10 great artists with terrible debut albums
The debut album, for most artists, is considered a watershed moment. From that point on, it may be a carefully managed slow decline, an immediate slide into obscurity, or, if you’re one of the lucky few, a watershed moment to build a path in. the arts forever. However, here we are focusing on artists whose first albums arrived too early.
Of all the artists who chose to be on this list, they are rightly revered as musicians of the highest caliber, and their debut album is etched in their history. In some ways, this is a blessing in disguise for every name collected on this list, as their debut came at a time when they could afford to grow up from their mistakes, being given a period of freedom to avoid the gaze of the eyes. of the world fiercely focusing on their creative output.
Of course, having the time to develop as an artist is the ideal situation. No aspiring musician needs to be hailed as the messiah of the arts, the one who descends on the industry here to save music because of the strength of their debut album. A lack of hype means an increase in freedom, and it has allowed many groups to thrive, enlightened by the removal of heavy expectations.
Some of the most beloved artists of all time didn’t really find their voice until their second album, or sometimes even later. By the time they do eventually enter the mainstream, there is no risk of an identity crisis due to their experience. This feature celebrates ten artists whose debut album is the sound of a firmly developing artist who has yet to find the voice we all love them for.
10 great artists with bad first albums:
Pulp’s breakthrough in the mid-1990s took them from cult heroes of Sheffield to headliners of Glastonbury, but the path they took to the Pyramid Stage was long and winding.
Their first album, He, was released in 1983, and it arrived with little fanfare. While it’s simple to sit here and say how unfair it was for Pulp to be put to sleep by the masses, to be brutally honest, they weren’t the same group the nation would end up getting addicted to.
He Still has moments that hint at the group they would eventually become, and Jarvis Cocker is entitled to brief moments to show signs of his budding glow. However, this sparkle and this incandescent charm are absent from the disc which would become synonymous with Pulp.
Red Hot Chili Peppers
The Red Hot Chili Peppers’ self-titled debut album, which arrived in 1984, is another album that came too early and sounded like a band struggling to come up with a cohesive idea of who they want to be.
Their unique blend of funk-rock is undercooked, and they don’t quite have the musical flair to achieve it later in their careers. The jewel in RHCP’s crown has always been John Frusciante, and the guitarist’s arrival in 1988 would change the course of the band’s career. Frusciante had the innate talent to bring their vision to life, and he was the missing piece in their puzzle that they had been clamoring for since their first three albums.
Rush’s self-titled debut album in 1974 failed to capture the imagination of audiences and critics. In truth, they sounded like a rock band that was unable to fully showcase the talent that was lurking within.
Original drummer John Rutsey left the band shortly after release due to health issues that kept him from touring for a long time, and his replacement Neil Peart became Rush’s beating heart. Not only was the late Peart one of the best drummers of his generation, he was also an excellent lyricist, which would give Rush that extra dimension they lacked in their early days.
After the death of Ian Curtis, the surviving members were left in a dilemma both personally and professionally. They were all struggling during this time and were still in shock over Curtis’ death. Movement offered a sonic departure from Joy Division as they increased the use of synthesizers, but nothing quite like the drastic change they put in motion on their second album, Power, corruption and lies.
Maybe New Order had to do Movement to bridge the gap between Joy Division and the electronic entity they confidently grew up in for the next two years after release.
While they were making the record, there was tension between producer Martin Hannett, who they also worked with under the name Joy Division. At Movement, there was not enough separation between the two groups, and to survive without Ian Curtis, they had to radically change their sound, which they duly did with their next album.
The rolling stones
The Rolling Stones recorded their first album in just four days, and the brutality of it is inevitable. The album was an ode to the past and the songs that made them become the Rolling Stones, with just one song written by The Glimmer Twins.
They hadn’t yet managed to stand out and failed to stand out from the crowded field of blues bands that were producing records like their debut. While the album sowed the seeds of their future, the Rolling Stones were a band that had a lot more to show than they showed when they debuted, and ultimately, they showed they were so much more. than another blues band.
Before Eminem’s fortunes drastically changed and he became the hottest rapper on the planet, his life couldn’t be further from the glitz or glamor associated with hip hop. He had a baby daughter, Hailee, whom he was trying to support while struggling with addiction issues.
Rapping offered him an escape and developed his Slim Shady alter-ego, which gave Eminem the perfect vehicle to infuse all of his pent-up anger, unleashing a style and flow that few have ever truly understood. In 1997, he recorded and released his first EP in his new form, which allowed him to become deeper and darker than ever.
However, before landing on his identity Slim Shady, Eminem released his debut album, 1996’s Infinite. The album was a resounding failure, but it taught the rapper lessons that would help him on his journey. He later remarked: “Infinite I was trying to figure out how I wanted my rap style to be, how I wanted to sound on the mic and introduce myself. It was a stage of growth. I felt like Infinite was like the demo that just pressed.
Over the past 35 years since the Flaming Lips shared their debut album, they’ve owned their quirk and become a truly unmatched band with anyone else. Who else would dream of playing in a Zorb?
If you’ve heard their debut, Hear that, in 1986, you should have been an absurdly daring character to suggest that everything on the record indicated that The Flaming Lips would continue to have the longevity they endured. Their wild concerts were perfected over the next few years, which would allow the band to make a name for themselves, and eventually, they would find out how to harness that energy on their records.
David Bowie’s career began young when he released his first single as a teenage starlet at just 17 years old. However, his career never accelerated the way he had envisioned. His eponymous self-titled album arrived on Decca in 1967, but Bowie looked like an artist who was unsure of his creative identity and seemed lost.
Every single released on the record has collapsed in a monumental way, as has the album. Rather than maintain a belief in Bowie, Decca Records decided to sideline him and released him from his record deal. Getting dumped was a defining moment for Bowie. He could have easily given up hope of becoming an artist and settled down for a living in the real world, but it wasn’t Bowie.
Green Day’s Breakout Album, Dookie, was the record that really should have been their first album, but in fact, they had released two before, and the 1990s 1039 / Smooth isn’t going to have a birthday tour anytime soon.
The record is unusually green if you forgive the pun, and they ring light years from the group that would share Dookie four years later. Having two albums under their belt by the time Green Day hit the public consciousness only paid off in the long run by going through this learning curve at such a young age.
The debut of Primal Scream in 1987, Sonic Flower Groove, arrived on the big label Elevation and sold well by independent standards, but was nowhere near what the label expected after investing time and money in the band. They were abruptly abandoned by Elevation after the album and back to square one.
Reviews were less favorable than semi-moderate sales and nothing like the band that would serve as a masterpiece in the form of Screamadelica several years later. The Scottish group pulled producer Stephen Street during the recording process, replacing him with Red Krayola’s Mayo Thompson and also sacked member Tom McGurk just before heading to Rockfield Studios.
After the album, Bobby Gillespie moved to Brighton to restructure the band and figure out exactly what he wanted Primal Scream to be, which then paid off in style.