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This is a special sub-page for all of the predictions for future Trainwreckords episodes.

This is a series where Todd looks at albums that are widely considered to have either killed a popular artist's career, caused the breakup of a popular band, or at the very least killed their relevancy in mainstream popular culture (in Todd's own words: "albums that flopped so hard, that they ended careers"), usually down to it being horrible, or being completely misguided in some way (e.g. a failed change in musical direction).

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  • 7 by David Guetta: While his previous two albums were polarizing, they at least produced massive hits. Only one track from this album charted on the Hot 100 (and even that was only because of Justin Bieber); the album itself had an even worse showing on the Billboard 200, bringing his strings of successes to an end. He's still moderately popular overseas, but even then, his track record has been less consistent than it was earlier in the decade.
  • A Night to Remember by Cyndi Lauper: Despite the success of the leadoff single "I Drove All Night", this was a tremendous drop in both critical and commercial approval for this '80s pop megastar. The rest of the singles after the first went nowhere on the charts, the album's sales were underwhelming, and Lauper's career was permanently derailed except with the gay male community.
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  • A.K.A. by Jennifer Lopez: Though her commercial peak was way back during the late '90s and early 2000s, she enjoyed a Career Resurrection 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 Iggy Azalea collaboration "Booty". Lopez has since kept her media career alive primarily through film and television instead, although she hasn't stopped recording.
  • Adore by The Smashing Pumpkins: 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.
    • Alternatively, Zeitgeist, which was an enormously failed attempt at a comeback after the band reunited following a 6-year hiatus. Though they've remained active since that record came out, they've gone through countless lineup changes and have never come anywhere close to matching the success they achieved in the '90s.
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  • Album of the Year by Faith No More: Despite the band's international fanbase, this album was a critical and commercial failure in their native US, and was a catalyst in the band's breakup. Even lead singer Mike Patton has described the album as the point where they were starting to make bad music, and that the breakup was for their own good. Since 2009, reunions have been off-and-on, with only one album, the admittedly well-received Sol Invictus, produced since.
  • Alice in Chains by Alice in Chains: While the album went double platinum, it wasn't as well received as their preceding album Dirt or EP Jar of Flies. Also, the band didn't tour to support the album due to frontman Layne Staley's heroin addiction. Alice in Chains (unofficially) disbanded in 1996, and Staley because a recluse, ultimately dying from a heroin overdose, coincidentally on the 8th anniversary of fellow grunge frontman Kurt Cobain's death, in 2002. Alice in Chains reformed in 2005 with a new lead singer, William DuVall, and have released three albums since reforming.
  • All-American Nightmare by Hinder: Despite the Title Track peaking at #6 on Mainstream Rock, the album marked the beginning of the end of their rock stardom.
  • All of You by Colbie Caillat: Despite strong reviews, this was her first album that failed to produce a hit or reach any certification; her subsequent albums have fared even worse, and she was ultimately dropped by Republic Records in 2015. However, since Todd expressed disinterest in Caillat in his "Drive By" review, calling her the "poor man's Sheryl Crow", it's unlikely he'll cover her unless one of his patrons requests it.
  • America's Sweetheart by Courtney Love: After Hole broke up in 2002, Love decided to make a solo record. Unfortunately, the album went through a Troubled Production - Love's legal issues and stints in rehab led to the album being delayed, and the album had to be re-recorded on the insistence of Virgin Records. The result was a record that received mixed reviews at best and was a commercial failure. After a long hiatus, Love opted to briefly reform Hole, albeit without any of her previous bandmates.
    • Alternatively, Nobody's Daughter by Hole - the only album released during the band's short-lived reunion, it was composed primarily of songs written for Love's intended follow-up to America's Sweetheart, and whilst it got better reviews, the sales didn't improve much. There were public disputes between Love and former bandmate Eric Erlandson about whether Love had really reformed the band or was just using it for name value. In the end, Love dropped all pretence and declared that she was just a solo artist.
  • American Pastime by Three Dog Night: Their previous album Coming Down Your Way marked the beginning of their decline as pop rock juggernauts, but this one did even worse, peaking well below the top 100 of the Billboard 200 and producing no charting singles, resulting in their disbandment. They reunited a few years later, but they remain mostly forgotten to this day, despite their enormous success in the late '60s and early '70s.
  • Anything Is Possible by Debbie Gibson: Remembered primarily as a teen pop queen from the late 1980s, Debbie Gibson is notable for writing all of her material herself, unlike her more manufactured contemporaries of the same style. Riding off the success of a debut album that produced five hit singles and a sophomore record that contained the #1 ballad "Lost in Your Eyes", Gibson seemed poised to become a pop legend at the dawn of the 1990s.
    Following in the footsteps of female pop groundbreakers at the time such as Raw Like Sushi, Like a Prayer, and Janet Jackson's Rhythm Nation 1814, Gibson stepped up her artistic ambitions for her third studio effort, Anything Is Possible. Ditching the light, sugary freestyle dance jams that she had become known for, her new record was a more experimental and structurally complex album with intricate influences from rising genres at the time such as house, new jack swing, and urban. It was also a staggering 73 and a half minutes long.
    Upon release, its reviews were lukewarm at best, with most feeling Gibson was far out of her league in terms of lyrical content and not a strong enough vocalist to compete against other singers employing the same style. Compounded by the fact that it came out the same month that fellow bubblegum pop act Milli Vanilli had their Grammy revoked, the album sold very poorly, peaking merely at #41 on the Billboard 200, with the titular leadoff single only reaching a disappointing #26 on the Hot 100 and dropping off the charts rather quickly. Although she has continued to mature as an artist, Gibson has had little to no success in the US since this album's failure and has transitioned more towards musical theatre instead.
    Ironically, Anything Is Possible was actually her most successful peak in Japan, where her career persisted well into the 1990s. In fact, her most recent studio release, the 2010 covers album Ms. Vocalist, was exclusive to Japan, where it peaked at #71 on the Oricon charts.
  • Avril Lavigne by Avril Lavigne: This was the album that contained the infamous single "Hello Kitty", which instantly torpedoed any remaining goodwill she had with the public. Todd briefly compared Taylor Swift's artistic downfall to her in his review of "Shake It Off", but he hasn't discussed Avril a whole lot beyond that. While her 2018 single "Head Above Water" temporarily redeemed her damaged reputation, the subsequent album of the same name got even worse reviews than her self-titled record and squandered her chance for a comeback, with "Dumb Blonde" in particular getting a lot of scorn (albeit not as much as "Hello Kitty") and reaffirming her late-career immaturity.
  • Back 2 Life by Sean Kingston: Even with the decently-charting single "Eenie Meenie" (which was fueled by Justin Bieber), which Todd already covered as a Pop Song Review, this album did poorly commercially and Kingston's career has never recovered in any way since.
  • Back on My B.S. by Busta Rhymes: In addition to being his worst-received album to date, it was his first not to receive any certification, signaling the end of his heyday.
  • Back to Earth by Cat Stevens: Not only was it a commercial flop, its release coincided with Stevens’ conversion to Islam, his interpretation of which led him to abandon the mainstream music industry altogether for several years.
  • Battle of the Sexes by Ludacris: Despite coming out during a time when Ludacris was a ubiquitous presence on other performers' tracks, the public reception towards this album was much more negative than his 2000s output. Though it did contain two big hits singles and sold decently, Luda faded from the mainstream music industry not longer after it came out, having not appeared on a truly big hit since Enrique Iglesias' "Tonight (I'm F*** You)". He has remained active as an actor, but as Todd noted, he did not even provide a rap verse on "See You Again", despite his role in The Fast and the Furious series.
  • Be Here Now by Oasis: While the band continued for several more albums, the Hype Backlash surrounding this album's release certainly marked a downturn in both critical respect and commercial success for the band (they still did well commercially, just nowhere near the huge sales of the first three albums). Todd did tweet that he agreed that the songwriting quality levels took a significant drop from this album onwards.
    • Confirmed.
  • Behind the Mask and/or Time by Fleetwood Mac: The band’s ongoing dissension and lineup changes are well-documented, but the interpersonal chaos that had factored so heavily into their artistic and commercial triumphs in the ‘70s and ‘80s finally became their downfall during the ‘90s. Behind the Mask was their first album since their American breakthrough not to feature Lindsey Buckingham and received extremely mediocre reception, failing to produce any major hits. Subsequently, Stevie Nicks departed from the band as well, leaving Christine McVie as the only classic era vocalist remaining. Their next album, Time, brought in Traffic guitarist Dave Mason and country singer Bekka Bramlett as replacements, but bombed even harder and promptly broke up the band. While the classic lineup reunited just a year later and achieved reasonable success with a live album in 1997 and one more studio record in 2003, they have still never recaptured the sales figures or critical approval of their golden period since reforming.
  • Bionic by Christina Aguilera: Todd called its lead single 'a disaster' in the "Moves Like Jagger" review, and since the album's failure she's failed to see any solo chart success outside of a few guest features on other artists' hit songs.
  • Blender by Collective Soul: Though they had always been on the more commercial side of the post-grunge movement of the '90s, they still earned some respect from alternative fans thanks to their earthy sound. By the time they released this power pop-oriented album in 2000 though, it would be a stretch to call them alternative rock in any form whatsoever. This was made especially obvious by the record's cover artwork, which made them look like a boyband, not a rock group. Sales for the album were disappointing, despite "Why, Pt. 2" earning a fair amount of airplay, and Collective Soul fell out of the mainstream soon afterwards.
  • Blink-182 by blink-182: While the album was a success with critics, fans were split on the new direction of the band. This, along with tensions within the band, caused their initial break up in 2005. Following their breakup, Tom DeLonge formed Angels & Airwaves, while Mark Hoppus and Travis Barker formed +44. Blink reformed in 2009, releasing another album, Neighborhoods, in 2011; however, DeLonge would leave Blink again in 2015 to focus on AVA, with Matt Skiba of Alkaline Trio replacing DeLonge.
  • Born Again by Black Sabbath: Similar to Van Halen III and ...Calling All Stations..., this critically panned album killed the band’s commercial relevance after they hired a third major frontman for the first and only time. Since Todd seems to have run out of ideas for Halloween-themed one-hit wonders to cover in October, he could potentially revive the annual Spooktacular episode with this.
    • Alternatively, Forbidden. The album was such a failure, even by the band’s then-diminished standards, that they wouldn’t record another studio record for nearly two decades.
  • Brand New by Salt-n-Pepa: After a string of huge hit singles and albums from the late '80s and '90s, this hip hop group were in new territory when they made this album without their longtime producer Hurby "Luv Bug" Azor. Not only was reception towards the new record largely unfavorable, it suffered from an extreme case of bad luck when their new label, Red Ant Records, filed for bankruptcy at the time of its release, causing its singles to linger without promotion. While the group still performs today, they have not released a new album since this one's failure.
  • Brass Knuckles by Nelly: This album's flop didn't completely kill his career, but it certainly did kill his relevancy in the mainstream. The fact that it had a rather Troubled Production certainly didn't help its chances of getting remotely favorable reviews either.
  • Britney Jean by Britney Spears: While she had a steady stream of hits following her 2008 comeback Circus, her critical reputation began to decline as she became increasingly resistant to her celebrity status, relying increasingly on irritating hooks alone to earn hits, finally culminating in this album, which earned mediocre reviews and solidified the public impression that she no longer had any charisma as a performer.
  • ...But the Little Girls Understand by The Knack: Often cited as a classic example of the Sophomore Slump, the album was destroyed by critics upon release and merely went gold. Their subsequent two albums were released with no fanfare and the band broke up afterwards.
  • Cake and Pie by Lisa Loeb: The record’s lack of promotion resulted in it only barely making the Billboard 200, and she was dropped by her label thereafter.
  • ...Calling All Stations... by Genesis: Not only had the musical landscape of rock changed dramatically by 1997, six years after the previous Genesis album, but lead singer and songwriter Phil Collins had departed from the band just a year earlier to focus on his solo career. In order to reinvent themselves for a new generation, the band retreated from the poppier style that had prevailed during the Collins years, resurrected some of the progressive tendencies of the Peter Gabriel era, and hired as their new lead vocalist Ray Wilson, who had previously scored a smash international single as the frontman of Stiltskin. The result was catastrophic; not only were the reviews for the new album overwhelmingly negative, it sold so poorly that the group scrapped the planned American tour to promote the album and disbanded only a year later. They haven't reunited for anything since aside from one tour with Phil Collins returning as lead singer in 2007.
