As we all know, when an album would become a hit, the artist would usually either try clone the hit album for the followup or add more commercial elements to their music to increase their audience.

There have been some instances, however, where an artist went in the completely opposite direction, making a more artistic, uncommercial record, even if it meant losing fans in the process.

Examples:

Prince following his mega-hit Purple Rain, with Around the World in a Day

Stevie following Songs in the Key of Life with Journey Through The Secret Life of Plants

Lauryn Hill following The Miseducation of Lauryn Hill with Unplugged 2.0

Alanis Morrissette following Jagged Little Pill with Supposed Former Infatuation Junkie

Marvin Gaye following What's Going On with Trouble Man (we can make more generalizations here too).

Can anyone think of anymore?

TTD was very good at this...although i'm not sure he didn't care about losing fans

The album did end up with a couple of tracks on the commercial side, but the overall concept, vibe, design, and idea for Tupac's "Killuminati : The 7 Day Theory" was supposed to be an uncommercial, underground, street project..... aka the complete opposite of the radio friendly, clean production and abundance of pop hooks all over his previous album, the 10 million+ selling "All Eyez On Me".

Hell, the album wasn't even released as 2Pac, it was released under the artist name of "Makaveli The Don"..... although due to a layout mistake on the artwork, it appears to be released simply as "Makaveli" and the album appears to be called "The Don Killiminati : The 7 Day Theory". However, this is incorrect. The correct artist name for the album is Makaveli The Don" and the correct title for the album is "Killuminati : The 7 Day Theory".

EWF with I Am then the non commercial follow up Faces

Madonna following up the hugely successful 'Like A Prayer' with this album of 30s inspired show tunes and ballads

robertlove said:

TTD was very good at this...although i'm not sure he didn't care about losing fans

Yep he had a big debut record (Introducing the Hardline According to...) and turned out an ambitious sophomore release (Neither Fish Nor Flesh) that was unlike the expectations many were looking for.

silverchild said:

As we all know, when an album would become a hit, the artist would usually either try clone the hit album for the followup or add more commercial elements to their music to increase their audience.

There have been some instances, however, where an artist went in the completely opposite direction, making a more artistic, uncommercial record, even if it meant losing fans in the process.

Examples:

Prince following his mega-hit Purple Rain, with Around the World in a Day

Stevie following Songs in the Key of Life with Journey Through The Secret Life of Plants

Lauryn Hill following The Miseducation of Lauryn Hill with Unplugged 2.0

Alanis Morrissette following Jagged Little Pill with Supposed Former Infatuation Junkie

Marvin Gaye following What's Going On with Trouble Man (we can make more generalizations here too).

Can anyone think of anymore?

artwiad was uncommercial compared to purple rain....loved the story about when prince let warners listen to the album for the first time and all the blood drained from the faces of the warner executives as they listened to the album and kissed the mega sales of ' purple rain ' goodbye while prince played with a flower ...hope thats true....

.

mind you....artwiad still sold around 4 million copies and was number one on billboard for 3 weeks so it was far from not doing well....

blackbob said:

silverchild said:

As we all know, when an album would become a hit, the artist would usually either try clone the hit album for the followup or add more commercial elements to their music to increase their audience.

There have been some instances, however, where an artist went in the completely opposite direction, making a more artistic, uncommercial record, even if it meant losing fans in the process.

Examples:

Prince following his mega-hit Purple Rain, with Around the World in a Day

Stevie following Songs in the Key of Life with Journey Through The Secret Life of Plants

Lauryn Hill following The Miseducation of Lauryn Hill with Unplugged 2.0

Alanis Morrissette following Jagged Little Pill with Supposed Former Infatuation Junkie

Marvin Gaye following What's Going On with Trouble Man (we can make more generalizations here too).

