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Even the brightest stars sometimes falter. In this article, we’ll take a look at the moments when legendary musicians delivered records that, for various reasons, just didn’t land with fans or critics. Join us as we list the 20 worst albums released by these brilliant artists — where even icons are not immune to a misstep.
Bob Dylan – “Self Portrait” (1970)
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Bob Dylan attempted to follow-up the smashing success Nashville Skyline with a double album that just straight-up confused fans. There was no coherent theme, rather just a mess of live songs and covers. Over the years, Self Portrait has been reassessed and sometimes appreciated as “just classic Bob Dylan”, but it was initially not very well received.
Guns N Roses – “Chinese Democracy” (2008)
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Chinese Democracy might be best remembered as one of the longest delays in entertainment history. Taking nearly 15 years and reportedly one of the most expensive albums ever produced for its time, expectations were understandably sky-high. When it finally arrived, the album left listeners and critics divided. While it had Axl Rose at his peak and a few standout tracks, the album struggled under the weight of expectation.
Metallica – “St. Anger” (2003)
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To be frank, the early 2000s was a turbulent time for Metallica, which included therapy sessions famously documented in the film Some Kind of Monster. This album ditched the sound that defined them and instead elected for rage. The title track’s incessant, tinny snare drum was more akin to banging on a trash can. St. Anger just left fans wanting a return to their older style.
Lou Reed – “Metal Machine Music” (1975)
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Often viewed as the ultimate “you had to be there” experience (and even then, it’s debatable if you wanted to be), this double album consists entirely of an hour plus of droning feedback loops and noise. Purportedly a contractual obligation or an elaborate prank (depending on who you ask), the album tested the patience of even the biggest experimental fans. While we give Reed credit for attempting to at least push boundaries, Metal Machine Music left fans reaching to plug their ears.
The Rolling Stones – “Dirty Work” (1986)
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Dirty Work was famously recorded during a feud between Mick Jagger and Keith Richards, and the tense energy is palpable. It’s packed to the brim with loud and aggressive guitar that felt like an attempt to keep up with the more youthful bands of the era, but really just fell flat. The album felt like it was born out of necessity rather than out of artistic merit.
The Clash – “Cut the Crap” (1985)
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While Cut the Crap was intended as a rebranding for The Clash in 1985, it ended up feeling more like a farewell whisper. The album was produced in the wake of several departures of key members like Mick Jones and Topper Headon. This void left an extremely noticeable on the album, as it just seems to be missing the magic of their previous work.
Styx – “Kilroy Was Here” (1983)
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While we love the tracks “Mr. Roboto,” Styx’s 1983 concept album Kilroy Was Here missed the mark as a whole. In typical Styx and Dennis deYoung style, it was an ambitious rock opera about a dystopian future where rock music is banned. The introduction of electronica was a departure from the bands rock-based sounds before,
The Velvet Underground – “Squeeze” (1973)
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Often regarded as a puzzling blip in the band’s legendary discography, Squeeze faltered primarily because it barely features any of the original members. With Lou Reed and most of the original lineup gone, Doug Yule stepped into the spotlight, taking over and essentially turning the project into a solo endeavor under the band’s storied name. It drifted away from the groundbreaking, avant-garde sound that defined the group, offering instead a collection of pop-oriented tracks that lacked the experimental edge and lyrical depth Velvet Underground was known for.
Pantera – “Metal Magic” (1983)
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Recorded when the band was still knee-deep in glam metal glitter, this album contrasts sharply with the gritty, growling sound they would later be known for. With its cover art featuring a wizard and a panther, and tracks that flirt more with classic rock riffs than the relentless power metal they would become icons for, Metal Magic is like finding an old yearbook photo of a friend who used to rock spandex and big hair before discovering leather and tattoos. For many fans and critics, it’s a nostalgic yet somewhat cringe-worthy reminder of Pantera’s humble — and wildly different — musical beginnings.
David Bowie – “Never Let Me Down” (1987)
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Despite the promising title, Never Let Me Down wasn’t Bowie’s most renown work. This album epitomized the excessive tendencies of the 80s with an overuse of synthesizers and guitars that clashed. Intended to be a return to rock ‘n’ roll roots, it instead felt like Bowie was grappling with the era’s trends rather than shaping them. Never Let Me Down was more like a rare misstep in his otherwise stellar career.