    The history of this album is eerily similar to Van Halen III, which also came out in the late '90s, was also by a band whose pop career had lasted two decades by that point, and also featured the respective group's third lead singer, who was similarly already famous for fronting a different band with a huge hit earlier in the decade, although Stiltskin's "Inside" was far less popular in America than Extreme's "More Than Words" was. Also like Van Halen III, ...Calling All Stations... was particularly plagued by a lack of creative direction caused by the old band members exerting too much control over the project without allowing the frontman to coherently guide its production. This series of connections is made even more astounding by the fact that Van Halen's original band name was none other than Genesis.
  • Cinco Diablo by Saliva: Rock music was just starting to disappear from the mainstream by the time this was released at the end of 2008, but unlike other albums of the same general style, this failed to produce even a notable hit on the rock airplay charts and peaked at an abysmal #104 on the Billboard 200.
  • Climate Change by Pitbull: Unlike Pitbull's albums from the late 2000s and early 2010s, which saw the Miami rapper successfully adapting to current trends in music, he finally found himself out of touch with the times when he released this in the downbeat pop climate of 2017. Todd also mentioned in his Top 10 Worst Hit Songs of 2016 video that "Messin' Around" would have ranked near the top of his Worst list had it been more successful.
  • Come Out and Play by Twisted Sister: After emerging leaders of the first wave of '80s Hair Metal, thanks to their generation-defining "We're Not Gonna Take It", they completely stumbled with this ill-directed followup, which lacked the commanding radio appeal of their previous record, while also failing to please hardcore metal fans, resulting in an absence of hit singles (aside from a modestly successful cover of the Shangri-Las' "Leader of the Pack"), as well a tour that flopped miserably. By the time hair metal experienced a popularity resurgence in the late '80s, the band had fallen so far from grace that their next album wasn't even certified by the RIAA and they broke up soon after.
  • Condition Critical or QR III by Quiet Riot: Much like Twisted Sister above, Quiet Riot were one of the biggest bands of the first wave of Hair Metal, but after their 1984 record Condition Critical turned out a disappointment compared to their breakthrough album Metal Health, lead singer Kevin DuBrow notoriously claimed that Quiet Riot were the primary reason for hair metal's entrance into the mainstream, despite Def Leppard, Van Halen, and Mötley Crüe achieving similar levels of success around the same time they released Metal Health. This horrible act of PR led to the band losing the respect of both the mainstream public, as well as the rest of the Los Angeles hair metal scene, resulting in bassist Rudy Sarzo departing from the lineup. By the time they released QR III at the dawn of the second wave of hair metal in 1986, their support base had been whittled down so much that the new record flopped even harder than its predecessor, and the band subsequently failed to reap the benefits of the genre's last several years of widespread popularity.
  • Cool Hand Lōc by Tone-Lōc: His first album produced two huge hit singles, but this one failed to chart and earned scathing reviews, forcing him to maintain a career purely as an actor instead.
  • Count Three & Pray by Berlin: This synthpop band was very popular with underground music fans for a few years in the '80s, most notably for their risqué single "Sex (I'm A...)", as well as their top 40 hit "No More Words". In 1986, they were on the verge of finally emerging pop legends thanks to the gigantic success of their #1 smash "Take My Breath Away", their contribution to the soundtrack for Top Gun. Right around the time that song was dominating the Hot 100, they released this fourth studio album. Unfortunately, the record was met with lukewarm reception, pleasing neither Berlin's early fans, nor the more mainstream crowd that propelled "Take My Breath Away" to the top of the charts. Aside from the aforementioned track, the rest of the album's singles flopped badly on the charts. On top of that, there was already dissension between frontwoman Terri Nunn, who embraced the global success of “Take My Breath Away”, and the rest of the band, who saw it as a Sell-Out release. Consequently, the group disbanded only a year after their new album came out. They reunited a decade later but have never truly reestablished their commercial significance or critical approval.
  • Crash! Boom! Bang! by Roxette: While the album was well-received and successful globally, it ruined their careers in America due not only to the alternative rock-dominated music scene's resistance to the band's chipper style, but also, more infamously, the record ultimately succumbing to No Export for You. While "Sleeping in My Car" was a decent hit on pop radio, the band never recovered stateside after this fiasco.
  • Crown Royal by Run–D.M.C.. In addition to mediocre at best reviews, it was their last album before Jam-Master Jay's death. Although they were arguably already past their period of relevance since Back from Hell, they had a moderate comeback in 1993 with Down with the King and its eponymous top 40 single.
  • Crunk Rock by Lil Jon: 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 Chappelle's Show 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 Development Hell. Though it was creatively ambitious, combining his signature brand of 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 Lil Wayne’s catastrophic Rebirth album, which similarly took Southern Rap 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.
  • Curtis by 50 Cent: This album and particularly the messy promotion around the album's release was the point where Fifty's reputation turned into that of a walking punchline within the rap community.
  • Cut the Crap by The Clash: By the time the album went into production, the band had lost half of its members (leaving behind Joe Strummer and Paul Simonon), and it turned out to be the band's final studio release before breaking up altogether. Even Strummer himself regretted making the album.
  • Cyberpunk by Billy Idol: With new wave falling by the wayside after the rise of grunge in the early '90s, this 1980s superstar attempted to reinvent himself for the new decade by infusing elements of the cyberpunk subculture into his songwriting. The resulting album is also particularly infamous for its high-minded, technologically ambitious advertising campaign, which included a multimedia bonus floppy disk, a VHS tape, and online promotions in an era before Netscape and Internet Explorer. Unlike musicians such as Gary Numan and Thomas Dolby, who were genuinely knowledgable about progressive technology, however, Billy Idol was largely a greenhorn when it came to electronic devices, which caused Cyberpunk to come off more as as a cheap commercial exploitation of its eponymous subculture rather than a visionary masterpiece. The album was mauled by critics and tanked miserably commercially, solidifying Idol as a relic of the past rather than a true pioneer of the digital age of music. Todd mentioned in a tweet that this was the first album he thought of when coming up with the series.
    • Confirmed.
  • Damita Jo by Janet Jackson: Released a mere two months after the infamous Wardrobe Malfunction 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 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.
  • Dangerous Acquaintances by Marianne Faithfull: After a long period of drug-induced dysfunction, she made a surprise comeback with her critically acclaimed 1979 record Broken English, which reinvented her as one of the most unique voices in the rising New Wave genre. Almost immediately, however, she blew her second chance when she followed that album up with this, which retreated from the brooding depth of its predecessor in favor of safe, disposable pop rock. Nowadays, she's remembered primarily as a classic one-album wonder, with her earlier hits from the '60s being mostly overshadowed by her turbulent relationship with Mick Jagger.
  • Delirium by Ellie Goulding: She had previously established herself as one of the few credible artistic talents of the early 2010s electropop craze (with Todd previously comparing her to Robyn), but beginning with the monster hit from the Fifty Shades of Grey soundtrack, "Love Me Like You Do", she gradually evolved into just another generic and disposable pop starlet targeting a very young audience. By the time she released this in late 2015, her previously mature persona was all but gone, resulting in the album receiving disappointing reviews and only producing a few minor hits. Her 2019 single "Close to Me" may signal a commercial comeback for her, but it certainly hasn't restored the artistic reputation she built during her early years.
  • Didn't See Me Coming by Keith Sweat: Like several other contemporary R&B records from the turn of the century, this was criticized for being a Darker and Edgier release from an artist trying too hard to appeal to a younger generation. While his previous album Still in the Game was already somewhat heading in this direction, it was still certified Platinum and produced two top 20 hits. This, by contrast, only went Gold and failed to chart any of its singles in the Hot 100, leaving this icon of New Jack Swing and '90s R&B in the dust while younger singers took his place.
  • Do You Know by Jessica Simpson: A disastrous Genre Shift album from a former pop princess trying to go country, which only served to earn ridicule from the country music press.
  • Door to Door by The Cars: A popular New Wave band throughout the '80s, they had just come off the blockbuster success of their New Sound Album Heartbeat City. Their follow-up Door to Door was an attempt to return to their roots, but the album was panned by critics, sales took a big drop compared to its predecessor, and a difficult tour resulted in the band breaking up after frontman Ric Ocasek suffered from a nervous breakdown.
  • Double Dutchess by Fergie: After spending a few years away from the music industry, Fergie planned on making a comeback with her second solo album. The lead single "L.A. Love (La La)" was a moderate success, but then the album got severely delayed. She released another song, "M.I.L.F. $", in 2016, but this only served to crush her already fading reputation, due to both the track itself, as well as its notoriously desperate music video, which has a horrible like/dislike ratio on YouTube. By the time the full album was finally released in 2017, Fergie's star profile had deteriorated so much that none of the new singles made any splash on the charts whatsoever.
  • Down on the Upside by Soundgarden: While the album was well received by critics and fans alike, creative differences and internal strife among the band members during the album's production and promotion caused the band to break up. While Soundgarden did eventually reform in 2011 and released a new album, King Animal, in 2012 and with plans to release another album, the sudden suicide of frontman Chris Cornell in 2017 left the band's fate in doubt, and the group ultimately disbanded in 2019 after a tribute concert to honor Cornell.
  • Dr. Byrds & Mr. Hyde by The Byrds: They had been pioneers of the counterculture music scene in America, but severe internal tensions, multiple lineup changes, and an alienating Genre Shift 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 The Grateful Dead: This collaborative live album with Bob Dylan, 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.
  • Dynasty and/or Music from "The Elder" by 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 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 naturally fit their sound and aesthetic, although they did have one big hit at the beginning of the '90s with "Forever".
    • Alternatively, Todd could do an episode covering Kiss’ 1978 tetralogy of self-titled solo albums, which some people consider their true jumping the shark moment. While Ace Frehely’s record was a surprise success and produced a smash hit with its cover of “New York Groove”, the other three didn’t fare as well, with Peter Criss’ album in particular standing out for its awfulness. More importantly, these albums marked a severe turning point for the band’s internal cohesion and artistic direction, which was already evident by how different the four records sounded from each other and would only continue to haunt them in the coming years with multiple lineup changes, deteriorating concert sales, poorly received studio albums, and a growing reputation for being a Sell-Out act.
  • Electric Café by Kraftwerk: Though not a mainstream force in America aside from "Autobahn", this German group were hugely influential pioneers of electronic music in the 1970s and early 1980s. By the time they released this album in 1986, however, synthesizers were ubiquitous in music, rendering their initial novelty obsolete. Synthpop was already relatively common back when their previous album Computer World was released, but that LP was still a success because it was in sync with the zeitgeist of its era, which, as Todd noted in his OHW episode for "She Blinded Me with Science", was back when electronic music was associated with robots and also when the public was particularly fascinated with the rise of home technology. Electric Café, on the other hand, failed to stand out amidst a vast sea of other, more MTV-friendly electronic releases and wasn't innovative enough to impress hardcore music fans, either. Aside from one album in 2003 and a remix collection in 1991, Kraftwerk have not recorded any new studio albums since this one's failure.
  • Emotional by K-Ci & JoJo: Known as the frontmen of the iconic '90s R&B quartet Jodeci, brothers K-Ci and JoJo Hailey separated from bandmates DeVanté Swing and Dalvin in 1996 but continued their huge commercial success as an independent duo, first with their appearance on 2Pac's "How Do U Want It", then with several hit singles of their own in the late 1990s and early 2000s, the most famous of which was the #1 ballad "All My Life". Their fourth album Emotional was released in late 2002 but earned extremely mediocre reviews and failed to produce any hits. The general consensus was that the songs were outdated, poorly produced, and full of uninspired lyrics (track 6, “Say Yes”, is an especially prime target for Todd to thrash). K-Ci & JoJo put out an independent record several years later and have since reunited with Jodeci, releasing a new album in 2015, but the legacy they established completely on their own has mostly vanished from memory since the underperformance of Emotional.
