20 Worst Rock Albums by Great Bands

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Fleetwood Mac’s Time marked an underwhelming chapter for a band known for timeless classics. The Doors’ Full Circle struggled to maintain their mystique without Jim Morrison. Prince’s New Power Soul failed to ignite the magic he so often delivered. Creedence Clearwater Revival’s Mardi Gras revealed the cracks in one of rock’s tightest units. The Doors’ Other Voices continued to search for direction post-Morrison, while Michael Jackson’s Invincible lacked the revolutionary spark of his earlier work. The Beach Boys’ Summer in Paradise came across as a pale shadow of their sun-soaked prime. The Who’s It’s Hard felt like a muted effort from one of rock’s most fiery bands.

Def Leppard’s X ventured too far into pop territory, leaving longtime fans cold. Metallica’s St. Anger polarized listeners with its raw sound and controversial production choices. Genesis’ Calling All Stations fell short of expectations with a new vocalist at the helm. Black Sabbath’s Forbidden was a misstep in a storied career of heavy metal innovation. Metallica and Lou Reed’s Lulu baffled audiences with its experimental concept. Crosby, Stills, Nash & Young’s American Dream failed to recapture the chemistry that made them legendary. Emerson, Lake & Palmer’s Love Beach missed the mark with its lack of inspired material. The Velvet Underground’s Squeeze is barely recognized as part of their catalog, and for good reason.

R.E.M.’s Around the Sun lacked the vitality that made them alternative rock icons. Queen’s Hot Space alienated fans with its disco detour. Elton John’s Leather Jackets remains a low point in an otherwise dazzling career. Finally, Van Halen’s Van Halen III left fans disappointed with its lack of cohesion and energy.

Even the brightest stars have moments when they falter. These albums are not just lessons in artistic risk-taking but also reminders that even legends are human. After all, the clunkers only make their triumphs shine even brighter.

# 20 – Time – Fleetwood Mac

Fleetwood Mac’s Time (1995) is often considered a misstep in the band’s storied discography. Recorded at The Hit Factory in New York and Studio D in Sausalito, California, the album marked a transitional period for the band, with Christine McVie contributing minimally and Lindsey Buckingham absent entirely. The lineup consisted of Mick Fleetwood on drums, John McVie on bass, Christine McVie on keyboards and vocals, and newcomers Dave Mason and Bekka Bramlett, who both provided lead vocals. Produced by Richard Dashut and the band, the album leaned heavily on Mason’s rock influences, which clashed with the band’s signature sound. Critics felt Time lacked the chemistry and songwriting brilliance of their classic albums, resulting in a record that failed to chart in the U.S. It remains an outlier in the Fleetwood Mac catalog, a testament to the challenge of maintaining cohesion amidst lineup changes.

# 19 – Full Circle – The Doors

Released in 1972, Full Circle was The Doors’ second album following the death of Jim Morrison and a stark departure from the mystique that defined their earlier work. Recorded in Los Angeles and produced by the band, the album featured Robby Krieger, Ray Manzarek, and John Densmore sharing vocal duties and songwriting responsibilities. While the instrumentation retained some of the band’s signature psychedelic and blues influences, critics and fans alike felt that Morrison’s absence left a void that couldn’t be filled. Tracks like “The Mosquito” veered into novelty territory, a far cry from the depth of The Doors or L.A. Woman. Commercially, the album peaked at a modest No. 68 on the Billboard charts, but its lack of cohesion and direction earned it a tepid reception. For many, Full Circle is a fascinating yet flawed postscript to The Doors’ legacy.

# 18 – New Power Soul – Prince

New Power Generation, The - Newpower Soul - NPG Records - 74321 60598 2 by Prince

By 1998, Prince had established himself as a musical chameleon, but New Power Soul fell short of the creativity fans had come to expect. Credited to his backing band, the New Power Generation, this album was recorded at Paisley Park Studios in Minnesota and produced solely by Prince under the pseudonym The Artist. While tracks like “The One” displayed moments of brilliance, the album leaned heavily on repetitive grooves and lacked the adventurous spirit of his earlier work. Critics noted its over-reliance on funk loops and underdeveloped lyrical ideas. Although New Power Soul did not chart as high as previous Prince releases, peaking at No. 22 on the Billboard 200, its relative lack of impact cemented its place as a lesser entry in his illustrious career.