Can anyone think of anymore?

artwiad was uncommercial compared to purple rain....loved the story about when prince let warners listen to the album for the first time and all the blood drained from the faces of the warner executives as they listened to the album and kissed the mega sales of ' purple rain ' goodbye while prince played with a flower ...hope thats true....

.

mind you....artwiad still sold around 4 million copies and was number one on billboard for 3 weeks so it was far from not doing well....

True! Some people were expecting Purple Rain part II and boy were they fooled. If you listen to it closely though, it wasn't all that different from some of the material that was on Purple Rain. "Take Me With U" would've been perfect on ATWIAD. But it was a bolder artistic statement that challenged newcomers and hardcore fanbases alike.

compared 2 artist of today none of the mentioned albums are failures they are classics. u got people like justin bieber selling 12 copies and concidered a star now

TTD is the unrivaled king in this category.

silverchild said:

Marvin Gaye following What's Going On with Trouble Man (we can make more generalizations here too).

I thought the duet album with Diana came out next. Oh well.

MickyDolenz said:

silverchild said:

Marvin Gaye following What's Going On with Trouble Man (we can make more generalizations here too).

I thought the duet album with Diana came out next. Oh well.

Actually Marvin wanted to release the You're the Man album after What's Going On but Motown didn't wanna promote the title track (which openly attacked Nixon) in fear Marvin would be targeted by Nixon's administration like John Lennon (Berry Gordy openly supported Nixon). So they had it shelved. I still think a full album is somewhere hidden in the Motown vaults, it's about time it gets released. So many of its songs have been on Marvin's compilations. Trouble Man was different because he took a full-on jazz-funk approach with it and it was mostly instrumental and a film score, albeit an experimental one. It did well though, sold like a million and the title track became a big hit. But it was mostly non-commercial even if it did become successful, if not as much as What's Going On.

Of course Marvin had a history of having commercial success and turning around and doing something different. During the '60s, when he first started, he tried to make it as a standards singer (The Soulful Moods) but it bombed and he charted into R&B on his own terms. After he found success, he tried again at least three times to do standards albums that didn't really aim for the commercial though Marvin's intent was to reach the older white audiences (it obviously didn't work since Marvin's music catered mostly to younger white audiences, as such the case with all the Motown acts).

But he really ventured into non-commercial follow-ups in the '70s. After Let's Get It On and I Want You, he went into Here, My Dear (non-commercial) and The Ballads (released as Vulnerable 20 years after he first recorded it). When his attempt at a commercial comeback failed (the aborted release of Love Man), he went non-commercial again with In Our Lifetime.

Beastie Boys' Licensed to ill was followed up by Paul's Boutique...

wich was a great and maybe better album but it took more time 2 get into the music;

great samples and excellent grooves: Shake your rump,Egg man,Hey Ladies and B-boy bouillabaise

but not so catchy like Fight for your right (wich is no fav of mine!), No sleep till Brooklyn and my fav's : Paul Revere and Brass Monkey.

novabrkr said:

TTD is the unrivaled king in this category.

He did it two or three times, actually. The "Introducing the Hardline" vs. "Neither Fish nor Flesh" story is probably well known, but even after he had a commercial comeback with "Symphony or Damn", he again switched gears with "Vibrator", which imo is a great album, but has much less commercial appeal than its predecessor. And finally, if you want to see "Wildcard" as a moderate commercial success or mini-hit (hence my "two or three times" comment), you could argue that he did it once again with this whole underground-ish "post-millenium rock" stuff "Angels and Vampires". Hell, that third time, he even made an album cover without any commercial appeal - actually, without any appeal at all.

Timmy84 said:

MickyDolenz said:

I thought the duet album with Diana came out next. Oh well.