  • Encore and/or Relapse by Eminem: Todd has referenced both albums as a low point in Eminem's career, the former being an instant drop in quality that led to a hiatus, the latter being a flop attempt at a comeback after said hiatus. Whilst he has previously elaborated on "Just Lose It" in his Top 10 Worst Hit Songs of 2004, Encore also had the infamously bad "Ass Like That" and Relapse is notorious for the single "We Made You". However he did make somewhat of a comeback in the 2010s, with "Not Afraid" and two collaborations with Rihanna topping the Hot 100.
    • Alternately, Revival. The album got mostly scathing reviews from both critics and fans for everything from the production to the subject matter to even Eminem's flow, with many calling his worst since Encore (if not even worse than that). Todd himself addressed it as a "mega flop" album, and said he thought "Walk on Water" and "River" were awful. That said, with the album being released in late 2017, it's too early to tell just how much damage it will ultimately do to Eminem's career (especially with the surprise release of the better-received Kamikaze the next year potentially saving him some face).
  • 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 piano 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.
  • Everything Comes and Goes by Michelle Branch: Similar to the Jessica Simpson case above, this EP was a Genre Shift towards country music that failed to take off and effectively ended the career of this former early 2000s star.
  • Everything to Everyone by Barenaked Ladies: This was the first BNL album to not get certified since "One Week" launched them to superstardom outside of Canada. The band had already established themselves for their playfully wacky lyrics, but they cranked the ridiculousness of their subject matter Up to Eleven for this record's leadoff single "Another Postcard", which is literally about somebody who keeps mysteriously receiving pictures of chimpanzees in the mail. Unsurprisingly, the song charted marginally, and the band slid off the radar thereafter.
  • Face the Music by New Kids on the Block: This was very briefly touched upon in the "Give It To You" OHW review, so it's possible that Todd may revisit this for a more in-depth review.
  • Fifth Harmony by Fifth Harmony: Though their early hits solidified them as the only successful alumni of the American edition of The X Factor, their self-titled third album had extremely meager sales and produced no major hits. The band found themselves completely overshadowed by recently-departed member Camila Cabello, whose solo career was on the rise and about to become immortalized with the release of the world-conquering single "Havana". The group announced their hiatus in early 2018 and their members have since embarked on solo projects of their own.
  • Finally by Blackstreet: A popular R&B vocal group from the '90s, founded by New Jack Swing pioneer Teddy Riley and most famous for their #1 classic "No Diggity", Blackstreet is notable for their constant lineup changes throughout their existence. First, Dave Hollister replaced Joseph Stonestreet leading up to the release of their 1994 self-titled debut, then Mark Middleton and Eric Williams assumed the spots of Hollister and Levi Little before their followup Another Level came out, and finally Terrell Phillips took over for Middleton before the release of this album (the group would later return to the same lineup from the Another Level era for their fourth record, Level II). With such an inconsistent set of members, the group was forced to refocus their chemistry with each release, on top of keeping up with current trends in music. While they were lucky with Another Level (the album that contained "No Diggity"), Finally was met with extremely marginal reviews, and its second single "Girlfriend/Boyfriend" (the first, "Take Me There", was already featured on the soundtrack to The Rugrats Movie) didn't even crack the top 40, putting an immediate end to their commercial relevance.
  • First Impressions of Earth by The Strokes: Their debut album Is This It arguably set a high bar for them, but when this Darker and Edgier album was given among the harshest reviews they had ever received, and failed to gain a certification, it marked a significant critical and commercial downturn that they would never recover from, much like Oasis with Be Here Now.
  • Forever by Bobby Brown: The former Bad Boy of New Edition, Bobby Brown was kicked out of the group due to his antics but eventually emerged the headlining artist of the New Jack Swing 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 turbulent relationship with Whitney Houston 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.
  • Forever by Spice Girls: Haunted by the recent departure of Ginger Spice, as well as a growing Hype Backlash, the Spice Girls very quickly went from the biggest act in pop to magnets of ridicule in the US by the time they released this poorly-received third record in 2000. Except for "Goodbye", which came out over a year before the album hit stores, none of its singles charted on the Billboard Hot 100, and though it did slightly better overseas, the group disbanded soon after its disappointing commercial reception.
    Notably, this record not only killed the musical careers of the Spice Girls in America, it also destroyed the popularity of British girl groups in general in the US, as there have been no songs by any girl group from the British Isles to emerge a major Billboard hit since 1999, with the arguable exception of the modestly popular "Scandalous" in 2004. Even worldwide favorites such as Atomic Kitten and Little Mix have struggled to find an audience in the States.
    If Todd covers this, he will likely mention Puff Daddy, who, like the Spice Girls, was one of the definitive pop acts of the late '90s and ALSO released a career-damaging album with this ironic title, though unlike the Spice Girls, Puffy did continue to score hits throughout the 2000s, albeit under different pseudonyms.
  • Get the Picture? by Smash Mouth: This ska-punk/60s revival band was one of the most successful pop acts of the late 1990s, but after two of their songs were featured in Shrek, their music became so indelibly associated with the film that it overshadowed the moderately mature reputation they had cultivated previously. After the direct followup to "I'm a Believer", "Pacific Coast Party", charted poorly, the band made one last stand to reestablish their image with this album, but this did absolutely nothing to reverse their already sinking profile. The record peaked at a dismal #100 on the Billboard 200, while the leadoff single "You Are My Number One" missed the Hot 100 completely. Nowadays, Smash Mouth is an Internet punchline, only truly remembered for their appearance in Shrek (especially its opening theme song "All-Star"), although they constantly remind unwary fans about their success prior to the movie via Twitter.
  • Glassheart and/or Echo by Leona Lewis: Her debut was so huge that she became one of the only British pop singers to achieve legitimate success across the Pond during the 2000s, but her two followups both saw sharp declines in sales, even in her native UK.
  • Good Man by Ne-Yo: While his previous album Non-Fiction was also fairly polarizing, it at least sold reasonably well and had a modest urban and top 40 hit with “She Knows”. In addition to receiving even more middling reviews and failing to send either of its singles to the Hot 100, this album only reached a measly #33 on the Billboard 200 and didn’t even reach the top 10 on the urban albums chart, cementing the fact that his days as a pop/R&B superstar are over.
  • Greatest Hits - The Life Of Chris Gaines by Chris Gaines: This album and the concept surrounding it is so infamous that it's almost an inevitability that Todd will cover it.
  • Halfway Between the Gutter and the Stars by Fatboy Slim: Despite the legendary music video for "Weapon of Choice" that featured Christopher Walken, this album sold poorly in America and garnered very mediocre reviews compared to its monumental predecessor, You've Come a Long Way, Baby. Fatboy Slim's only followup album, Palookaville, also flopped the US, despite some of its songs being featured in a few video games.
  • Hard II Love by Usher: While Usher's charisma and good looks kept his superstardom alive for nearly two decades, his profile finally seems to have faded since the huge underperformance of this album, which failed to earn an RIAA certification and only produced one minor top 40 hit in "No Limit", making its overall performance comparable to his mostly forgotten 1994 self-titled debut. Following this record's disappointment, Usher has not been in any demand as a guest star, despite his frequent appearances on other people's tracks during the years leading up to the album's release.
  • Hard Times for Lovers by Judy Collins: Following in the footsteps of fellow pop-folk singer Olivia Newton-John, Judy Collins attempted to up her career by leaning into a sexier image. However, unlike Newton-John, who adopted a harder, raunchier sound to accompany her new persona, Collins made no such change in musical direction, causing her partially exposed nude body on the sleeve for this album to instead come off as a publicity gimmick. Combined with poor reviews, the record flopped badly and Collins' time in the spotlight reached a definitive end.
  • Head by The Monkees: By 1968, the band members had grown defiant of the manufactured reputation their 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 Head, this album, notably compiled by a young Jack Nicholson (who also starred in the movie), deeply alienated the band's audience with its Darker and Edgier 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 cult fanbase, Todd called it "near-unwatchable" in the Toni Basil OHW, making the album an especially likely candidate for Trainwreckords.
  • Head over Heels by Paula Abdul: 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 the nice judge from American Idol rather than a pop legend.
  • Heart Blanche by Cee Lo Green: Despite prospects for an illustrious mainstream solo career following the universal acclaim of "Forget You", a secured judge seat on The Voice and a TBS comedy series, CeeLo's success took a sharp turn for the worse after a controversial tweet he made that was deemed homophobic, as well as sexual assault allegations that were only made worse by insensitive comments he made on the issue; the latter resulted in his series getting canned after six episodes. To compound matters, conflicts he had with producers caused him to leave The Voice only a few seasons after the series took off and get booted from his role in Hotel Transylvania 2. He released a Christmas album in 2012 that was ignored, but this album, his first traditional effort since The Lady Killer (the album that contained "Forget You"), barely charted on the Billboard 200, in stark contrast to the top 10 success of The Lady Killer.
  • Heartbreak on a Full Moon by Chris Brown: Todd has already blasted Chris Brown countless times since he began recording videos, but this could make for an interesting episode based around why it and not the infamous sexual assault scandal and aftermath were responsible for killing off his commercial success in the US aside from the novelty song "Freaky Friday".
  • Here by Alicia Keys: This was considered a return to form after Girl on Fire earned her accusations of selling out, but commercially, it was too little too late.
  • Here and Now by Nickelback: This was the album that finally ended Nickelback's consistent run of commercial successes after a decade of unprecedented levels of backlash from rock fans.
  • Here in the Now Frontier by Queensrÿche: Not only was this grunge-oriented album met with disappointing reception, its release was hampered by the band's label going bankrupt, as well as a severely troublesome tour, which partially led to guitarist and primary songwriter Chris DeGarmo quitting the lineup. Sales and critical approval remained permanently diminished following his departure. Although Queensrÿche are technically one-hit wonders for their 1991 hit "Silent Lucidity", the rest of their catalogue is well-respected enough that they're probably a more appropriate feature for Trainwreckords than One Hit Wonderland.
  • HIStory: Past, Present And Future, Book I by Michael Jackson: Released in the wake of Jackson's sexual abuse allegations and his deteriorating relationship with the press, the new material on this double album was considerably Darker and Edgier, and the promotion went all out, from the giant statues to the video for "Scream" being certified as the most expensive music video of all time, to an elaborate performance of "Earth Song" at the Brit Awards (that was infamously disrupted by Pulp lead singer Jarvis Cocker). Sadly, despite commercially successful sales, the album only served to damage his image further, painting him as thin-skinned, arrogant and possessing a messiah complex, not helped by the fact that it was packaged with a glorified compilation of his previous hits that was derided as Album Filler. In the end, Jackson's reputation didn't recover until his tragic death in 2009.
    • Alternatively, Invincible, which was intended to be Jackson's studio comeback after a long period with very little new material but was plagued by Troubled Production. 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.
  • Hoodstar by Chingy: Despite some big hit singles in the mid-2000s, this St. Louis rapper was constantly subject to Nickelback-levels of scorn from people who considered him a Nelly wannabe with poor rapping skills. After two commercially successful but unfavorably received records, Chingy finally struck out with this third effort, which produced one top 10 single with "Pullin' Me Back" but sold marginally and fared no better critically than his previous two records. Since then, Chingy has been pretty much entirely insignificant.
  • Hootie Mack by Bell Biv DeVoe: Much like the rest of New Edition, this trio dominated the New Jack Swing movement throughout the early 1990s. By 1993, however, the genre was on its way out, and this record certainly didn't reverse its falling stock, having only gone Gold in contrast to its predecessor's Quadruple Platinum certification and its only hit peaking at a modest #38 on the Hot 100. Though BBD reunited with New Edition for one more successful album in 1996, they were no longer huge names purely in their own right.
  • Hot Space by Queen: Despite having the well-regarded classic "Under Pressure" with David Bowie, it hurt their success in the US for several years until Dead Artists Are Better kicked in, and Todd called the album "not great" on Twitter, mentioning that he could broaden the show's scope to cover it.
