler, fragile and off-key vocals that sound like bad karaoke, lackluster songwriting and bland-as-bread production, even fans of the Catman's previous solo albums couldn't defend this one. It's telling when even Space Ace, a song about Peter's former KISS bandmate Ace Frehley, wasn't able to pick up the pace much.
- Cryptopsy's 2008 album The Unspoken King. Within a month of its release, there were 15 reviews on Metal Archives with an average rating of 8%. A botched Genre Adultery (Technical Death Metal to Deathcore) got them accused of Jumping the Shark, but it had several other problems: the production was bad, the songwriting trite, Lord Worm was replaced, and the clean sections were terribly off-key. When confronted about the album and its quality, the band totally handled it in the worst way possible: They threw fits, telling other people they weren't "getting" the message behind it, and tried to avoid people who wanted to ask them about the album.
- Van Halen III. Despite being with successful Hair Metal outfit Extreme, Gary Cherone - the group's third singer, thus giving the album its title - sounds like a half-hearted Sammy Hagar. Eddie Van Halen was more commandeering than ever (he even plays bass on most tracks in lieu of Michael Anthony, and sings the album's last song - an acoustic piano ballad), but created instrumentals either boring or anemic. The songwriting is also awful, with narmy lyrics and incoherent song structures; whereas former lead singers David Lee Roth and Sammy Hagar helped out with the lyrics and music, Van Halen III had Cherone merely write the lyrics and had Eddie write the music to them. Rolling Stone gave it two stars out of five, while Robert Christgau gave the album a bomb. Fan reception was hardly any better, as the album barely went gold - there are more people on Amazon who rated it one star out of five (about 40% of all reviews) than any of the others. There were plans for another Van Halen album with Cherone, but this went no further than a few demos; Cherone left the band a year after the album's release thanks to its poor performance, and they wouldn't release another album until 14 years later. No wonder it's been deleted from the band's discography. For more, see TheHappySpaceMan's review, and Todd in the Shadows' Trainwreckords episode on it.
Horrible / Music Albums