Follow TV Tropes

Following

WMG / Todd In The Shadows Trainwreckords

Go To

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

This is a series where Todd looks at notable 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). Please note that Todd does not qualify just any generic, unsuccessful album released at the end of a normal career arc and is much likelier to lean towards albums with interesting stories attached to them, so long as the bands or artists in question failed to truly come back from them.

Advertisement:

    open/close all folders 

    #-A 
  • 2300 Jackson Street by The Jacksons: It was essentially a Band Minus the Face record, as it was their only record without Michael Jackson, aside from a guest spot on the title track. Without his star power to carry the project, the album peaked at a dismal #59, got scathing reviews, and resulted in their immediate disbandment.
  • 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.
    • Alternatively, True Colors. While it did not flat-out end her career like Night did a few years later, it wasn't nearly as beloved as her smash debut and decisively lost her battle for the title of "Queen of Pop" with Madonna, whose rapturously acclaimed True Blue album, released the same year, was setting her on the path towards immortality. Janet Jackson was already replacing Cyndi as Madonna's most potent rival, thanks to her groundbreaking breakout album Control, and would prove to be much more evenly matched in the long run. Meanwhile, True Colors' title track became a #1 and eventual gay anthem, while "Change of Heart" and a cover of Marvin Gaye's "What's Going On" were also major hits, but they aren't nearly as well-remembered today. The album itself only went Double Platinum, in contrast to True Blue going 7x Platinum and Control 5x Platinum. Todd brought this album up when discussing the disappointing performance of Lorde's Melodrama album, comparing it to Alanis Morissette's Supposed Former Infatuation Junkie below and noting that it was far less popular than her debut, despite producing a few big hits.
      • Both albums jossed in the Hootie & the Blowfish Trainwreckords, as Todd considered Lauper's decline normal for a pop star.
  • 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 Melvion, as well as the departure of drummer Jimmy Chamberlain 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. Todd hinted here that he will likely cover the album sometime in the future.
    • 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.
    • Machina / The Machines of God, also alternatively. This album tried to be both an ambitious concept album as well as something of a return to form to the band, following their more subdued and electronic-influenced style on Adore. In the end, it became the band's lowest-selling album to date (prior to 2018's Shiny and Oh So Bright), and none of its singles reached the Billboard Hot 100 (Jimmy Chamberlain remarked "It was like watching your kid flunking out of school after getting straight A's for ten years"), and while Adore has been Vindicated by History, this album is still pretty divisive.
  • 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 and his health deteriorated, ultimately dying from a heroin overdose in 2002 (coincidentally on the 8th anniversary of Nirvana's fellow grunge frontman Kurt Cobain's death). Alice in Chains reformed in 2005 with a new lead singer, William DuVall, and have released three albums since reforming.
  • All Jacked Up by Gretchen Wilson: Known as the godmother of the MuzikMafia spearheaded by Big & Rich, she had made a big splash with her 5x Platinum debut album and appeared to be a game changer for women in country as a whole with her scrappy aesthetic and influences from outside of Nashville. Just one year later though, her sophomore record proved her to be a total flash in the pan, only going single Platinum and being forgotten about quickly. She soon faded into complete obscurity as artists such as Carrie Underwood, Miranda Lambert, and Taylor Swift took over as the real trailblazers of women in country music for the coming generation.
  • All I Feel by Ray J: Ray J like a former child stars wanted to have an "adult image" with this album, while "Sexy Can I" was his biggest hit, the rest of the singles tanked, the album was panned and Ray J has yet to release another studio album. If Todd reviews this, except him too make an obvious Ray Con joke.
  • Am I Not Your Girl? by Sinéad O'Connor: She was quickly establishing herself as a force to be reckoned with on the heels of her previous album, but her career immediately fell apart upon the release of its followup, which was just a collection of jazz standards. Not only did it get bad reviews and sell horribly, it was Overshadowed by Controversy when O'Connor tore up a picture of Pope John Paul II on Saturday Night Live shortly after the album's release. Her subsequent efforts failed to bring her back to prominence of any sort, not helped by her Creator Breakdown in the years following her success. Since O'Connor already had success in the UK before "Nothing Compares 2 U" and is famous well beyond her one hit, it's likely Todd would prefer to feature her on Trainwreckords instead of One Hit Wonderland.
  • 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.
  • America by 30 Seconds to Mars: This album was met by almost universally scathing reviews and made multiple "worst albums of the year" lists, due to it's perceived attempt at cashing in on the popularity of trap rap and the electro-pop-rock style made popular by Imagine Dragons. Shortly after the album's release, the band's guitarist announced his departure from the band. As it was released in 2018, time will tell if they can recover, however unlikely that may seem at this point.
  • 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 Dream by Crosby, Stills, Nash & Young: Despite being the band's first album with Neil Young in eighteen years, its production was marred by Crosby and Stills' health ailments, and while it went Platinum, it got a mostly poor reception and was not even accompanied by a tour. It proved to be their final album, with or without Young, to make any kind of commercial impact.
    • Alternatively, Live It Up by Crosby, Stills & Nash: It proved to be such an enormous failure that it only reached #57 and didn't get certified, putting a definitive end to their commercial success. It was also critically panned.
  • Angelic 2 the Core by Corey Feldman: He attempted a music career decades after his period of fame as a teen heartthrob. Needless to say, it didn't go well. For starters, the Indiegogo campaign fell way short of its $105,000 goal, raising only $14,982. By the time it was released, it was absolutely thrashed by critics (including an infamous 1-hour rant from The Needle Drop) and was considered one of the worst albums of all time.
  • Anything Is Possible by Debbie Gibson: Remembered primarily as a teen pop starlet 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 for a long and fruitful career at the dawn of the 1990s.

    Following in the footsteps of critically acclaimed female pop records 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, 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.

    B 
  • Back from Hell by Run–D.M.C.: Despite their legendary status for their work in the '80s, the rapidly changing trends in hip hop during the '90s were not kind to them. This record got poor reviews and had disappointing sales figures, signifying the end of their reign as trendsetters.
    • Alternatively, Crown Royal. 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.
  • Back on My B.S. by Busta Rhymes: It got a horrendous reception from the public and didn't even get certified. He had a few more guest spots on other people's hits after this got released, but he never got his own career back on track after this came out.
  • 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.
  • Baptism by Lenny Kravitz: Critics and fans alike found this to be his most tedious record to date, and although "Lady" was a hit, the album itself had disappointing sales and marked the end of his commercial relevance in America, despite continued popularity overseas.
  • 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***in' 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.
  • Bedtime for Democracy by Dead Kennedys: If Cut the Crap killed the first wave of punk, then this solidified its death. Like that album, it was seen as poorly produced and uninspired, and it ended up being their final record, as they broke up that year. They had already grown badly disillusioned by the changing nature of the underground punk scene, but they also faced a stressful obscenity lawsuit around the same time. Despite reforming in 2001, they have yet to release any new music.
  • 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 he hasn't discussed the record itself in depth aside from its leadoff single, "The Time (Dirty Bit)." It took several years for the Peas 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. While they eventually managed to make a chart comeback with the top 40 hit, "RITMO (Bad Boys for Life)" (with J Balvin) in 2020, it was clear their heyday was long over as the album Translation failed to chart in the top 50 on the Billboard 200.
  • 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.
  • The Best of Both Worlds and/or Unfinished Business by R. Kelly and Jay-Z: These misguided collaboration albums were conceived due to the success of "Fiesta (Remix)" in 2001. The first flopped due to being released right when R. Kelly's sexual assault scandal was heating up, prompting Jay-Z to distance himself from the project. The second, meanwhile, was comprised primarily of outtakes from its predecessor and only got released as a companion piece for the duo's "Best of Both Worlds" tour in 2004, which ended very uglily for Kelly, due not only to an onstage incident at the October 31 show, which caused Jay-Z and the tour organizer to jump ship, but also Kelly suing them in retaliation. Amidst Kelly already being on shaky ground with the public, the entire fiasco surrounding Unfinished Business only cemented his sheer unlikability and contributed heavily to his ultimate demise as a popular musician. Not that either album was well-received - both produced no real hits and got horrendous reviews from the public.
  • The Big Day by Chance the Rapper: Although receiving decent reviews, his 2019 "debut album" (though calling it that is sketchy given that the three mixtapes he released prior were albums in all but name, and TBD was still released independently) was trashed by most of his fans and listeners and received mediocre commercial performance. It also received a rare 0/10 by Anthony Fantano, and it seriously hurt his credibility in the hip-hop scene, as well as creating one of the biggest rap memes of the year. Consequently, he delayed and ultimately cancelled the planned tour to promote the record. Todd himself stated that "it wasn't doing much for me" though at least stated that it was "100% not Revival". However, he later listed Chance 4th on his top 5 artists whose stock fell the most in 2019, so he's clearly impressed by its disastrous performance. It remains to be seen if Chance will be able to recover with another album, and any potential review will likely not happen until after that point.
  • 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.
  • Black & Blue by Backstreet Boys: While it sold several million copies, it's infamous for being a disappointing followup to its predecessor, the mega-smash Millennium. Compared to the Backstreet Boys' first two records (or three, if you lived in Europe), the songs here failed to leave a lasting impression with the public, with only the leadoff single "Shape of My Heart" even making it into the top 20. In hindsight, Black & Blue is widely regarded to be the beginning of the end for the entire teen pop craze of the late '90s and early 2000s. The Hype Backlash rapidly fermented as the public felt the genre had grown stagnant and was over saturating the market. A year later, when the movement was officially dead, the Backstreet Boys went on hiatus, although they experienced two minor comebacks in 2005 and 2018, respectively.
    • Alternatively, Never Gone. By the time the group reconvened for this comeback record, bubblegum pop had become so unpopular that they were forced to adopt a more mature, pop rock style in order to stand a chance. While the leadoff single "Incomplete" was reasonably successful, the band's return to the charts did not last long, and they would ultimately fall into obscurity until one more comeback in 2018 (which was even shorter and less pronounced than this one). At the time, it was a constant punchline that they were no longer boys as their name advertised. If Todd covers this album, expect him to compare it to Take That's Beautiful World, which came out a year after Never Gone and applied the exact same type of makeover to another reunited boyband from the '90s, but to much, much more fruitful results.
  • Bleed Like Me by Garbage: The album was marred by growing tensions between the band members, and they briefly broke up during the making of it. While the lead single "Why Do You Love Me?" was lauded, the rest of the album received mixed reviews, and Garbage would go on a self-imposed hiatus following an abruptly-cancelled tour to promote it. They would eventually regroup, but have yet to hit the heights of their heyday since.
  • 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.
    • Alternatively, Neighborhoods. While the self-titled album was fairly divisive with fans, it was still a massive success in terms of sales and single placements. Neighborhoods, on the other hand, not only had to deal with Troubled Production between members, but was released at a time when rock music was no longer top-dog for the mainstream. This resulted in the album not selling as well as previous efforts, singles falling from the charts quickly, and the resulting tour leading to DeLonge's departure. While California faired better commercially, it was still pretty inferior to the group's heyday, and caused yet another divide between the fans.
      • Blink-182 self-titled presumably jossed because Todd tweeted that the album did really well.
  • Blue by Third Eye Blind: Their self-titled debut album was massive success that spawned multiple hit singles, but the band had to deal with a badly Troubled Production for their Darker and Edgier follow-up. Not only was there pressure from their record label, but a lot of tension was brewing between frontman Stephan Jenkins and lead guitarist Kevin Cadogan, which ended on the band firing Cadogan just days after touring begun. When the record was finally released, only one of its singles did well and the album's sales were very disappointing compared to its predecessor. They never achieved any mainstream success again afterwards.
  • Body to Body by Technotronic: While not released in the USA, this follow-up to Pump Up The Jam: The Album infamously did not feature Ya Kid K, replacing her with a duller looking-and-sounding Expy whose name was Reggie. It also was a more popish New Sound Album with an R&B sound and songs using a "rapped verses/sung choruses" structure. It did, however produce a minor hit single in Europe, "Move That Body". The 1995 "reunion" album that followed it, Recall did feature Ya Kid K without her signature cap and was yet another New Sound Album, this time influenced by Hi-NRG vocal groups solely to give them club credibility again. Despite a series of single releases pointing out a horn-driven New Sound Album (although the first single, "Like This" was an Hi-NRG track), their fourth album (set for release in 2000) was cancelled.
  • 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.
  • Born Again by The Notorious B.I.G.: Technically, this was not a career-killing album in the traditional sense, since it came out posthumously, but upon its release at the end of 1999, it not only suggested that there was very little unreleased Notorious B.I.G. music to get excited for as there was for 2Pac (who had several successful posthumous albums through 2006 that included fan favorite tracks like "Changes", "Do for Love", "Thugz Mansion", and "Ghetto Gospel"), but it also left a permanent stain on the reputation of Bad Boy Records CEO Puff Daddy and proved to be the final nail in the coffin that ended his label's dominance of the pop rap industry. Unlike Pac's posthumous albums, Born Again was basically a remix compilation disguised as a regular album, being largely comprised of lines and even entire verses rehashed from previously released Biggie songs. Bad Boy had already had a very bad year, due to the departures of Mase and The Lox, as well as the public mauling of Puffy's solo album Forever (see below), but this record only cemented people's growing perception of them as a greedy institution dependent on one great talent rather than a full-fledged juggernaut of East Coast hip hop. Even though Biggie's catalogue of unreleased recordings was nowhere near as extensive as 2Pac's, Puffy's decision to release the album anyway was seen as disrespectful, especially since there were certain guest stars on the record that Biggie probably wouldn't have ever worked with had he still been alive at the time. While it hit #1 upon release and the duet with Eminem "Dead Wrong" is mostly well-regarded, the record is still much more remembered for being a desperate cash grab from a sinking ship than a loving celebration of Biggie's legacy to hip hop. Six years later, Bad Boy put out one more posthumous Notorious B.I.G. "album", which fared no better.
  • Born to Reign by Will Smith: Todd hinted at this being Will Smith's career-killer in the "Back in Time" Pop Song Review, where he mentioned the huge failure of "Black Suits Comin' (Nod Ya Head)", the tie-in single to the poorly received Men In Black 2, and how Columbia Pictures was forced to replace him with Pitbull for Men in Black 3 ten years later. The only other single off Born to Reign, "1000 Kisses" (a duet with wife Jada Pinkett-Smith), didn't even chart on the Hot 100.
    • Alternatively, Lost and Found. Unlike the more old-school Born to Reign, this record saw Will Smith try harder to adapt to current trends. While the lead single, the Timbaland-produced "Switch", was his first top 10 hit in six years, the album itself got a very lukewarm reception and sold no better than Born to Reign. Most notable, however, is the second single "Party Starter", which could justify a full episode completely on its own — not only does Smith awkwardly co-opt the Darker and Edgier aesthetics of DMX and Ludacris (the latter of whom cowrote the song with him), but at the same time, he flimsily complains about how hip hop was better in the past, when he wasn't a victim of Values Dissonance. Lost and Found was ultimately his final release before going on a decade-long hiatus from rapping, and even since returning, his new material has been completely laughed off by the public.
  • Both Sides and/or Dance into the Light by Phil Collins: Released after Phil Collins' last album with Genesis (which he left shortly before the release of the latter), both records were significant drops in critical and commercial approval for him compared to his '80s output. While his discography from No Jacket Required through We Can’t Dance was already critically polarizing due to being perceived as Sell-Out music (not helped by chart overexposure both as a solo act as well as the frontman of Genesis), all of them produced several hit singles that affirmed him as one of the biggest stars in music. Both Sides, by contrast, only yielded two minor hits that were both promptly forgotten, while Dance into the Light had only one charting song that just missed the top 40, on top of receiving some of the worst reviews of any of his albums. Although his career temporarily rebounded with the soundtrack to Disney's Tarzan, it's most likely Todd wouldn't consider it a big enough comeback to preclude Both Sides or Dance into the Light from Trainwreckords coverage, just as the #3 hit "Show Me the Way" wasn't for Styx and the Confessions on a Dance Floor album and "4 Minutes" weren't for Madonna.
    • Alternatively, Testify, his first album after the success of the Tarzan soundtrack (which is still fondly remembered, despite not being primarily associated with Phil Collins so much as the film itself). Flopping just as badly as Dance into the Light critically and commercially, it found Phil unable to ride the popularity of Tarzan back to the front of the adult pop market, signaling the end of his relevance for good. He did return to Disney to sing and compose the soundtracks for Brother Bear and Tarzan II, but neither caught on like his work for the first Tarzan movie.
  • Brand New by Salt-n-Pepa: After a string of huge hit singles and albums from the late '80s and '90s, this pioneering trio of female hip hop fell apart when they made this album without 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 (aside from one more solo hit in 2010). 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.

    C 
  • ...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.
  • Can You Do Me Good? by Del Amitri: An album about the band losing popularity. Even member Justin Curvie described it as "Del Amitri's last chance".
  • Candy From a Stranger by Soul Asylum: When the record label rejected their recordings for an unreleased album called "Creatures of Habit", they had to make completely new recordings with a new producer. The end result was a commercial failure that spawned no hits.
  • Carmen Electra by Carmen Electra: Before her career as an actress and glamour model took off, Carmen Electra was signed to Prince's label as a rapper. As you can probably guess, things didn't last.
  • Cats Without Claws by Donna Summer: Released shortly after her infamous alleged comments that AIDS was God's punishment to homosexuals, who comprised an overwhelming portion of her fanbase and helped her career survive well beyond the decline of disco in America, this record not only received poor reviews upon release, but also only peaked at #40 on the Billboard 200, ultimately becoming her first album since her 1974 debut to not get an RIAA certification, despite one moderate hit. She enjoyed a commercial comeback during the late '80s with the help of Stock Aitken Waterman, but by that point, her days as a pop cultural icon were long behind her.
  • Celebrity by N Sync: Released during the twilight of the Boy Band fad of the late '90s and early 2000s, this album was significantly more hip hop and R&B-influenced than its Max Martin-influenced predecessors. By this point, Hype Backlash was causing several figures of the teen pop movement to reinvent themselves as more mature, a trend that can be seen in spades here; one of its songs was even given a remix with Nelly in order to attain more crossover appeal, eerily akin to Florida Georgia Line's "Cruise (Remix)" eleven years later. Although the record was initially successful commercially, with some of the biggest first week sales ever at the time, it lost steam rather quickly, selling far fewer copies than the band's two previous regular albums in the long run and ultimately being regarded as a Genre-Killer for boybands in America until One Direction arrived a decade later. Although the record produced three moderate hits, none of them are anywhere near as iconic as the hits from their self-titled debut or No Strings Attached. The leadoff single "Pop", which was intended as an anthem for the summer, did not even make Billboard's Year-End list for 2001. Shortly after the album came out, N Sync broke up, Justin Timberlake embarked on a massive solo career, and JC Chasez became a behind-the-scenes songwriter after failing miserably to go solo himself (see Schizophrenic below). The band still has yet to reunite to this day, although the beating Justin's career took from the failure of Man of the Woods may open the possibility for a comeback down the road.

