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    N 
  • This happened several times to New Order:
    • The recording of Joy Division's first two albums were fraught enough, thanks to their producer Martin Hannett, but this paled in comparison to New Order's debut, Movement. Following the suicide of Joy Division's Ian Curtis, the band, now re-christened New Order, struggled to write new songs without their singer and de facto musical director. Unwilling to outright replace Curtis, the surviving band members took turns singing (to varying degrees of success), before eventually settling on guitarist Bernard Sumner, and recruiting drummer Stephen Morris' girlfriend, Gillian Gilbert, to assist with keyboards/guitar. These struggles were exasperated in the studio by Hannett's heavy alcohol/drug abuse, his deteriorating relations with their label, Factory Records, and his belief that the musicians were 'talentless wankers' without their former singer. The resulting album was a critical and commercial disaster on its release but has now somewhat been Vindicated by History. In the wake of its failure, New Order ditched Hannett and struck out on their own, resulting in their Signature Song "Blue Monday".
    • The complete flipside happened in 1989, during the recording of Technique. Wanting a change from gloomy London recording studios, the band opted to record their fifth album on the island of Ibiza, during its burgeoning acid house scene. Before long, the band plunged headfirst into the ecstasy-fuelled party atmosphere and ultimately left the island after three months with only two drum tracks recorded. The sessions reconvened in more sober settings at Peter Gabriel's studios in Bath, although their experiences heavily influenced their songwriting, incorporating balaeric beats into their new wave/electronic rock sound. The result was New Order's most successful album to date, perfectly capturing the 'Second Summer of Love' and saving their label, Factory Records, from bankruptcy, for the time being...
    • 1993's Republic is widely regarded as a personal low point for the band. Reconvening after a three-year break, the group found themselves under increasing pressure to produce an album in order to save Factory Records from financial oblivion. Fuelled by increasing drug use, musical differences between Bernard Sumner and Peter Hook, which had been bubbling for over ten years, finally came to a head, with Sumner favouring an electronic-pop direction, and Hook wanting to return to the band's rock roots. While the eventual album was a commercial success, it arrived too late to save Factory and the resulting tour caused further schisms, resulting in a second hiatus that would last until 1998. Even after nearly 25 years, Hook cannot bring himself to discuss the tracks on the album, such was the animosity of the sessions.
    • The recording of New Order's comeback album, Get Ready, was relatively smooth, but old tensions between Hook and Sumner surfaced again during its follow up, Waiting for the Sirens Call. Aside from musical differences bubbling up once more, the band's classic lineup came to an end when Gilbert voluntarily left the band before the album was recorded. Her and Morris' young daughter had been diagnosed with a rare autoimmune illness, and Gilbert chose to leave New Order to care for her, reasoning she would be easier for the band to replace than her husband. Phil Cunningham, who had been Gilbert's live replacement on the Get Ready tour, took her spot in the official lineup. During the album's recording, Hook began to resent his band members for a perceived lack of support following a recent stay in rehab for alcohol and drug addition. In turn, Hook antagonised the group by purchasing the brand rights to their iconic club, The Hacienda, without consulting them. When the album appeared in 2005, it received mixed reviews and the subsequent tour would eventually lead to Hook leaving the band permanently in 2007.
  • Nirvana's third and final studio album, In Utero, had a couple issues in getting finished. While the recording sessions went by smoothly and with little trouble, the post-production process was a difficult time. The executives at Geffen Records didn't like the initial mixes and felt that they wouldn't sell, deeply dispiriting Kurt Cobain who soon came to have a similar opinion. The band tried employing Bob Ludwig to remix the recordings, but despite Krist Novoselic's approval, Cobain still wasn't satisfied. They then went to producer Scott Litt for additional mixing help, but initial producer Steve Albini wouldn't give the masters to him until Novoselic convinced him to do so.
  • Nitty Gritty Dirt Band had a minor example with their 1999 album Bang Bang Bang. It was originally to be released in early 1998 through Rising Tide Records, and the title track was making headway on the charts. But Rising Tide closed up just before the album's release, so the band was quickly moved to Decca Records. Not long after, Decca closed up its Nashville branch as well. Finally, the album was released in 1999 through DreamWorks Records, which also reissued the title track. Humorously, the re-release charted lower than the first time around on Rising Tide.
  • No Doubt's fourth studio album, Return of Saturn, took at least two years to make for a variety of reasons:
    • After promotion for their breakthrough album Tragic Kingdom ended in early 1998, the band began writing songs for their follow-up, but had trouble producing material, so they decided to experiment with new sounds.
    • During early production, the band reunited with Tragic Kingdom producer Matthew Wilder but after working on seven songs together, the band parted company with him due to Creative Differences, so they opted to work with Michael Beinhorn due to his work with Hole, Soundgarden and Red Hot Chili Peppers.