Read More: 10 Most Rocking Prince Songs

# 17 – Mardi Gras – Creedence Clearwater Revival

Credence Clearwater Revival’s Mardi Gras (1972) is often referred to as one of rock’s most disappointing swan songs. Recorded at Fantasy Studios in Berkeley, California, and produced by the band, it marked a contentious period for the group. With Tom Fogerty’s departure, remaining members John Fogerty, Stu Cook, and Doug Clifford adopted an equal songwriting and vocal approach that critics widely panned. Tracks like “Sweet Hitch-Hiker” had flashes of CCR’s signature swamp-rock style, but the uneven quality and lack of cohesion stood out. Released to lukewarm reviews, Mardi Gras peaked at No. 12 on the Billboard 200, a disappointing conclusion to an otherwise stellar catalog. The album underscored the challenges of maintaining harmony and creativity in a band after significant internal strife.

# 16 – Other Voices – The Doors

Other Voices (1971) marked the first Doors album released after Jim Morrison’s untimely death. Recorded at The Doors Workshop in Los Angeles and produced by the remaining members of the band, Ray Manzarek, Robby Krieger, and John Densmore, the album attempted to carry on the band’s legacy without their iconic frontman. The vocals were split between Manzarek and Krieger, but neither managed to recapture Morrison’s charisma or poetic gravitas. Tracks like “Tightrope Ride” hinted at the band’s earlier brilliance, but the overall reception was lukewarm. The album peaked at No. 31 on the Billboard charts, a noticeable drop from the band’s prior successes. While Other Voices has moments of intrigue, it ultimately feels incomplete, overshadowed by Morrison’s absence and the band’s struggle to find a new direction.

Read More: Top 10 Doors Songs

# 15 – Invincible – Michael Jackson

Released in 2001, Invincible was Michael Jackson’s tenth and final studio album, recorded over several years at studios worldwide and produced by a roster of collaborators including Rodney Jerkins, Teddy Riley, and Babyface. Despite its impressive production value, the album suffered from a lack of cohesion and overproduction. Songs like “You Rock My World” displayed flashes of Jackson’s pop brilliance, but others felt dated or derivative. Commercially, the album debuted at No. 1 on the Billboard 200 and sold millions globally, but it failed to achieve the groundbreaking impact of Jackson’s earlier work. Critics noted the absence of the innovation that defined Thriller or Bad, making Invincible a competent but unremarkable effort by the King of Pop.

# 14 – Summer in Paradise – The Beach Boys

The Beach Boys’ Summer in Paradise (1992) is often regarded as the band’s nadir. Recorded at Ocean Way Recording in Hollywood and produced by Terry Melcher, the album marked a low point in creativity, with its reliance on dated production techniques and uninspired material. Tracks like “Island Fever” and a reimagined “Surfin’” failed to connect with both critics and fans, who viewed the album as a cynical attempt to capitalize on nostalgia. Summer in Paradise didn’t chart in the U.S., a stark contrast to the band’s storied history of chart-topping hits. Despite its ambition to evoke the carefree vibe of classic Beach Boys records, it’s remembered more for its missteps than its moments of charm.

Read More: Top 10 Beach Boys Songs

# 13 – It’s Hard – The Who

Released in 1982, It’s Hard was The Who’s final album before their initial breakup. Recorded at Turn Up-Down Studios and produced by Glyn Johns, it features Pete Townshend, Roger Daltrey, John Entwistle, and Kenney Jones. While tracks like “Eminence Front” offered glimpses of The Who’s trademark energy, the album as a whole felt tired and uninspired. Critics noted that the band seemed to be going through the motions, with Townshend’s songwriting lacking the sharpness of earlier classics. Despite debuting at No. 8 on the Billboard 200, It’s Hard failed to leave a lasting impression and is often seen as a lackluster conclusion to the band’s first chapter.