Actually Marvin wanted to release the You're the Man album after What's Going On but Motown didn't wanna promote the title track (which openly attacked Nixon) in fear Marvin would be targeted by Nixon's administration like John Lennon (Berry Gordy openly supported Nixon). So they had it shelved. I still think a full album is somewhere hidden in the Motown vaults, it's about time it gets released. So many of its songs have been on Marvin's compilations. Trouble Man was different because he took a full-on jazz-funk approach with it and it was mostly instrumental and a film score, albeit an experimental one. It did well though, sold like a million and the title track became a big hit. But it was mostly non-commercial even if it did become successful, if not as much as What's Going On.

Of course Marvin had a history of having commercial success and turning around and doing something different. During the '60s, when he first started, he tried to make it as a standards singer (The Soulful Moods) but it bombed and he charted into R&B on his own terms. After he found success, he tried again at least three times to do standards albums that didn't really aim for the commercial though Marvin's intent was to reach the older white audiences (it obviously didn't work since Marvin's music catered mostly to younger white audiences, as such the case with all the Motown acts).

But he really ventured into non-commercial follow-ups in the '70s. After Let's Get It On and I Want You, he went into Here, My Dear (non-commercial) and The Ballads (released as Vulnerable 20 years after he first recorded it). When his attempt at a commercial comeback failed (the aborted release of Love Man), he went non-commercial again with In Our Lifetime.

You know you are absolutely right. I was listening to The Master box set and Let's Get It On(Deluxe Edition) about a couple of weeks ago and I was just floored by the quality of work he was doing in the early 70's-72, even when What's Going On was released and he was working on the conception of Let's Get It On. I hope You're The Man eventually comes out.

novabrkr said:

TTD is the unrivaled king in this category.

Yes, for sure!

silverchild said:

Timmy84 said:

Actually Marvin wanted to release the You're the Man album after What's Going On but Motown didn't wanna promote the title track (which openly attacked Nixon) in fear Marvin would be targeted by Nixon's administration like John Lennon (Berry Gordy openly supported Nixon). So they had it shelved. I still think a full album is somewhere hidden in the Motown vaults, it's about time it gets released. So many of its songs have been on Marvin's compilations. Trouble Man was different because he took a full-on jazz-funk approach with it and it was mostly instrumental and a film score, albeit an experimental one. It did well though, sold like a million and the title track became a big hit. But it was mostly non-commercial even if it did become successful, if not as much as What's Going On.

Of course Marvin had a history of having commercial success and turning around and doing something different. During the '60s, when he first started, he tried to make it as a standards singer (The Soulful Moods) but it bombed and he charted into R&B on his own terms. After he found success, he tried again at least three times to do standards albums that didn't really aim for the commercial though Marvin's intent was to reach the older white audiences (it obviously didn't work since Marvin's music catered mostly to younger white audiences, as such the case with all the Motown acts).

But he really ventured into non-commercial follow-ups in the '70s. After Let's Get It On and I Want You, he went into Here, My Dear (non-commercial) and The Ballads (released as Vulnerable 20 years after he first recorded it). When his attempt at a commercial comeback failed (the aborted release of Love Man), he went non-commercial again with In Our Lifetime.

You know you are absolutely right. I was listening to The Master box set and Let's Get It On(Deluxe Edition) about a couple of weeks ago and I was just floored by the quality of work he was doing in the early 70's-72, even when What's Going On was released and he was working on the conception of Let's Get It On. I hope You're The Man eventually comes out.

Marvin definitely stayed in the studio between 1970 and 1972. He had a lot of other projects he wanted to work on. Like another concept album he wanted to call Life's Opera, then there's that funk-rock instrumental album he was working on (two of them made the LGIO deluxe edition set including "Mondata"), You're the Man, and then to add on, he also collaborated with Willie Hutch. So he never left the studio during that time. Once he focused on something he knew would satisfy both him and the label, he perfected it (that's how Let's Get It On got out). It was a mixture of commercial (the title track, "Come Get to This", "Distant Lover") and non-commercial ("You Sure Love to Ball" though Motown released it... oddly it was the most controversial single they put out until that time ).