    • However, scheduling conflicts prevented this, so the band interviewed several producers and eventually worked with Glen Ballard, who had worked at Alanis Morissette's Jagged Little Pill and believed in not using heavy production techniques.
    • After Ballard went through the demos and ruled out half of them, the band resumed production but their record label Interscope was unhappy that the album missed due dates as the band felt it would be unwise to rush the album in order to cash in on the success of its predecessor.
    • Though most of the production was done by July 1999 with the band releasing "New" as the lead single along with hoping to release the album later that year, Interscope recommended that they continue writing so they would have a more marketable single, which caused the band to be divided on it. Gwen Stefani offered to do so but drummer Adrian Young and guitarist Tom Dumont did not want to as they didn't trust their label, especially after it had sublicensed Tragic Kingdom to Trauma Records.
    • After a brief break, Dumont sent Stefani some of his demos as a peace offering and the band returned to the studio to create more upbeat songs and penned "Ex-Girlfriend" and "Simple Kind of Life", which concluded the recording sessions and the album was released in April 2000, though despite positive critical reception, the band's switch from Ska Punk to New Wave Music did not sit well with fans and was unable to measure up to the sales of Tragic Kingdom, due to one single "A Simple Kind of Life" only reaching the US Top 40.
    • Fortunately, the band followed it up with the more successful Rock Steady a year later, due to it being co-produced by Pharrell Williams and the success of their Top 20 hits "Hey Baby", "Hella Good" and "Underneath It All".

    O 
  • Oasis. Given the easily combustible nature of Liam and Noel Gallagherís relationship, itís not surprising they had a few examples of this.
    • Their debut, Definitely Maybe, proved very troublesome, owing to the bandís general inexperience.
      • The initial Dave Batchelor-produced sessions from late 1993 were a disaster. Creation Records - still reeling from My Bloody Valentineís Loveless going insanely over-budget - were forking out only £800 a day for use of Monnow Valley Studios and it had resulted in just one useable recording - ĎSlide Awayí is the only track on the final album from those sessions. Noel ultimately got rid of Batchelor, and having tried one last time to salvage the music already recorded, decided there was no choice but to take another crack at recording the album.
      • In January 1994, the band decamped to Sawmills studios in Cornwall with Noel and Mark Coyle producing and Anjali Dutt, a veteran of the Troubled Production of Loveless, handling engineering duties. Despite Noel taking a far more active role in things, the sessions still went nowhere and Liam still hadnít recorded any vocals yet. It was left to Owen Morris, whose services had been offered to the band prior to starting recording only to be turned down, to salvage the situation. Firstly, he impressed everyone by getting some first-rate vocal takes from Liam, and then was able to take the existing recordings and turn it into the album most people know and love. Definitely Maybe went on to become one of the most acclaimed debut albums ever made by a British group.
    • (What's the Story) Morning Glory? was a much easier experience by comparison. Even the sacking of original drummer Tony McCarroll didnít hurt proceedings too much. The main trouble occurred when Noel decided he wanted to Step Up to the Microphone for a song ("Donít Look Back in Anger") which annoyed Liam so much that the younger Gallagher attempted to drunkenly interrupt his brother while he was recording his vocal take, and then (depending on who you believe) apparently trashing Noelís equipment.
    • The production of Be Here Now is almost as infamous as the album itself.
      • The bandís popularity exploded following the release of Morning Glory, culminating in a series of sold-out outdoor shows in the UK summer of 1996. However, this was followed an ill-fated North American tour that had to be cut short due to various fallings-out. In order to try and keep things on an even keel, Noel suggested they record their next album as soon as possible (heíd had the material demoíd prior to their summer 1996 shows and so the songs were ready to go).
      • Producer Owen Morris wanted to try and keep things simple, generally close to the demos with minimal overdubs, whilst Noel wanted a far more elaborate production with multiple overdubs and even an orchestra. As anyone who has listened to the final product will know, Noel won the argument.
      • The original intention to record to the iconic Abbey Road Studios was derailed by press intrusion (not helped by Liam getting busted by the police for drug possession), leading to them moving the sessions to Ridge Farm Studio in the countryside of Surrey. The album is somewhat infamous for being compromised by the amount of drug use, with Creation boss Alan McGee being appalled at how off the rails the whole thing was. Morris, for his part, disputes this and argues that Noelís indifferent songwriting and I Am the Band tendencies coupled to poor relations within the band generally were as much to blame.
      • The album had a lot to live up to - Morning Glory was one of the biggest selling albums in UK history, despite getting So Okay, It's Average reviews at first. For Be Here Now the press arguably started Pandering to the Base and gave it five-star reviews initially, which increased hype even more. The album posted impressive first-day and first-week sales, but eventually the inevitable Hype Backlash came, and many of the same reviewers that had initially praised it were now queueing up to stick the boot in.