# 12 – X – Def Leppard

Released in 2002, X marked Def Leppard’s attempt to embrace the pop-rock trends of the early 2000s. Produced by a team including Pete Woodroffe and Marti Frederiksen, the album was recorded across studios in Ireland and Los Angeles. Departing from their hard rock roots, X leaned heavily into polished pop melodies and radio-friendly hooks, leaving long-time fans yearning for the band’s signature anthemic sound. While tracks like “Now” offered a glimpse of their former glory, the album lacked the edge that defined classics like Hysteria. Commercially, it peaked at No. 11 on the Billboard 200, but critical reception was mixed, with many calling it an uninspired attempt to modernize their sound.

Read More: Top 10 Def Leppard Songs

# 11 – St. Anger – Metallica

St. Anger (2003) remains one of Metallica’s most divisive albums. Recorded at their HQ in San Rafael, California, and produced by Bob Rock alongside the band, it was marked by the absence of bassist Jason Newsted and internal tensions, as documented in the Some Kind of Monster film. The album featured a raw, abrasive sound with no guitar solos and a snare drum tone that polarized listeners. While songs like “Frantic” and the title track displayed aggressive energy, the lack of polish and experimentation alienated fans and critics alike. Despite debuting at No. 1 on the Billboard 200, the album’s reception reflected a band at a crossroads, struggling to recapture their former magic.

# 10 – Calling All Stations – Genesis

Calling All Stations (1997) marked a significant shift for Genesis as it was their first and only album with vocalist Ray Wilson, following Phil Collins’ departure. Recorded at The Farm in Surrey and produced by the band with Nick Davis, the album leaned towards darker, atmospheric rock. Despite Wilson’s competent vocals, Calling All Stations failed to resonate with fans or critics, who compared it unfavorably to the band’s earlier progressive and pop-rock masterpieces. The album charted well initially, reaching No. 2 in the UK, but its lukewarm reception led to the band canceling a planned North American tour. It remains a curious, albeit underwhelming, chapter in Genesis’s storied career.

# 9 – Forbidden – Black Sabbath

Forbidden (1995) is often cited as Black Sabbath’s weakest effort. Produced by Ernie C and recorded at Devonshire Sound Studios in Los Angeles, the album featured Tony Martin on vocals, Tony Iommi on guitar, Neil Murray on bass, and Cozy Powell on drums. Despite its lineup of seasoned musicians, Forbidden suffered from uninspired songwriting and lackluster production. Tracks like “The Illusion of Power,” featuring Ice-T, felt like a misguided attempt to modernize their sound. Commercially, the album barely made an impact, failing to chart in key markets like the U.S. For a band with such a storied legacy, Forbidden stands out as a low point in their otherwise iconic catalog.

# 8 – Lulu – Metallica And Lou Reed

Released in 2011, Lulu was an ambitious but ultimately baffling collaboration between Metallica and Lou Reed. Inspired by two plays by German playwright Frank Wedekind, the album combined Reed’s avant-garde storytelling with Metallica’s heavy metal aggression. Recorded at HQ Studios in San Rafael, California, and produced by Reed, Metallica, and Hal Willner, the album was experimental to a fault. Tracks like “The View” and “Junior Dad” were polarizing, with Reed’s spoken-word delivery clashing against Metallica’s blistering riffs. Critically panned for its disjointed execution, Lulu failed to chart well and remains an oddity in both artists’ careers—a bold misstep rather than a creative triumph.

Read More: Top 10 Metallica Songs

# 7 – American Dream – Crosby, Stills, Nash & Young

American Dream (1988) marked a long-awaited reunion for Crosby, Stills, Nash & Young, but the result fell far short of expectations. Produced by the group with Niko Bolas, the album was recorded in several locations, including Neil Young’s Broken Arrow Ranch. While the title track and “This Old House” offered glimpses of their earlier harmonies and social commentary, much of the album felt overly polished and burdened by dated production. Critics noted a lack of cohesion and passion, making it a stark contrast to the groundbreaking work of their earlier albums like Déjà Vu. Despite charting at No. 16 on the Billboard 200, American Dream is often viewed as a missed opportunity.