    Todd hates N Sync in general, but he has pointed to "Pop" as easily their worst song, considering it a contrived and futile attempt to establish credibility despite their firmly manufactured reputation, so it's likely his feelings for the rest of the album aren't much better. In the wake of the Jonas Brothers' successful comeback and Justin's recent fall from grace as a solo act, a second look at this album could make for a great Trainwreckords episode today.
  • Changes by Justin Bieber: This was the album that finally broke Todd's vague tolerance for Justin Bieber, as he declared him "the worst pop star in decades" (even worse than Adam Levine) and stated that there's nothing good about him. While it was released to a lot of hype, its poor reception has rivaled Bieber's teenybopper era, a huge regression considering Purpose produced three consecutive #1's and revitalized him as a more mature and credible pop singer. Most notorious is the critically mauled leadoff single "Yummy". Not only has it been extensively compared to Justin Timberlake's "Filthy" from the similarly disastrous Man of the Woods album (see below), but it was accompanied by a desperate campaign to manipulate its sales and streams to the top of the Hot 100. Even with this scheme though, it still failed to hit #1, being held off by Roddy Ricch's "The Box", and did nothing except tarnish Bieber's reputation to new lows. In his Pop Song Review of the track, Todd stated he was getting career-ender vibes from it and stated the record itself was like a combination of Witness, reputation, and Man of the Woods, only way blander. Furthermore, he said the album's highlights were "Yummy" and Lil Dicky's guest verse on "Running Over", simply because they were at least somewhat provocative. While the record only came out in 2020, it's very unlikely Bieber will ever return to the superstar heights he reached with Purpose, even if he remains a frequent guest star on other artists' and producers' songs for several more years.
  • Climate Change by Pitbull: Though Pitbull thrived in the electropop and EDM eras, he couldn't stay relevant once pop music became way more serious and downbeat. 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 by Prince: If Todd can dodge the threat of copyright strikes from the Prince Estate, he may take a look at this record, which was a breaking point in Prince's career after several years of artistic decline. It suffered from incredibly Troubled Production, as he experimented with several different concepts along the way but was unable to settle upon a coherent vision due to infighting with his label. Not only was it a critical and commercial flop upon release, but it also dropped around the time Prince changed his name to an unpronounceable symbol out of spite towards Warner Records, which suddenly made him look like a giant egomaniac. Subsequent singles and albums were largely ignored by the public, and although he had a successful comeback tour in 2004, his reputation remained damaged in later years due to his conversion towards rabid Jehovism, negative views on homosexuality (a serious problem considering his overwhelming popularity with LGBTQ audiences), and draconian views on digital music. His popularity reignited after his untimely passing in 2016, though. Todd said in the "Party All the Time" OHW that Eddie Murphy's last album "sounds like the really bad albums Prince made in the '90s", which suggests he'd probably consider this record worthy of the show.
    • Alternatively, the soundtrack to Batman (1989). It's widely regarded as the album that ended Prince's golden age and featured the infamous "Batdance". He continued having hits in the early '90s, but very few of them have stood the test of time like his '80s work has.
    • Graffiti Bridge, also alternatively. Unlike the Batman soundtrack, this album was a truer part of the main Prince canon, being a soundtrack album to a film he directed. Serving as the sequel to his classic Purple Rain, this record and its accompanying movie were enormous disappointments with the public. Unlike its predecessor, the movie was a box office bomb, while the album garnered the worst reviews of any of his regular albums since his debut record For You and only got a Gold certification. If the Batman soundtrack was an underwhelming side project, this fiasco pretty much cemented Prince's decline as an artist. The movie would also turn out to be his last directorial effort. Although his next album Diamonds and Pearls was a sort of comeback, earning better reviews and going Double Platinum, its legacy is still nowhere near the likes of 1999, Purple Rain, or Sign '☮' the Times.
  • 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.
  • Congratulations I'm Sorry by Gin Blossoms: Another case similar to Hootie & the Blowfish. They were one of the most popular adult alternative bands of the mid-'90s but fell into complete obscurity after the lukewarm reception to this 1996 followup to New Miserable Experience. The loss of guitarist Doug Hopkins shortly after their commercial breakthrough was already a major blow to them, and his absence was pretty badly felt on this record. Although its first non-movie single "Follow You Down" was their highest-charting hit, everything that came out after it flopped badly. The record's single-Platinum certification was a major drop from New Miserable Experience's quadruple-Platinum, and they disbanded a year later.
  • The Cookbook by Missy Elliott: Full of bravado and fueled by her partnership with producer Timbaland, Missy "Misdemeanor" Elliott was one of the reigning queens of hip hop throughout the late '90s and early 2000s, but her long streak of hit songs and albums came to an abrupt end with this 2005 record. While she had already alienated a fair amount of her fanbase on her previous album, This Is Not a Test!, frequent guest appearances in-between (including Ciara's smash hit "1, 2 Step") kept her career afloat leading up to the release of The Cookbook. Once it came out, it proved to be even more base-breaking due to excessive experimentation, and while its lead single, "Lose Control", was a major hit, the other two songs released both flopped. The album itself only went Gold, making it her first to fall short of a Platinum certification. After its release, she took a long break from music and still has yet to put out another full LP, although she did release an EP in 2019.
  • 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. He had previously established himself as a raunchy bad boy whose lyrics were nonetheless clean enough to receive mainstream airplay, but for this record, he decided to become the Barry White of hip hop by applying his distinctly rugged voice to rap ballads, presumably to compete with LL Cool J and The Fresh Prince, both of whom were at the height of their fame. Amidst the rise of hardcore hip hop at the same time, this Lighter and Softer approach backfired horribly and left him without an audience. Todd briefly noted that Tone Lōc was "no longer down with the ladies" by this point in the Young MC OHW, so he may take a closer look at this album somewhere down the road.
  • The Cosmos Rocks by Queen + Paul Rodgers: A textbook Replacement Scrappy album. A Queen album fronted by anybody other than Freddie Mercury was pretty much dead on arrival, and this record's poor performance certainly didn't defy that.
  • 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 as 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 radically changing trends in rock that bred resistance to the band's upbeat, direct aesthetic, but also, more infamously, the record ultimately succumbing to No Export for You in a very unusual way. The whole album was not issued in the US, and instead a special cut-down version was sold exclusively through McDonald's of all places, a move that angered and alienated music retailers and others in the industry. The McDonald's version of the album sold about one million copies, but those units did not count to its official sales numbers, and Crash! did not chart in the US as a result. While "Sleeping in My Car" was a decent hit on pop radio, the band never recovered stateside after this fiasco.
  • Crunk Rock by Lil Jon: He was one of the definitive figure in hip hop during the 2000s, having brought Crunk rap to the mainstream and left a huge mark on popular culture with his over-the-top interjections (which were famously spoofed on Chappelle's Show). However, his 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. By the time it finally came out in 2010, America had moved firmly past the Crunk era of rap. Although this record tried to advance the genre with heavy electronic influences, its sales were absolutely pitiful, firmly etching crunk's reputation as a dated fad of the 2000s rather than a bold step forward for hip hop, although the subgenre is starting to receive more praise in recent years. While Lil Jon appeared on the huge single "Turn Down for What" a few years after Crunk Rock came out, 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.
  • 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. Ironically, the album's two most traditionally Cure-sounding songs, "The End of the World" and "Taking Off", turned out to be both its most acclaimed tracks and biggest hits, while the other songs were much less well received. The album torpedoed the momentum that had been built up to that point and damaging the band's career pretty badly. They've released only one more album after that (2008's 4:13 Dream, and a second may come in 2020), and have mostly focused on their live act, as they have continued to be a major concert draw.
    • 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. However, the band was well recognized as an important and influential alternative act by that point, and there was still interest in what their next move would be regardless of the shifts in trends. 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 band also picked "The 13th" as the album's lead single over the more radio-friendly "Mint Car", and its relatively noncommercial and atypical sound resulted in the song underperforming on both pop and alternative radio. 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 high points, it is a very mixed album overall and is generally considered the band's worst album aside from their 2004 Self-Titled Album.
  • 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.
    • Confirmed.
  • 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.

    D 
  • Damita Jo by Janet Jackson: Released 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 star power was completely shattered, with even most of her older hits struggling to overcome the fallout left by the Super Bowl scandal and this album's failure for several years. Despite equal involvement in the controversy, fellow superstar Justin Timberlake was completely unharmed by the incident and would eventually go on to release his biggest album yet two years later, while Janet took pretty much all the heat, a point of major contention to this day. Although most people generally blame the scandal itself for killing Janet's career, her inability to mine the hysteria and take control of the public narrative when she needed to, as Ariana Grande did with "Thank U, Next" or Usher did with the Confessions album, is also important to consider when understanding her abrupt downfall, whether or not she was really capable of saving herself with this record. However, the less conservative public of The New '10s helped Janet trend on streaming platforms during Timberlake's Super Bowl performance in 2018, so the album could be worth a second look, and Todd has tweeted favorably about the prospect of covering failed comebacks by artists whose careers had already "ended" for reasons other than a disastrous album before the album in question came out.
  • The DeAndre Way by Soulja Boy: This pop-rapper became a superstar practically overnight with "Crank That" and while his second album didn't contain any songs as near-inescapable as his breakthrough hit, it did feature two Top 20 singles (with "Kiss Me thru the Phone" in particular making its way up to #3). However, this record relegated him to a fad of the late '00s, only debuting at #90 and including one minor Top 40 hit with the other singles completely missing the Hot 100. Unsurprisingly, Interscope Records dropped him quickly after this flopped and while he's still recording mixtapes to this day, he's been Deader Than Disco ever since.
  • Dear You by Jawbreaker: A good example of an album that unquestionably ended a career, but later received critical and fan reappraisal. Jawbreaker, one of the top indie bands of the 1990s and a major influence on the emo movement, controversially released this album on the major label DGC. Jawbreaker had previously been rather defiant in their independence, and the glossy sound of Dear You sounded like a sellout to their fans. Despite some critical acclaim, the band's fans hated the album to the point of literally turning their backs to the stage when they played the new songs live. The album's poor sales are attributed to both the lack of support from the band's fanbase and their inability to crossover to a mainstream rock audience or alternative radio. Less than a year after its release, the band was done, and wouldn't reunite until 2017, by which time Dear You was considered an underrated '90s classic.
  • 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 Gotcha-Gram website to promote its music video. She's had absolutely no chart success on her own ever since.
  • Dirty Work by The Rolling Stones: Released at the height of the ongoing infighting between Mick Jagger and Keith Richards, this album got an abysmal reception and marked the end of the band's reign as trendsetters. Although their next album Steel Wheels did much better and scored two big hit singles, it hasn't really stood the test of time like the band's work from the mid-'60s to the early '80s. Todd seemed to hint the possibility of covering this album in the American Life episode.
    • Alternatively, Bridges to Babylon. Not only was it a major disappointment with fans, it was their first album without a big hit (even Dirty Work contained a successful cover of "Harlem Shuffle"). Additionally, the band has rarely put out any new material since its release.
  • 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 and the multi-platinum sales of their 1985 Greatest Hits album that reinvigorated interest in their older material. Their 1987 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. Worse still, amidst the long wait, which was now over a decade since The Dutchess, Interscope Records dropped her, forcing her to go independent. 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. Her awkwardly seductive performance of the National Anthem at the NBA All Star Game several months later finished off whatever semblance of credibility she still had.
  • 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 (this time amicably) in 2019 after a tribute concert to honor Cornell.
    • Todd has said that he wouldn't cover Scream by Chris Cornell "for obvious reasons," most likely referring to Cornell's suicide, so he probably wouldn't cover this either.
  • 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 a state of disjunction 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.
  • Dr. Dre Presents... the Aftermath by Dr. Dre: Like Tha Doggfather, this record was blamed for killing the G-funk movement of the mid-'90s. It was the first LP that Dre released under his new Aftermath label, following his departure from Death Row Records. It was universally panned upon release, setting the label off to a very rough start and causing his own career to go dormant for two whole years. Although he made an indisputable comeback with the highly lauded sequel to The Chronic at the end of 1999, Todd might still qualify this record because it's not technically a real Dr. Dre album but rather a compilation.
  • 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 recovered the momentum they had enjoyed following the release of “Touch of Grey” (their sole top 40 hit). The band remained a huge concert draw, but "Grey" and the Dylan tour had also brought a Newbie Boom to their fanbase that gained a reputation for being badly behaved and which regularly clashed with their devoted Deadhead fans. While they continued for several years, the Dylan tour and Dylan & the Dead album are considered by fans to be the beginning of the end for the band, which broke up after guitarist Jerry Garcia’s untimely death in 1995.
    • Alternatively, Built to Last, which came out the same year as the Dylan & the Dead album but fared just as poorly, even without the lukewarm Bob Dylan collaborations. It would be their final studio record before breaking up.
  • 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 initially conceived as 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.
Advertisement:

    E 
  • 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: Back in the early and mid-'90s, former Jodeci frontmen K-Ci & JoJo Hailey had an edgy street aesthetic and their songs, produced with help from bandmates DeVanté Swing and Mr. Dalvin, were game changers in contemporary R&B, with "Freek'n You" still being regarded as an iconic sex jam to this day. The Hailey brothers left Jodeci 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, upon switching to a primarily softer and more radio-friendly style, 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". By the time Emotional came out in 2002 though, the duo that was once way ahead of their time was now woefully old-fashioned. In an era when even the most teenybopper R&B singers attempted some attitude in their music, this record's songs were criticized for their chastely uninspired lyrics, not helped by production that sounded like it belonged in 1996. The childishly insecure "Say Yes" and sloppily constructed "It's Me" are especially prime targets 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". While he did make somewhat of a comeback in the 2010s, with "Not Afraid" and two collaborations with Rihanna topping the Hot 100, Todd deciding to cover Madonna's American Life suggests that an Encore episode is quite likely, due not only to Eminem's level of fame, but also because he similarly ceased to be a truly controversial figure in music after the album's release.
    • 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).
      • Encore and Relapse jossed, as Todd said he considers The Marshall Mathers LP 2 a genuine comeback for Eminem.
  • Everybody's in Show-Biz and/or Preservation Act 1 + 2 by The Kinks: Following in the footsteps of The Who, who had just popularized the Rock Opera with Tommy, the Kinks' transition into complex, prog-oriented music did not fare as well and is widely considered to be the band's jumping the shark moment. Though these albums' hard turn into 1920s vaudeville and jazz stylings was ambitious, the result alienated fans, and they were never Vindicated by History like most of their previous records were.
  • Everyday by Dave Matthews Band: They were one of the biggest rock bands of the mid-to-late 90s, unique for bringing jazz fusion and jam band influences to the mainstream and retaining an enormous cult fanbase to this day. As the age of '90s alternative came to an end, however, they suddenly played it very safe on this 2001 album. The lead single "The Space Between", a dive into full-blown radio-friendly arena rock, earned them major accusations of selling out, and while their next album Busted Stuff was better-received, they never returned to the smash heights they reached in the '90s. Their final top 40 hit, 2005's "American Baby", was a little closer to their classic sound, but still nowhere near as iconic as their '90s hits.
  • 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. It didn't help matters that it was a shining example of the massive web of record label struggles and personal issues that prevented Branch from releasing any new albums for 14 years: it was intended to be a full album, but it was released as an EP instead due to numerous pushbacks (let's put it this way: the EP was released 16 months after its lead single was issued).
  • Everything Is Love by The Carters: A collaborative album between musical power couple Beyoncé and Jay-Z, this record got solid critical reviews upon its surprise release in 2018, but fans found it largely underwhelming, causing it to drop off the charts extremely quickly. While both artists (especially Beyoncé) are still too influential in the music world for this to count as a true career-killer, it could still qualify for Trainwreckords for similar reasons as Two the Hard Way, and Todd referred to it as a "dramatic failure" in his Worst of 2018 video.
  • Everything Now by Arcade Fire: They were arguably the single most-acclaimed band of the indie rock movement during the first two decades of the 21st Century, with their debut LP Funeral ranking within Best Ever Albums' top 10 records of all time and their third studio album The Suburbs winning Album of the Year for 2010. Their stock in the music enthusiast world, however, took a nosedive upon the release of this extremely polarizing New Sound Album, which leaned heavily on electronic influences, in contrast to the dense, intricate, and symphonic nature of their first few records. Whether or not they can recover from this album's relative failure is still up in the air.