      • The album was by most objective standards a success, selling nine million copies and there has been a certain backlash against the backlash in the years since - both Liam and Oasis manager Marcus Russell have defended the album, and producer Owen Morris believes the album is Mis-blamed as the Genre-Killer for Britpop. Noel for his part, regards it as an Old Shame, if not outright Canon Discontinuity (only "Stand by Me" stayed in the bandís live setlist in later years and the retrospective compilation album Stop the Clocks ignored it entirely).
    • It didn't get any easier with the next album, Standing on the Shoulder of Giants.
      • After facing (not entirely unfounded) accusations of It's the Same, Now It Sucks! over Be Here Now, Noel wanted to make its follow-up a New Sound Album, taking influence from Psychedelic Rock. He'd also kicked a nasty drug habit during the band's hiatus, and wanted to curb some of the bandís more excessive traits during the recording sessions in France. (The fact that Noel was seemingly oblivious to the problems that, amongst others, The Rolling Stones, Jethro Tull, Pink Floyd and Duran Duran had endured whilst recording in that country suggests a certain amount of inaccuracy on his part.)
      • In particular, he imposed a strict drinking curfew to try and keep brother Liam in good shape to record his vocals. This didn't sit well with the other band members, Paul 'Bonehead' Arthurs especially. Arthurs' frustrations got the better of him, and he drunkenly pranked one of the hired studio workers. When an irate Noel found out and pranked Arthurs himself in retaliation, the ensuing argument resulted in Arthurs quitting the band on the spot. Bassist Paul 'Guigsy' McGuigan followed Arthurs out the door a few weeks later for reasons that remain unclear.
      • The result was the sessions being a real downer for all involved, not helped by Creation Records going belly-up. Sure, Oasis were big enough to Start My Own record label by that time, but it did mean yet another of the cohort who'd helped them on their way, Alan McGee, was now out of the picture. All three of the remaining band members were experiencing marital difficulties and Noel wasn't feeling particularly inspired as a songwriter (to cap it all, his new found sobriety meant the material he did write was far more somber than the bandís usual crowd-pleasing fare).
      • Ultimately the album was pulled together by Liam, Noel, drummer Alan White and whichever of Noel's mates happened to be in the studio. Tellingly, it's the only Oasis studio release that doesn't list the individual band members by name in the sleeve notes, as they didnít get around to hiring replacements for the departed Arthurs and McGuigan until they started their tour to support the album.
    • Things got relatively easier for the band in terms of recording material after that - it helped that Liam, plus new members Gem Archer note  and Andy Bell note  started contributing more on the songwriting front and thus reducing the need for Noel to come up with an entire album's worth of material by himself every two years. However, the critical and commercial response was much diminished from their Glory Days. The band split amid yet more acrimony after 2009's Dig Out Your Soul.

    P 
  • Pearl Jam:
    • During the recording sessions for Vitalogy, communications between band members dropped considerably as Eddie Vedder was taking more control over the songwriting process and Stone Gossard stopped mediating band conflicts. Mike McCready then had to go to rehab for his alcohol and cocaine addiction. Drummer Dave Abbruzzese was later fired near the end of recordings due to his disagreements with the band's actions such as their battle with Ticketmaster and his conflicts with Vedder and Jeff Ament. He was replaced by former Red Hot Chili Peppers drummer Jack Irons.
    • Binaural had Eddie Vedder facing writer's block, Mike McCready battling an addiction to prescription drugs, the band having to get used to "new" (he had toured but not recorded with them) drummer Matt Cameron, and the first mixes not satisfying the band, who brought old producing partner Brendan O'Brien to remix half the album.
  • Pink Floyd became a magnet for these between the late 70s and the entirety of the 80s, some of it thanks to bassist Roger Waters' growing Control Freak tendencies.
    • The Wall:
      • The band had to leave the UK for tax reasonsnote , and so recorded the album in studios in France and the USA. Aside from the ensuing homesickness, Waters became more and more controlling of the recording process, and argued with producer Bob Ezrin. The album ultimately went behind schedule, and keyboardist Richard Wright was fired because he didn't want to cut his vacation short, but was ultimately brought back as a session musician. Finally, the promotional tour was so extravagant that it lost profits—but Wright got off easy, because he was paid as a touring member.
      • Trouble for the band from the album continued well after it was released due to the use of the schoolchildren singing the second verse of "Another Brick in the Wall (Part 2)", the album's runaway hit single, and again on the song's video. The children's teacher had had to sneak them out of the school without telling the head teacher since he hadn't asked for permission to do so, believing (probably rightly) that he wouldn't get it. The class's compensation was being allowed to record one of their own compositions at the band's Britannia Row studio. Unfortunately, the British press found out when the single became a huge hit and had great sport over not only that but that the children hadn't even gotten free copies of the album, which Waters arranged for them to get afterwards. That still didn't stop a few of them from suing the band in the 2000s, arguing they still should have gotten actual money.