  • I Am Me by Ashlee Simpson: The younger sister of already-established pop diva Jessica Simpson, Ashlee Simpson became famous in 2004 with her teen pop rock sound that followed in the footsteps of other artists of the era such as Avril Lavigne and Hilary Duff. A few months after the release of her debut album Autobiography, however, her promising reputation took two enormous blows, first with an infamous lip-syncing scandal on Saturday Night Live, then with a halftime concert at the 2005 Orange Bowl that went down so badly that she was booed off at the end of her performance. She attempted a comeback later in 2005 with this sophomore effort, on which she desperately tried to reestablish her image, both with a change of hair color, as well as maintaining the down to earth marketing strategy that had served her well before her public fiascos. None of this was enough to counter the ill will that had tainted her career, and the album is ironically only really remembered for the straight-up plastic pop earworm "L.O.V.E.", despite mostly being produced in the same style as her debut. Despite a few minor acting roles, Ashlee has found little success as a musician since I Am Me, never finally managing to escape the dark shadow that haunted her since.
  • Icarus Falls by Zayn Malik: 2018 proved to be a very bad year for Zayn, despite him arguably being one of the only singers of the pop genre to naturally fit the zeitgeist of the era. "Let Me", the leadoff single for his sophomore solo album, was a huge flop, while the several tracks he released afterwards barely even charted. Once the album finally came out at the end of the year, it sold extremely poorly, despite his previous record topping the album charts of several countries just two years prior. Time will tell whether or not he can come back from this abrupt career slump.
  • Idlewild by OutKast: Despite the duo having recently released Speakerboxxx/The Love Below, one of the most popular albums of 2003, both critically and commercially, creative differences (which were already blatantly evident on the aforementioned record, right down to its split title) caused this soundtrack album to suffer from troubled production. Upon finally being released in 2006, following numerous delays, it received extremely underwhelming commercial success and lukewarm reviews compared to its predecessor, and the two members of OutKast have gone their separate ways ever since aside from a few reunion shows in 2014.
  • II by 2 Unlimited: They had been arguably the most popular eurodance group of the 1990s, whether at sporting events in America or the pop charts in Europe, but amidst friction between the producers and singers over their creative direction, they disbanded in 1996. Rather than cap the project completely, however, the producers hired two new singers to perform under the 2 Unlimited banner for their third album, which bombed hard despite its leadoff single charting well in a few countries.
  • I'm In You by Peter Frampton: Another example of a failed Genre Shift album that alienated fans, this time from pop to experimental funk. If Todd covers this, expect a reference to Frank Zappa's parody of the album.
  • Immobilarity by Raekwon: His mid-'90s solo debut was an instant classic that helped define the mafioso subgenre of hip hop, but this 1999 followup was panned for its poor production and unfocused lyrics. As a result, his third album missed the top 100 of the Billboard 200, and while his fourth record Only Built 4 Cuban Linx...Pt. II was considered a return to form, it failed to earn a certification.
  • Imperial Blaze by Sean Paul: While he still has modest success as a guest performer (including a different #1 hit on both sides of the Atlantic in 2016), this album's poor sales and reception (combined with the death of the dancehall craze) effectively killed his momentum.
  • In the Pursuit of Leisure by Sugar Ray: By the time this album came out, Sugar Ray's blend of ska, pop, and hip hop had fallen out of touch with modern trends in music, resulting in the record producing zero hits and failing to earn an RIAA certification despite solid reviews. This led to the band taking a 6-year hiatus before their following album, which sold even less.
  • It's Hard by The Who: The band were already on a downward spiral with Face Dances, their first album since drummer Keith Moon's sudden death, but this album didn't fare any better, and the band broke up the following year.
  • Italian X Rays by Steve Miller Band: Although the band enjoyed a Career Resurrection in the early MTV era with the Platinum-selling Abracadabra and its eponymous #1 single, their newfound momentum quickly crashed when they delved into straight-up Synth-Pop on this followup album, which got harsh reviews and only produced one extremely minor hit. Since then, they've been strictly niche. Todd has previously referred to Steve Miller as the "Pat Monahan of his day" (despite really liking him), so he may have quite a ball covering this album, on which the band's corniness became too extreme even for the '80s.
  • Kids in the Street by The All-American Rejects: Another rock album that got decent reviews but which failed to make a mainstream impact, due to being released after the genre itself disappeared from the pop charts. The band has not recorded a new studio album since this one failed to get certified.
  • Listen Without Prejudice, Volume 1 by George Michael: 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.
    • Alternatively, Songs from the Last Century, a covers album released a year after he was outed as gay. While his 1996 comeback record Older went Platinum and produced two top 10 hits in America, this failed to earn a certification in the US and got mediocre reviews.
  • Liverpool by Frankie Goes to Hollywood: Though this band is only truly famous for "Relax" in the US, they were one of the biggest new wave acts of the mid-80s in their native UK, with a number of other hits that achieved similar chart-conquering success to the aforementioned song. This sophomore album, however, was not only a tremendous commercial failure on both sides of the Atlantic, it also resulted in the band breaking up after a troublesome tour, not to mention legal troubles with their label ZTT. The spectacular downfall of this band is a possible alternative to a more obvious '80s British new wave episode of One Hit Wonderland.
  • Liz Phair by Liz Phair: Very similar to 0304 in that it's a Genre Shift album from a previously credible artist attempting a more mainstream pop sound, which only served to alienate their fanbase and attract accusations of selling-out.
  • Look Hear? by 10cc: Though they were internationally huge in the '70s and even had two big crossover hits in America, they quickly fell out of touch with current trends by the time they released this. The album's production was plagued due to a car accident that severely handicapped Eric Stewart's hearing and vision, and when it finally came out, it got a horrible reception that the band would never recover from.
  • Lost and Found by Will Smith: His previous album, Born to Reign, wasn't too successful either, but this was the record that firmly proved he was too old-fashioned to adapt to changing trends in hip hop, and it was also his final release before he started to focus purely on acting instead. He did finally return to rapping a decade later, but his more recent work has been completely laughed off by the public.
  • Love Beach by Emerson, Lake & Palmer: An embarrassing foray into disco made purely due to contractual obligations that not only broke up the band, but it is also considered to have killed the prog-rock genre altogether.
  • Lucky Day by Shaggy: His fourth album Midnite Lover was a huge flop and almost ended his career, but he made a triumphant comeback a few years later with Hot Shot, which contained two #1 hits. Lucky Day, however, received disappointing reviews and failed to produce any major hits, despite its lead single "Hey Sexy Lady" appearing in Kangaroo Jack, and Shaggy was immediately replaced by Sean Paul as the big pop-reggae singer/rapper of the day. He managed to score a minor hit in 2015, but he has still never come anywhere close to matching the success of "Boombastic", “Angel” or "It Wasn't Me" since this record's failure.
  • Mad Not Mad by Madness: While their only American hit was "Our House" in 1983, Todd loves this band and recognizes their enormous significance in Britain, where they dominated the 2 Tone movement of the late '70s and early '80s. By the mid-'80s though, not only was their critical and commercial approval in decline, but the band's creative differences caused them to break from Stiff Records and form Zarjazz, a sub label of Virgin Records. Their first Zarjazz album flopped and they disbanded a year later. Much like Blondie below, they ultimately had a comeback in 1999 that was spearheaded by a big hit single, though they were never as huge as they were during their late '70s/early '80s peak.
    • Alternatively, The Madness, a failed attempt to resurrect the band with a new lineup after they officially broke up. Though it was intended as a more mature record, it fared even worse than Mad Not Mad and definitively put the band on ice for a decade.
  • Main Attraction by Suzi Quatro: After spending the early '70s as an international icon of glam rock and one of the most successful women in rock and roll, she finally broke her native America during the late '70s, propelled by a brief stint on Happy Days. Having already adopted a generally softer and more eclectic style by her comeback, she began to flirt with Synth-Pop on this album, her only record with Polydor and the one with the most personal input to that point. The result was panned by audiences and led to a nearly decade-long hiatus before she put out another studio album, by which point she was long forgotten. Meanwhile, women like Joan Jett and Pat Benatar assumed her role as the MTV era really took off.
  • Make a Move by Gavin DeGraw: He had a brief comeback in 2012 with the Platinum-certified hit "Not Over You", but the leadoff single to this album, "Best I Ever Had", failed to crack the top 40, putting an end to his relevance except for some modest success in the adult pop market. Since Todd implied he considered this musician uninteresting in his "Drive By" Pop Song Review, a review is probably unlikely unless requested by one of his patrons.
  • Man of the Woods by Justin Timberlake: This was a concept album on which Timberlake clumsily invoked his southern country roots as the guiding theme for his usual dance/R&B style. Reception from the general public towards the record was atrocious, and despite country-pop crossovers being a huge craze at the time, it lost commercial steam extremely quickly and basically obliterated his already deteriorating image as pop music's king of cool. Todd has already thrashed the lead single "Filthy" and summarized the album as Timberlake trying to "reverse engineer bro country", with similarly unfavorable results.
    A few months after the album's failure, Timberlake attempted to recuperate from his shattered reputation with the intended summer smash "SoulMate", but this proved too little too late, with the new song being forgotten about almost immediately and barely making any impact on the charts whatsoever, despite earning decent critical reception.
    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".
  • Mania by Fall Out Boy: This incredibly popular pop rock band enjoyed mainstream success in the 2000's and even had a successful Career Resurrection after a hiatus in the 2010's despite their new mainstream pop-oriented sound creating somewhat of a Broken Base. However, the release of the critically lambasted lead single "Young and Menace" was the last straw for even the most patient of their fanbase, and failed to even chart in the Hot 100. The backlash was so huge that the song's parent album Mania got delayed, and when it was finally released it was panned by critics and failed to make much of a commercial impact. As it was released in early 2018, time will tell if the band can make any sort of recovery from this.
  • Mardi Gras by Creedence Clearwater Revival: Tensions between frontman John Fogerty and the rest of the band were already rife by the time the album went into production, but the album's weak critical reception and especially the events of their final concert became the final straw that broke up the band.
    • Confirmed.
  • Masterpiece Theatre by En Vogue: This was one of the flagship R&B girl groups of the 1990s, known for their deft blend of classic soul and modern experimentation, but their fortune started to crumble after one of their founding members, Dawn Robinson, left in 1997 to form the Supergroup Lucy Pearl with Raphael Saadiq and Ali Shaheed Muhammad. Now functioning as a trio, En Vogue released EV3 (which still featured Robinson, even though she wasn't on the front cover) later that year to decent success, but by the time they followed it up with this album three years afterwards, a lot had changed about the market they had previously dominated. In an attempt to compete against more modern girl groups at the time like Destiny's Child and Blaque, they shed their acoustic, soul-infused influences for a more mainstream, synthesized sound with occasional interpolations of classical music. However, this backfired tremendously, with the album's only single "Riddle" flopping badly on the charts and overall sales figures taking a huge nosedive compared to the group's three previous albums. Subsequently, they were dropped from Elektra Records and never enjoyed any major commercial relevance again, although they still perform and record today.
  • Metal Machine Music by Lou Reed: Released amidst Reed's deteriorating relationship with his label, this experimental LP comprises of nothing except structureless, tuneless noise, framed as the culmination of heavy metal, which Reed claimed he had invented. Unsurprisingly, the record was absolutely lambasted by everyone, including critics, and stained Reed with the reputation of somebody too up his own ego to try anymore, very similar to how Todd described Kanye West from The Life of Pablo onwards in his commentary for "I Love It". The album has since developed a cult fanbase that defends it as a bold anti-album and a major influence to Noise Rock, but still most people consider it one of the worst records of all time. However, Reed continued to be very popular with hardcore music fanatics through the rest of his life and had a brief-but-notable comeback with his critically acclaimed, Gold-certified album New York in 1989.
  • Mind Blowin by Vanilla Ice: Much like MC Hammer with The Funky Headhunter, this was Ice's attempt to gain some street cred with a harder image after being criticized for being too soft, as well as take back control of his image after being hampered with Executive Meddling. Unfortunately, Ice did this by wearing lots of flannel and dreadlocks and rapping about guns and weed, basically trying way too hard to be like Cypress Hill. And while the production on the album was considered an improvement over To The Extreme, the rapping and subject matter were universally panned, and the album was a major commercial flop, not even charting on the Billboard 200. While Vanilla Ice did manage to reinvent himself as a Rap Metal artist and became a cult favorite of sorts, especially with Juggalos, Mind Blowin was the nail in the coffin for Ice's already waning career as an immensely successful pop rapper.