    F 
  • Face Dances and/or It's Hard by The Who: The band were in a downward spiral following drummer Keith Moon's sudden death, with Kenney Jones being largely seen as a Replacement Scrappy. Although Face Dances' "You Better You Bet" did well on the charts, the album is widely dismissed by both fans and members of the band. It's Hard didn't fare any better (although "Eminence Front" became a cult favorite years later), and the band broke up the following year.
  • 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, which he hinted at on Twitter.
  • Father of All... by Green Day: A miserably failed attempt at a back-to-basics garage rock album that quickly became one of the worst rated records of 2020, and Todd's initial impression of the titular single suggests he'd find the album worth covering. While many people feel Green Day's careers were already over after either 21st Century Breakdown or the ¡Uno! ¡Dos! ¡Tré! trilogy, Todd stated in the Song vs. Song podcast that Green Day were still a hugely relevant band throughout the 2010s like Aerosmith was in the '90s and early 2000s, so he'd likely consider this their Trainwreckord depending on what happens next.
    • Alternatively, the ¡Uno! ¡Dos! ¡Tré! trilogy. While an argument could be made for covering Father of All... as Green Day's Trainwreckord, it should be noted that the trilogy is wildly considered to have taken all of the good will of American Idiot, and even 21st Century Breakdown to an extent, and flushed it away with three of the most boring and insufferable albums created when the band seemed to think that more songs means a better album. In addition to scoring basically no hits, the album's commercial prospects could be best described as non-existent, with the final album in the set selling 59,000 copies in its first week—an absolutely embarrassing number for a band that, not 3 years prior, sold 215,000 copies of 21st Century in its first week. While Revolution Radio would debut at #1 on the album charts and meet a good amount of critical acclaim, the trilogy could be said to have done to Green Day what Summer In Paradise did to the Beach Boys.
  • Father of Asahd by DJ Khaled: While Khaled was already controversial for his increasingly pop-oriented sound, this album ultimately proved to be the final straw. The lead single "Top Off" was a flop; the follow-up "No Brainer" (featuring Justin Bieber) was dismissed as a rehash of his previous Bieber collaboration "I'm the One" and fell off the charts rather quickly. The album was finally released over a year later to abysmal reception and was only certified Gold (a significant drop from its predecessor Grateful's Platinum); further singles also went nowhere. The album debuted below Tyler, the Creator's universally acclaimed IGOR, prompting Khaled to throw a massively public tantrum and even plan a lawsuit against Billboard; while the album was only released in 2019, it already appears to have torpedoed what little goodwill remained and cemented his status as a Fountain of Memes rather than a respected producer. Todd listed Khaled 2nd on his top 5 artists whose stock fell the most in 2019, only behind R. Kelly.
  • Fifth Harmony by Fifth Harmony: They were the only successful alumni of the American edition of The X Factor, but their success did not survive the depature of Camila Cabello, whose solo career ultimately overshadowed them. They disbanded a year later, with only Normani's solo career coming anywhere close to rivaling Camila's 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.
  • 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: After headlining the New Jack Swing movement in the late '80s and early '90s, a series of scandals, primarily stemming from his dysfunctional marriage with Whitney Houston, had reduced Bobby's reputation to a punchline by the mid-'90s. Despite a successful comeback with New Edition in 1996, his antics got him ejected from the group for a second time (he had already been booted a decade earlier). In his final moment of relevance, he put out another solo record, which had been marred by Troubled Production and several planned collaborations that ultimately fell through. Some of its tracks were originally written for A Goofy Movie, which Bobby had been cut from due to his ongoing drug habit. Unlike his two previous records, which successfully leaned into his controversial image, Forever was a completely unremarkable, middle-of-the-road R&B album that unsurprisingly got no push from his label and firmly ended what little tolerance the public still had for him, ensuring once and for all that his profile would never make a comeback like his late ex-wife's ultimately did.
    • Alternatively, 1992's Bobby. While it was a big success at the time, its reputation has taken a major hit ever since. For one, it came out the same year that Bobby married Whitney Houston, which would soon prove to be a negative turning point for his public image, especially as the whole new jack swing movement collapsed shortly after the record's release. Additionally, its Double-Platinum certification was a huge drop from Don't Be Cruel, which went 7x Platinum. Excluding the 1996 New Edition comeback, "Get Away" was Bobby's last single to enter the Billboard Top 40 or even come close, for that matternote . "Humpin' Around" is the only track even close to matching the long-term popularity of the singles from Don't Be Cruel, and Todd has hinted in the Adina Howard OHW that he dislikes that song, so he could easily invoke it to explain why Bobby's career collapsed in the aftermath of this album's release.
  • Forever by Puff Daddy: Between Bobby Brown above, the Spice Girls below, and Sean Combs here, Forever proved to be an ironically jinxed album title during the turn of the millennium. Although Puffy's first record was able to coast off the grieving period of The Notorious B.I.G., as well as numerous guest verses from his signed artists, by 1999, Bad Boy Records was a rapidly sinking ship, due to Hype Backlash, the departures of Mase and The Lox, and the rise of more artistically credible New York rappers such as Lauryn Hill and DMX. Unlike No Way Out, Puffy's sophomore record was more of a true solo album (hence its lack of co-attribution to "the Family"), which meant the focus shifted towards easily the least popular aspect of Puffy's music...which was Puffy himself. Although it produced one single that nearly topped the Hot 100, it was nonetheless savaged by the public, who had gotten sick of his borderline-plagiarist use of sampling and inept rapping skills (especially in contrast to Jay-Z and Lauryn Hill, who proved you could still be credible despite heavy use of samples and a mainstream-friendly aesthetic). While Puffy's career ultimately survived this album's failure, with a few more hits in the 2000s (albeit under different pseudonyms), his claim to the title "The New King of Hip Hop" (as Rolling Stone dubbed him in a 1997 issue) was most certainly buried deep in the past by then.
    • Alternatively, The Saga Continues by P. Diddy & The Bad Boy Family. Spearheaded by a flop I'm Back, Bitch single and Puffy changing his official moniker to his alternative nickname, this record served as a true sequel to No Way Out. Unfortunately, Bad Boy heavyweights Biggie, Mase, Lil' Kim, and The Lox were all long gone by 2001, so the "Bad Boy Family" here was essentially a bunch of nobodies with no future (aside from 8Ball & MJG guesting on Three 6 Mafia's "Stay Fly" four years later). While even Forever had gone Platinum and spawned a #2 hit upon release, this record dropped off the radar quickly and only went Gold. Although Diddy eventually scored a few more hit singles, including two remixes of "I Need a Girl", guest appearances on two #1's, and two top 10 hits on his 2006 album Press Play, the failure of this album pretty much ensured the permanent demise of Bad Boy as a supreme empire in the hip hop world. While "Bad Boy for Life" enjoyed a bit of Revival by Commercialization through its use in the Bad Boys for Life trailer, the album itself hasn't fared better with time.
  • 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 unimaginative 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, as Todd hinted at in the "Want U Back" Pop Song Review, this record not only killed the musical careers of the Spice Girls in America, it also destroyed the popularity of British pop in general in the US for the entire rest of the 2000s decade. While some critically acclaimed acts such as Coldplay, Amy Winehouse and Franz Ferdinand made it soundly over the Pond, even worldwide favorites of the pop genre such as Atomic Kitten, Sugababes, Ronan Keating, and post-comeback Take That struggled to find an audience in the States, while acts like James Blunt, S Club 7, and Estelle were one-hit wonders at most. Only a few exceptions, such as Leona Lewis and Natasha and Daniel Bedingfield, had enough clout to be legitimately recognizable names in America during that time.
  • Free as a Bird by Supertramp: They had been gradually fading from prominence during the course of the eighties, but this last ditch attempt to stay relevant solidified their demise. Like many other veteran acts, the band changed their sound to be more electronic, but this ended up backfiring horribly, as the album bombed hard on the charts and got woeful reviews, leading to their breakup the following year.
  • From Luxury to Heartache by Culture Club: Although they were one of the biggest bands of MTV during the early '80s, things started to go downhill after the disappointment of Waking Up with the House on Fire, which got negative reviews and wasn't the commercial smash that their first two LPs were. In the aftermath, frontman Boy George developed a horrible drug addiction, which plagued the recording process for the band's next album and tarnished his reputation in the public eye. Despite yielding one big hit with "Move Away", this record was a colossal bomb, not even getting certified, and the group broke up immediately afterwards.
  • 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.

    G 
  • Gaucho by Steely Dan: Coming off the huge popularity of their 1977 album Aja, this LP took three years to finally hit stores, in stark contrast to the band's previous album-a-year schedule from 1972 to 1977. While its two singles were both successful, the album's reception was much more polarizing than their '70s material, due to its heavy post-disco influence and retreat from the more complex song structures found on Aja. Creative differences, as well as Walter Becker's ongoing drug problems, caused them to split soon afterwards. Frontman Donald Fagen released the critically acclaimed The Nightly in 1982, and the band finally reformed in 1993, putting out two more studio albums in the early 2000s (one of which controversially won Album of the Year over Eminem's The Marshall Mathers LP).
  • The Golden Age of Grotesque by Marilyn Manson: Despite controversy surrounding Manson being Mis-blamed for the Columbine massacres, the album that came out in the wake of the incident, Holy Wood (In the Shadow of the Valley of Death) was still a modest success. Conversely, this album was not as well-received, with Manson opting for an electronic and beat-driven sound to avoid sounding like nu-metal, and not helping was further controversy over the controversial stage act for the Grotesk Burlesk Tour and the music video for "(s)AINT". Coupled with Manson's public feuding with guitarist John 5 and keyboardist Madonna Wayne Gacy (both of whom left his band once promotion for this album had concluded), this was the end for Marilyn Manson's mainstream success. Todd has mentioned in his review of "Trollz" by 6ix9ine and Nicki Minaj that Manson quickly flamed out because he wasn't very interesting enough beyond shock value and a few good songs, so it's entirely possible that a review of this album will be on the table.
  • 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, especially given his country affinities.

    H 
  • 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 in the US, despite some of its songs being featured in a few video games.
  • Happy People/U Saved Me and/or TP.3 Reloaded by R. Kelly: Similar to Chris Brown, R. Kelly's career survived a major scandal, particularly due to the huge success of "Ignition (Remix)". Amidst ongoing scrutiny though, he made a radical shift in tone with his 2004 double album Happy People/U Saved Me, which banked on a clean image, with its two discs being themed around stepping (capitalizing on his most recent hit at the time, "Step in the Name of Love") and Christianity, respectively. While it produced a decent hit in "Happy People", it did nothing to reverse his sinking reputation, and so for his next solo album, which capped off the 12 Play trilogy, he delved back into sex-mania full on. Aside from spawning the infamous musical soap opera "Trapped in the Closet", the record was mauled by the public and did not produce hits. While his next album did score two moderately successful singles, it didn't fare much better critically, and R. Kelly more or less dropped off the charts after that aside from his guest spot on Lady Gaga's "Do What U Want". Any possibility for a comeback is dead in the water, due to a new series of allegations (articulated in graphic detail in the 2019 documentary film Surviving R. Kelly) in the late 2010s that exacerbated his reputation as a sexual predator to the point that there was major demand to remove all of his music from Spotify.
  • 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.
  • 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. Todd considers Fastball an underrated band, so he might have a decent amount to say about this album.
  • 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.
    • Alternatively, 1987's Pool It. After enjoying a sort of comeback through reruns of their original TV show and another top 20 hit ("That Was Then, This Is Now"), the horrendous reception to their first full post-comeback album killed their momentum once again for good, even though, as Todd noted in the Song vs. Song podcast, the '80s were a very easy time for '60s legacy acts to enjoy sustainable comebacks.
  • 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 identity for her by stylistically invoking her Jewish heritage (including guest vocals from Israeli pop superstar Ofra Haza), while the more conventional follow-up single, "Crazy Cool", missed the top 40 of the Hot 100. Since this record's underperformance, Abdul has yet to record another album 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 he made a homophobic tweet, not to mention 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 and also factored into him leaving The Voice only a few seasons after the series took off and getting 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. This could fall into the same "failure to recover from an already-ended career" category as Vanilla Ice and Iggy Azalea.
  • 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 had been hyped up as Jackson's studio comeback after a long period with very little new material. However, it was plagued by Troubled Production, largely due to Jackson's battle with the head of Columbia Records, Tommy Mottola, as well as his ongoing fatigue over the pressures of fame. Once it arrived in 2001, it produced two decent hit singles, but the reviews were considerably more lukewarm than his previous several records (even HIStory has its large share of fansnote ) and it was forgotten about rather quickly. Its failure proved once and for all that he was no longer successful enough to overcome the controversies surrounding his personal life. 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 (which didn't even come close to the top 40) and spent most of the 2000s as a tabloid punchline rather than a pop titan. Notably, Jackson rejected several songs that were originally intended for this record but ultimately went to Justin Timberlake's enormously successful debut solo album Justified a year later. Since Todd is intimidated by Michael Jackson's large and passionate Stan Army (having faced their wrath for very brief comments he made in his "Earth" and "ME!" Pop Song Reviews), he'll probably avoid covering this or HIStory until the distant future.
  • Hootie Mack by Bell Biv DeVoe: Their debut went 4x Platinum, but this only went Gold and is considered one of the primary factors that killed the New Jack Swing movement.
  • 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.
  • Hulk Rules by Hulk Hogan and The Wrestling Boot Band: Todd joked that he might cover it at the end of the Hootie & the Blowfish Trainwreckords, but since he covered Two the Hard Way despite that being the only album by Allman and Woman and not counting its featured performers' later successes, this may be fair game, even though it was the only album Hogan ever released.
  • Human Touch and Lucky Town by Bruce Springsteen: Following his divorce from the E Street Band, these twin albums, both released on March 31, 1992, marked a severe downturn for the Boss' critical and commercial success. Notably, Human Touch was supposed to come out in 1991 but got delayed so that it could be released alongside Lucky Town, which was recorded entirely after the Human Touch sessions. While the title track of the former was a big hit and remains well-received, the record itself is widely regarded as one of Springsteen's worst. Lucky Town got slightly better reviews, but was still nowhere near as beloved as his '70s and '80s output. The backlash against both records was due to Springsteen having suddenly evolved into a stodgy adult contemporary dad who sings about First World Problems like his TV's lack of good channels, when less than a decade earlier, he was not only one of the biggest sex symbols of the video era but also the driving force of socially conscious music during the age of Reaganomics. His previous record, Tunnel of Love, had already controversially flirted with the type of Lighter and Softer style that would be prevalent on Human Touch and Lucky Town, but it was still a big success thanks to its lucid, gut-wrenching lyrics themed around Springsteen's marital problems at the time. By contrast, the content on these albums could've just as easily been sung by Richard Marx or Michael Bolton. While Springsteen had two more hits in the '90s ("Streets of Philadelphia" and "Secret Garden", both of which were fueled by movie appearances) and has remained a hugely successful live act since reuniting with the E Street Band, his mainstream popularity has been hit-or-miss since his early '90s records. Aside from The Rising and Wrecking Ball, none of his more recent LPs have come anywhere close to matching the universal acclaim of his classic era works.
  • The Hunter by Blondie: As one of the few acts to bridge the gap between the then-mostly disparate new wave and disco movements of the late 1970s, they were among the only major, era-defining superstars of the otherwise recessive period for pop music between Disco Demolition Night and the debut of MTV. Unfortunately, disagreements within the band, manifested blatantly on their heavily experimental 1980 LP Autoamerican (whose Troubled Production resulted in a lawsuit from guitarist and bassist Frank Infante), caused them to go on hiatus at the height of their fame. After frontwoman Debbie Harry released her debut solo album KooKoo to lukewarm success in 1981, the band was hastily reformed just months later, resulting in this record the following year. Trading in their popular blend of catchy riffs, big hooks, and slick dance grooves for a vague, muddled album concept about "hunting", the record was an obvious rush job made primarily out of contractual obligation. It 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. Amidst the band's already tenuous commitment to the project, 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 and wasn't followed by much else of note. Also, none of Debbie Harry's solo material during Blondie's second hiatus ever caught on in America, despite some moderate success overseas.

    I 
  • 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.

    Interestingly, Todd has argued on Twitter that the reason the SNL incident damaged her career so badly was not the lipsyncing per se, but that no one really liked her that much even at her peak popularity, and the incident gave people an excuse to drop her from their lives. He may thus compare Ashlee to other artists whose careers did or did not survive lipsyncing scandals and/or poor live performances (Milli Vanilli would be an obvious comparison). However, he may also argue that Ashlee having both a lipsyncing scandal and a terrible live performance a few months later was particularly disastrous, and talk about how attitudes towards lipsyncing have changed over time, and vary between fandoms.
  • Ice on Fire by Elton John: While Elton John remained a viable force on the pop charts for over a decade after this album came out, most notably for "Candle in the Wind '97" and the soundtrack to The Lion King, this album marked a critical downturn as a pop music superstar that he would never fully recover from (following a brief Career Resurrection on the heels of his smash 1983 hit "I'm Still Standing"), and Todd has previously tweeted that he thinks it's really bad.
    • Alternatively, 1979's Victim of Love, his universally panned turn towards disco, released at the height of both the disco backlash as well as his own personal troubles. Todd might not qualify this record though because "I'm Still Standing" is widely regarded as a genuine comeback for Elton John, and he had several more hits in the '80s, even though his work from that era isn't generally as revered as his music from the early-to-mid-'70s.
    • Leather Jackets, also alternatively. Aside from Victim of Love, this is considered Elton John's worst album, and unlike Ice on Fire, it was a complete and utter commercial flop.
  • Idlewild by OutKast: Although they were riding high off the world-conquering success of 2003's Speakerboxxx/The Love Below, their divergent creative trajectories were making it harder and harder for them to function as a cohesive unit; the fact that the aforementioned record was essentially two solo albums split between the members was a pretty big tell in hindsight. By the time they went in to record the ambitious soundtrack album to the movie Idlewild, their differences were so deep that the record suffered from Troubled Production and got delayed numerous times. Upon finally being released in 2006, it failed miserably to live up to the success of 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 The Presidents of the United States of America: Their debut album made them breakout stars in the alt-rock scene, going multi-Platinum and spawning a couple hit singles. Unfortunately, their mainstream relevance was killed after the disappointing critical and commercial reception this sophomoric effort received, which barely went Gold and only contained one moderate hit on alt-rock radio. As a result, Columbia Records dropped them and while they mostly stuck around for several more albums, they've never had any commercial success afterwards.
  • 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.
  • In My Defense by Iggy Azalea: After emerging one of the biggest new stars of 2014, her relevance was pretty much already done for by 2015, due a combination of Hype Backlash, controversy over her mimicry of Southern African Americans despite her white Australian heritage, and general abrasiveness on social media. After several failed singles, she finally released her sophomore album in 2019, which did nothing to revitalize her limping career. Todd tweeted that he's probably going to cover it eventually.
  • The Incredible Machine by Sugarland: A contrived steampunk approach to a country-pop duo led to wildly mixed reception outside the lead single, and the third single became their lowest-charting to date. In addition to the album's mixed reception, the duo got hit by scads of lawsuits due to a stage collapse at the Indiana State Fair and went on hiatus. While they did record one album in 2018, it utterly bombed and the stage collapse has caused their entire career to be Overshadowed by Controversy.
  • Indecent Proposal by Timbaland & Magoo: Early in his career, Timbaland's main starring roles were on his albums with the rapper Magoo. While their 1997 debut Welcome to Our World was a major success, propelled by its groundbreaking production and diverse showcase of guest talent, the novelty had worn off considerably by the time they released their sophomore effort four years later. It yielded zero hits and was promptly forgotten. After one more album that went nowhere, the duo ceased activity. Although Timbaland found plenty more success as a producer, Magoo has been virtually erased by music history, probably because most people never considered him a great rapper and only gave him a pass because of Timbaland's beats.
  • 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.
Advertisement:

