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Post by Swarfiga on Aug 24, 2015 12:31:34 GMT -5
Which album do you think is the worst sequel ever?
It doesn't necessarily need to be the worst album, it could be an album that killed the bands momentum, got released in the wrong time and ruined the bands career or just meaningless sequels that didn't do anything for the band or the fans, or wasn't necessary at all because of the high/low quality of the debut album.
Sorry for my bad english, but I hope you understand what I mean.
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Deleted Member
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Post by Deleted on Aug 24, 2015 12:38:15 GMT -5
"What are your thoughts today?"
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Post by mimmihopps on Aug 24, 2015 12:55:42 GMT -5
Miles Kane's second album.
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Post by norkbauer on Aug 24, 2015 14:07:21 GMT -5
Jake Bugg's "Shangri La" wasn't really necessary when it was released. He could wait a bit longer.
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Post by World71R on Aug 24, 2015 18:28:31 GMT -5
One Hot Minute by Red Hot Chili Peppers; the follow-up to the very successful Blood Sugar Sex Magik
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Post by Johnny Rhythm on Aug 24, 2015 18:38:36 GMT -5
bet someone says be here now
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Post by carryusall on Aug 24, 2015 19:04:20 GMT -5
Disclaimer: These are not all bad albums. These albums are commercial suicide, following big hit albums.
The View - Which Bitch? - After a platinum-selling debut, a hastily patched-together effort featuring some frankly bizarre (for the record I like it, but you have to admit it's odd) material cooked up by a band trapped in a siege-mentality cocaine-blizzard with Owen Morris (does this sound familiar?) coinciding with a decline in public interest in guitar music hastened a commercial decline that, despite added pop sheen on subsequent records, shows no signs of abating. It's my girlfriend's favourite album, which I find almost endlessly endearing. This is someone's favourite album. There's hope for us all (again, I like it, but I mean...)
Razorlight - Slipway Fires - Derided by once semi-popular libertines fanzine the NME as 'about as indie as Margaret Thatcher', Razorlight's third album suffered from the same commercial climate as the View's sophomore effort, but is also shit. Johnnycake (That's what Spellcheck gave me. Really? What the fuck is a Johnnycake? I say Johnnycake regularly. No, I don't. I tried to type johnnycake again...) Borrell's ego-mania led him deep into the darkest crevices of his own arsehole like a shit-caked Orpheus and his hubris actually felt like a black-mirror-esque examination of our innate desire to build up and tear down public figures. Bonus points go to 'Monster Boots' (a legitimate tune) and the pearl necklace he wore in the 'Wire to Wire' video.
Neil Young - Time Fades Away - At this point Neil had spent half his life chasing commercial success and critical approval through his idiosyncratic music, and succeeded despite what Alex Chilton would describe as 'unbelievable odds'. At which point he decided that this is exactly the opposite of what he wanted, and released this live album of unheard material, spilling rancorous bad vibes onto an audience too fucked-up to connect with what Neil was laying down. A naked snapshot of one of the darkest moments of the 20th Century American psyche? Yes. A portrait of a man, ravaged by tragedy, tearing himself apart on stage, to the point where he can barely sing and has to have that peon of all the hippy-stoner bullshit he was standing against, David Crosby, sing for him? Yes. Available in CD? No. Sorry. His record company begged for a return to the commercial sound of 'Harvest'. Neil, being Neil, recorded one, possibly the finest moment of his career (Homegrown), and then shelves it forever, releasing the two darkest and least commercial records of his entire oeuvre. And he never looked back. Apart from all those times he did.
Lou Reed - Berlin - Read the above entry. Except the stakes were higher. Lou had worked harder for far less success of a far more tenuous nature, and financially needed a win far more. And we'd heard the material before, in far superior versions. Most of the time, I don't like this album. The days that I do, are not good days.
If this gets play-penned, I am genuinely sorry. If anyone would like to read more, I have more.