  • Mötley Crüe and/or Generation Swine by Mötley Crüe: The former was the first album that proved the band's career couldn't survive the changing trends of the 1990s like Bon Jovi's and Aerosmith's did, but the latter record absolutely solidified the band's fall from grace, due to its terribly confused sonic and lyrical direction. Severe turmoil between the band members resulted in John Corabi replacing Vince Neil as the lead singer for their self-titled album, only for Neil to return as the frontman on Generation Swine, which by then was too little, too late. All this ensuing chaos was certainly not aided by drummer Tommy Lee's infamous relationship with Pamela Anderson around the same time, either.
  • MTV Unplugged No. 2.0 by Lauryn Hill: Despite the titanic success of her solo debut, which won Album of the Year for 1998, the lukewarm reception to this live followup, in conjunction with severe issues in Hill's personal life, brought a staggeringly abrupt end to one of the most promising careers in hip hop and R&B history. Notably, this was one of the few Trainwreckords suggestions that Todd liked on Twitter after he asked his viewers back in March 2018 what albums he should cover on the show (he also liked the request for Mardi Gras by Creedence Clearwater Revival, which he later covered in September).
    • Confirmed.
  • Muse Sick-n-Hour Mess Age by Public Enemy: The bad critical reception of this album pretty much ended the group's mainstream relevance right there and then.
  • My Soul by Coolio: He was one of the biggest rappers of the mid-90s, scoring several hit songs, one of which was the biggest hit of 1995. His career started to take a downward turn after the infamous feud with "Weird Al" Yankovic over the "Amish Paradise" parody, but what really cemented the end of his career was the huge flop of this album, which made almost no impact on the Billboard 200 despite the success of its leadoff single "C U When U Get There" and resulted in his label dropping him.
  • Naked by Talking Heads: Though it was a bit better-received than its more pop-oriented predecessor, True Stories, it was still considered a disappointment compared to their earlier works and failed to produce any major hit singles, bringing the band's commercial success to a halt. They would break up three years later to pursue separate projects.
  • Nathan Michael Shawn Wanya by Boyz II Men: This vocal group absolutely dominated the Billboard Hot 100 throughout the entirety of the 1990s, but by the year 2000, R&B had evolved from being represented by earnest love ballads to thugged-out, hip hop-oriented sex and party jams. This album's two singles were such big flops that neither even came close to the top 40. This record also contained "Bounce, Shake, Move, Swing", an embarrassing foray into electronic disco.
  • Native Tongue by Poison: After the rise of Grunge in the early 1990s, this band, once at the forefront of the Hair Metal craze of the 1980s, was forced to evolve their style to keep up with current trends. While Bon Jovi succeeded with Keep the Faith and Aerosmith kept going strong with Get a Grip, Poison found themselves incapable of adapting their carefree sound to the bleaker, less polished climate of the new decade. Whereas the former two records were consistent with their respective bands' styles, just without any extravagant '80s-style production, Native Tongue was an awkward turn towards blues rock that dropped the band's traditional merits in a desperate attempt to match the prevailing tone of mainstream rock at the time. The album was a huge flop, producing just one extremely minor hit in "Stand" and mustering only a Gold certification from the RIAA, in contrast to the Multi-Platinum success of the three records that preceded it. While Poison are still together and performing to this day, they have achieved hardly any commercial success since this album's underperformance, and frontman Bret Michaels has since relied partially on Reality Television to keep himself relevant to the public.
  • Neither Fish nor Flesh by Terence Trent D'Arby: Though he had some minor success in the early '90s overseas, this unexpectedly experimental megaflop shattered the commercial relevance of this rising soul star just one year into his career in America. While the album has somewhat of a cult fanbase today, it was lampooned for being absurdly pretentious, right down to its title, back when it first came out, due especially to D'Arby's own public arrogance. After being reminded about this album on Twitter, Todd expressed great interest in covering it in the future.
  • New Inside by Tiffany: A lot like fellow late '80s teen pop princess Debbie Gibson, Tiffany scored several huge hits early in her career but quickly saw her commercial success fizzle out when she released her third, more urban-oriented album in 1990. New Inside flopped so hard that it and its singles failed to chart, a sharp decline considering her previous album went Platinum and contained two top 40 singles, one of which peaked at #6. As was also the case for Gibson's Anything Is Possible, this album was actually a reasonable success in Japan, where it charted at #17.
  • No Mercy by T.I.: This album received lukewarm reception and failed to match the monster sales of its predecessor Paper Trail, and he has yet to come anywhere close to his late-2000s success (aside from his feature on “Blurred Lines”).
  • Now & Forever by Kim Wilde: "Kids in America" was one of the biggest new wave songs of the early '80s, and even after evolving her sound more towards dance-pop on later releases, Wilde remained highly successful throughout the rest of the decade, culminating in her cover of "You Keep Me Hangin' On" reaching #1 on the Billboard Hot 100. Having proved a versatile performer throughout the '80s, she continued to be fairly successful in the '90s as well...until she released this, which, despite loyally following pop trends of the mid-'90s, was considerably less ambitious lyrically than her previous works, causing the once colorful superstar to suddenly look shallow and manufactured. Now and Forever was such a flop that it bombed even in central Europe and her native UK, where she usually performed best. This resulted in her disappearing from the industry for roughly a decade before enjoying a mild comeback in parts of the world, fueled primarily by '80s nostalgia. Although Wilde isn't as well-known in America as she is in Europe, she doesn't fit Todd's criteria for One Hit Wonderland particularly well, and since an artist's success in the UK greatly influences his perspective, he could probably feature her on Trainwreckords, considering how badly this album destroyed her career abroad.
  • Oh My My by OneRepublic: Despite solid reviews, the band failed to promote the album due to personal issues; as a result, it became their first to not reach any certification or produce a hit.
  • On Every Street by Dire Straits: Six years after the release of their world-conquering album Brothers in Arms, Dire Straits returned from a short hiatus with this record, which received extremely disappointing reviews and sold nowhere near as well as its predecessor. The band broke up a few years later, following a difficult tour, and frontman Mark Knopfler has since embarked on a mostly low-profile solo career.
  • One More Light by Linkin Park: Nearly every album after Hybrid Theory and Meteora has always been a source of contention within the Linkin Park fandom about which New Sound Album ruined the band; however, One More Light was thrashed by both critics and fans for being too pop-oriented and too far away from their alternative metal roots. Todd most likely won't cover this due to Chester Bennington's suicide just two months after the album's release.
  • Only God Can Judge Me by Master P: Master P is one of the great rags to riches stories in hip hop. Thanks to his business tact, his grassroots label No Limit Records cemented New Orleans as one of the major hubs of gangsta rap after the implosion of the West Coast hip hop scene in 1996. While Puff Daddy's Bad Boy Records was more successful in the pop market, No Limit was tremendously popular with hardcore rap fans in the late 1990s.
    However, the label developed a ton of backlash very quickly, with several people criticizing the No Limit Soldiers for being all bark and no bite. It didn't help that many of the label's most popular artists such as Mystikal, Mia X, and Snoop Dogg quickly departed or distanced themselves from the label, causing the initial hype to die down rapidly. Only God Can Judge Me was released in 1999 to absolutely dismal reviews and pretty much finished off No Limit's period of mainstream relevance, with Cash Money Records overtaking No Limit as New Orleans' flagship hip hop label that year.
  • Other Voices and/or Full Circle by The Doors: After Jim Morrison's death, the surviving members forged on and recorded these two albums. Neither went down very well.
  • Paula by Robin Thicke: Todd mentioned in his review of Justin Bieber's "Sorry" that he thought this was actually a decent album, but to call it a career-killing record would be an understatement, due to the surrounding controversy in Thicke's personal life that earned it a reputation as a stalker album. Its sales figures were infamously poor, especially considering Thicke had just scored the second-biggest hit of 2013 only a year before the new album came out.
  • Piece by Piece by Kelly Clarkson: This album was a minor success but effectively ended Clarkson's run as an A-list pop diva. The title track was a top 10 hit, but only because it was redone to promote the last season of American Idol on Fox. It was also her final album with RCA Records, as she left them for Atlantic Records shortly afterward. Her Atlantic debut Meaning of Life got strong reviews but failed to produce a hit.
  • Pilgrim by Eric Clapton: Despite strong sales, the negative reception to this album marked the end of his late-career comeback. He remained popular in the adult market afterwards, but nowhere near the heights of "Tears in Heaven", "Layla", or "Change the World".
  • Pop Life by Bananarama: Released in 1991, this house-influenced album was their first without Siobhan Fahey, who abandoned the group in 1988 to form Shakespears Sister with Marcella Detroit. For this record, Jacquie O'Sullivan took Siobahn's place, but fans were not receptive, leaving the album with disappointing sales and a lack of major hits, definitively ending their streak of relevance in the pop market. To add insult to injury, Shakespears Sister went on to huge success a year later when they released "Stay", which reached the top 5 in America and peaked at #1 in the UK. O'Sullivan left Bananarama after the failure of Pop Life, and since then, the remaining members have continued recording and performing as a duo aside from one brief reunion with Siobhan in 2017 and 2018.
  • Push and Shove by No Doubt and This is What the Truth Feels Like by Gwen Stefani: Despite Gwen Stefani's stint as a judge on The Voice, sales for her more recent music have floundered.
  • Queen by Nicki Minaj: 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 Cardi B, 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.
  • Radio Musicola by Nik Kershaw: While he was one of the biggest hitmakers in his native UK throughout 1984 and 1985, his domestic success plummeted at light speed during this record's album cycle. Its leadoff single "When a Heart Beats" was a flop compared to his previous string of big hits, and by the time the full album came out nearly a year later, his clout as a superstar was completely gone. He has continued recording music to this day and also found some notable success as a behind-the-scenes songwriter, but his own career as a performer never recovered. However, as Kershaw had no hits in America except for his international smash "Wouldn't It Be Good" peaking at #46, Todd may consider this artist too particular to the UK to cover on Trainwreckords and instead save him for a OHW episode focusing on the aforementioned song.
  • Rebel Heart by 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 Nicki Minaj, which many consider the worst track of Madonna's entire career.
  • Rebirth by Lil Wayne: This unexpected and clumsy venture into rock is widely considered one of the worst albums of all time and very quickly undid the critical respect Weezy had earned with his previous effort Tha Carter III. The ill-received I Am Not a Human Being II also damaged his career, but he remained an occasional guest star on other people's tracks for a few years and fully rebounded in 2018… when his long-awaited and well-received Tha Carter V landed four top 10 debuts.
  • Renaissance by Village People: After the downfall of disco at the turn of the 1980s, these former representatives of the genre decided to venture into New Wave instead of post-disco, like most of their former contemporaries were doing at the time. The resulting album was utterly panned and failed to crack the top 100 of the Billboard 200, solidifying the group as relics of the late '70s.
  • Results May Vary by Limp Bizkit: Cited as one of the albums that killed the Nu Metal scene, which was already experiencing backlash by the time the album was released. The album actually sold well, but radio support died off fairly quickly, not to mention this album contained a very infamous cover of "Behind Blue Eyes", which earned a special brand of scorn from traditional rock fans. The band have released material since then, but are very much in Deader Than Disco territory. However, a review is possibly unlikely due to Rocked Reviews' in-depth Regretting The Past review of the album.
  • 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".
  • Revelations by Audioslave: Similar to Down on the Upside above, the album was well received by fans and critics, but creative differences between frontman Chris Cornell and the then-former Rage Against the Machine members broke the band up. Audioslave performed a one-off reunion show in January 2017 as part of a protest against the presidency of Donald Trump, but any possibly of a full-on reunion died with Cornell's aforementioned suicide just four months later.
  • Revolver by T-Pain: Despite the success of “5 O’Clock” (which Todd has already lambasted), this album bombed due to the death of the Auto-Tune distortion fad; Travis Scott would later resurrect the trend, but T-Pain still found himself out of luck.
  • Right Here Right Now by Jordin Sparks: Released six years after her previous album, this record performed absolutely dismally commercially, despite decent critical reviews, and produced no charting singles.