    J-K 
  • Jefferson Airplane by Jefferson Airplane: After the rise and fall of the band's Jefferson Starship and Starship incarnations (the latter of which had badly tainted the participating members as sellouts), the classic lineup from the Surrealistic Pillow era (sans Spencer Dryden) reunited with another record in 1989. Despite '60s nostalgia being in full swing at the time, the resulting album was a total failure, both critically and commercially, and they broke back up immediately afterwards.
    • Alternatively, After Bathing at Baxter's, the failed experimental followup to Surrealistic Pillow. It fared so poorly that it didn't even get certified, and the band would never come anywhere close to recovering from it, barring the commercial successes of Jefferson Starship and Starship.
    • Long John Silver, also alternatively. While After Bathing at Baxter's was at least Vindicated by History, this record's reputation has not improved since its release, and it was also their last studio album before going on hiatus.
  • Jugulator by Judas Priest: Their previous album Painkiller is a strong contender for their greatest record, but shortly after its release, frontman Rob Halford left the band and was ultimately replaced by Tim "Ripper" Owens. They finally released a new album in 1997, but it was such a flop that they have since completely disowned it. After one more record with Tim "Ripper" Owens, Rob Halford finally returned to the fold in 2003, but their recovery hasn't been any more significant than Van Halen's was after similarly releasing a disastrous Replacement Scrappy-led album in the late '90s.
  • Kids in the Street by The All-American Rejects: This Pop Punk band was one of the most popular rock acts of the mid-to-late 2000's thanks to multiple hit singles, but by the tail end of the decade, rock had all but vanished from the pop radio stations, which was especially damaging for the Rejects since most of their singles' airplay came from there and not the rock formats. Instead of going for a more pop-oriented sound (which fellow pop punk bands Fall Out Boy and Paramore did a year later to far more success), the band went towards an '80s inspired direction, with them also putting more work on the entire album rather than any of its singles compared to their previous records. Despite their efforts, this approach pleased neither the band's traditional audience nor rock fans and as such, the album sold very poorly with its singles completely missing the Hot 100. They have recorded very little material since then. Todd has talked multiple times about the decline of rock's mainstream presense around the late 2000's/early '10s (most prominently in the "Tonight Tonight" review), so he could possibly cover its downfall more extensively by featuring the album on Trainwreckords.

    L 
  • Lasers by Lupe Fiasco: A project hampered by extremely Troubled Production; Lupe originally planned an ambitious triple album but ultimately settled upon a much safer, mainstream-friendly record due to pressure from Atlantic Records. Worse still, the album's release was badly delayed, in part due to a leaking scandal, and didn't come out until three years since he started working on it. Upon hitting shelves, it was a critical and commercial flop that fell woefully short of expectations, with even Lupe himself stating his disappointment with the final product. Although Todd originally loved lead single "The Show Goes On" thanks to its "Float On" sample, putting it at #6 on his Top Ten Best Hit Songs of 2011, he has since soured on the piece. Since Lasers came out, Lupe's success has only continued to fade with time.
  • Lethal Injection by Ice Cube: He became the Breakup Breakout star of N.W.A. and king of West Coast gangsta rap in the early '90s with Amerikkka's Most Wanted, Death Certificate, and The Predator, but after the genre entered the mainstream at the dawn of 1993 on the heels of then-rival Dr. Dre's The Chronic, he took his gritty, politically charged music in a more commercial direction, employing g-funk beats and caving into the more hedonistic clichés of hip hop at the time. Although the resulting album yielded a couple of top 40 hits, it also Flanderized Cube from a scrappy man of the streets with a conscious mind to just another rapper celebrating guns, violence, and sex. While the record was eventually Vindicated by History, it's generally agreed to have ended Ice Cube's run as a leading voice in hip hop, as he would ultimately lean more into his acting career (which was jumpstarted by his breakout role in Boyz n the Hood) and not even record a followup album until five years later.
    • Alternatively, War & Peace Vol. 1 and/or Vol. 2. By the late '90s, not only was the West Coast gangsta rap scene in ruins, Ice Cube's film and television career was in full swing. Although both records sold well and War's "Pushin' Weight" topped the rap charts, they both had lukewarm reception, even compared to Lethal Injection. As a result, Ice Cube focused increasingly on acting, and by the time he released Laugh Now, Cry Later in 2006, he was starring in family-friendly kitsch like Are We There Yet?.
  • Life on Display or Volume 4: Songs in the Key of Love & Hate by Puddle of Mudd. The former sent them into a downward spiral, and the latter finished off their popularity for good. Less than a year afterwards, all the original members of the group except Wes Scantlin were gone, and their only release for a long time was a cover album. In the following years, Scantlin became an alcoholic who was notorious for his obnoxious behavior on and off-stage, such as accusing a fan of stealing his house and repeated arrests. During an infamous gig in England in March 2016, Scantlin was so drunk that his bandmates walked offstage. He went to rehab in 2017. By August 2018, he was 6 months sober. Since then the band has released another album, but it has been unable to come back in any way.
  • 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 in America, particularly as a result of friction with his label, which the third single "Freedom! '90" is about. Due to legal battles and disastrous PR, the record never saw a sequel as its title promised. At the height of his fame during the Faith era, George Michael rivaled Michael Jackson in popularity, but aside from "Freedom! '90", his material from this record onwards is now mostly forgotten stateside. Like Madonna's Confessions on a Dance Floor (which ostensibly would've disqualified American Life from Trainwreckords), George Michael's 1996 comeback album Older remains a classic in Britain but only went single-Platinum in the US. Its first two singles both reached the top 10 of the Hot 100, but neither are anywhere near as remembered there as his '80s material, despite being two of his most popular songs in the UK. Todd stated in his "Jealous" review that people decided they didn't need George Michael shortly after Donny Osmond's brief comeback in 1989, which likely implies he considers this album the point when the singer's career stopped mattering.
  • Liverpool by Frankie Goes to Hollywood: For a brief time, they were one of the biggest and most provocative bands of the 1980s, having emerged as the primary rival to Duran Duran following the decline of Spandau Ballet, scoring three consecutive #1's in their native UK and even influencing Duran Duran's 1984 hit "The Wild Boys". Unfortunately, their signature "Relax", while immensely iconic, would also spark a chain reaction that would end them after only a few years. The track's controversial lyrics caused it to be banned on the BBC, while homophobia against the band's two openly gay members hindered the chart performance of their subsequent hits in the US, despite their top 5 success in Britain. By the time the band released their sophomore album in 1986, public scrutiny and tensions with their label ZTT were completely tearing them apart. Although the leadoff single "Rage Hard" (arguably an "I'm Back, Bitch" single) peaked at #4 in the UK, it failed to chart in the US and its success didn't last at home, while the album itself turned out to be an enormous flop. Things only got worse during the disastrous tour for the record, and they ultimately broke up a year later. The spectacular downfall of this band is a possible alternative to a more obvious '80s British new wave episode of One Hit Wonderland, especially since Todd seemed to hint that he recognizes them as more than just the "Relax" band in the Cut the Crap Trainwreckords.
  • Living Eyes by The Bee Gees: With the decline of disco, the Bee Gees returned to their soft rock roots for this record. It flopped badly. They had a few more moderate hits throughout the rest of their career, but nothing on the same level as their disco heyday. Although "You Win Again" was a monster comeback hit for them in 1987 overseas, it flopped in America because they were still associated with disco at the time.
  • Living Proof by Cher: After a long career with several highpoints and lowpoints, this followup to her smash 1998 album Believe was not only a gigantic commercial failure compared to its predecessor, but was also never followed by a proper Career Resurrection like her older flop albums.
  • 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. Despite the album being Vindicated by History by many a critic nowadays, Todd has tweeted that he thinks it's territble.
  • Long Run by Eagles: While it sold very well, it wasn't nearly as lauded as its predecessor Hotel California, and tensions within the band led them to split soon afterwards. Several of them enjoyed successful solo careers throughout the 1980s, and they had a highly successful comeback upon reforming in 1994, but they haven't been anywhere close to the heights they reached in the 1970s.
  • 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.
  • Love Among the Ruins by 10,000 Maniacs. After releasing a handful of favorably-reviewed albums in the late '80s and early '90s, this cult Jangle Pop band scored their biggest hit in 1993 with a cover of "Because the Night". However, they were then dealt a major blow when lead singer and songwriter Natalie Merchant left the same year to pursue a solo career. In spite of losing their most recognizable member, the band continued on, with Mary Ramseynote  being promoted to lead singer. Eventually, they released this album in 1997 after a long hiatus, to very mixed reviews from critics; they and fans felt that, without the driving force of Merchant, the songs on the album were unmemorable, generic, and lack cohesion, and that while Mary is a talented violinist and a decent singer, she simply couldn't live up to Merchant's standards. It gave them their last hit with a cover of Roxy Music's "More Than This", but that wasn't enough to boost its weak album sales, and while Natalie Merchant would find long-lasting success in the solo field, 10,000 Maniacs have remained commercially unsuccessful ever since.
  • 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.
  • 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.
  • LP1 by Liam Payne: Despite Liam's early solo career promise, the reception to this extremely delayed, generically titled debut solo album has been so abysmal that it will likely be worthy of a Trainwreckords episode somewhere down the road. Between the temporary disbandment of One Direction and release of LP1, Liam dated British superstar Cheryl, only to break up with her just one year after she had their kid. Among the record's other PR faults, the track "Both Ways" stirred a lot of controversy due to its fetishization of bisexual stereotypes; Liam's response to the criticism didn't exactly help matters, nor did resurfaced comments he made about not wanting fellow 1D member Harry Styles babysitting his kid for fear of what he would wear. The hits had already pretty much dried up for him in the months following his split with Cheryl, but the full album is very likely to deal the finishing blow to his career. Its first week sales were so poor that it didn't even debut within the top 100 of the Billboard 200, stalling at #111 with just 9,500 copies. In Liam's native UK, it only charted at #17, and that was its best showing worldwide. Amidst the record's failure, Liam has also become one of the primary victims of the "XIsOverParty" Twitter meme.

    If Todd covers this album, expect some comparisons to Robin Thicke, whose signature hit was also a sleazy club jam that directly harmed his public image, ultimately leading up to the release of an album with infamously poor sales numbers. Also like Robin, Liam quickly became seen as a poor man's Justin Timberlake, lacking the charisma or likability to deliver his naughty music with any charm (even "Strip That Down" was panned upon release, despite its chart success). Todd retweeted a comment criticizing Liam's public persona compared to Harry Styles (who dropped his critically acclaimed sophomore album just one week after the release of LP1), which suggests he's definitely interested in the record's failure and will likely cover it someday, granted Liam doesn't have a surprise Career Resurrection.
  • Lulu by Lou Reed and Metallica: Since Todd covered Two the Hard Way as a separate entity from Gregg Allman and Cher's independent careers, he'll probably make an episode for this album in addition to Metal Machine Music and St. Anger. Like Two the Hard Way, this misconceived collaborative album was plagued by the radically contrasting sounds and ideologies of its two performers. Its lyrics were inspired by plays written by Frank Wedekind, making it a high premise even by Reed's artsy standards, but the decision to feature backup and even some vocals by Metallica ended in complete disaster. It quickly earned a reputation as one of the worst albums in rock history, arguably overshadowing both acts' aforementioned flop records, with its legacy being restricted to Memetic Mutation at best.

    M 
  • 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. The result was a disaster with the general public, and despite country-pop crossovers being a huge craze at the time, the singles lost steam extremely quickly and basically obliterated his already deteriorating image as pop music's king of cool. To cap off the whole fiasco, Justin opened his Super Bowl performance two days after the new album's release with its much-maligned lead single "Filthy", which did nothing but publicize his fall from grace to millions of confused spectators. Todd has already thrashed "Filthy" and described 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". He also stated, in the "Girls Like You" Pop Song Review and Worst of 2019 video, that Justin's Super Bowl concert ended his career. In 2019, Todd confirmed on Twitter that he's waiting to see if Timberlake recovers with the album's follow-up before making a Man of the Woods Trainwreckords episode.
  • 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 2010s, despite their new mainstream pop-oriented sound creating somewhat of a Broken Base towards fans of their pop punk roots. 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.
  • 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.
  • Masterpiece Theatre by En Vogue: They were one of the flagship R&B girl groups of the 1990s, but they entered a downward spiral after Dawn Robinson left to form the Supergroup Lucy Pearl with Raphael Saadiq and Ali Shaheed Muhammad. Their 1997 record EV3 was at least moderately successful, but by the time their folowup Masterpiece Theatre came out, a lot had changed in R&B, with Destiny's Child now the dominant girl group of the day. They tried competing against them, but the results were catastrophic, with the new album's only single "Riddle" flopping badly on the charts and sales figures taking a nosedive compared to their three previous records.note  Subsequently, they were dropped from Elektra Records and vanished from public consciousness. The track "Those Dogs", in particular, seems like it would make for some great commentary, due to its awkward interpolation of "Habanera", cheesy lyrics, and even cheesier a cappella beat (courtesy of Bobby McFerrin).
  • The Menace by Elastica. Not only was this Britpop group's eponymous debut the fastest-selling debut in the United Kingdom (a feat that wouldn't be beaten until the Arctic Monkeys' debut album in 2006), its punk-influenced sound fit well with American rock radio, making them one of the few Britpop acts to cross over to the United States. However, by the time they released their second album in 2000, half a decade after their last, Britpop had largely faded away from the general music landscape; not only that, the American alternative scene had largely shifted its focus to post-grunge and nu metal. As a result, this New Sound Album, which was more experimental and less melody-driven than their debut, didn't work with either of their most popular markets, not even with the rise of the "post-Britpop" subgenre that did break through to the US. While critics gave the album decent reviews, consumers were largely alienated, and its lone single "Mad Dog" made it solely on the UK Singles Chart at a paltry #44.note  The band broke up a year after its release.
  • 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. Todd tweeted that, along with Face the Music and In My Defense, he's likely going to cover this record at some point.
  • 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. His name has since become synonymous with the infamous Fyre Fest scandal.
    • Alternatively, Todd could cover Blood in My Eye if he doesn't consider R.U.L.E. a true comeback for Ja Rule.
  • 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.
  • Monster by R.E.M.: While it has a lot of fans in hindsight, its radical shift in style alienated the band's core audience, ultimately consigning them to middling success at-best after they had become one of the biggest bands in the world during the early '90s. Like Hootie & the Blowfish's Fairweather Johnson and Oasis' Be Here Now, it became notorious for its overwhelming presence in thrift stores and used CD bins after its release. Todd's recent tweets suggest that he may be considering covering it on Trainwreckords soon. If it's ultimately featured, the title card might insert Todd's dog Amy in place of the cat.
    • Alternatively, Around the Sun. Criticized for its dull, sluggish production, it's not only easily the most despised record in the band's whole discography, its commercial failure snuffed out whatever semblance of cultural relevancy they still had by that point, at least in America. The album's poor reception even extended to the band, with Peter Buck expressing his disappointment with it in interviews and its songs quickly disappearing from their concert setlists. While their two subsequent albums were received more warmly, they didn't revitalize their commercial success, and they eventually broke up in 2011.
  • 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. In April 2020, Todd hinted that he's going to cover it soon.
  • Music for the People by The Enemy. Admittedly, this band only ever saw popularity in their native United Kingdom, so the chances of Todd covering it are likely fairly low; still, their massive fall from grace is worth mentioning regardless. This indie rock band scored a few top 10 hits and their debut album We'll Live and Die in These Towns reached #1 on the UK Albums Chart. They were significantly hyped up by the press and saw their success at the peak of the 2000s UK indie/post-punk revival movement (a movement which, by The New '10s, many music publications would refer to as "landfill indie"). With their next album, the band ditched the Jam-influenced punk-stylings of their debut, instead going for a different, more grandiose arena-rock sound. Unfortunately for them, Music for the People was heavily panned by the press, not only for its bland songs and frontman Tom Clarke's almost ridiculously portentous lyrics, but for how several of the album's songs outright copy their influences. Actually, "copy" is understating it—"Nation of Checkout Girls" is a very Suspiciously Similar Song to Pulp's "Common People", while "Don't Break the Red Tape" basically is a "London Calling" cover with a different name. While the album charted high, only its lead single "Be Somebody" reached the top 20, with its remaining singles not even cracking the top 100, and the band's reception would never recover—in fact, things would only get worse from then on.
    • Alternatively, Streets in the Sky. While Music for the People had at least one top 20 hit, none of the singles on their follow-up charted at all. That, and despite their attempts to return to the simpler roots of their debut, critical reception was even worse, so much so that the album is actually listed on Wikipedia's page of music considered the worst! The band would release one more album in 2015 before calling it quits the next year.
  • 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.
  • My Teenage Dream Ended by Farrah Abraham: A girl famous for her appearance on Teen Mom tried to make an album. Said girl had basically no sort of prior musical experience, resulting in an album that was widely criticized for its production, its bizarre feel, and heavy use of Auto-Tune. The album's producer revealed that during recording, Abraham wasn't even singing to the music but to a click track, and also had to be told how to turn her diary entries into melodic compositions. Oddly enough, it has achieved something of a cult status in avant-garde/outsider music circles, and has been cited as a major influence on the deconstructed club and bubblegum bass/hyperpop music scenes. Abraham didn't really have any chance of success in the first place, but Todd might find the album's reception (and inexplicable vindication) interesting enough for a Trainwreckords episode. Also, his reaction to the music would probably be entertaining, whether he finds it interestingly bad or thinks it's just awful.