    • If producing The Wall was a nightmare, producing The Final Cut was Danteesque torment.
      • The album was originally envisioned as Spare Bricks, a companion piece to The Wall that would consist of original recordings made for the 1982 film adaptation plus a handful of original songs meant to expand the album's narrative. However, the onset of The Falklands War resulted in Waters — then in complete control of the band — scrapping the original concept and creating a new album specifically to say "fuck you" to Margaret Thatcher, who he felt had acted out of jingoism and betrayed the ideals left behind in the wake of World War II (in which his father died fighting). This drew the irritation of guitarist David Gilmour, who was growing tired of Waters' policing of the band and felt unimpressed by the politics behind the album. Additionally, Gilmour was vexed by Waters' decision to include five outtakes from The Wall intended for Spare Bricksnote  and wanted the band to compose more original material instead — which Waters shot down, citing how little his bandmates had actually been contributing in the way of songwriting lately (itself the product of said bandmates wrestling with a wide array of personal issues at the time).
      • Writing and recording sessions were already tense from the outset as a result of these Creative Differences, to the extent where Waters and Gilmour could no longer tolerate working in the same building as one another. Gilmour felt constantly anxious during the sessions, to the point where he could barely keep from having a breakdown, and Waters was growing increasingly fed up with his bandmates, with his own anxieties (particularly his lack of confidence in his singing ability), and with co-producer and session pianist (in place of the recently-fired Richard Wright) Michael Kamen, who himself was constantly on-edge under Waters' directorship. At one point, Waters, having just finished recording a bevy of vocal takes, spotted Kamen scribbling in a notepad, demanding to know what he was doing and exploding at him upon finding the notepad filled with several pages of "I must not fuck sheep" written ad-nauseum.
      • By the time recording finished, Gilmour was so fed up with Waters' dictatorial leadership and complete control over the record that he asked to be removed from the album's credits (though was still paid royalties), Waters nearly had the album released as a solo record (only backing down due to Pink Floyd's contractual obligations with EMI), and the album ultimately released with the infamous credit of "by Roger Waters, performed by Pink Floyd," now a microcosm of just how tight of a grip Waters had on his bandmates at that point. The album underperformed, was critically maligned, and went on to become Pink Floyd's most divisive record since Ummagumma. Ultimately, Waters was so disillusioned by the whole affair that he quit Pink Floyd two years later, then unsuccessfully tried to sue the band when they kept going without him. To this day, the sheer acrimony of the sessions for The Final Cut remain as a large, dark stain on Pink Floyd's history and Waters' reputation.
    • A Momentary Lapse of Reason, the first album recorded after Waters left the band in 1985, saw Gilmour having problems with writer's block and bringing in numerous musicians to help, while Mason and Wright (the latter of whom was still not an official member) themselves didn't do much due to what Gilmour described as self-confidence issues in Mason's case (Gilmour said that Waters had a talent for "making others feel worthless") and Wright having been brought aboard too late in the album's production (largely at the insistence of his wife Franka) to do much besides add some extra keyboards and backing vocals. Finally, at the same time the album was produced, Waters filed a lawsuit against Gilmour and Mason over ownership of the Pink Floyd name. Eventually, both Gilmour and Waters agreed to a settlement; both Gilmour and Mason retained the rights to the Pink Floyd name, while Waters would receive the rights to The Wall and the Pink Floyd Pig, and he was also released from his contract with Pink Floyd manager Steve O'Rourke.
  • Porcupine Tree's album In Absentia was the beginning of the more metal-influenced direction the band is known for today. That being said, the transition to that direction wasn't exactly smooth sailing.
    • In 1999 and 2000, they released a one-two punch of albums (Stupid Dream and Lightbulb Sun) that saw their popularity grow; so much, in fact, that the band had outgrown the smaller label they had signed to, and signed with Lava Records. Steven Wilson hated bigger labels at the time, but agreed to this transition because of the respect that bands like tool and Radiohead had been gaining.
    • Wilson had also met and become friends and collaborative partners with Opeth's Mikael Akerfeldt, and after listening to their 1999 opus Still Life (which he loved) and agreeing to produce 2001's Blackwater Park, he was inspired by the effortless blend of 1970s progressive rock with extreme metal influences and felt more inspired to go in a heavier, more metal-influenced direction. This direction sat well with everyone except for former drummer Chris Maitland; he actively hated heavy metal and during an awkward rehearsal session prior to the album's recording, his frustration reached a boiling point and he unprovokedly attacked Wilson by shoving him against a wall. (not helping was the stress of the previous two albums and the previous tour). This led to his sacking from the band, but the two made up a few years later and Maitland would agree to play drums on the first Blackfield album (Wilson's art-rock side project with Aviv Geffen).