  • River of Dreams by Billy Joel: Due to the Troubled Production of The Bridge and Storm Front, Joel went through several unprecedented staff changes, including firing long time band members Russell Javors and Doug Stegmeyer, as well as ending his longtime partnership with producer Phil Ramone. These disruptions severely hampered his usual creative MO by the time this album, which would turn out to be his last, entered production. Though the Title Track was a big hit that got nominated for a Grammy, the album itself had a polarising reception at best, not to mention Joel was going through a really tough period in his life. It shows.
  • Rolling Papers 2 by Wiz Khalifa: Despite his earlier successes this decade and this album coming out during a time that rap had almost completely swallowed up the Hot 100, this record went by mostly ignored, received marginal reviews, and failed to chart any of its songs in the top 40.
  • Scars & Stories by The Fray: While the band was never a favorite with critics, they had a series of successes on top 40 and adult contemporary radio in the late 2000s. This album was their first to not reach any certification or produce a Hot 100 top 40 hit; Helios, released two years later, fared even worse.
  • Schizophrenic by JC Chasez: Even though JC Chasez was just as prominent in *NSYNC as Justin Timberlake, his attempted solo career was an enormous failure, in contrast to the tremendous success Timberlake enjoyed on his own that established him as a pop megastar, distinct from his stint as a boyband member. Meanwhile, Chasez's debut single, "Blowin' Me Up (With Her Love)", from the soundtrack to Drumline, was a moderate success around the turn of 2003, but his career went immediately up in flames a year later when he released "Some Girls (Dance with Women)", the catastrophic lead single for his full-length solo debut. Since the album flopped, Chasez has not released any further solo records, nor has he reunited with *NSYNC to this day.
  • Scream by Chris Cornell: A wildly out-of-character collaboration album with producer Timbaland, this 2009 record saw the alternative rock icon performing dance-pop music. You can guess how that went over.
  • Second Coming by The Stone Roses: The album's infamous spell in Development Hell and the fallout could potentially make an interesting episode, however the band is little-known in North America (despite four top 10 alternative hits), so it may be too UK-centric for Todd to cover.
  • Shock Value II by Timbaland: The album that sank Timbaland's career as an in-demand producer except for Empire and a few songs he made for Justin Timberlake, including "Filthy".
  • Signs of Life by Billy Squier: Remembered primarily for the infamous music video for "Rock Me Tonight", which absolutely wrecked his rockstar image and ensured he would never see top 40 success again (except through sampling).
  • Slang by Def Leppard: Despite the decline of Hair Metal in the '90s, Def Leppard were one of the few bands of the movement to survive well into the decade, as they released the Multi-Platinum album Adrenalize at the apex of grunge's popularity and then continued to score hit singles with their acoustic ballad "Two Steps Behind" from the soundtrack to Last Action Hero, as well as the straight-up power ballads "Miss You in a Heartbeat" and "When Love & Hate Collide", the latter of which came out in late 1995. Their momentum finally shattered, however, when they released this New Sound Album in 1996. Intended to adapt their party rock sound to a modern climate by infusing elements of alternative music, it not only earned serious backlash from old fans of the band, but also did poorly commercially aside from one #6 single on the Mainstream Rock chart. While its 1999 followup Euphoria was slightly more successful (with a #1 Mainstream Rock hit), the band's commercial relevance nonetheless remained diminished compared even to their early/mid-'90s era.
  • Slow Train Coming by Bob Dylan: This record, along with its two followups Saved and Shot of Love, were made after Dylan became a born-again Christian, which alienated his traditionally secular fanbase and failed to earn him much of a new audience. Even though the former is actually considered to be fairly decent and vastly superior to the latter two, it still marks the point where Dylan's career as a hitmaker ended for good, as its leadoff single "Gotta Serve Somebody" was his final song to reach the top 40 of the Billboard Hot 100. While he released several albums after Slow Train Coming that sold well, one of which won Album of the Year for 1997, he was never truly relevant or influential to the mainstream music industry after this came out. Although Self Portrait is much more infamous than this album in hindsight, the enormous success of Blood on the Tracks five years later most likely disqualifies it from the show, in contrast to the strictly cult relevance Dylan has had since Slow Train Coming.
  • Smiley Smile by Beach Boys: While their previous album Pet Sounds is now regarded as a landmark of rock music in general, its ambitious change in sonic direction not only caused deep tensions between Mike Love and the album's creative driving force Brian Wilson, but also alienated the band's traditional audience, not helped by the controversy they faced over "God Only Knows". To make matters worse, Wilson was already suffering from severe alcoholism and drug addiction, which would ultimately lead to him becoming a recluse for two decades. Due to these internal issues, the planned followup album to Pet Sounds, Smile, would not be released in any form until nearly half a century later.
    The band instead came out with Smiley Smile, which featured some of the songs and ideas leftover from Smile (including the classic "Good Vibrations") but was haunted by sloppily rushed production and Brian becoming so dysfunctional that the band could not properly promote it. After the album was released to a disappointed public, Wilson's influence over the band gradually diminished and he would hardly get to capitalize on the psychedelic rock craze that he had so heavily inspired in the first place.
    Even though the Beach Boys continued to have hit singles for two more decades, they ultimately reverted back to their innocuous roots and were never again the creative juggernauts they had been in the mid-1960s. Todd already discussed how much they had fallen from grace after the '60s in his Top 10 Worst Hit Songs of 1976 video, but he has yet to hone in on where everything went wrong in the first place.
    • 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 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.
  • Songs from an American Movie, Vol. 2 by Everclear: An album plagued mostly by its confusing and ill-timed release, which was less than half a year after Songs from an American Movie, Vol. 1, whose singles "Wonderful" and "AM Radio", while successful, peaked on the charts right around the exact same time as Vol. 2's release. This caused many to mistakenly expect those songs to appear on this album, not realizing they were from its similarly titled predecessor. As a result, not only were the band's promotional efforts woefully unfocused, but Vol. 2 lingered by without producing a single hit of its own aside from one modest success on rock radio. Due to broken consumer confidence, album sales for both Vol. 1 and Vol. 2 quickly plummeted. The band continued on after this fiasco but never achieved even remote commercial relevance ever again.
  • Songs of Innocence by U2: After three decades of global superstardom, the band's fragile reputation shattered virtually overnight when, in a scheme to spread their music to as many people as possible, they automatically uploaded this album to half a billion iTunes libraries around the world upon release. Bono was certainly no stranger to accusations of pretentiousness and arrogance, but this act crossed the line even for a large percent of his defenders and completely overshadowed the goodwill he had built through his extensive humanitarian work. Additionally, the record itself was criticized for being overly polished, synthesized, and lyrically uninteresting, earning the worst reviews of any of their albums to that point. Todd has already discussed Bono's infamous ego in his Top 5 Awful Moments from U2's "Rattle and Hum" video, but this album's story is basically a full manifestation of everything he already levied against U2 in that episode.
  • Sorry I'm Late by Cher Lloyd: Despite earning more positive reviews than her debut, this sophomore effort was an enormous flop on both sides of the Atlantic, in part due to disagreements between Lloyd and her management that resulted in the album being delayed by half a year and receiving limited promotion. Her profile was already declining in her native UK by the time she crossed over to North America in 2012, but her newfound maturity on this record wasn't enough to counter her initial reputation as a bubblegummy teen pop ditz. Subsequently, she was dropped by Epic Records and went on hiatus for a few years. She has since signed a new deal with Universal Music Group and plans on releasing a new album in the near future, but the only song she put out since joining Universal went nowhere on the charts.
  • Soul Kiss by Olivia Newton-John: After she dominated the pop market in the late '70s and early '80s, following her Grease-fueled comeback, sales for this album were disappointing, largely due to the younger and more provocative Madonna overtaking her throne as the biggest female star in pop. It only produced one top 20 hit and merely went Gold, while its followup had no major hits and wasn't certified.
  • Sound Loaded by Ricky Martin: 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 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.
  • Space Cadet Solo Flight by KC and the Sunshine Band: After the downfall of disco, this group transitioned more towards R&B and synthpop ballads instead. While this worked at first, with "Please Don't Go" topping the Hot 100 and the Teri DeSario duet "Yes, I'm Ready" reaching #2, it did not result in long-lasting success, and by the time they released this in 1981, their star power had deteriorated so much that the album and its singles failed to chart, not helped by their abysmal critical reception. They did eventually score one more big hit in 1983, "Give It Up", but the song's parent album sold poorly and the band disappeared from the pop industry for good soon afterwards.
  • Squeeze by The Velvet Underground: Another example of a failed Band Minus The Face release (which at that point was just guitarist Doug Yule and a few session musicians).
  • St. Anger by Metallica: Another Regretting The Past subject matter, so a review may be unlikely. Their mid-90s albums Load and Reload earned a rather polarising reception at best, especially from older fans, but this album earned almost universally scathing reviews and a ton of fan backlash upon release; the laughably terrible drum work dominating the mix was only the tip of the iceberg of all the album's issues (and as the documentary Some Kind of Monster demonstrates, the issues extended to the band themselves). The fact that it was released around the time of the band's infamous lawsuit against Napster certainly didn't help either. However, they're still big names in the metal scene to this day even if their critical reputation has taken a real hit since this album.
    • Alternately, Lulu by Lou Reed and Metallica. In contrast with St. Anger and Death Magnetic, which went double-platinum, this album didn't get certified at all.
  • Standing in the Spotlight by Dee Dee King: Shortly before leaving The Ramones, by then long past their glory days, bassist Dee Dee Ramone embarked on a solo career as a rapper, much to everybody's surprise. Dee Dee's debut solo single "Funky Man", released under the new moniker Dee Dee King, was universally panned and quickly earned a reputation as one of the most infamous and embarrassing songs in music history. A couple years later, he released his first solo album, which contained a mixture of rap songs, as well as more conventional rock tracks, but this too was completely ridiculed by the public. Although the Beastie Boys had similarly switched from punk rock to hip hop and proved there was potential synergy between the two genres with Licensed to Ill, Dee Dee's new direction was largely the product of his drug-induced ego rather than a genuine artistic revelation. Following this disaster, he released three underground studio albums before his untimely death in 2002.
  • Strip Me by Natasha Bedingfield: Despite international success at the beginning of her career, following in the footsteps of her already successful older brother Daniel, her popularity became almost exclusively concentrated in North America by the time "Pocketful of Sunshine" came out in 2008. As a result, advertising for this album focused primarily on the US and Canada, but the album and its singles flopped badly on the charts, and things didn't improve for her when she finally released "Pocketful of Sunshine" in Europe, three years after its American success. Her planned fourth album, The Next Chapter, still hasn't come to fruition seven years after it original announcement.
  • Sugar ‘n’ Spice by Martha Reeves and the Vandellas: Although they were always more of a singles group than an albums one, they were easily one of Motown’s most prolific signed acts during the onset of Beatlemania and helped shape the label’s sound amidst this period of transition. However, they got quickly overshadowed by The Supremes, leading to a downward spiral that lasted throughout the rest of the 1960s. Things finally bottomed out with this album, which not only missed the Billboard 200 completely, but was also their first without a top 40 single. Furthermore, Martha Reeves was crippled by a painkiller addiction, and while she eventually recovered physically, her career did not.
  • Supposed Former Infatuation Junkie by Alanis Morissette: Similar to the Oasis example above, Morissette's career continued for several more years after this album, but the degree to which she fell from grace compared to how popular she was beforehand is very notable. Morissette's previous album, Jagged Little Pill, was one of the biggest-selling records of the '90s, spawning numerous hit singles and influencing countless female artists in the coming several years, but Supposed Former Infatuation Junkie only had one moderate hit in "Thank U" (which is remembered more for its controversial music video, anyway) and sold only a small fraction of its predecessor's figures. Essentially, it degraded Morissette from the undisputed queen of rock at the time to just another adult alternative singer after only a few short years.
  • Sweat by Kool & the Gang: Released amidst the rise of hip hop and New Jack Swing in the black music scene, as well as frontman J.T. Taylor and saxophonist Ronald Bell leaving the band's lineup, this album was so poorly received that it failed to chart on the Billboard 200 and produced no Hot 100 hits. While the band were around for two decades by that point, they had still been one of the biggest R&B acts of the 1980s and their previous record Forever scored two top 10 singles.
  • Switch by INXS: This gives Todd the opportunity to discuss not only the tragic downfall of INXS, but also Rock Star, Mark Burnett's failed Reality Television series that attempted to revive the band to embarrassing results.