    N 
  • 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 and Aerosmith survived with Keep the Faith and Get a Grip, respectively, Poison found themselves incapable of adapting their carefree sound to the bleaker, less polished climate of the new decade. Whereas the former two records shed most of their hair metal elements while still remaining consistent with their respective bands' styles, Native Tongue was an awkward turn towards blues rock that neither won them newfound respect, nor pleased their original fans. 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: One of the most infamous sophomore slumps by an artist who promised so much potential early on, Neither Fish nor Flesh was a severe case of trying way too much way too quickly. Critics had loved D'Arby's first album for its modern spin on classic soul, especially in an era where pop music was becoming increasingly formulaic, but this record was simply too out of left field for his core fanbase to swallow. Significantly, unlike other ambitious but initially unsuccessful followups such as Paul's Boutique, Pinkerton, and Kid A, it was never truly Vindicated by History. In part, this could be due to Nirvana's virtual erasure of late '80s alternative music from memory, but a more primary reason was the disastrous PR surrounding the project. Disconnected from his semi-mainstream demographic, D'Arby kept insisting that he was some sort of transcendent revolutionary (hence the cheesy album title), which ultimately did nothing except cause everybody to lampoon him as absurdly pretentious. As a result, the singles went absolutely nowhere, sales for the record floundered, and his reputation was irreparably stained. He found some minor success overseas in the early '90s, but he never clawed his way back up in America. After someone suggested this album on Twitter, Todd expressed great interest in covering it in the future.
  • The New Danger by Mos Def: His solo debut Black on Both Sides is considered one of the greatest hip hop albums of the '90s, but this record was much more polarizing. It leaned even more heavily into the experimental than its predecessor, but most people found it too incoherent and lacking in real standouts. His subsequent work didn't garner much traction.
    • Alternatively, True Magic, which got even more lukewarm reviews than The New Danger and peaked at a dismal #77 on the Billboard 200 (although that was partially due to a leak).
  • No Code by Pearl Jam: Much like Kurt Cobain, Eddie Vedder despised the rapid commercialization of grunge so much that he actively attempted to sabotage Pearl Jam's mainstream success by veering into much more raucous, experimental, and radio-unfriendly music on their third album Vitalogy. On top of that, he refused to film music videos for the band's singles after "Jeremy" and got caught up in a drawn-out boycott against Ticketmaster. While these actions didn't prevent Vitalogy from becoming yet another huge success for the band and producing an unexpected radio smash hit "Better Man", things finally came to a head with the release of No Code in 1996. By this point, Pearl Jam had gotten so experimental that it was debatable whether or not they were even still a real grunge band. Ultimately, the new album sold far less than its three predecessors and got polarizing reviews, signifying a decline that they would never quite recover from, although they've continued to find plenty of success in the rock market several albums later.
  • No Mercy by T.I.: After he emerged one of the biggest names in hip hop during the late 2000s, the lukewarm reception to this followup quickly sent his career down a spiral. In contrast to his signature Paper Trail's triple-Platinum certification, No Mercy only went Gold, with only one of its songs ("That's All She Wrote" with Eminem) even reaching the top 20. Aside from his guest verse on Robin Thicke's "Blurred Lines", he was never commercially relevant again, even after Trap Music entered its golden period in the mid-to-late 2010s.
  • 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 (especially since Todd acknowledged the existence of her cover of "You Keep Me Hangin' On" in the Cut the Crap Trainwreckords), 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.

    O 
  • 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 has said that he wouldn't cover Scream by Chris Cornell "for obvious reasons," so considering Chester Bennington's suicide just two months after the album's release, he probably wouldn't cover this either.
  • Only God Can Judge Me by Master P: Emerging from the rubble of the primarily West Coast-based gangsta rap scene in 1996, Master P and his grassroots label No Limit Records cemented New Orleans as the genre's new capital, paving the way for the Dirty South's dominance of hip hop throughout the 2000s. While Puff Daddy's Bad Boy Records was more successful in the pop market, No Limit was the go-to alternative for 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, which quickly diminished all the initial hype. Only God Can Judge Me was released in 1999 to absolutely dismal reviews, and despite topping the Billboard 200, it ultimately only went Gold, in contrast to the multi-Platinum success of P's previous two albums (even 1996's Ice Cream Man outsold it). Its failure pretty much finished off No Limit's period of mainstream relevance for good, with Cash Money Records overtaking them as New Orleans' flagship hip hop label that year. A series of lawsuits would eventually bankrupt the label in 2003, and Master P's career has been Deader Than Disco ever since.
    • Alternatively, his previous solo record from 1998, MP da Last Don. Released at the height of No Limit's popularity, this album became Master P's best-selling record but was also a major contributor to the Hype Backlash that would kill his label within a year. Like All Eyez on Me and Life After Death, it was a double-album, but as P was already a rather polarizing figure (not helped by his flow's similarity to 2Pac), the record did more to expose how limited (no pun intended) he was as an artist than immortalize his legacy. Even many of his old defenders began to tire of his unchanging playbook in the aftermath of the record's release.
  • The Open Door by Evanescence: Like Hootie & the Blowfish, this band quickly saw massive success with their debut studio album Fallen, but their mainstream presence was killed not long after this record. Their previous record managed to capitalize on the waning days of Nu Metal, but when The Open Door arrived in 2006, the genre was reduced to a punchline and the band couldn't quite shed the association with it despite them trading all nu-metal influences in favor of infusing Symphonic Metal elements in their sound. While "Call Me When You're Sober" was a Top 10 hit, the rest of its singles flopped due to sounding too soft for rock radio audiences while including little hooks to attract pop listeners, and even that song isn't as well-known compared to "Bring Me To Life" or "My Immortal" nowadays. Ultimately, the album only sold less than a third of Fallen and by the time their third record was released, their star-power was so damaged that it failed to get certified. They've recorded very little new material afterwards (the band's fourth album was mostly comprised of reworked versions of songs from their first two albums). Todd felt their status as one of the biggest names in rock died after this album in the "In The End vs. Bring Me To Life" episode of Song vs. Song.
  • Origins by Imagine Dragons: Released around when the band was increasingly gaining backlash over their sanitized, heavily-radio-friendly music, this album proved to be a suddenly-big commercial decline for them and a possible breaking point. Only the first single, "Natural", was a hit, the others completely failed to reach the Top 40, and the album itself has yet to be certified.note  Todd has talked about the album's failure on Twitter and elaborated on his fascination by the band's downfall in the Worst of 2019 video. Additionally, he listed Imagine Dragons 5th on his top 5 artists whose stock fell the most in 2019. As this record was only recently released in late 2018, time will tell if the band can rebound in some form, but since frontman Dan Reynolds decided to take a break from music to focus on raising a family, it's not likely they'll be back on the charts anytime soon.
  • 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.

    P 
  • 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.
    • Confirmed.
  • Piece by Piece by Kelly Clarkson: Like Man of the Woods, this was a Concept Album from a once-respected pop star that took changes from their respective artist's regular-sounding music. (in Clarkson's case, from pop-rock to electropop with orchestral elements) Reactions from critics and the general public were mostly tepid and its singles made moderate-to-little impact on the charts. Her next album flopped even harder in spite of better critical reception and she's largely refocused her career on TV ever since.
  • 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".
  • Playing with Fire by Kevin Federline: Not that he really had any chance at success in the first place, but Todd may eventually cover this simply because arguably more than any other record, it's widely considered to be the worst album of all time, and it very much ensured "K-Fed" wouldn't have any future in the music business afterwards. Expect Todd to bring up K-Fed's debut single, "PopoZão", which didn't even make it on the album.
  • Presence and/or In Through the Out Door by Led Zeppelin: Although Todd has previously defended "Fool in the Rain", these two albums are regarded to mark the decline of the legendary band, eventually culminating in their breakup following John Bonham's passing in 1980. Both records were produced amidst severe personal issues amongst the band members and failed to match the universal acclaim of their first six studio albums.
    • Alternatively, Coda. It was essentially just a bunch of outtakes and unreleased recordings from their previous albums, but with a few extra overdubs. It proved to be a failed experiment and more or less ensured that they wouldn't reunite afterwards.
  • Push and Shove by No Doubt: After taking a break in 2004 with frontwoman Gwen Stefani starting her solo career, the group regrouped in 2009 with a tour before working on their first album since 2001's Rock Steady. Backed by the moderately sucessful "Settle Down", the album came out in 2012 and unfortunately, it didn't sell well when compared to the sales of Tragic Kingdom and Rock Steady despite decent reviews from critics. To make matters worse, the second single "Looking Hot" caused controversy for its music video due to culturally appropriating Native American culture and thus was pulled a day after release. Despite their decision to pull the video being commended by American Indian Studies Center of the University of California, Los Angeles, the damage was done, leading to the band to take another break in 2015 due to Stefani resuming her solo career and haven't recorded or released any new material since then.

    Q-R 
  • 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. Her friendship with 6ix9ine, including a heavily derided guest verse on his track "Fefe", only solidified her fall from grace with the public. Even when Todd put "Chun-Li" on his Best list in 2018, he simultaneously mentioned how she basically ruined her own career that year, stating that she had not adapted to changing trends in hip hop and had fallen out of touch with the narrative surrounding her. Amidst her continued decline in 2019, she apparently announced her retirement to focus on raising a family, only to continue making music anyways. Even with a guest verse on "Hot Girl Summer", Todd noted in his 2019 Best list that her career is on its last legs. In 2020, her 6ix9ine collaboration "Trollz" debuted at #1, but plummeted to #34 in its second week and set a new record for largest fall for a number-one debut that didn't drop from the list entirely.
    • Possibly jossed based on the "Trollz" Pop Song Review, where Todd said Nicki Minaj still has a large, devoted fanbase in spite of her declining reputation and was the key factor who helped the song get to #1.
  • Raditude by Weezer: Although they experienced a critical comeback in the mid-2010s with Everything Will Be Alright in the End and The White Album, not to mention a popular 2018 cover of Toto's "Africa", this is one of Todd's most-requested Trainwreckords episodes, representing the band's nadir after their previous three albums already alienated a sizable portion of their fanbase. Even their newer stuff fails to live up to the popularity of The Blue Album and Pinkerton. Whether or not Todd personally feels Weezer truly rebounded from Raditude, however, is unclear.
    • Alternatively, Pinkerton. Despite being one of the ultimate examples of Vindicated by History in music, its overwhelming critical and commercial failure at the time that it came out haunted frontman Rivers Cuomo and resulted in a 5-year gap between its release and the band's next album. Although they would return to chart success throughout the 2000s, it would prove to be at the expense of fan reception.
  • Razorblade Suitcase by Bush: While this British band was criticised for being a lightweight derivative of grunge acts like Nirvana and Pearl Jam, their debut album Sixteen Stone went 6x platinum and spawned more than a few hits. Unfortunately, their follow-up was a notorious Sophomore Slump, as their attempts at a Darker and Edgier sound completely backfired, not helped by the presence of producer Steve Albini drawing unfavourable comparisons to Nirvana's In Utero. Despite its debut at number one on Billboard, the album only sold half as many copies as its predecessor and only its first two singles "Swallowed" and "Greedy Fly" (which had a notoriously long, expensive and confusing music video) made much of an impact on the Billboard rock charts, and the band experienced diminishing returns ever since.
    • Alternatively, The Science of Things: Once alternative music drifted away from grunge in the late 1990s, Bush were forced to change with the times. 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.
  • 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. Her followup studio album Madame X came out in 2019 to even less fanfare, perpetuating her recent reputation as a has-been, clouding her legendary status.
    • Jossed, due to Todd covering American Life instead.
  • Rebirth by Jennifer Lopez: This was J.Lo's first new album since the failure of Gigli and downfall of the Bennifer fiasco, but while it mostly strayed away from the insincere Author Tracts plaguing her previous two records, it proved to be her first real musical flop. The leadoff single "Get Right", marred by its overbearing saxophone loop, only briefly charted in the top 20, while its followup, "Hold You Down" featuring Fat Joe, went pretty much nowhere. Although her career as a celebrity persisted on as usual, her only real successes from this point forward were through her work in film and television, while her music career became strictly secondary. Even her 2010s hits "On the Floor" and "Booty" were only true successes primarily through the aid of their guest stars, rather than J.Lo's own star power. The record that contained "On the Floor" didn't even sell half the figures of Rebirth, itself a huge plunge from her first three albums.
    • Alternatively, This Is Me... Then. Combined with her tabloid-baiting relationship with then-boyfriend Ben Affleck, the album permanently damaged her reputation, despite strong sales and several hit singles. Things only got worse once she starred in the infamous turkey of a film Gigli. Todd says he wants to eventually examine Jennifer Lopez and her feeble attempts at conveying authenticity someday, and a Trainwreckords episode for this album would be a great opportunity for him to do so.
    • A.K.A. , also alternatively. Though her commercial peak was long behind her, she enjoyed a mild 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". J.Lo has since kept her entertainment career alive primarily through film and television instead, although she hasn't stopped recording.
  • 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. Most of his later albums fared better, but for the most part, he remained a shadow of his former self during the 2010s while his protégé Drake overtook him as the most popular rapper alive.
  • 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 Red Shoes' lyrics were just as bohemian as ever, but the production was dominated by cheesy '80s-style synthesizers, and this was 1993. Critics also thought The Red Shoes sounded dated when compared to contemporary albums by artists Bush had directly inspired, like Tori Amos and Björk. Bush herself was also displeased by the digital recording process used on the album, and she would re-record and remix several of its songs for her 2011 album Director's Cut. While The Red Shoes was her highest-charting album in the US, its popularity fell off soon after, and the album's disappointing reception led to her taking a 12-year hiatus from recording. Her comeback album Aerial was a success, but by 2005, she was no longer a trendsetter. 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.
  • Reinventing the Steel by Pantera: There was tension between lead singer Phil Anselmo and the Abbott brothers in their preceding album The Great Southern Trendkill due to Anselmo's drug addiction. After the breakup of Pantera in 2003, bassist Rex Brown joined Anselmo in his other band Down while the Abbott brothers formed Damageplan, which was short lived after Dimebag Darrell was murdered by a Loony Fan during a show in Ohio in December 2004 (coincidentally on the 24th anniversary of the murder of John Lennon), and Vinnie Paul would later die of heart failure in 2018.
  • Renaissance by Village People: After the downfall of disco at the turn of the 1980s, these former leaders of the genre decided to venture into New Wave instead of post-disco as 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. Although Rocked Reviews already did an in-depth Regretting The Past review of the album, Todd has recently implied he's going to talk about the record at some point.
  • 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". In the Song vs. Song podcast, Todd noted that he had listened to the beginning of this album and was absolutely appalled by how badly mixed it was, due to Sisqó relying on personal friends to produce the record instead of seasoned professionals.
  • 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-fledged reunion died with Cornell's suicide just four months later.
    • Todd has said that he wouldn't cover Scream by Chris Cornell "for obvious reasons," most likely referring to Cornell's suicide, so he probably wouldn't cover this either.
  • Reverberation by Echo & the Bunnymen: While they were always much more popular in the UK than the US, they were steadily developing a cult fanbase across the Pond during the '80s. Unfortunately, things quickly went south after the death of drummer Peter de Freitas and departure of lead singer Ian McCulloch. The two members were promptly succeeded by Damon Reece and Noel Burke respectively, but both were considered unwelcome replacements by the public at-large. The group's first and only album with the new lineup not only met scathing reviews, but did not even make UK Albums Chart, an unfathomable decline considering they had just come off three consecutive top 5 records. It didn't chart in the US either, despite alternative music becoming more popular by 1990. The band broke up a few years later, eventually reuniting with Ian McCulloch returning as lead vocalist, but their comeback didn't amount to a whole lot more than one more top 10 hit and Silver record in the UK.
  • 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.
  • Risk by Megadeth: Similar to Pixies, this would be different from other episodes in that it would deal with a band that always seemed to be on the cusp of really breaking through to something huge, but had that dream forever dashed by one unfortunate album. It’s not like they were never a big thing - 1990’s Rust in Peace is considered by fans and critics to be one of the finest thrash metal albums ever recorded, and they hit their commercial peak with 1992’s Countdown to Extinction which went double-Platinum in the US. Of course, any discussion of Megadeth would have to begin and end with one person - frontman Dave Mustaine. How he was infamously fired from his previous band, Metallica, and how throughout his career with Megadeth (which was basically his solo project) he was driven to become as huge as them, but was always several steps behind them. Also, Todd could add some discussion of the thrash metal genre, which he hasn't talked much about. Mustaine’s early role in Metallica could be examined (when they formed in 1981, Dave was the oldest member and most seasoned musician), as well as the outsized contribution Mustaine made to the thrash metal genre. And finally, Mustaine’s ill-fated attempt at going in a more mainstream direction with 1999’s Risk, ironically a direction that Mustaine decided on at the advice of his old Metallica nemesis, Lars Ulrich. Megadeth got back on track after this, releasing several more albums over the years, but the time for greatness had forever passed them by.
  • 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 entered production. Though the Title Track was a big hit that got nominated for a Grammy, the album itself had a polarizing reception at best, not to mention Joel was going through a really tough period in his life. It shows. The record would ultimately turn out to be his last, as he no longer felt he had anything meaningful to say; he even self-referenced his creative burnout in the final track, "Famous Last Words". Todd said he doesn't like the album.
  • Rock Star Supernova by Rock Star Supernova: Like Switch mentioned below, this album was the product of the failed sing-off competition show Rock Star, but it proved to be an even bigger failure. Because Mark Burnett couldn't attract another band that had lost its lead singer for season 2, he instead formed the supergroup Supernova, which comprised of Jason Newsted, Tommy Lee, and Gilby Clarke, with the winner of the season becoming the vocalist. Shortly before Lukas Rossi won the show, Supernova were forced to add the series title to their name after being sued by another band also named Supernova. When their debut album finally came out a few months later, it was critically savaged and didn't even make the top 100 of the Billboard 200. The band itself broke up just two years later, while the show was never renewed for a third season.
  • Rudebox by Robbie Williams: Robbie Williams is one of the ultimate cases of Americans Hate Tingle in music, but since his legacy in the US doesn't lend itself well to One Hit Wonderland like S Club 7's did, this may be the only legitimate opportunity Todd has to finally discuss him on his show. Outside of America, he's one of the most successful pop singers in history and an endlessly dissectible force of personality, having transitioned from one fifth of the early '90s boyband Take That to an extremely versatile solo performer who could command attention just by the mere act of existing. However, his career took a big hit upon the release of this sloppy misadventure, on which he clumsily modernized the '80s Synth-Pop of his childhood with elements of present-day dance-pop. The infamous titular leadoff single is a major example of the "I'm Back, Bitch" single and is easily comparable to Justin Timberlake's "Filthy", another experimental production with cringey, dated-sounding raps that immediately ruined the performer's reputation for coolness. Even though Robbie's profile was still large enough to drive the album's sales towards a double-Platinum certification, it's easily his worst-rated record to date and was a partial factor that caused him to briefly rejoin Take That, who mounted an enormous Career Resurrection very soon after this album came out. While Robbie continued to score big hits, including a UK #1 in 2012, his legacy has continued to be primarily defined by his earlier triumphs in the late '90s and early 2000s and collaborations with post-comeback Take That rather than his own star power.