# 6 – Love Beach – Emerson, Lake & Palmer

Love Beach (1978) is widely regarded as the nadir of Emerson, Lake & Palmer’s discography. Recorded at Compass Point Studios in the Bahamas and produced by Keith Emerson, Greg Lake, and Carl Palmer, the album was rushed to fulfill contractual obligations. The band’s signature progressive rock sound was stripped down, resulting in uninspired tracks like the title song and “Taste of My Love.” Even the epic “Memoirs of an Officer and a Gentleman” failed to capture their former grandeur. Critically savaged upon release, Love Beach symbolized a band struggling to adapt to changing musical trends.

# 5 – Squeeze – The Velvet Underground

Squeeze (1973) is considered by many as the Velvet Underground in name only. Recorded by Doug Yule after the departure of all original members, the album was produced by Yule and released without Lou Reed, John Cale, or Sterling Morrison. Featuring session musicians, Squeeze lacked the experimental edge and poetic lyricism that defined the band’s earlier work. Songs like “Caroline” and “Friends” came across as generic rock fare, devoid of the innovation fans had come to expect. The album barely made an impact commercially and is often excluded from discussions of the Velvet Underground’s catalog, serving as a footnote in their legendary history.

Read More: Top 10 Velvet Underground Songs

Around the Sun (2004) marked a low point for R.E.M., a band known for its rich and evocative alternative rock. Recorded across studios in Vancouver, Dublin, and Miami with producer Pat McCarthy, the album suffered from an overreliance on polished production and mid-tempo balladry. Tracks like “Leaving New York” and “Electron Blue” failed to capture the energy and creativity of their earlier work. Critics lamented the lack of dynamic arrangements, and fans found the album overly somber and uninspired. While it charted respectably, debuting at No. 13 on the Billboard 200, Around the Sun is often cited as R.E.M.’s most forgettable effort.

# 3 – Hot Space – Queen

Released in 1982, Hot Space was Queen’s controversial foray into disco and funk. Produced by the band and Reinhold Mack, the album was recorded in Munich, Germany, during a turbulent period for the group. Tracks like “Body Language” and “Staying Power” alienated fans expecting the grandiose rock of A Night at the Opera. Although “Under Pressure,” their collaboration with David Bowie, remains iconic, the rest of the album lacked cohesion and passion. While Hot Space charted well, reaching No. 4 in the UK, it was a commercial disappointment in the US. The album’s mixed reception highlighted the risks of stylistic experimentation.

Read More: Top 10 Queen Albums

# 2 – Leather Jackets – Elton John

Leather Jackets (1986) is widely regarded as Elton John’s weakest effort. Recorded at Wisseloord Studios in the Netherlands and AIR Studios in London, the album was produced by Gus Dudgeon. Plagued by lackluster songwriting and uninspired performances, tracks like “Heartache All Over the World” and “Slow Rivers” failed to connect with fans or critics. Elton himself later disowned the album, citing personal struggles during its creation. Commercially, it fared poorly, peaking at No. 91 on the Billboard 200. Leather Jackets remains a blemish in an otherwise illustrious career, exemplifying an artist at a creative low.

# 1 – Van Halen III – Van Halen

Van Halen III (1998) introduced Gary Cherone as the band’s third lead singer, following David Lee Roth and Sammy Hagar. Recorded at 5150 Studios in California and produced by Mike Post and Eddie Van Halen, the album attempted a more experimental and introspective sound. Tracks like “Without You” and “Once” lacked the punch and charisma of the band’s earlier hits. Critically panned for its unfocused songwriting and overlong arrangements, Van Halen III was a commercial failure, peaking at No. 4 on the Billboard 200 but quickly fading from relevance. Fans largely rejected the album, leading to Cherone’s departure and marking a low point in Van Halen’s storied history.