    • The album was also intended to be a concept album about selling out to the mainstream before it eventually became an album about serial killers. One song on the final album ("The Sound of Muzak", which is a criticism of modern production techniques ruining music) survived the transition; it isn't known why Wilson decided to abandon this concept but many have speculated that it could have been the fact that the band had just signed with a major label and didn't want to be seen as biting the feeding hand.
    • Gavin Harrison's induction into the band also meant a few other troubles. Wilson had already written and pre-programmed drum tracks for Chris Maitland before his sacking, but when the band had heard tapes of Harrison's playing before inducting him into the band, his more complex and technical playing style made the band feel pressured to step their game up, so much that a number of songs (most notably "Blackest Eyes", "The Sound of Muzak" and "The Creator has a Mastertape") were hastily re-written to account for his drumming style.
    • Even post-production wasn't trouble-free. Wilson, notoriously an advocate for more dynamic production and actively hating the Loudness War, found that a number of tracks had to be mastered in a way that would be overly loud. Additionally, a number of songs were left off the final product due to this issue; as revealed by Wilson himself in the 2020 documentary on the album, fan favourite track "Drown With Me" was left off the album because he was unsatisfied with the bass sound on the track and how dominant it was, so it became a B-side, along with tracks such as "Orchidia" and "Chloroform". He has since admitted regret for this, and even called out "Prodigal" for the song that he'd have swapped for "Drown With Me" in hindsight.
  • While recording Synchronicity in Montserrat, the members of The Police each recorded their parts in different rooms (Stewart Copeland played drums in the dining room,note  Sting worked from the control room and Andy Summers recorded in the actual studio) and only overdubbed instruments when just one of them was in the studio at a time because they couldn't stand to be in the same room. Additionally, Sting and Stewart Copeland started a fight while recording "Every Breath You Take", which almost made producer Hugh Padgham walk out. It got even worse when they went back to try to record what would have been their sixth album, where they were going to do new recordings of all their greatest hits (it was released, with only "Don't Stand So Close to Me" updated). According to Andy Summers, one morning, as he expected, Stewart and Sting got into a fight about how to program a Synclavier shortly after they began working (Copeland had broken his collarbone and couldn't play drums, so the percussion needed to be done electronically - and he wanted to use a Fairlight computer instead of the synth). He slipped out and came back seven hours later ... only to find them still having the same exact argument.
    • Stewart recounted in the liner notes to the "Message in a Box" CD set that the injury had other effects on the band's unity — in previous days, the trio were able to get some of their tensions out by jamming together. Stewart's broken collarbone made that impossible.
  • The creation of Public Image Ltd.'s third LP, Flowers Of Romance, was plagued with setbacks, most stemming from the departure of Only Sane Man bassist Jah Wobble over monetary disputes, all worsened by Keith Levene's heroin addiction and John Lydon's increasing paranoia. It shows.

    R 
  • Radiohead are usually known for going into the studio and getting things done smoothly and professionally. For their fourth studio album, Kid A, however, things didn't go as smoothly as Thom Yorke and company had hoped. Fresh off the heels of their smash success album OK Computer, the band felt pressured to top it and were exhausted from all the touring and interviews. The fame had seriously drained them all. Yorke had grown tired of 16-bar guitar riffs and wanted to try something different. Having felt inspired by the music of Aphex Twin, Yorke wanted the band to tackle electronic music. This proved to be a tough sell, as the band just wanted to do what they had been doing for years. This led to a minor feud between Yorke and guitarist Jonny Greenwood for the first time in the band's history. The rest of the band were also not happy with the idea of not being able to play on some of the album's tracks, with guitarist Ed O'Brien, in particular, struggling to figure out how to contribute musically as a guitar player to the band's more electronic-focused material. To make matters worse, Yorke suffered from writer's block and struggled to get lyrics down on paper. He also wanted to change his vocal style since so many other bands were mimicking him. He ended up using his voice more as an instrument and took focus away from lyrics, confusing his fellow bandmates. Production got extended again and again, and even though the label had no problem with this, it still stressed out the band. By the time production was completed, they had enough material for two albums, and executives at Capitol Records urged them to not release the music, fearing commercial suicide. Kid A was released to mixed to highly positive reviews and helped change the face of rock music as more and more rock bands started adopting a more electronic sound. Thom Yorke, in a fit of stress and rage, got his hands on a copy of the album and destroyed it.
    • Radiohead would try to avert this for their next project following the Kid A and Amnesiac sessions, Hail to the Thief; the album was recorded in Los Angeles over two weeks, with the band taking a live approach to recording rather than spending months on overdubs and experimenting with sounds. Unfortunately, when the album was mixed, the members of the band frequently fought over which mixes sounded best as well as the tracklist; to make matters worse, an unfinished version of the album was leaked onto the internet, which upset the band (not because it had been pirated, but because the album was not ready for release yet). After its release, some of the band members would later say that the album sessions were rushed, with Thom Yorke sharing an alternate tracklist for the album that cut four songs entirely.