  • Synchronicity by The Police: Although it's widely considered their Magnum Opus and achieved easily the most commercial success of any of their records, its status as basically a Sting solo album in disguise was a major factor for their breakup immediately after its accompanying tour, following an already dire climate since their previous LP Ghost in the Machine. Tensions got so heated that the members recorded their tracks separately and co-producer Hugh Padgham almost abandoned the project. The enduring mega-success Sting enjoyed throughout his actual solo career ensured they would never get back together aside from two brief reunions. Although they attempted to record a new album during the first of them, those plans quickly fell through. Todd also noted, during the "Better Now"/"Lucid Dreams" PSR, that the infamous track "Mother", an obvious byproduct of Synchronicity's Troubled Production, is Sting's worst song ever.
  • Testify by Phil Collins: His career was already starting to decline after he left Genesis and put out the poorly received Dance into the Light, but despite briefly rebounding with the soundtrack to Disney's Tarzan, his career came crashing down for good when he released this, which got bad reviews, failed to produce any big hits, and sold terribly. Though he later worked on the soundtracks for Brother Bear and Tarzan II, in addition to reuniting with Genesis for one tour in 2007, he's mostly faded from the public consciousness since the underperformance of this album.
  • Tha Doggfather by Snoop Doggy Dogg: While Snoop's career technically persisted as late as 2014 (with appearances on the hit singles "Wiggle" and "Hangover"), the failure of this album and especially the circumstances surrounding its release mark a severe turning point for both his image as well as his critical approval within the hip hop industry. Having just barely escaped a murder conviction and with Dr. Dre having left Death Row Records around the same time, Snoop came into the recording process for the long-awaited followup to his debut solo record Doggystyle far more reluctant about his gangsta persona and without the iconic G-funk beats that suited him so well in the past. To make matters worse, the murder of Tupac Shakur and incarceration of Death Row founder Suge Knight right before the new album's release distracted from its promotion and contributed heavily to its lukewarm reception. After leaving Death Row, he remained an in-demand pop rapper for several more years, but except for his guest appearances on The Chronic 2001, nothing he ever recorded after Tha Doggfather came anywhere close to matching the acclaim or impact of his work in the early/mid-90s. Essentially, this flop marked the end of gangsta rap legend Snoop Doggy Dogg and the birth of cosmopolitan sellout Snoop Dogg.
  • Thank You by Duran Duran: They managed to endure the failure of Liberty in 1990, but this deeply misguided covers album (including an infamous cover of "911 Is A Joke") sank them irrevocably, despite The Wedding Album suggesting they could have survived the alternative boom of the '90s with better subsequent material. Straining for another comeback, the band switched labels three times in less than a decade following this disaster, but aside from their Epic Records debut Astronaut attaining some mild popularity in their native UK in 2004, they never came anywhere close to recapturing the success of their '80s heyday ever again.
  • The Amalgamut by Filter: The pressure to create a follow-up to the back-to-back successes of Short Bus and Title of Record was exacerbating for Richard Patrick, to the point where he would indulge his addictive habit instead of working on the album, and even Patrick feels that this negatively affected the album. On top of that, the album barely managed to sell 100,000 copies, and Patrick opted to check himself into rehab in lieu of promoting the record, placing the band on a hiatus. Despite reuniting in 2007, Filter's time in the mainstream was long past them.
  • The Beginning by The Black Eyed Peas: While it did score a few hit singles, it flopped badly compared to their three previous records, both commercially as well as critically. Todd has already touched on the events that led to their hiatus in his Worst Songs of 2011 video, but time has since dashed the possibility of a true comeback. It took several years for them to reconvene (minus Fergie) for the follow-up, which was released in 2018 to very little fanfare, although it became easily their biggest critical success since their pre-Sell-Out days.
  • The Cure by The Cure: 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 Genre Roulette 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 Self-Titled Album.
  • The DeAndre Way by Soulja Boy: He was lucky to avoid becoming a one-hit wonder when "Kiss Me Thru the Phone" emerged a major hit in 2009, but after the rise of Young Money ushered in a new era of pop rap, the hype for Soulja Boy finally died down by the time he released this album a year later.
  • The Declaration by Ashanti: Due to her parent label, The Inc., having fallen sharply from grace since her previous full studio album, not to mention her former constant collaborator Ja Rule being a total wash-up by this point, Ashanti was nothing but just another disposable R&B singer upon the release of this album. Its only top 40 hit, "The Way That I Love You", only reached #37 and was Overshadowed by Controversy when Ashanti and her label launched the infamous Gotchagram website to promote its music video. She's had absolutely no chart success on her own ever since.
  • The Final Cut by Pink Floyd: Much like its predecessor The Wall, this was marred by a troubled production and creative differences between the band members. But whereas The Wall is widely regarded as a classic, The Final Cut remains a very polarising album to this day, and marked the end of Roger Waters' tenure with the band, who would release two further albums before breaking up.
  • The Funky Headhunter by MC Hammer: Right at the height of gangsta rap's popularity, Hammer attempted to earn some street cred by adopting a Darker and Edgier image. In doing this, not only did actual gangsta rappers (who were railroading Hammer as a cheesy pop sellout to begin with) not buy it in the slightest, but it also alienated a lot of his core audience of young children and their parents. In part due to this album's failure, Hammer ended up filing for bankruptcy two years later.
    • Confirmed.
  • The Harsh Light of Day by Fastball: Since Todd stated in his Top 10 Worst Hit Songs of 2016 video that he does not count Fastball one-hit-wonders, he may prefer to feature them on Trainwreckords instead of OHW. While the band was quite successful after releasing their breakthrough sophomore album All the Pain Money Can Buy, this followup record was a huge bomb, peaking below the top 100 of the Billboard 200 and mustering only one very minor radio hit, resulting in Hollywood Records dropping them.
  • The Hunter by Blondie: Despite this new wave band's world-conquering success during the late 1970s and early 1980s, their momentum began to crumble when the members took a break in 1981 and frontwoman Debbie Harry released an ill-fated debut solo album that same year. Once the group returned soon afterwards later to record this album though, things only went from bad to worse. Trading in their popular blend of catchy riffs and slick dance grooves for a vague, muddled album concept about "hunting", the record was met with brutal critical reviews and bombed commercially, with the leadoff single "Island of Lost Souls" only barely making it into the top 40 of the Hot 100, in contrast to the multiple #1 hits the band had scored previously. One track, "For Your Eyes Only", was intended as the signature single for the eponymous James Bond movie but was ultimately scrapped and ended up here instead. Combined with the band's rapidly deteriorating stability, their subsequent Tracks Across America Tour '82 was such a failure that they abruptly broke up before they could promote their new album in Europe.
    Although they eventually reformed in the late '90s and made an international comeback with the song "Maria", that single flopped in the US. Also, none of Debbie Harry's solo material during Blondie's long hiatus ever caught on in America like some of it did elsewhere.
  • The Love Movement by A Tribe Called Quest: The album received polarising reviews, and members Phife Dawg and Q-Tip were falling out with each other around this time, eventually breaking up after the album's release.
  • The Master by Rakim: While the legendary emcee made a highly successful solo comeback after splitting from Eric B. during the late '90s, his profile in the rap community plunged into insignificance following the disappointing critical and commercial reception of this album, his first to feature an Explicit Content sticker. He released one more album a decade later, which was even worse-received, and has since reunited with Eric B.
  • The Mirror by Ja Rule: The headline rapper of Irv Gotti's Murder Inc. label, Ja Rule was one of the primary faces of pop rap in the early 2000s. His career took a big hit with the failure of his 2003 album Blood in My Eye, but he made a comeback a year later when he released R.U.L.E. After a brief hiatus, following the end of his original contract with The Inc., he attempted another comeback in 2007 with two new singles, but even with Lil Wayne guesting on one of them, the songs flopped so hard that the album they were slated to appear on got delayed. To make matters worse, some of the tracks on said album were leaked online, which prompted Ja Rule to rerecord the whole album and release it for free. By the time it came out in 2009, all of the clout he had built for his career was long gone.
  • The Moment of Truth by The Real Milli Vanilli and/or Rob & Fab by Rob & Fab: After it was officially revealed that Fab Morvan and Rob Pilatus were not the true vocalists of late '80s pop juggernaut Milli Vanilli, producer Frank Farian attempted to rehabilitate the group's name by featuring the actual singers on their intended sophomore album, which was already in production at the time of the scandal, in addition to hiring two new vocalists in order to further distinguish the rebooted version of the group from its lip-syncing predecessor. Although this version of the record was not released in the United States, it eventually arrived to America with rerecorded vocals as the self-titled debut by Try 'n' B, omitting reference to Milli Vanilli. A year later, the original models for Milli Vanilli released an album that they actually performed on as Rob & Fab. Unsurprisingly, both of these were immediately laughed off as acts of pathetic desperation by the public, and Milli Vanilli remain shorthand for musical fraud to this very day.
  • The Red Shoes by Kate Bush: Lambasted as a blatantly commercial turn from one of the most critically respected musical figures of the 1980s, the disappointing reception of this album led to Bush taking a 12-year hiatus from recording. Her comeback album Aerial was well-received, but by 2005, she was no longer at the forefront of the music industry. While Bush is not particularly famous in America aside from "Running Up That Hill" and a few Modern Rock hits, she's probably familiar enough to most of Todd's target audience that he could reasonably cover this.
  • The Science of Things by Bush: They rose to prominence as a sort of mainstream replacement for Nirvana, but they were forced to change with the times once alternative music drifted away from grunge in the late 1990s. To do this, they began integrating elements of electronica into their sound, first with a remix collection that contained a new version of "Mouth" (originally from their sophomore effort Razorblade Suitcase), then eventually with this proper New Sound Album, which performed decently on the charts but garnered polarizing reception at best. Though "The Chemicals Between Us" was a huge hit on rock radio, their popularity and relevance faded soon afterwards. Their more basic, less interesting 2001 followup Golden State was a complete flop, causing them to go on hiatus for several years, although they did earn one last rock #1 in 2011 after reforming.
  • "The Spaghetti Incident?" by Guns N' Roses: A covers album that had disappointing sales by the band's standards, and relations between Axl and the rest of the band were already unraveling at that point, culminating with the events of the production of their "Sympathy For The Devil" cover made for the Interview with the Vampire soundtrack, which resulted in guitarist Slash leaving the band.
    • Alternatively, Chinese Democracy is also a possibility, having been released after over a decade of delays and an infamously Troubled Production to mediocre reviews. This album also got the Regretting The Past treatment.
  • The Spirit Indestructible by Nelly Furtado: Released several years after the blockbuster success of her previous English record Loose and after Timbaland's heyday came to an end, this album got marginal reception and barely made any mainstream impact.
  • The Supremes Produced and Arranged by Jimmy Webb by The Supremes: Although the legendary Motown Girl Group was able to squeak by with a few more hits after Diana Ross left them to focus on her solo career, their album sales were consistently struggling, and this was the first record since their breakthrough to not contain any major hits, despite the proven track record of its headlining producer. After this album came out, the group never made a significant splash on the Hot 100 again and they finally broke up in 1977.
  • The White Album by The Beatles: 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 Yoko Ono on John Lennon, not to mention George Harrison's 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 spawned the infamous "Revolution 9". That didn't stop them from pumping out three more 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.
  • 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 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 Britney Spears as the basis for a Darker and Edgier, 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 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.
  • Thing-Fish by Frank Zappa: Whilst Zappa has a cult following for his work in the 60s and 70s, even his most die-hard devotees don't think much of his 80s output, with this particular album being singled out as the point where he jumped the shark. Aside from being a glorified compilation of previously-released songs with additional overdubs, the record's intended satirical bent was derided as so far-fetched and pointless that the message just gets lost amongst all the dated African-American stereotypes. Much like Kilroy Was Here, Zappa had lofty ambitions to stage it as musical, which only came to pass ten years after his death.