Creedence Clearwater Revival – “Mardi Gras” (1972)
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Mardi Gras felt more like a party where everyone left early. This was the band’s final album and marked a departure from their “swamp rock” sound that had propelled them to fame. With Tom Fogerty having exited and John Fogerty relinquishing his tight control over songwriting, the remaining members took turns at the creative helm. The result? A collection of tracks that lacked the punch of their earlier works.
Van Halen – Van Halen III (1998)
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What exactly went wrong? Well, this was the band’s first and only outing with lead singer Gary Cherone, whose tenure was as brief as it was bewildering. Missing was the charismatic synergy that defined the Roth and Hagar eras — instead, listeners were treated to a mix that seemed unsure of it’s own theme. The album ventured into new sounds with lengthy tracks and an attempt at deeper, more introspective lyrics, but without the cohesive punch of Van Halen’s classic sound, ultimately making it fall flat.
Elvis Presley – “Frankie and Johnny” (1966)
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This was the title song for the film of the same name. Frankie and Johnny was a film with the somewhat awkward set on a riverboat casino. The album lacked any groundbreaking attempts at producing new music, so Frankie and Johnny ended up feeling like songs tailored for background music in a dated movie scene. In some songs, Elvis serenades with more whimper than a bang, leaving many to wish he’d just leave the riverboat and return to rock.
U2 – “Pop” (1997)
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U2 decided to veer into the experimental territories of dance and techno, and the result was underwhelming. The bold move into electronica just didn’t land in the same way as their rock-centric albums did. It contained a diverse blend of genres like disco to trip-hop. Despite some strong singles, the overall reception was mixed and made Pop a somewhat polarizing chapter in U2’s career.
The Beach Boys – “Still Cruisin’” (1989)
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Released during a period when nostalgia was perhaps valued over innovation, this album patches together a few new tracks with some previously released singles that had appeared in some movies throughout the 1980s. While it aimed to recapture the breezy, sun-soaked vibes of their heyday, the result felt more like a disjointed mixtape than a coherent album, with critics and fans alike noting the lack of surf in this surf rock ensemble’s tank.
Genesis – “Calling All Stations” (1997)
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Without Phil Collins at the helm, Ray Wilson was introduced as the new frontman. Despite Wilson’s commendable efforts, the album struggled to be liked be their fans the same way Collins had and, before him, Peter Gabriel. Calling All Stations ended up derailing amidst a musical world increasingly dominated by pop and alternative rock.
Ringo Starr – “Ringo The 4th” (1977)
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Ringo Starr’s 1977 album Ringo the 4th lands with the subtlety of a drumstick missing the snare. The salsa-inspired attempt from the beloved Beatle’s earlier solo successes felt out of step with his initial solo outings. Critics and listeners alike scratched their heads as Ringo seemed to jive awkwardly on a dance floor not quite built for him, resulting in an album that often gets low rankings by critics and publications.
Michael Jackson – “Michael” (2010)
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The posthumous release, Michael, stirred up more controversy than anyone could imagine. It was compiled from unfinished recordings that were polished and produced after his death, as the debate raged about the album’s authenticity. Whether or not all the vocals were genuinely MJ’s added an uncomfortable layer of doubt, overshadowing the project. As a result, Michael often felt more like a corporate attempt to capitalize on the King of Pop’s legacy rather than a fitting tribute to his talent.
The Beatles – “Yellow Submarine” (1969)
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Okay, we can give The Beatles credit for their quirkiness. This wasn’t an album to at all be expected from them, but over time people have grown to enjoy the album. Critics and listeners alike often regard it as more of an eccentric curiosity than a major work — a detour from the iconic works. At the time, the Beatles were at the height of their popularity, so expectations were high. Though they were perhaps a victim of their own success, as the album featured many big hits like “Hey Bulldog”, “Only a Northern Song”, and “It’s All Too Much”.
Deep Purple – “Stormbringer” (1974)
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Stormbringer brought way more drama than it was probably hoping. First of all, the album was an unexpected departure from their previous hard rock sound. This time, they elected for a funk and soul sound, leading many fans and critics to scratch their heads. To make matters worse, it was this stylistic change that led Ritchie Blackmore to leave the band, who was disillusioned with this brand new direction.
Fleetwood Mac – “Time” (1995)
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Time fell victim to a perfect storm of ill-timed changes: key members Lindsey Buckingham and Stevie Nicks were out, replaced by less familiar faces who understandably struggled to replicate past success. The result was an album that lacked the signature hooks that had defined the band’s golden era. It seemed that without Buckingham’s meticulous production and Nicks’ vocals, Fleetwood Mac’s attempt at capturing the spirit of the times ended up more like a fleeting echo of their former greatness.