  • The Ramones had this for nearly every album of the 80s.
    • They had a miserable time recording their fifth album, End of the Century, due to the antics of producer Phil Spector. He reportedly forced Johnny Ramone to play the opening chord of "Rock n' Roll High School" hundreds of times, made the band listen to him play the piano for all hours and pulled a gun on Dee Dee when he tried to leave. The resulting album divided fan opinion and was hated by most of the band.
    • It didn't get any better with the next album, Pleasant Dreams. Although not as nightmarish as End of the Century, the sessions were filled with conflicts on the direction of songwriting choices, as Johnny Ramone wanted to go in a hard rock direction while singer Joey Ramone preferred to go into a pop direction. To make it worse, Johnny started dating one of Joey's ex-girlfriends (whom he would later marry). As a result of all this, their relations were strained even more and the two wouldn't speak to each other for the rest of their careers.
    • Subterranean Jungle was smoother, but it wasn't entirely trouble-free, as Johnny had dictated the style of the music. To make it worse, Joey and drummer Marky Ramone had been dealing with drug addictions at the time of recording. It got so bad that Marky was fired during the sessions.
    • The trouble continued during the sessions of Animal Boy. Johnny Ramone refused to perform on Joey's songs, which continued to cause more conflict within the band. Also, the producer was selected by the label and as a result, the guitar on the album sounds extremely hideous.
    • Johnny claimed that Joey and drummer Richie made recording Halfway to Sanity difficult by forcing the producer to make numerous remixes and different tracks. Richie, however, claims that Johnny and the manager had caused the issues by keeping the production at a low budget. Conflicts also continued on how the members wanted to make it more radio-friendly and a hit, but Johnny and the manager wanted to continue to be underground.
    • Brain Drain had it so bad that it caused Dee Dee to refuse to perform the bass altogether and Johnny not performing his parts on a number of songs. Dee Dee left the band shortly after the album was released to pursue a rap career, which was a commercial failure.
  • Red Hot Chili Peppers had at least two big cases.
    • Their third album, The Uplift Mofo Party Plan, started being worked with in early 1986, though the band had difficulty coming up with songs, primarily because of Anthony and Hillel's heroin addictions. In addition, drummer Cliff Martinez was no longer enjoying the music, spending more time drum programming than jamming (which led to his soundtrack work later on). A few tracks were demoed and one song was released at the time, "Set It Straight", though only as part of the movie Tough Guys and not included on the soundtrack. Martinez left and Jack Irons returned (as "What Is This" had just been dropped from their label), resulting in the reunion of the original lineup. This improved spirits somewhat, but only a short time later, Anthony was kicked out of the band for his heroin use causing him to regularly miss shows and recording sessions. He was briefly replaced by Ron Young, who the group did not have the same chemistry with. The group nearly split, though fortunately Anthony returned having spent a few weeks in rehab in his native Michigan, though he didn't stay clean for long. Feeling inspired from this rehab period, Anthony wrote "Fight Like A Brave" which was quickly recognised as a key track and single. The group started to demo and record the album proper with producer Michael Beinhorn who heightened tensions due to his insistence on certain production sounds and demand for repeated takes (his voice can be heard on some of the demos from this period). The label nearly refused to release one of the key tracks, "Party On Your Pussy", unless the group changed the name (which they did to "Special Secret Song Inside"). When the album and single "Fight Like A Brave" were released, it met with good reception and a European tour, though the label refused to release the album's intended second single "Behind The Sun" (which eventually was released in 1993), instead coming up with The Abbey Road EP, a short compilation of older material. After all the effort making the album and touring it, Hillel Slovak died of a heroin overdose and Jack Irons left the group in response. Fortunately, they continued with a new lineup.
    • Their sixth album, One Hot Minute has sometimes been nicknamed One Hot Nightmare by fans who read about the production process of the album.
      • After the critical and commercial success of Blood Sugar Sex Magik, the Peppers were astonished that they had become so famous seemingly overnight. Not comfortable with the fame, guitarist John Frusciante ditched the band in the middle of their tour for that album. They scrambled to find a guitarist to replace him, using many session guitarists for the remaining live shows. When talks started for their next album, the band auditioned several guitarists and ended up settling with former Jane's Addiction guitarist Dave Navarro. At first, he clicked well with the band, getting along with all the members.