  • This Unruly Mess I Made by Macklemore: Alongside producer Ryan Lewis, he quickly emerged one of the biggest and most inventive rappers around in 2013 with the success of The Heist and its four smash singles. His stride took a severe fall, however, with the release of the controversial single "White Privilege II", which alienated his core audience in spite of its good intentions. Additionally, the hip hop industry began to evolve dramatically with the rise of Trap Music, leaving more flamboyant acts like him out of fashion. His next album (sans Ryan Lewis), Gemini, went Gold, but still none of his song have reached the top 40 since "Downtown" and he hasn't been anywhere near the trendsetter status he reached just a few years earlier. However, he has remained huge in Australasia and parts of Europe, where songs like "Glorious" and "These Days" went to #1 in certain countries.
  • Tight Shoes by Foghat: While they've remained together to this day except for one hiatus in the mid-1980s, the poor reception of this album killed off their commercial relevance and they never made any sort of comeback afterwards.
  • Todd Smith by LL Cool J: This iconic rapper has actually had multiple setbacks throughout his long career that were the result of album train wrecks, first with his tired 1989 record Walking with a Panther that had the misfortune of being released at the height of his feud with Kool Moe Dee, and then with his 1993 album 14 Shots to the Dome, which, much like MC Hammer's The Funky Headhunter, saw LL Cool J switch up his style towards gangsta rap despite the album lacking a Parental Advisory sticker (though unlike The Funky Headhunter, it did contain a few expletives). In both aforementioned cases, however, LL's followup was a career-resurrecting triumph, first with 1990's Mama Said Knock You Out, whose eponymous single is widely considered to be the highlight of his career, and then with 1995's Mr. Smith, which produced three gigantic hits and proved that LL could remain a credible force in a post-Chronic hip hop world after all, in spite of 14 Shots suggesting otherwise.
    The same type of redemption never came after the failure of this album, which was released in 2006 after a pair of non-explicit albums capitalizing primarily on the rap ballads that had earned LL Cool J a mainstream audience in the first place back with 1987's "I Need Love". Much like Justin Timberlake's "Filthy", the leadoff single "Control Myself" fell off the charts extremely quickly despite a high peak early on, while the album itself was absolutely savaged by critics and fans alike.
    Not only has LL's commercial success all but dried up since Todd Smith crashed and burned, the rapper himself has continued to have an unfavorable reputation in the rap community even several years later, in large part due as well to his 2013 album Authentic, which was also universally panned, not to mention his infamous duet with Brad Paisley "Accidental Racist", which Todd already covered in a previous Pop Song Review with The Rap Critic.
  • Too Hot to Sleep by Survivor: Like their 1983 album Caught in the Game, it flopped hard commercially and produced no top 40 hits. As a result, the band went on hiatus for several years, while lead vocalist Jimi Jamison continued to perform under the Survivor banner without legal permission. By the time Rocky V came out, they were unavailable to contribute a song to the movie's soundtrack, as they famously had for III and IV. They eventually reformed with original frontman Dave Bickler, who had left in 1983 due to vocal problems, but they've never risen above niche status since then.
  • Treat Myself by Meghan Trainor: Though this was originally slated to be released in August 2018, it got delayed multiple times, due to Meghan and her label wanting to record additional material, as well as the poor commercial performance of its singles. She eventually released an EP in February 2019 as an appetizer, which the public largely passed up. Although the full album still has yet to come out or even receive a new official release date, it's very likely to be the final nail in her coffin, based on how much of a downward spiral she's been in since "No Excuses".
  • Trompe le monde by Pixies: Despite hitting stores just a day before Nevermind, which was overwhelmingly influenced by the band’s previous works, this album had a disappointing reception compared to their first few records and failed to launch them to a broader audience. Amidst ongoing tensions between the band members that exacerbated during the tour to promote the album, they broke up soon afterwards, thus missing out on the mainstream heyday of alternative rock. They eventually reformed in 2004, but their more recent material has fared rather poorly, in spite of their enduring cult fanbase.
  • Twisted Angel by LeAnn Rimes: While she was hugely successful throughout the '90s and early 2000s, her management's incredibly sloppy handle on her identity doomed her after only a few years. Though she started off as a country singer, she found huge success in the adult pop market with "How Do I Live", which was eventually followed by "Looking Through Your Eyes", her contribution to the Quest for Camelot soundtrack. Despite this, her subsequent Self-Titled Album retreated back to pure country...only for her to venture into full-blown Britney Spears-style pop just a year later with "Can't Fight the Moonlight", which was featured on the soundtrack for Coyote Ugly. While that song was an international smash and became a big hit on American pop radio when remixed into a Latin dance track in 2001, it alienated her country audience and ultimately led Rimes to break from her already strained partnership with her original management team.
    After years of Troubled Production, she released this album in 2002, serving as executive producer herself for the first time and continuing in the pop and R&B style she had previously flirted with. The resulting record fared poorly in the pop market, and by the time Rimes returned to her country roots a few years later, it was too little, too late. While Faith Hill made a similar move at the same time as Rimes' Twisted Angel with her Cry album, Hill was able to press on because her musical identity was much more consistent from the start, in stark contrast to Rimes and her management's splintered focus during the years leading up to Twisted Angel.
  • Two Hearts by Men at Work: By the time this album went into production, not only was there severe creative friction between frontman Colin Hay and Greg Ham, but the band's drummer and bassist had both departed from the lineup, forcing the remaining members to rely heavily on session musicians and synthesizer tracks to get the record completed. Along the way, guitarist Ron Strykert left as well. Once the album hit stores in 1985, it was panned by critics, produced just one extremely modest hit in "Everything I Need", and resulted in the band breaking up a year later.
  • U-Vox by Ultravox: While never big in America, this Synth-Pop band was hugely popular and influential in their native UK throughout the early 1980s. However, the commercial failure and disappointing critical reception of this 1986 album ultimately led the band to break up two years later. Though they reformed in 1992, they would not return to their classic lineup until 2008, by which point they were long past their period of chart relevance.
  • Underclass Hero by Sum 41: Their previous record Chuck was a stylistically different yet successful step towards maturity for the band, but they weren't so lucky with this album, which returned to their classic pop punk roots but was framed as a concept album centered around personal topics. Released around the height of emo music's popularity, Underclass Hero received marginal critical reviews, sold extremely poorly, and failed to produce a hit even on Billboard's rock airplay charts.
  • Underground Luxury by B.o.B.: He started the 2010s decade as one of the biggest pop rappers in the world, but his sophomore album was only modestly successful, while this one was a complete and utter bomb. Nowadays, he's more famous for being the subject of ridicule within the rap community than for his previous successes.
  • Universal by Orchestral Manoeuvres in the Dark: By 1996, the Synth-Pop movement that this band had dominated for so long was long past its peak, prompting them to flirt with Britpop, which was at the height of its influence at the time. Though this album produced one decent hit in their native UK, it was nonetheless a critical and commercial failure, prompting frontman Andy McClusky to put the band on ice for a decade, during which he founded and managed Atomic Kitten. While OMD have been relatively successful for a legacy act since reforming in 2006, none of their post-comeback albums have been certified, nor have they scored any hit singles.
  • Up by ABC: They were one of the biggest bands of the sophisti-pop movement in the 1980s, but once they ventured into house music on this album, their critical and commercial approval plunged to practically nothing almost immediately. However, the lead single "One Better World", while not successful, is notable for its explicitly pro-gay rights message, making it extremely progressive for a pop song in 1989.
  • Van Halen III by Van Halen: Due largely to guitarist Eddie Van Halen's rampant alcoholism at the time, the production of this album was very bumpy, resulting in producer Mike Post and bassist Michael Anthony having limited involvement in the record's creation. Although Eddie's relationship with new frontman Gary Cherone was more harmonious than it had been with David Lee Roth and Sammy Hagar, Cherone's lack of leadership allowed Eddie's aimlessly abusive control over the project to go mostly unchecked. When the album finally came out in 1998, it was thrashed by just about everybody, who scorned the horrific mixing, shrill vocals, lack of harmonies, embarrassing lyrics, and sloppy song structures. It sold poorly, resulting in the band going on hiatus. They eventually reformed with Hagar and later Roth returning as lead singer, but their commercial success has been modest at best.
    This album’s story is peculiarly similar to ...Calling All Stations... by Genesis because it was released in the late 1990s, made by a legendary band that had been popular since the 1970s, and featured the group-in-question's third lead singer, who had already fronted a different band with a huge hit earlier in the decade. In Van Halen's case, Gary Cherone had been the frontman of Extreme, who released the #1 acoustic ballad "More Than Words" in 1991.
    • Confirmed.
  • Voicenotes by Charlie Puth: Despite earning significantly better reviews 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. Whether or not Puth can make a comeback remains to be seen.
  • Volume 4: Songs in the Key of Love and Hate by Puddle of Mudd: Released at the tail-end of the post-grunge movement, this album peaked at a measly #95 on the Billboard 200, despite two #6 Mainstream Rock hits. The band has been completely irrelevant ever since, even in the niche market.
  • Waiting for the Punchline by Extreme: The huge failure of this album led to the band going on hiatus, setting the stage for frontman Gary Cherone's infamous stint with Van Halen.
  • Weathered by Creed: Another album that got the Regretting The Past treatment. Although the album was successful commercially, the band broke up due to tension between frontman Scott Stapp and the other band members, namely because Stapp was becoming increasingly insane and dependent on alcohol and drugs, with a botched show in Chicago in late December 2002 being the straw that broke the camel's back. After dumping Stapp, the remaining members recruited Myles Kennedy to form Alter Bridge, which is a better received band than Creed, although not as commercially successful. Creed did reform in 2009 and released Full Circle before breaking up again in 2012.
  • Welcome Back by Mase: One of the artists signed to Bad Boy Records, Mase was enjoying the height of his success with his contribution on the hit single "Mo Money, Mo Problems" when he suddenly quit the music biz to become a Christian minister. Five years later, he attempted a comeback with this album, in which he swapped his original East Coast gangsta rap style for profanity-free, awkwardly-inserted Author Tracts about his new-found faith. Needless to say, this comeback attempt didn't take, and he went back into obscurity almost immediately afterwards.
  • Welcome the Night by The Ataris: Although this group might be a better fit for One Hit Wonderland, the story behind this album's failure is quite fascinating and probably a much more worthwhile point of focus than the band’s only Hot 100 hit, a cover of Don Henley’s “The Boys of Summer”. Plagued by numerous lineup changes, constant delays, and lead singer Kris Roe's insistence on creating a more artistic record than the straightforward pop punk they were previously known for, this followup to the band's commercial breakthrough So Long, Astoria was released in early 2007 to extremely little fanfare and failed to earn Roe the indie cred he so ambitiously sought. While the band is still together, Roe is the only remaining member from their peak years and they have not released another proper studio album since Welcome the Night tanked.
  • When You're a Boy by Susanna Hoffs: Despite The Bangles dominating the charts throughout the latter half of the 1980s and Hoffs emerging a huge celebrity on the heels of the #1 smash "Eternal Flame", this first solo outing of hers utterly crashed and burned, even though grunge had not yet burst into the mainstream when it was released.
  • Wildflower by Sheryl Crow: The adult alternative movement was already in its elder years by the time this album came out in 2005, but its mediocre reception and lack of smash hit singles signaled the end of her tenure as one of the genre's leading faces.
  • Witness by Katy Perry: Todd claimed that 2017 was the year Katy Perry's career "imploded spectacularly". He also 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, especially as she's found much more success in 2019, albeit still nowhere near the world-conquering heights she reached in 2008 to 2014.
  • Word of Mouth by The Wanted: For a brief time, they seemed like the only potent rivals to One Direction, but unlike that group, they never mustered more that one major hit in America. Even though this album produced multiple big hits in their native UK, the group went on hiatus shortly after its supporting tour.
  • You Gotta Believe by Marky Mark & the Funky Bunch: Very similar to Tone-Lōc above, this early pop rap act scored two huge hits on their first album, but their followup record was such a Sophomore Slump that frontman Marky Mark subsequently abandoned the music industry in favor of acting, through which he's had a much longer and more sustainable career ever since.
  • You're Gettin' Even While I'm Gettin' Old by The J. Geils Band: After the band reached their commercial peak in the early 1980s, frontman Peter Wolf left due to the more new wave and synthpop-oriented sound they had developed during this period. For their next album, keyboardist and primary songwriter Seth Justman took over as their lead singer, which went down so badly that the band broke up only a year later.
  • 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 Sophomore Slump and completely torpedoed their momentum (in the US market at least).
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