    S 
  • Sam's Town and/or Day & Age by The Killers: The former is widely regarded as a Sophomore Slump following their universally acclaimed debut Hot Fuss, although it sold several million copies worldwide, contained the fan favorite "When You Were Young", and still has its fans. The latter, however, perpetuated the band's downward spiral even further, attaining middling reviews at best and only going Gold in America, proving to be their last album to earn a certification of any kind in that country. Furthermore, the band went on a brief hiatus following the supporting tour, after which they put out two more records that didn't fare any better. While they're still a huge deal in the UK, their trendsetting relevance has undoubtedly dwindled since their mid-2000s heyday. While Todd might consider the Killers' career arc to be too normal to cover (as he felt about Cyndi Lauper), he has been a huge fan of the band since they first broke out in 2004, so he'll surely have plenty of thoughts about their unexpectedly short time in the spotlight.
    • Alternatively, Battle Born. The band was already nowhere near the level of influence they held during the Hot Fuss or even early Sam's Town eras by the time they returned from their hiatus to release this album in 2012, but it turned out to be their worst-rated album to date, failing to revitalize their careers even in a year when indie rock was enjoying a resurgence in mainstream popularity.
  • Schizophrenic by JC Chasez: Even though JC Chasez was just as prominent in N Sync 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.
  • The Seeds of Love by Tears for Fears: After the overwhelming praise and success of Songs from the Big Chair, anticipation was high for this album, which finally dropped four years after its predecessor. Unfortunately, it suffered from a turbulent and expensive production, and after it got a lukewarm reception, singer and bassist Curt Smith left the band. While "Sowing the Seeds of Love" was a hit, the rest of the singles failed to garner traction, and the band mostly fell off the radar thereafter. Todd loves Tears for Fears and considers "Everybody Wants to Rule the World" one of his favorite songs of all time, so he may be interested in examining why the band's success didn't last longer.
  • Sgt. Pepper's Lonely Hearts Club Band by RSO Records: This infamous Beatles covers album soundtracked the maligned 1978 film of the same name and not only led to the downfall of '70s musical giant RSO Records, but was also a primary factor that fueled the disco backlash, which would reach a critical limit a year later at a certain baseball game. Notable victims of this disaster include Peter Frampton, whose career was already in jeopardy after his polarizing I'm In You album (see above), as well as the Bee Gees, whose stateside career ultimately wouldn't survive the downfall of disco, despite two more #1 hits on their next album.
  • Shadows and Light by Wilson Phillips: The daughters of Brian Wilson of The Beach Boys and John and Michelle Phillips of The Mamas & the Papas, Wilson Phillips' self-titled debut from 1990 was a monster success, going Quintuple-Platinum and raking in five consecutive top 15 hits, three of which went to #1. Their second album, however, went virtually nowhere. Despite its darker and more personal content, the critical reception was extremely lukewarm and none of its singles charted higher than #20. The group broke up only a year later.
  • 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".
  • Shout and/or Total Devo by Devo: Todd has stated Devo are not one-hit wonders, so expect him to cover them on Trainwreckords instead of One Hit Wonderland. Both of these albums were heavily panned upon release, criticized for stripping the band of all their wackiness and intelligence. Sales for both were also pitiful, and Devo wouldn't have another charting record until 2010.
  • 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).
  • Simple Plan by Simple Plan: This was their attempt at a Darker and Edgier album focusing on more mature themes rather than the Wangsty content they were infamous for. However, critical reception wasn't better than their previous work and it failed to get certified in every country aside from their native home in Canada, ending their commercial relavence. Todd has mentioned a few times before about his hatred for Simple Plan (notably, his first stab at music criticism was a review of "Welcome to My Life" on Livejournal), so he could finally go into further detail on about why he absolutely despises them by covering the album.
    • Alternatively, Still Not Getting Any. Whereas their first album, No Pads, No Helmets, Just Balls, was a generally lighthearted affair (albeit one that also had tracks like "I'm Just a Kid" and "God Must Hate Me"), this album had more attempts at serious songs with a message. However, rather than giving the band more credibility, it instead gave their detractors, who criticized their music for being whiny and immature, some major ammunition. With singles such as "Welcome to My Life", a narmfest seemingly tailor-made for a stereotypical Emo Teen, "Shut Up!", a very subtle rebuttal towards their critics, and "Untitled", an anti-drunk-driving piano ballad which is one of the ruthlessly mocked songs to ever be released in the 2000s, Still Not Getting Any only cemented their reputation as a wangsty "corporate punk" group pandering to teenagers. As a result, when the band took on a genuinely more mature sound on their 2008 self-titled album, that album flopped because people still didn't take them seriously. This album has also already been covered on Rocked Reviews' Regretting the Past series, but it may be a better choice for Todd to review due to the aforementioned singles.
  • Slang by Def Leppard: Although Def Leppard were one of the few Hair Metal bands to survive the onset of grunge, thanks to the moderate success of Adrenalize and a few hit power ballads such as "Two Steps Behind" (from the Last Action Hero soundtrack), they attempted to make a full comeback with this New Sound Album in 1996. It introduced several alternative influences to their style, which earned serious backlash from their old fans and wasn't enough to reverse their uncool image to younger generations. Aside from one #6 single on the Mainstream Rock chart, it was a big commercial flop. While its 1999 followup Euphoria was slightly more successful (with a #1 Mainstream Rock hit), the band's relevance nonetheless remained diminished, even compared to their early/mid-'90s period.
  • Slow Train Coming, Saved, and/or Shot of Love by Bob Dylan: These three records 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 in return. Even though the first of the Christian trilogy actually has a large number of fans, the other two are easily ranked in the bottom tier of the Dylan chronology. While he released several albums after returning to secularism that sold well, one of which won Album of the Year for 1997, he became mostly a legacy act rather than a trendsetter like he was in his prime. Additionally, Slow Train Coming's leadoff single "Gotta Serve Somebody" was his final song to reach the top 40 of the Billboard Hot 100, despite the following decade being an easy time for veteran acts to find commercial success.
  • Small Talk by Sly and the Family Stone: Though pioneers of the psychedelic soul movement in the late ‘60s, by the early ‘70s, the band was hanging on by a string, due to Sly’s heavy drug use and erratic behavior that caused him to regularly miss concerts, much like Lauryn Hill decades later. While they released the massively successful New Sound Album There’s a Riot Goin' On in 1971, their last two albums, Fresh and especially Small Talk, didn’t fare as well with audiences and critics, and they finally disbanded after a disastrous gig at New York’s Radio City Music Hall in 1975.
    • Alternatively, Heard Ya Missed Me, Well I'm Back. After his first solo album went nowhere commercially, Sly attempted to revive the Family Stone with this record, despite being a full band effort In Name Only (Cynthia Robinson was the sole member from the original group besides Sly himself to contribute to the album). The resulting album got abysmal reviews and flopped hard commercially, causing Epic Records to drop him the following year.
    • Ain't but the One Way, also alternatively. While Sly's career was already dead in the water by 1982, this record's Troubled Production could make for a lot of interesting content, and it was also the final album the band released of any kind.
  • Small World by Huey Lewis and the News: Todd might not decide to cover this album because it didn't really annihilate their careers (they still had hits as late as 1994), but it was still a clear negative turning point for their fortunes, regardless. Their previous two LPs produced five major hit singles each (with their signature "The Power of Love" hitting #1 in-between), but this one only yielded a fraction of that success. Additionally, its reception was extremely lukewarm, with their heavily mainstream fanbase not taking to the record's prominent Caribbean and Cajun influences or vague social commentary.
  • Smash Mouth by Smash Mouth: This ska-punk/60s revival band was one of the most successful pop acts of the late 1990s, but after their songs were prominently featured in several blockbuster movies such as Mystery Men, Shrek, Rat Race, and Digimon: The Movie, they became indelibly tainted as a cheesy fad, quickly burying the moderately credible image they had previously cultivated. By the time they released their self-titled album in late 2001, not only were they facing a ton of Hype Backlash, but 9/11 had drastically darkened the zeitgeist, causing their flashy, fun-in-the-sun aesthetic to fall badly out of style. It certainly didn't help that on the record's first non-movie single, "Pacific Coast Party", they leaned into their bubblegum sellout reputation more explicitly than ever. It came as no surprise, then, when the single failed to chart on the Hot 100 and the album itself barely moved any units, killing their momentum pretty much overnight. 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. Todd said in the Song vs. Song podcast that he started to hate "All Star" after initially liking it due to overexposure at the time, so he should be able to recall the abrupt downfall of Smash Mouth by personal experience.
  • 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, making it essentially a Mike Love solo record in disguise, if the single "Summer of Love" is any indication. 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.
      • Summer in Paradise confirmed.
  • 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. That album's 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, so listeners were in for a surprise when Vol. 2 was a harder, Darker and Edgier effort that didn't continue the poppy, Lighter and Softer sound of Vol. 1. 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. Vol. 1 went on to become Everclear's second-best selling album, but due to broken consumer confidence, album sales for 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, marked by major ups and downs alike, 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 came to overshadow 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 made fun of Bono for his 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.
    • Alternatively, No Line on the Horizon, which may not have a promotional fiasco attached to it, but is arguably the true point the band stopped mattering. It's considered a So Okay, It's Average release and didn't yield any major hits.
  • Soul Dancing by Taylor Dayne: She was extremely successful during the late '80s and beginning of the '90s, but her success mostly cratered after the downfall of bubblegum pop in 1990. This 1993 record only had one marginal hit, a cover of "Can't Get Enough of Your Love" by Barry White, and she basically disappeared thereafter.
  • Sound Loaded and/or Life 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 the underperformance of his sophomore English crossover album Sound Loaded. Its leadoff single "She Bangs" is now more associated with William Hung than Martin himself. Pervasive rumors about his sexuality, which he constantly evaded, didn't help matters. 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.
  • "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.
  • Speedin' Bullet 2 Heaven by Kid Cudi: A Genre Shift album gone horribly wrong, it was intended as an homage to '90s alternative music and notably featured guest appearances by Mike Judge voicing Beavis And Butthead, but to the public at-large, it came across as a confounding mess. Although Kid Cudi has appeared on some hit singles since (including the #1 "THE SCOTTS") and did Kids See Ghosts with Kanye West in 2018, this so far has very much cratered his career as a solo artist.
  • Splinter by The Offspring: Their migration to Columbia Records and adoption of a more mainstream-friendly look and sound had already garnered a lot of backlash, as is normal for any pop punk band, but their success was really derailed after the poor performance of this album, which dropped in the twilight of the pop punk movement that they themselves had originally spearheaded alongside Green Day. In particular, Splinter was notorious for being a major case of Mood Whiplash - in between Darker and Edgier songs like "The Noose" and "Race Against Myself", there were several others that were Denser and Wackier, such as "The Worst Hangover Ever", "Spare Me the Details", and especially "Da Hui" and "When You're In Prison". Unlike their peak period, the band struggled to strike a comfortable balance between punk angst and lighthearted humor. Although the two singles were both well-received, they weren't enough to save the album. While the band eventually had a couple more minor hits in 2009, their relevance as trendsetters mostly ended here, at least in America.
  • 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: Their mid-90s albums Load and Reload earned a rather polarizing 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. Todd stated that Death Magnetic was not a true recovery for the band in hindsight, implying that a St. Anger episode is definitely on its way. Although Rocked Reviews already covered it on Regretting The Past, Todd has implied that won't stop him from reviewing it himself.
  • 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.
  • 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.
    • Possibly Jossed, as Todd tweeted that he didn't consider this album to be a Trainwreckord at all. But he has recently been reconsidering it and put the question out to his Twitter followers, so an episode on this album isn't totally out of the question just yet.
  • 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.
    • Alternatively, Original Sin—no, not the song. In 2010, the remaining INXS members put out this confusing album that was a compilation of re-recorded songs with different artists providing new lead vocals. People were turned off by the confusing choices of artists (including Pat Monahan of Train) and it was widely seen as a sign that the INXS should've been already laid to rest. It would be the last new (well, in a sense) material the band released before going on hiatus in 2012.
    • Full Moon, Dirty Hearts, also alternatively. This was the album that killed their commercial relevance, as it only peaked at #53 and didn't even get certified. It also has a one-star critic review from AllMusic. While the band were arguably just victims of Grunge, their previous album came out only a year earlier, in 1992, and was still a success, going Platinum and generating positive reviews.

    T 
  • Taking the Long Way by Dixie Chicks: Released a few years after their controversial comments about George W. Bush, this record actually topped the charts upon release, won several Grammys and spun off the Top 5 hit single "Not Ready to Make Nice". However, the acclaim it received didn't earn back most of their old fans, and "Nice" turned out to be a bigger pop hit than a country one because country stations still refused to play their music. They eventually ceased recording new music until 2019, when they made a guest appearance on Taylor Swift's Lover album and finally released another studio record of their own in 2020 as just The Chicks. While that album, Gaslighter, received very positive reviews, it failed to debut at #1 or even #2, so it's probably not successful enough to preclude Taking the Long Way from qualifying for the show.
  • Talk Show by The Go-Go's: In the aftermath of the unexpected smash success of their debut album at the dawn of the MTV era, the sudden pressures of fame came to poison the band's internal relationships. Between the firing of manager Ginger Canzoneri, lead songwriter Charlotte Caffey's life-threatening heroin addiction, the disappointing performance of their sophomore record Vacation, and controversy over royalty shares among the members, they were in complete disarray by the time they returned to the studio for this album in 1983. Although it got decent critical reviews and yielded a couple of top 40 hits upon its release a year later, it was a major sales flop, peaking well outside of the top 10 and failing to get certified by the RIAA. Things only got worse when guitarist Jane Wiedlin, who had contributed much more of the record's songwriting credits this time around, decided to jump ship following the initial tour after feeling marginalized by the band and label. She was briefly replaced by Paula Jean Brown, but amidst Caffey's ongoing drug problems, the band broke up before they could put out a fourth album. Frontwoman Belinda Carlisle had a successful career as a solo artist (for which Caffey continued writing songs), while Wiedlin had one big hit of her own in 1988, but the Go-Go's wouldn't return for another studio record until 2001, by which point their time in the spotlight was long over. Nowadays, they almost never play anything from Talk Show during live performances, not even the hits.
  • Tarantula by Mystikal: He originally made a name for himself as one of No Limit's most popular signed artists, ultimately finding some major pop success after switching to Jive Records. Although his second Jive album received pretty good reviews, especially from those alienated by his mainstream turn, its commercial performance proved to be very underwhelming. Compounded by severe legal problems, Mystikal's career immediately imploded following the record's release, and he still has yet to put out another album nearly two decades later.
  • Tarantula by Ride: One of the most acclaimed and influential names in shoegaze, Ride went from being a cult critical darling with their acclaimed debut Nowhere, to surprise superstars with the just-as-loved (if not even more)Going Blank Again, which saw them taking a poppier direction that greatly influenced the burgeoning Britpop scene, and earned them a top 10 UK hit with "Leave Them All Behind". The band faced heavy pressure to follow up TWO acclaimed albums, and slowly grew more and more dysfunctional regarding the musical direction they should've taken, which really showed on their final two albums. Frontmen Andy Bell and Mark Gardener normally wrote songs together, but on this album Gardener wrote only one while Bell wrote the rest, a sign to just how badly the tension in the band affected their ability to make meaningful music. The album was lambasted by critics, the band broke up before it was released, and their record label Creation pulled the album from stores only a week after its issue.
    • Alternatively, Carnival of Light. While this album wasn't nearly as poorly reviewed as Tarantula, it was where the band's dysfunction and decline started to really show. None of the album's singles charted beyond the top 30 mark, and the band sees it as an Old Shame, with Bell and Gardener really regretting the fighting they engaged in during its production. (In fact, the band were calling it "Carnival of Shite" by the end of the year it was released!) It would be decades before the band officially reunited.
  • Tha Doggfather by Snoop Doggy Dogg: While Snoop has certainly remained a pop culture icon well beyond the '90s, the failure of this album and especially the circumstances surrounding its release marked a severe turning point in his career that he would never artistically recover from, so it's likely eligible for Trainwreckords for similar reasons as Madonna's American Life. Having just barely escaped a murder conviction, Snoop came into the recording process for the long-awaited followup to his debut solo record Doggystyle far more reluctant about his gangsta persona. As Dr. Dre had left Death Row Records around the same time, he was no longer even backed by the iconic G-funk beats that complimented his unique flow so well in the past. With the essential elements of Doggystyle's whole appeal all but gone, he was forced to experiment with several new ideas to stay relevant in the rapidly shifting hip hop climate. He tried latching onto the then-prevalent mafioso rap trend, invoked a sort of old school hip hop renaissance, and even attempted to reinvent himself as a positive role model. In each and every case, the results were tepid at best. To make matters worse still, the murder of Tupac Shakur and incarceration of Death Row founder Suge Knight right before the new album's release distracted from its promotion. Ultimately, it was met with extremely lukewarm reception and fell horrifically short of all the pressure riding on its success. As 1996 had already been a disastrous year for Death Row Records, the underwhelming performance of Tha Doggfather sealed the label's permanent decline. In the aftermath, Snoop continued selling albums and scoring hits on other labels (including the #1 single "Drop It Like It's Hot" with Pharrell Williams in 2004), 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 90s. Essentially, this flop marked the end of gangsta rap legend Snoop Doggy Dogg and the birth of aimless sellout Snoop Dogg.
    • Alternatively, Reincarnated by Snoop Lion. Of Snoop's several post-Doggystyle misadventures, this one is easily his most infamous. Having converted to Rastafarianism upon traveling to Jamaica, Snoop rechristened himself as a reggae musician and released this in 2013. Not only was the general public unsure how to react to this abrupt Genre Shift, but actual Rastafarians vehemently disapproved of Snoop's new direction, believing he did not genuinely appreciate the religion and was mostly just embracing it as a publicity stunt and excuse to get high. Almost immediately, Snoop moved on from this strange chapter in his life as if it had never happened.
  • 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.
  • 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, media corruption, social manipulation, 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 commentary of popular culture at the time, coming off as more of an Indecisive Parody than a groundbreaking step forward for a traditionally manufactured genre of music. The album made absolutely no splash in America and bombed even in their native Denmark, where their debut record was a big hit. 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.
  • Tical 0: The Prequel by Method Man: This album followed a five-year break and was intended to relaunch him to chart success, roping in a wide variety of producers such as Sean Combs, Rockwilder, and Scott Storch. Instead, it proved to be a complete turkey, garnering a horrible critical reception and only mustering a Gold certification. Method Man has since expressed his remorse over the project, and his career has never returned to its '90s highs ever since.
  • To the Faithful Departed by The Cranberries: They're very similar to Hootie & the Blowfish in that they were one of the definitive alternative rock bands of the mid-'90s but then suddenly disappeared from public consciousness shortly after the lukewarm reception to their 1996 record. Although this album had three pretty decent hits, none are anywhere near as iconic as previous singles "Dreams", "Linger", or "Zombie", while the record itself is generally written off as a failed followup more than anything else. The album was also criticized for its anvilicious, politically-driven lyrics that came across as narmy. The band continued making records after its failure, but never regained the success they had in the mid-'90s.
  • To the 5 Boroughs by Beastie Boys: Like American Life, this was one of the few albums by a major musical act with a focus on social commentary in response to 9/11 and the Iraq War. While the record fared well with critics, fans were much more lukewarm towards it, criticizing its relatively safe production and mediocre lyrics. Their subsequent two albums both failed to earn certifications from the RIAA, and they ultimately broke up in 2012 when Adam "MCA" Yauch succumbed to cancer.
  • Todd Smith by LL Cool J: Despite surviving the failures of Walking with a Panther and 14 Shots to the Dome, LL never found redemption after Todd Smith, which was released in 2006 as part of a string of non-explicit albums capitalizing primarily on the rap ballads that had earned him 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. In that episode, Todd stated LL's career lasted 20 years, which implies he thinks it ended around the time Todd Smith came out (it would have started around 1985-1987, either with his first album Radio or his commercial breakout hits "I'm Bad" and "I Need Love" from Bigger and Deffer).
  • Tonight and/or Never Let Me Down by David Bowie: Although he seemed to be easing into the video era with style on Let's Dance, the quality of his music took a sudden nosedive with these two records, which killed his mainstream relevance for good. He had a few critically acclaimed albums later, most notably Blackstar at the very end of his life, but aside from that special case, his new music wasn't ever as influential again as it was in the '70s.
  • Tranquility Base Hotel & Casino by Arctic Monkeys: They had reached arguably the peak of their influence thanks to the groundbreaking success of "Do I Wanna Know?" in 2013, only to go on a hiatus shortly afterwards. While their comeback album got good reviews for its eclecticism, it was also criticized for deviating too much from their previous albums. It was also a huge sales flop, only receiving a UK Gold certification (and no certification in America), whereas AM had gone 4x Platinum in Britain and Single-Platinum in the US. Since the record only came out in 2018, time will tell whether or not they can make a genuine comeback.
  • Treat Myself by Meghan Trainor: Though this was originally slated to be released in August 2018, it was eventually delayed to January 2020, due to Meghan and her label wanting to record additional material, as well as the poor commercial performance of its singles (some of which were dropped from the album). She released an EP, The Love Train, in February 2019 as an appetizer, which the public largely passed up. The album finally came out as promised the following year, but its mediocre reception and lack of a new hit accompanying its release are very likely to be the final nail in her coffin after a long downward spiral that started with "No Excuses".