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Post by Lennon2217 on Aug 24, 2015 19:10:23 GMT -5
Miles Kane's second album. Oh yeah, what the hell was he thinking with that album? His debut showed much promise. Huge step backwards DESPITE Paul Weller co-writing some tunes. I guess Noel Gallagher was right, if the tunes ain't there (even with Weller) don't release them.  |
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Post by Lennon2217 on Aug 24, 2015 19:11:02 GMT -5
Disclaimer: These are not all bad albums. These albums are commercial suicide, following big hit albums. The View - Which Bitch? - After a platinum-selling debut, a hastily patched-together effort featuring some frankly bizarre (for the record I like it, but you have to admit it's odd) material cooked up by a band trapped in a siege-mentality cocaine-blizzard with Owen Morris (does this sound familiar?) coinciding with a decline in public interest in guitar music hastened a commercial decline that, despite added pop sheen on subsequent records, shows no signs of abating. It's my girlfriend's favourite album, which I find almost endlessly endearing. This is someone's favourite album. There's hope for us all (again, I like it, but I mean...) Razorlight - Slipway Fires - Derided by once semi-popular libertines fanzine the NME as 'about as indie as Margaret Thatcher', Razorlight's third album suffered from the same commercial climate as the View's sophomore effort, but is also shit. Johnnycake (That's what Spellcheck gave me. Really? What the fuck is a Johnnycake? I say Johnnycake regularly. No, I don't. I tried to type johnnycake again...) Borrell's ego-mania led him deep into the darkest crevices of his own arsehole like a shit-caked Orpheus and his hubris actually felt like a black-mirror-esque examination of our innate desire to build up and tear down public figures. Bonus points go to 'Monster Boots' (a legitimate tune) and the pearl necklace he wore in the 'Wire to Wire' video. Neil Young - Time Fades Away - At this point Neil had spent half his life chasing commercial success and critical approval through his idiosyncratic music, and succeeded despite what Alex Chilton would describe as 'unbelievable odds'. At which point he decided that this is exactly the opposite of what he wanted, and released this live album of unheard material, spilling rancorous bad vibes onto an audience too fucked-up to connect with what Neil was laying down. A naked snapshot of one of the darkest moments of the 20th Century American psyche? Yes. A portrait of a man, ravaged by tragedy, tearing himself apart on stage, to the point where he can barely sing and has to have that peon of all the hippy-stoner bullshit he was standing against, David Crosby, sing for him? Yes. Available in CD? No. Sorry. His record company begged for a return to the commercial sound of 'Harvest'. Neil, being Neil, recorded one, possibly the finest moment of his career (Homegrown), and then shelves it forever, releasing the two darkest and least commercial records of his entire oeuvre. And he never looked back. Apart from all those times he did. Lou Reed - Berlin - Read the above entry. Except the stakes were higher. Lou had worked harder for far less success of a far more tenuous nature, and financially needed a win far more. And we'd heard the material before, in far superior versions. Most of the time, I don't like this album. The days that I do, are not good days. If this gets play-penned, I am genuinely sorry. If anyone would like to read more, I have more. |
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Post by Elie De Beaufour 🐴 on Aug 24, 2015 19:12:33 GMT -5
Queensryche-Operation: Mindcrime II. Geoff must have thought we fans needed it. WRONG!