I didnt see it mentioned but Listen WIthout Predjudice - George Michael

Also Tunnel of Love - Bruce Springsteen, was a very low key record at that point.

some never think of it, but "Scoundrel Days" by a-ha, this album cooked them in america, because they refused "take on me part 2" they were difficult and had their own vision and thats why they went elsewhere to market themselves, it was the follow up to "Hunting High and Low" which sold close to a million in the states.

lastdecember said:

I didnt see it mentioned but Listen WIthout Predjudice - George Michael

Also Tunnel of Love - Bruce Springsteen, was a very low key record at that point.

some never think of it, but "Scoundrel Days" by a-ha, this album cooked them in america, because they refused "take on me part 2" they were difficult and had their own vision and thats why they went elsewhere to market themselves, it was the follow up to "Hunting High and Low" which sold close to a million in the states.

True.

Timmy84 said:

lastdecember said:

I didnt see it mentioned but Listen WIthout Predjudice - George Michael

Also Tunnel of Love - Bruce Springsteen, was a very low key record at that point.

some never think of it, but "Scoundrel Days" by a-ha, this album cooked them in america, because they refused "take on me part 2" they were difficult and had their own vision and thats why they went elsewhere to market themselves, it was the follow up to "Hunting High and Low" which sold close to a million in the states.

True.

When i got a chance to hang with them for a few here in nyc on the last tour and then see a few of the last interviews they were very candid and forthcoming and said "look we were difficult, but it was our ride, no one forced us to be poster boys early on, we did the videos and we put ourselves there, and we also did what we wanted to get out of that place too"

A non commercial follow up can have hits off of it, but the album itself might leave people scratching heads. You also have to be careful to make sure it's not "sophomore slump".

Beach Boys "Pet Sounds", even though it had a hit single, had been considered a failure when the album came out.

John Lennon "Plastic Ono Band"... after a decade of hits with The Beatles, there were none off of this. "Sgt Pepper" could be considered a non commercial follow up to "Revolver".

Billy Joel "Nylon Curtain"... Billy was in a John Lennon state of mind, and even though he wound up having hits off of it, it was definitely not "commercial" compared to most of his other albums, esp. when he put "Innocent Man" out.

Springsteen was mentioned, but I'm going with "Nebraska". He had a huge smash with "The River" and "Hungry Heart". Decided to put out a demo tape he had been carrying around in his pocket. Hard to believe the songs left off of here wound up being on "Born in the USA", yet there's a lot of despair on that one, he just hides it behind a loud band.

Lou Reed - "Metal Machine Music." This followed up "Sally Can't Dance", which was a hit for Reed. You could picture Prince doing something like this - recording guitar feedback at different speeds and making a collage of sound. Even though it's on "worst of" lists, it sold 100K copies, and still has a fanbase. It's actually been performed live over the past couple of years by an ensemble.

David Bowie "Low" - followed up on "Station To Station".

I Think i would put Listen Without Prejudice on the list...

While yes the album had some hit singles like Around The World In A Day did the album was a lot more political and personal then Faith and it sold nowhere near the amount Faith did either.

If i am correct the album didn't even chart in the top 20 first week and then climbed all the way to the tops week's later

dalsh327 said:

A non commercial follow up can have hits off of it, but the album itself might leave people scratching heads. You also have to be careful to make sure it's not "sophomore slump".

Beach Boys "Pet Sounds", even though it had a hit single, had been considered a failure when the album came out.

John Lennon "Plastic Ono Band"... after a decade of hits with The Beatles, there were none off of this. "Sgt Pepper" could be considered a non commercial follow up to "Revolver".

Billy Joel "Nylon Curtain"... Billy was in a John Lennon state of mind, and even though he wound up having hits off of it, it was definitely not "commercial" compared to most of his other albums, esp. when he put "Innocent Man" out.