    In a big twist, a few days after the album's release, Meghan revealed that the record's title was inspired by her struggle with panic disorder as a result of two surgeries she had on her vocal chords. Although she had been cancelling several concerts during her prime, a lot of people blamed that on her diva antics, rather than her mental health. The revelation also suddenly put the album's notorious constant delays into a clearer perspective after most of the public assumed they were primarily a result of Meghan and her management wanting to avoid releasing the record during a scarce time for pop music like 2018. Unfortunately for Meghan, the damage already seems to be done.

    In this tweet, Todd said he was kind of sad that her career didn't last because it would at least have been fun to write about, which suggests that he finds her somewhat interesting and might want to make a video about her failure some day (barring a surprise comeback, of course).

    Todd has argued on Twitter that Meghan Trainor is one of those artists no one really liked that much even at the peak of their popularity. This could lead to him speculating about what made people decide it's okay to drop her from their lives. Maybe they simply forgot about her as her popularity faded. Maybe her upbeat style just couldn't stay popular in the late '10s, when people seem to prefer more downbeat music. Maybe they used her questionable lyrics and controversial comments as an excuse to ditch her — in this case, Todd may discuss whether the backlash to her lyrics and comments was ultimately disproportionate, as other musicians have done similar or worse things with less backlash and damage to their careers (he may bring up Chris Brown, who still has a career after committing actual crimes, as an extreme example of this). This is also comparable to Todd's take on Ashlee Simpson's downfall — he believes she lost her popularity after the lipsyncing scandal not because people hate lipsyncing per se, but because no one really liked her that much and the scandal gave people an excuse to abandon her.
  • Trial by Fire by Journey: Despite marking the comeback of Steve Perry as their frontman, it only had modest success, with just one moderate hit and nowhere near the sales of their previous albums. Perry would leave once again shortly after it came out.
  • Trompe le monde by Pixies: A lot like The Velvet Underground, Pixies are considered one of the greatest and most influential bands of all time by rock fanatics but never landed any major commercial breakthrough before internal drama tore them apart, thus holding them back from the widespread iconic status that later bands like Nirvana, Pearl Jam, and The Smashing Pumpkins achieved. Although Trompe le monde hit stores just one day before Nevermind, which was overwhelmingly influenced by the band’s previous works, its reception was lukewarm compared to their first few albums and failed to launch them to a broader audience right when the timing was perfect. Amidst ongoing tensions between frontman Black Francis and the rest of the band members that were exacerbated during the tour to promote the album, they broke up soon afterwards, thus missing out on the mainstream heyday of alternative rock. Later generations would discover them after "Where Is My Mind?" was featured at the end of Fight Club, but their time in the spotlight was firmly over by then. They eventually reformed in 2004, but their more recent material hasn't fared well, in spite of the band's enduring cult fanbase.
  • True Stories and/or Naked by Talking Heads: Coming off of Stop Making Sense and Little Creatures, the band had reached the height of their popularity and influence. By the late 1980s, however, they were in total disarray as frontman David Byrne clashed with the rest of the members. Their 1986 record True Stories, a studio-recorded counterpart to the film of the same name, was marred by heavy Executive Meddling from Warner Bros., and though "Wild Wild Life" was a moderate hit, the album itself had poor sales and is nowadays considered the worst in the Talking Heads catalogue.

    On their following record Naked, Byrne was given more artistic freedom again, allowing him to return to the funk and worldbeat stylings of Fear of Music and Remain in Light. Despite this, the band was more dysfunctional than ever, resulting in an album that was only marginally better-received than its more pop-oriented predecessor and still considered a disappointment compared to their earlier works. It also sold no better than True Stories and failed to produce any major hit singles. The album's best known song, "(Nothing But) Flowers", was not a major success in its time and it only grew in popularity and acclaim in later years, while none of the album's other songs are as fondly remembered. Naked would ultimately be Talking Heads' last album; they would break up three years later to pursue separate projects.
    • Alternatively, No Talking, Just Head by The Heads, a horribly botched attempt at a comeback that lacked David Byrne, instead featuring a variety of guest vocalists. In response, Byrne sued the band for being a ripoff of their own previous incarnation. It certainly didn't help that the album got really bad reviews, as critics and audiences alike found no use in a Talking Heads album without Byrne's unmistakable charisma bringing it to life.
  • Turn Blue by The Black Keys: Despite its Grammy nominations and positive critical reception, fans were alienated by this New Sound Album's darker tone compared to their earlier material. It failed to match the sales figures of Brothers and El Camino, and while its 2019 followup Let's Rock charted well, its reception wasn't much better.
  • Twenty 1 by Chicago: Although easy listening was still very much mainstream in 1991, this record only produced one minor top 40 hit and did not get a certification from the RIAA. Unlike their 1980 flop Chicago XIV, Twenty 1 was never followed by a true Career Resurrection. While Chicago's commercial downfall isn't particularly noteworthy compared to other major bands throughout history, covering this album would give Todd the chance to elaborate upon his hatred of the band on a grander scale and explore why it took this to end them and not one of their previous records.
    • Alternatively, Chicago XIII or Chicago X, both of which are considered the point when the band jumped the shark. Their commercial success was certainly far from gone, but Todd may still be interested in taking a closer look into their sudden permanent decline in quality.
  • Twisted Angel by LeAnn Rimes: While she was hugely successful throughout the '90s and early 2000s, her career's genre whiplash 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, frontman Colin Hay had kicked drummer Jerry Speiser and bassist John Rees out of the lineup amidst severe creative tensions. He misguidedly relied on session musicians and synthesizer machines as a replacement, very similar to The Clash's Cut the Crap later that same year. Along the way, guitarist Ron Strykert left as well, and thus only Hay and Greg Ham remained. Once the album finally hit stores, it was panned by critics and produced just one extremely modest hit in "Everything I Need", while the other three singles failed to chart in any territory. Unsurprisingly, Ham jumped ship before the accompanying tour for the record even ended, and the band officially split up immediately after the last few shows. Much like Creedence Clearwater Revival's Mardi Gras, the opening track (in this case, "Man with Two Hearts") is a blatant portrait of the band's self-destruction during the making of the album.

    U-V 
  • U-VOX by Ultravox: Another band that was not really popular in the US like they were in their native UK, so Todd might not decide to cover them, but this record was criticized for its plunge into soulless, manufactured territory and caused them to break up not long after.
  • Unborn Child by Seals and Crofts: While they had three more solid hits after this album, they didn't quite return to their early '70s peak after it came out, and their overall album sales figures pretty firmly declined. Todd was appalled upon looking it up at the request of one of his followers, so it's likely the misguided controversy the record sparked, especially for its title track, is juicy enough for him to make a whole episode out of. Since the album came out in 1974, shortly after the Roe v. Wade decision, expect several references to Paul Anka's "(You're) Having My Baby", which was despised for pretty much the exact same reasons at the exact same time (Todd also hinted that track to be his #1 Worst Hit Song of 1974 in the Paper Lace OHW).
  • Under Wraps by Jethro Tull: it represents an abrupt turn for Tull's music, with Peter John Vettese's synths and programmed drums dominating the soundscape, and very little in the way of Ian Anderson's flute and acoustic guitar which made up the backbone of the band's music up to that point. Pretty much despised and forgotten by fans and panned by critics, it pretty much swept away any mainstream relevance Tull still had at that point. Moreover, during the following tour Ian Anderson ruined his voice for good, and would never recover from then on.
  • 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. To gauge how sharply his reputation collapsed in such a short time, Todd put two of his hits on his Top Ten Best Hit Songs of 2010, but by the "Girls Like You" Pop Song Review, he was sarcastically referencing B.o.B in the same breath as Soulja Boy and Silentó as a suggested replacement act for Maroon 5 at the 2019 Super Bowl. Todd already mentioned B.o.B's downfall in the Chamillionaire OHW and gawked at his flatliner beliefs in the "Treat You Better" Pop Song Review, so it's likely he'll have plenty of material for a B.o.B Trainwreckords episode.
    • Alternatively, Elements, a compilation of four mixtapes he had released over the preceding year. While Underground Luxury was technically his true career killer, this may make for a more interesting episode, as it was these songs, including the infamous "Flatline", that saw him evolve into a crazy conspiracy theorist and forever turned him into one of the biggest jokes in music.
    • Ether, also alternatively. It served as the culmination of the Elements series as was the only installment that was an official studio album. It was completely laughed off by the public, peaking at a dismal #179 on the Billboard 200.
  • Unfinished Music No. 1: Two Virgins, Unfinished Music No. 2: Life with the Lions, and/or Wedding Album by John Lennon and Yoko Ono: Considering these records' infamy for their role in destroying The Beatles, they seem like much likelier choices for the show now that Todd has reviewed Two the Hard Way, another disastrous side-project by a musical couple whose members continued to find success separately.
  • Union by Yes: An ambitious, yet ultimately doomed attempt to return to Yes' roots by reuniting its old members with the newer ones from their more commercial '80s period. The production was plagued by poor band synergy, heavy Executive Meddling, and the use of session musicians to replace tracks already recorded by Wakeman and Howe. The album was released to lackluster reviews and was their last to receive a certification of any kind. The band members themselves have vehemently detested the record, even at the time.
  • Universal Mind Control by Common: A radical change of pace from Common's usual brand of conscious hip hop, this album was intended as an homage to early '80s electro-hip hop and featured lyrics mostly about sex and partying. Its fatal misstep, however, was that it was produced by the Neptunes, who were synonymous with pop radio at the time. Because of this, the record came off as a big Sell-Out rather than a renaissance of any sort. Critics and fans alike thrashed the album, and while Common has continued to make music, he's been more famous for his acting work in later years.
  • Unusual Heat by Foreigner: Once one of the biggest bands of the late 70s and 80s, this album ended their relevance as hitmakers as lead singer Lou Gramm departed the band due to feuds with lead guitarist Mick Jones and was replaced by Johnny Edwards. The album flopped critically and commercially with none of the singles charting on the Billboard Hot 100, not even charting the top 100 on the Billboard 200 and became their lowest-selling album to date. Subsequently, members Rick Wills and Dennis Elliot ended up quitting the band after the album. Despite Lou Gramm briefly rejoining the band, it was clear their relevance was long done as their comeback album Mr. Moonlight ended up selling worse than Unusual Heat.
  • 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.
  • Virtual XI by Iron Maiden. Recorded during the infamous Blaze Bayley years, it is almost universally considered their weakest album, due to abysmal songwriting and Bayley's vocal style not blending in with the band's music. As a widely panned late '90s record featuring the band's third lead singer, it was basically Maiden's equivalent of Van Halen III and ...Calling All Stations.... It nearly killed Maiden's career, and only the reunion with former members Adrian Smith and Bruce Dickinson would see them back on track. Since Maiden's first album since their return, Brave New World, is universally acclaimed and widely considered a true comeback for the band, it's unclear whether or not Todd would qualify Virtual XI for Trainwreckords.
    • Alternatively, 1990's No Prayer for the Dying. It marked a severe critical downturn for the band and was their final record to be certified in America. It was plagued particularly by the loss of guitarist Adrian Smith, who left before recording began. In his absence, the rest of the '90s would prove to be very hit-and-miss for them, although Brave New World eventually returned them to major prominence in the heavy metal scene.

    W 
  • Walk On by Boston: In addition to lukewarm reviews, the rise of grunge ensured it didn't stand a chance at matching the success of their previous three records, and nothing they put out afterwards did much.
    • Alternatively, Corporate America. This 2002 comeback album attempted to harken back to their debut album's sound while adding new elements, to little avail. It was criticized by fans and critics for its rushed songs, uninspiring riffs and melodies, and very anvilicious lyrics. The band wouldn't release another album for a decade, and much like The Beach Boys' Summer in Paradise it has never been reissued since its release.note 
  • 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 shortly after the release of his poorly received second album Double Up. 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.
  • What The... by Black Flag: It was their first new album in nearly three decades, but with a very different lineup than their glory days, and its reception was so atrocious that it broke them immediately back up.
  • Wheelhouse by Brad Paisley: Released right around the point bro-country became the dominant force in Nashville, not only did this album contain the controversial duet with LL Cool J "Accidental Racist" (which Todd already discussed with The Rap Critic), it marked a severe turning point for Paisley's commercial success as a whole. Prior to its release, he was regularly topping the country charts with each new single, but since this hit shelves, he's been only a B-tier artist at-best, failing to score certifications for any of his new albums and only rarely even cracking the top 10 of the Hot Country Songs chart. While "Accidental Racist" was likely the primary factor that killed off his relevance, his inability to adapt to new trends in country music only solidified his downfall. Since Nashville singers tend not to flame out nearly as quickly as pop, rock, and hip hop acts, Paisley is one of the few country singers whose career arc lends itself plausibly to Trainwreckords.
  • When You're a Boy by Susanna Hoffs: Despite The Bangles dominating the charts throughout the latter half of the 1980s and Hoffs establishing herself as the breakout star of the band, her first solo outing was an overwhelming failure, only reaching #83 on the Billboard 200 and yielding just one top 30 hit that was immediately forgotten. She attempted to reinvent herself for the Lilith Fair crowd later in the '90s but still never found her way back into the limelight.
  • 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". The White Album is one of the best-selling albums of all time, and is considered to be one of the band's masterpieces, but its eclectic nature made it subject to heavy debate among Beatles fans, some of whom believe the album was so full of filler that it shouldn't have been a double album in the first place. That didn't stop the Beatles 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.
    • Alternatively, Let It Be, their final album released (despite being recorded before Abbey Road). It was arguably even more disjointed than The White Album and has proved to be much more divisive than any of their other regular LPs from their psychedelic period. Todd might be somewhat more likely to cover this than The White Album, not only because it wasn't as commercially or critically successful but because it isn't quite as covered to death as the rest of the band's later period, not to mention why it was recorded before Abbey Road: it was intended to be a "back to basics" approach more like the early part of their career, but it did nothing to ease the tensions between the band members and ultimately ended up being the final nail in the coffin of the Beatles as a band. The accompanying film (once it's rereleased) would provide plenty of footage for Todd to analyze, as does the influence of Phil Spector on the final album and the later release of Let It Be...Naked which is closer to the band's original vision.
  • Wicked Wisdom by Wicked Wisdom: Since her husband was already hugely famous for his music career in addition to his acting career, Jada Pinkett-Smith tried her hand at a musical breakthough as the frontwoman of a nu-metal band in 2006. It...wasn't quite the hit she had hoped for, and she hasn't returned to the studio ever since.
  • 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". While she had one more minor hit in 2019, "Never Really Over", and her follow-up album Smile was an improvement, it still was clearly firm that her glory days were past her. Todd said when covering "Never Really Over" in his Best of 2019 list that he's much more fascinated by Katy during her downfall than her peak, so it seems like he definitely wants to talk about this album in-depth after enough time has passed since its release.
  • The Woman in Red by Stevie Wonder: With a sudden shift away from self-performed acoustic instruments in favor of generic '80s drum machines and synthesizers, this soundtrack album to the movie of the same name is generally considered to have ended Stevie's artistic golden age, a sentiment Todd implicitly agreed with in the "Maniac" OHW. Although some people dispute Hotter than July's inclusion, even that record is far better-regarded than this, while the infamous "Ebony and Ivory" from 1982 was primarily attributed to Paul McCartney rather than Stevie, who did not write the song. This album, however, proved that he could be extremely mediocre on his own, too. Between its unambitious production, Award-Bait Song "I Just Called to Say I Love You", plethora of easy listening duets (a major trend at the time) with Dionne Warwick, and Anvilicious final track "Don't Drive Drunk" (which was literally used in a PSA by the US Department of Transportation), Stevie's reputation suddenly went from that of a musical genius with a natural mainstream appeal to just another lame, uninspired Sell-Out act that your parents listened to. While "I Just Called to Say I Love You" went to #1 and remains well-known today, its reception is much more polarized than Stevie's universally acclaimed hits from the sixties, seventies, and early eighties. His followup album, In Square Circle, sold well and produced another #1 hit with "Part Time Lover", but the record itself is still nowhere near as well-regarded as anything from his critical heyday. If Todd covers The Woman in Red, expect the title card to feature a silhouetted version of Kelly LeBrock's character and Stevie Wonder in place of Gene Wilder.