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Post by Lennon2217 on Aug 24, 2015 19:53:31 GMT -5
This album (to me) was a huge mother fucking let down.   |
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Post by Manualex on Aug 24, 2015 23:45:44 GMT -5
This album (to me) was a huge mother fucking let down. to me its their best album. The next one? Fucking sucks. |
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Post by mimmihopps on Aug 25, 2015 5:07:18 GMT -5
Miles Kane's second album. Oh yeah, what the hell was he thinking with that album? His debut showed much promise. Huge step backwards DESPITE Paul Weller co-writing some tunes. I guess Noel Gallagher was right, if the tunes ain't there (even with Weller) don't release them. With his second album, Miles Kane looked like he didn't know what he wanted, where he was going to, so he tried to copy someone else and ended up that messed up album. Seeing him as The Last Shadow Puppets in 2008 and supporting Beady Eye in 2011 was nice surprises and his 2 followed up gigs in Amsterdam later that year were pretty good, but the last time when I saw him in Paradiso 2 years ago was not to compare to other ones. It was Friday and too many people who just came to Paradiso for having a beer, lots of chat and some music. A bit off-topic, but I remember seeing The Villagers some years ago. He was brilliant when I saw him for the first time at London Calling, but when he became well-known, he had a warning note all over the venue saying "Please be quiet during the gig". I found it very lame. If you want the audiences to shut their mouth up and listen to your music during the gig, make sure that they want nothing, but listen and enjoy your music instead of placing some special "note". |
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Post by Lennon2217 on Aug 25, 2015 6:23:16 GMT -5
Oh yeah, what the hell was he thinking with that album? His debut showed much promise. Huge step backwards DESPITE Paul Weller co-writing some tunes. I guess Noel Gallagher was right, if the tunes ain't there (even with Weller) don't release them. With his second album, Miles Kane looked like he didn't know what he wanted, where he was going to, so he tried to copy someone else and ended up that messed up album. Seeing him as The Last Shadow Puppets in 2008 and supporting Beady Eye in 2011 was nice surprises and his 2 followed up gigs in Amsterdam later that year were pretty good, but the last time when I saw him in Paradiso 2 years ago was not to compare to other ones. It was Friday and too many people who just came to Paradiso for having a beer, lots of chat and some music. A bit off-topic, but I remember seeing The Villagers some years ago. He was brilliant when I saw him for the first time at London Calling, but when he became well-known, he had a warning note all over the venue saying "Please be quiet during the gig". I found it very lame. If you want the audiences to shut their mouth up and listen to your music during the gig, make sure that they want nothing, but listen and enjoy your music instead of placing some special "note". As of today I find Miles Kane to be a walking, talking, rock n roll cliche of a man. On first glance you think he's this young rocker but he's really 29. Then he dresses and wants to sound like all his musical heroes. I feel like he's trying to maintain an industry of "cool". |
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Post by oasisserbia on Aug 25, 2015 6:24:56 GMT -5
Be Here Now
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Post by eva on Aug 25, 2015 6:43:42 GMT -5
James Vincent McMorrow's Post Tropical.
His first album was great, indie folk/acoustic perfection and then he turned into fucking Frank Ocean
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Post by Swarfiga on Aug 25, 2015 6:49:42 GMT -5
Miles Kane's second album. Agreed. I had pretty high hopes for that album. He should work with Alex Turner again and make a new The Last Shadow Puppets album. I don't think Miles Kane have a new solo album in him, to be honest. |
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Post by Swarfiga on Aug 25, 2015 6:50:33 GMT -5
This album (to me) was a huge mother fucking let down. I loved that album when it came out. Haven't listened to it in a long time now, so maybe I have a different opinion now. But I'm sure it's miles better than the last one. |
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Post by Lennon2217 on Aug 25, 2015 6:51:16 GMT -5
Miles Kane's second album. Agreed. I had pretty high hopes for that album. He should work with Alex Turner again and make a new The Last Shadow Puppets album. I don't think Miles Kane have a new solo album in him, to be honest. Miles might be better served as a member of a band contributing a couple of tunes per album. |
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Post by Swarfiga on Aug 25, 2015 6:52:45 GMT -5