      • Once production started, however, things got really weird. Navarro would show up late to recording sessions, if he could be bothered to show up at all. When he did show up, he had a professional attitude that clashed heavily with the rest of the band. He would constantly criticize the band's jamming and writing process, leaving vocalist Anthony Kiedis, bassist Flea, and drummer Chad Smith feeling alienated by Navarro's involvement with the band. Music was scarcely written, leading record executives to suspect whether the album would even be completed.
      • To add insult to injury, Anthony Kiedis, then 5 years sober, had to endure an emergency dental procedure. He was injected with morphine, which woke the "800 pound gorilla" (the nickname Anthony gives his heroin addiction). This resulted in Anthony disappearing for days and weeks while the band was working hard on new material. It's hard to tell who was causing the most delays, Keidis or Navarro. Either ways, Keidis was stuck battling an addiction he wouldn't again beat until 2000.
      • After a Woodstock '94 show, which was the first live performance to feature Navarro, attracted interest from fans, the band struggled even harder to get the album completed. The album wouldn't be released until 1995, spending a whopping 3 years in production, triple the time the Chili Peppers were used to.
      • The story doesn't even end there. Navarro's erratic behavior proved to be problematic during the disastrous tour for One Hot Minute. He would throw fits, hog the spotlight, and play the music incorrectly. Eventually, Navarro was sacked in 1997, and the Peppers eventually got Frusciante back for their next three albums, which led to a resurgence in their popularity. One Hot Minute left many fans feeling strange and betrayed, while others welcomed the change. It's regarded as one of the Peppers' weaker efforts, though not their worst. The lessons learned, though, helping the band to make sure all future recordings went much smoother.
  • Red House Painters had this happen with almost every single album they released:
    • Down Colorful Hill is probably the most tame of these. The recordings had already been done and all the band needed to do was give them to the record company for mixing. However, there were problems. The band argued with the American branch of 4AD Records for what songs they wanted on the album. Many of the demos they thought were their best work were scrapped in favor of the lesser known, "more accessible" ones. Though the album was praised, Kozelek wasn't pleased with it because the label also changed the atmospheric textures that made the early demos so memorable.
    • The recording sessions for Rollercoaster and Bridge didn't have as many studio problems as they did personal problems with the band. Kozelek was going through major depression and other members were fighting off recent break-ups that made getting along with each other hard. There was a slight problem with getting an agreement in for track listings. Kozelek remembers it as just "nine months of worry" during the recording session. Not all much was clear about this one. Rollercoaster is widely regarded as one of the greatest slowcore albums and one of the best albums of the 90s. There was also a lot of Enforced Method Acting pushed onto Kozelek, resulting in much frustration from him. He stated in later interviews that the strain put on him during the sessions made his depression worse, and affected the way he interacted with the 4AD staff on later recordings... Which explains the resulting Troubled Productions.
    • During the production of what was supposed to be a Mark Kozelek solo album, Songs for a Blue Guitar, the American branch of 4AD Records ended up in a raging argument with Kozelek over a guitar solo. Because Kozelek refused to change it, they threw not just Kozelek but the entire RHP project off the label, just a couple of months before the album was due to be released. During the next several weeks, Kozelek desperately tried to find a label that would release the album as well as let him finish it. Even when Island Records took him in, they demanded the guitar solos changed and that the album be labeled as Red House Painters rather than a solo album. While the guitar solos ended up staying, Kozelek would not release his first true solo album until 2000. When Songs was finally released it was met with some of the most inept marketing seen this side of Souvlaki and barely made a ding on the Billboard charts. This is something Island would use against him and the Painters on the next release. Songs for a Blue Guitar is considered one of the best albums to be associated with the singer/songwriter.
    • When the band got back together to record Old Ramon, Kozelek (feeling just a little too proud of the critical response to the previous album) was going through an ego trip. The band were constantly arguing with instrument arrangements, which on previous albums were a group effort, but now Kozelek was composing everything himself. Their connection with Island Records was also falling through, with the label one-upping 4AD's dropping them by not just dropping the band, but refusing to let them have the master recordings of the album. Old Ramon remained unheard (a miracle even by late '90s standards) until 2001 when Sub Pop records offered Island more money than the album was truly worth just to get this great piece of art out to the public.
    • Then there's Sun Kil Moon who mostly avoided this trope until 2008's April where Kozelek, depressed by the death of a one-time muse of his, started becoming controlling with songwriting. This created an ego in the singer-songwriter that nobody had seen before, making him difficult to deal with and prolonging recording sessions. The album was Kozelek's strongest-received album since the days of RHP. Ever since this, however, Kozelek has been doing more thinly orchestrated music that consisted mostly nylon acoustic guitar and occasional drums as to avoid conflicts with his ego. The album also took over five years to write and record. Said muse (if you know Mark's music really well, you'll know her as Katy from "Katy Song") was dying of cancer and Kozelek was one of the few people supporting her. To keep fans and the record label at bay, he wrote Tiny Cities, a Modest Mouse cover album in a hurry. Some of the songs were written in Katy's early stages of cancer and Kozelek's emotional struggle and above-mentioned ego made this somehow more stressful on the songwriter than Blue Guitar did.