    X-Z 
  • Yes Please! by Happy Mondays: The fourth album by the genre-defining Madchester dance-rock band was an infamous flop that bankrupted its record label, as seen in the biopic 24-Hour Party People. The album was the followup to 1990's Pills 'n' Thrills and Bellyaches, which had been the band's biggest hit to date and had broken them in the United States. Yes Please!, on the other hand, was an infamous Troubled Production: It was recorded in Barbados in order to force lead singer and lyricist Shaun Ryder and his bassist brother Paul to quit heroin. There was no heroin on Barbados, but there was plenty of crack cocaine, and the Ryders instead binged on that. They eventually ran out of money and began selling furniture from their studio to buy more drugs. The band eventually got around to recording the album, but when they got back to the UK, Shaun Ryder revealed he hadn't written any lyrics or recorded any vocals. When the completed album, with Ryder's vocals, finally came out in September 1992, it was critically derided, sold poorly, and destroyed the Happy Mondays' career. Not only that, but it helped end the cultural relevance of Madchester, leaving a space for Britpop to rise in popularity the next year. Apparently, Yes Please! only sold a thousand copies before Factory went bust a few months after its release. Both this and The Stone Roses' Second Coming (listed above) are under consideration, though Todd feels it may be hard to contextualize them for American audiences.
  • 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 Gotta Believe in Something by Spin Doctors: After two albums' worth of decent commercial success, this third album completely killed their mainstream relevance with some questionable decisions, up to and including their ill-fated cover of "That's the Way (I Like It)" for the Space Jam soundtrack.
  • 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.
  • Zinc Alloy and the Hidden Riders of Tomorrow by T. Rex: For three years in the early '70s, T. Rex were one of the biggest names in music in the UK, notching 11 consecutive top 10 hits, including four #1 singles. That streak ended with this album, a muddled attempt by band leader Marc Bolan to further integrate American funk music into the band's glam rock sound, featuring several complex but hard-to-follow narrative songs. The album alienated T. Rex fans when it was released and was ripped apart by critics, and caused the band to go into a slump they were only just beginning to recover from when Bolan died in a car accident in 1977.
  • 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).
    • Confirmed.

    Albums Disqualified by Later Comebacks 
These are records that were infamous for being massive failures but Todd will most likely not cover because they were eventually followed up by a major comeback that put the band or artist in question firmly back on the map.

  • 7 by Enrique Iglesias: Though it was a huge failure that flung him off the radar for several years, his career was ultimately reignited in 2010 by the success of Euphoria.
  • Artpop by Lady Gaga: There was already a lot of Hype Backlash against Gaga during the Born This Way album cycle, but her career really disintegrated upon the release of this record two years later. It was a major commercial disappointment at the time of its release, earning the nickname "Artflop" and ending her reign as the biggest pop star in the world. Epitomized by the lead single "Applause", the public felt she had become a pretentious self-parody by this point, no longer capable of shocking anybody as she did at the height of her fame. However, Todd probably won't qualify the album because in the Cyberpunk Trainwreckords, he stated Gaga still has a devoted fanbase and that the record is today seen as "underrated", a "fan favorite", or a "minor entry in her catalogue", rather than a career-ending catastrophe like Katy Perry's Witness. Gaga managed to reinvent herself in a more mature light with her duets record with Tony Bennett, as well as her New Sound Album Joanne, later scoring a #1 hit with the movie-fueled "Shallow", in addition to Joanne follow-up Chromatica becoming a commercial success, scoring two Top 5 hits ("Stupid Love" and "Rain on Me", which became her fifth US #1 hit along with being Ariana Grande's fourth).
  • Blackout by Britney Spears: Though a fair number of people now consider this Britney's best album (it even made the 2020 version of Rolling Stone's 500 Greatest Albums of All Time), it was extremely Overshadowed by Controversy at the time due to being released at the height of her Creator Breakdown. However, her next album Circus was extremely successful, extending her musical relevance into the early 2010s.
  • Chicago XIII and Chicago XIV by Chicago: The former yielded no hits, while the latter peaked at a dismal #71 on the Billboard 200. Chicago 16, however, was a major success thanks to "Hard to Say I'm Sorry", setting the stage for several more years of hits, much to Todd's dismay.
  • Circus by Lenny Kravitz: Having risen to fame through his uplifting brand of '60s and '70s-flavored rock and R&B, Lenny Kravitz turned off much of his original audience with this hard turn into Darker and Edgier territory. While it produced a couple of minor hits, it sold very poorly and got a mostly lukewarm reception. However, he turned his career around three years later when he released "Fly Away", which quickly became his signature song and brought him back to the forefront of the pop rock industry for several more years.
  • Fly on the Wall by AC/DC: Despite finding miraculous success after the untimely passing of Bon Scott thanks to Back in Black, the majority of the '80s were not a great time for AC/DC, with this album in particular being considered a low point. However, their 1990 album The Razors Edge largely revitalized their popularity and "Thunderstruck" became one of their signature hits.
  • Folie à Deux by Fall Out Boy: While it was well-received by critics, fans didn't take too kindly to the album's more pop/R&B-oriented sound compared to their previous work; the record was subsequently met with disappointing sales and produced only one moderate hit. These reasons, along with an exhausting concert tour, resulted in the band going on hiatus. Despite all of this, they later reformed and returned to the spotlight with Save Rock and Roll. In addition to its critical success, Folie à Deux also eventually garnered a cult following, including with those who otherwise dislike Fall Out Boy's music, due to the strong lyrical content and melodies on the album.
  • For Me, It's You by Train: Todd noted in the "Drive By" Pop Song Review that this album flopped and produced no hits, leading to their hiatus, but that they eventually got back on track with Save Me, San Francisco and its lead single "Hey, Soul Sister".
  • Glitter and Charmbracelet by Mariah Carey: The early 2000s were an infamous period for Mariah. Her reputation was tarnished by her declining mental health, universally panned attempt at a Hollywood breakout Glitter (which Todd has already given a scathing review), and weakening voice. Against all odds though, she reaffirmed her title as the biggest pop singer in the world with The Emancipation of Mimi in 2005.
  • Graffiti by Chris Brown: As much as Todd hoped that this would be a Trainwreckord, as clearly seemed to be the case at first (it was released the same year as Chris Brown's domestic assault on Rihanna and only yielded one minor hit), Chris' next album F.A.M.E. secured his spot back on the A-list of the pop industry.
  • Human After All by Daft Punk: It was derided for its repetition and lack of substance, to the point where an early leak of the album was initially assumed to be fake because fans thought the songs were too repetitive. However, the duo remained popular through their live shows, and their Alive 2007 album helped redeem some of the Human After All songs because they worked better in a concert context than they did on a studio album. Daft Punk eventually released the highly acclaimed soundtrack to TRON: Legacy and ultimately their Album of the Year-winning smash record Random Access Memories.
  • I Am Not a Human Being II by Lil Wayne: Todd brought up in the Worst of 2013 video that Weezy had such a bad 2013 that he was forced to apologize for it, and his subsequent relevance didn't extend much beyond guesting on a few songs by other performers. Finally though, he fully rebounded in 2018… when his long-awaited and well-received Tha Carter V landed four top 10 debuts.
  • Kingdom Come and Magna Carta... Holy Grail by Jay-Z: Both albums are considered low-points in Hov's career. The former was touted as his big comeback after his "retirement" in the mid-2000s but had very little to offer aside from a quickly forgotten "I'm Back, Bitch" single. However, his next album, American Gangster, was critically acclaimed, while The Blueprint 3 yielded two of the biggest hits of his career. Magna Carta... Holy Grail went Double-Platinum but got a relatively negative reception, including from Todd, who put "Holy Grail" on his Top 10 Worst Hit Songs of 2013 list. Nevertheless, Hov pressed on with 4:44, which produced a major career highlight in "The Story of O.J.".
  • Liberty by Duran Duran: As mentioned above, this record was a scathing failure, garnering poor reviews and sales. However, their 1993 Self-Titled Album (aka The Wedding Album) became a legitimate comeback, with lead single "Ordinary World" becoming one of the band's most famous songs and "Come Undone" also becoming a hit that remains well-regarded.
  • Making a Good Thing Better by Olivia Newton-John: The overwhelming failure of this record and its lack of any hit singles whatsoever seemed to spell the end for her, but on the heels of her star-making role in the mega-smash Grease, she completely revitalized her music career with an image makeover that closely mirrored her own character's transformation in the film.
  • Midnight at the Lost and Found by Meat Loaf: While it seemed to end his career at the time (with Bonnie Tyler taking over as Jim Steinman's leading protegé), he stormed back to the top of the charts in 1993 with Bat Out of Hell II: Bat into Hell, fueled by its leadoff single "I'd Do Anything for Love (But I Won't Do That)".
  • My December by Kelly Clarkson: After reaching smash heights with her sophomore album Breakaway, Kelly Clarkson attempted to write a darker and more personal album for her third effort. Unfortunately, it did not catch on with the public, throwing her career into question. However, she ultimately pressed on when she returned to a more mainstream sound on her next album All I Ever Wanted, which was spearheaded by a #1 hit and led to several more years of success.
  • Nastradamus by Nas: While the album initially looked to be the end of his career due to its uncharacteristically flatulent content, Nas put himself firmly back on the map with his universally acclaimed diss track "Ether" (a response to Jay-Z's "Takeover"). Additionally, that song's parent album, Stillmatic, is up with It Was Written as Nas' best-received post-Illmatic record, with "One Mic" in particular being considered a career highlight (in addition to "Ether").
  • Never Say Die! by Black Sabbath: By the time the band recorded this album, they were badly running on fumes. The members were wrestling with drug and alcohol problems, while the recording process was an absolute nightmare. It was ultimately Ozzy Osbourne's final record with Sabbath aside from 13 35 years later. The album itself is widely despised by Sabbath fans due to its confused direction and barely even being a metal album in the first place. Fortunately for the band, they made a huge recovery on their next album, Heaven and Hell, on which Ronnie James Dio became their new frontman and the band emerged figureheads of the New Wave of British Heavy Metal. Osbourne himself found plenty of success as a solo artist, his career spearheaded by the metal classic "Crazy Train".
  • Polka Party! by "Weird Al" Yankovic: It's widely considered to be Weird Al's worst album, peaking at a frightful #177 on the Billboard 200. At the time of its release, he was seen as a passing fad and one-trick pony. Most infamously, he decided to parody Mick Jagger's "Ruthless People" because he incorrectly predicted that the movie would be a monster hit. Two years later though, he put out the widely acclaimed Even Worse, which was spearheaded by the Grammy-winning music video for "Fat" (a parody of Michael Jackson's "Bad") and was ultimately certified Platinum. In 1992, he solidified his staying power with "Smells Like Nirvana", which not only became one of his most popular parodies but also proved he had the versatility to apply his formula successfully to evolving trends, and he has remained a geek legend to this day.
  • Pop by U2: After several years as an ironic, experimental electro-rock band in the '90s, this record proved to be such a flop that the band has since disowned it. Despite this, their next album, All That You Can't Leave Behind, was a triumphant return for the band. Not only was it finally a true spiritual successor to The Joshua Tree, but it sold several million copies and produced some of their most famous songs.
  • Pretty. Odd. and Vices & Virtues by Panic! at the Disco: Not only did the former album's unexpected Genre Shift towards '60s-era Baroque Pop and Psychedelic Rock alienate fans, it also resulted in half of the band members leaving after Creative Differences. By the time they returned to the emo-pop sound of A Fever You Can't Sweat Out for the latter album, it was met with even more disappointing sales. However, as Todd mentioned in his "ME!" review, Panic! at the Disco's fanbase never truely went away, and they eventually returned to the mainstream even as Brendon Urie became the only remaining member, culminating in Death of a Bachelor becoming their best-selling album since AFYCSO and Pray for the Wicked spawning two of their biggest hit songs to date.
  • Private Audition by Heart: Due to label conflicts, the band entered a downward spiral in the early 1980s, with things particularly coming to a head with this album. It was critically panned for being a disjointed mess and did not even get certified; its followup Passionworks didn't fare any better. Ultimately though, they were signed to Capitol Records and released their 1985 Self-Titled Album, which completely revitalized them as some of the biggest hitmakers of the MTV era.
  • reputation by Taylor Swift: Todd absolutely loathed this album, stating Taylor's obsession with herself was getting really tiring and killing the quality of her music. "Look What You Made Me Do" and "...Ready For It?" were his #2 and #1 Worst Hit Songs of 2017, respectively, while "End Game" was his #8 Worst Hit Song of 2018. Even though Taylor's real reputation was partially restored by later revelations about her infamous call with Kanye, the record itself remains a dark stain on her catalogue, both figuratively and literally. That said, Todd later noted that it was the #1 album of 2018 and that Taylor still got real mileage out of it, particularly after the well-regarded track "Delicate" became a sleeper hit. Taylor's next album Lover ended up getting positive reviews and chart success, unlike Katy Perry or Justin Timberlake which Todd pointed out in his video for "Yummy", and proved that the Taylor Swift moment was not over. The album after that, the folk and indie rock-influenced Folklore, was Swift's biggest critical success yet, and also a chart hit, with its first single "Cardigan" becoming a #1 hit.
  • Rock in a Hard Place by Aerosmith: The band appeared to be well past its glory days by this point, especially due to frontman Steve Tyler's constant drug problems. After the unlikely collaboration single "Walk This Way" with Run–D.M.C. though, Aerosmith were back and more successful than ever.
  • Self Portrait by Bob Dylan: It was reportedly made as a joke because Dylan was sick of being constantly praised as a divine figure in music. Despite this, he eventually released the hugely successful single "Knockin' on Heaven's Door" in 1973. Two years after that, he put out his legendary breakup album Blood on the Tracks, a record so widely acclaimed that it rivals even his mid-'60s LPs in popularity to this day.
  • Turn Back by Toto: While Hydra was already a Sophomore Slump for the band after their hugely successful debut album, this record flopped so hard that it failed to be certified and had no charting songs, and the band was almost dropped by Columbia Records as a result. However, their following album, Toto IV, became one of the biggest LPs of 1982, winning Album of the Year for that year and securing commercial success for them for the remainder of the 1980s.
  • Tusk by Fleetwood Mac. It was the first time the band's internal drama really hampered their commercial success. Their previous record, Rumours, is one of the best-selling albums of all time, going 2x Diamond in America and remaining a landmark in pop history. Tusk, however, had an extraordinarily Troubled Production, with Lindsey Buckingham becoming a control freak and there even an entire studio being constructed just to record the album. It ultimately became the most expensive album to ever produce up to that point, but the subsequent sales were an enormous plunge compared to Rumours, only going 2x Platinum. However, they quickly rebounded with Mirage and were still a very popular band in the '80s and had several more years of hits (some of which Todd has praised), not to mention this album has been largely Vindicated by History.
  • Walking with a Panther and 14 Shots to the Dome by LL Cool J: Coming off the massive success of his commercial breakout Bigger and Deffer, Walking with a Panther was criticized for being overly soft and was also bogged down by his feud with Kool Moe Dee. However, his subsequent record Mama Said Knock You Out was a career-resurrecting triumph, with the titular single being widely regarded as the highlight of his entire career.

    14 Shots to the Dome, meanwhile, was LL's attempt at gaining cred as a gangsta, much like MC Hammer's The Funky Headhunter, despite similarly lacking a Parental Advisory sticker (only one song had particularly strong language). However, he bounced right back with his next record, 1995's Mr. Smith, which produced three gigantic hits and proved that he could remain a credible force in a post-Chronic hip hop world after all.
  • Warning by Green Day: Though somewhat Vindicated by History nowadays, Warning was initially a huge commercial drop-off for the band and criticized for its Lighter and Softer stylings. Then came American Idiot, an album so popular that it arguably equaled the success of Dookie.
Top

How well does it match the trope?

Example of:

/

Media sources:

/

Report