Disclaimer: These are not all bad albums. These albums are commercial suicide, following big hit albums. The View - Which Bitch? - After a platinum-selling debut, a hastily patched-together effort featuring some frankly bizarre (for the record I like it, but you have to admit it's odd) material cooked up by a band trapped in a siege-mentality cocaine-blizzard with Owen Morris (does this sound familiar?) coinciding with a decline in public interest in guitar music hastened a commercial decline that, despite added pop sheen on subsequent records, shows no signs of abating. It's my girlfriend's favourite album, which I find almost endlessly endearing. This is someone's favourite album. There's hope for us all (again, I like it, but I mean...) Razorlight - Slipway Fires - Derided by once semi-popular libertines fanzine the NME as 'about as indie as Margaret Thatcher', Razorlight's third album suffered from the same commercial climate as the View's sophomore effort, but is also shit. Johnnycake (That's what Spellcheck gave me. Really? What the fuck is a Johnnycake? I say Johnnycake regularly. No, I don't. I tried to type johnnycake again...) Borrell's ego-mania led him deep into the darkest crevices of his own arsehole like a shit-caked Orpheus and his hubris actually felt like a black-mirror-esque examination of our innate desire to build up and tear down public figures. Bonus points go to 'Monster Boots' (a legitimate tune) and the pearl necklace he wore in the 'Wire to Wire' video. Neil Young - Time Fades Away - At this point Neil had spent half his life chasing commercial success and critical approval through his idiosyncratic music, and succeeded despite what Alex Chilton would describe as 'unbelievable odds'. At which point he decided that this is exactly the opposite of what he wanted, and released this live album of unheard material, spilling rancorous bad vibes onto an audience too fucked-up to connect with what Neil was laying down. A naked snapshot of one of the darkest moments of the 20th Century American psyche? Yes. A portrait of a man, ravaged by tragedy, tearing himself apart on stage, to the point where he can barely sing and has to have that peon of all the hippy-stoner bullshit he was standing against, David Crosby, sing for him? Yes. Available in CD? No. Sorry. His record company begged for a return to the commercial sound of 'Harvest'. Neil, being Neil, recorded one, possibly the finest moment of his career (Homegrown), and then shelves it forever, releasing the two darkest and least commercial records of his entire oeuvre. And he never looked back. Apart from all those times he did. Lou Reed - Berlin - Read the above entry. Except the stakes were higher. Lou had worked harder for far less success of a far more tenuous nature, and financially needed a win far more. And we'd heard the material before, in far superior versions. Most of the time, I don't like this album. The days that I do, are not good days. If this gets play-penned, I am genuinely sorry. If anyone would like to read more, I have more. Great examples. All though I haven't listened to them enough times to say if you're right or wrong. Thanks all of you for your answers. Interesting to read. |
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Post by Lennon2217 on Aug 25, 2015 6:53:05 GMT -5
This album (to me) was a huge mother fucking let down. I loved that album when it came out. Haven't listened to it in a long time now, so maybe I have a different opinion now. But I'm sure it's miles better than the last one. Their debut had such amazing summer loving fun tunes on it......... Time To Pretend Kids Electric Feel Weekend Warrior Congratulations contained non of that fun joy in my opinion and the band began to play against it's strengths to be weird art house type band. |
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Post by Mean Mrs. Mustard on Aug 25, 2015 10:08:24 GMT -5
Oracular Spectacular was amazing, Congratulations was a bit of a disappointment, but how else could it be, after such an amazing album? They could've been huge but they blew it. Congratulations was still pretty good, but not as joyful as OS. It's darker. I like it though. I did stop following them during that time though.
Now their last one...that's the one I'd like to forget about.
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Post by matt on Aug 25, 2015 20:21:59 GMT -5
Empire - Kasabian
I think the first album is excellent, really promising. The second one is dire - it's bookended by good tracks (Empire and The Doberman) but the sandwich filler in between can only be described as total shit. I actually remember loving the third one initially. But then I got into loads of other band and realised they'd been ripping loads of people off for that album. But hey, Underdog is a quality tune, but that's about all I like.
Fourth one only got a couple of spins and was utterly unmemorable, while the latest one only got one spin and can only be described as making Empire look like a masterpiece it was that bad.
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5