  • Ride's last two albums before the band's original breakup, Carnival of Light and Tarantula, were both caught in the wake of the collapse of Shoegazing. Pressure to create Britpop songs left the band playing in a style they were mostly unfamiliar and not very good with. The stress caused the members (particularly songwriters Mark Gardener and Andy Bell) to argue with each other over the group's direction, with Gardener favoring dance music and Bell favoring rock; the final tracklist featured all of Gardener's songs on one side of the album and Bell's songs on the other. They referred to Carnival of Light as Carnival of Shite after production had finished. By the time they began recording Tarantula, Gardener was isolating himself from the rest of the band, only singing on two songs and writing one song. Ultimately, Gardener walked out of the band during the mixing sessions, the band broke up before the album was released, and Tarantula was withdrawn from shelves after only a week. Carnival is looked at as So Okay, It's Average by critics and fans, while Tarantula seems to have become an old shame for everyone involved.
  • The Rolling Stones:
    • The beloved double album Exile on Main St. did not come easy. Setting a trend that was ill-advisedly followed by many bands in the 1970s, the Stones left the UK in 1971 for tax reasons and settled in France. Most of the backing tracks were recorded in the basement of Keith Richards' villa at Nellcôte, a poorly-ventilated environment where the heat would cause the guitars to go out of tune. Recording took place all night but none of the Stones ever showed up all at the same time - Bill Wyman sat out most of the sessions, Mick Jagger was frequently AWOL and Richards was just getting started on his infamous substance abuse. He was joined in said substance abuse by Mick Taylor, producer Jimmy Miller, session musician Bobby Keys and engineer Andy Johns - Wyman claimed in his autobiography that he, Charlie Watts, and Jagger were the only people in the villa who abstained to some degree. The band then took the piecemeal recordings and backing tracks to Los Angeles, added all the overdubs and assembled them into Exile.
    • Before starting production on Dirty Work, the Stones signed with CBS Records, not finding out until later that Mick Jagger piggy-backed a deal for three solo records on the contract. Richards and the others were incensed, feeling Mick was betraying them. They also didn't like how chummy he was getting with CBS executives, who all flattered him and felt Mick could be as big as Michael Jackson. Mick was also saving up any songs he'd written for his solo albums, so Richards had to pull together most of the songs for when Mick could be bothered to come in at all. This resulted in tense numbers like "I've Had It With You", "Fight", and "One Hit (To The Body)". That famous story of Charlie Watts punching Mick? That happened during production of this album, so naturally Charlie was at his limit. The fallout left the Stones in the wilderness until Mick's solo career flamed out and they re-united to record Steel Wheels three years later, launching a massively successful world tour afterward.
    • Bridges to Babylon only saw problems emerge when it was time to record in LA, as Keith Richards did not like Mick Jagger's plan to invite outside producers such as The Dust Brothers, whose work on Beck's Odelay had impressed Jagger, and looping expert Danny Saber. Richards hated electronic music and refused to work with either of them. He even threw Saber out of the studio when he found out he was overdubbing guitars. As for The Dust Brothers, they ultimately only worked on three tracks. Most of the album was instead produced by Don Was, who had produced Voodoo Lounge. Midway through production, Was had to keep Jagger and Richards in separate rooms and studios. Richards and his engineer friend had to steal tapes to make sure a track was finished. Charlie Watts only got through the conflict by bonding with famous session percussionist and former Plastic Ono Band member Jim Keltner, with whom he would make a solo record later. Watts ultimately flew out of Los Angeles as soon as he was not needed anymore. By the end of the sessions, none of the Stones were speaking to one another. It was their last album for eight years.
  • Rush have had a few brushes with troubled productions over the years:
    • Their fifth studio album, Hemispheres, endured a fraught recording process as Neil Peart explains this interview. The album would eventually go to Platinum status in the US.
    • The making of Grace Under Pressure also counts; the band had made the decision to change to a new producer for the first time, jettisoning Terry Brown amicably. They hired Steve Lillywhite to produce them, but Lillywhite unexpectedly bailed out on them at the last minute; the band hired Peter Henderson (who worked on Supertramp's Breakfast In America) as producer, had gotten along well with him, but gradually realized Henderson was mainly a recording engineer credited as a producer, and wasn't well-suited or well equipped to take on the traditional decision-making role provided by a producer. This had meant the band, unwillingly, felt the need to shoulder most of the production work and creative decision-making for what was already a complex album to put together. Geddy Lee mentioned in the official band biography Contents Under Pressure that as a result, GUP is a difficult album for him to listen to or remember nostalgically, due to memories of how hard it was making the album.

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