Springsteen was mentioned, but I'm going with "Nebraska". He had a huge smash with "The River" and "Hungry Heart". Decided to put out a demo tape he had been carrying around in his pocket. Hard to believe the songs left off of here wound up being on "Born in the USA", yet there's a lot of despair on that one, he just hides it behind a loud band.

Lou Reed - "Metal Machine Music." This followed up "Sally Can't Dance", which was a hit for Reed. You could picture Prince doing something like this - recording guitar feedback at different speeds and making a collage of sound. Even though it's on "worst of" lists, it sold 100K copies, and still has a fanbase. It's actually been performed live over the past couple of years by an ensemble.

David Bowie "Low" - followed up on "Station To Station".

Very good list

lastdecember said:

I didnt see it mentioned but Listen WIthout Predjudice - George Michael

Also Tunnel of Love - Bruce Springsteen, was a very low key record at that point.

some never think of it, but "Scoundrel Days" by a-ha, this album cooked them in america, because they refused "take on me part 2" they were difficult and had their own vision and thats why they went elsewhere to market themselves, it was the follow up to "Hunting High and Low" which sold close to a million in the states.

All good choices friend

Tunnel Of Love is one of my favorite Bruce records and while it had a few hits on it and sold 3 million i don't think many fans knew what they where in for and expecting Born In The U.S.A part 2

And Scoundrel Day's didn't make a bit of a dent in America great album but sadly this is where A-HA Feel off on American charts

Gunsnhalen said:

lastdecember said:

I didnt see it mentioned but Listen WIthout Predjudice - George Michael

Also Tunnel of Love - Bruce Springsteen, was a very low key record at that point.

some never think of it, but "Scoundrel Days" by a-ha, this album cooked them in america, because they refused "take on me part 2" they were difficult and had their own vision and thats why they went elsewhere to market themselves, it was the follow up to "Hunting High and Low" which sold close to a million in the states.

All good choices friend

Tunnel Of Love is one of my favorite Bruce records and while it had a few hits on it and sold 3 million i don't think many fans knew what they where in for and expecting Born In The U.S.A part 2

And Scoundrel Day's didn't make a bit of a dent in America great album but sadly this is where A-HA Feel off on American charts

Yeah i think that all 3 were following blockbusters in varying degrees but i think those 3 albums were made at a time when what was expected was part 2's to the previous, as mentioned before Around the World in a day was another one that was a huge change, also Nylon Curtain Billy Joel i saw mentioned at that is a great great example, and that was following 3 tremendous selling albums

SoulAlive said:

Madonna following up the hugely successful 'Like A Prayer' with this album of 30s inspired show tunes and ballads

Oh please, that was a soundtrack album and in no way counts. Besides, somehow, she still was able to play it safe and throw Vogue on to it.

Paisley4u said:

Beastie Boys' Licensed to ill was followed up by Paul's Boutique...

wich was a great and maybe better album but it took more time 2 get into the music;

great samples and excellent grooves: Shake your rump,Egg man,Hey Ladies and B-boy bouillabaise

but not so catchy like Fight for your right (wich is no fav of mine!), No sleep till Brooklyn and my fav's : Paul Revere and Brass Monkey.

the thing with Licensed to Ill was that it was written by Run DMC, Rick Rubin "commissioned" them to write for the Beasties, if you LISTEN u can tell. its the reason Licensed is the ONLY BB album in most "hood" cd collections. Paul's Boutique is really a proper introduction to the REAL Beastie Boys

datdude said:

Paisley4u said:

Beastie Boys' Licensed to ill was followed up by Paul's Boutique...

wich was a great and maybe better album but it took more time 2 get into the music;

great samples and excellent grooves: Shake your rump,Egg man,Hey Ladies and B-boy bouillabaise

but not so catchy like Fight for your right (wich is no fav of mine!), No sleep till Brooklyn and my fav's : Paul Revere and Brass Monkey.

the thing with Licensed to Ill was that it was written by Run DMC, Rick Rubin "commissioned" them to write for the Beasties, if you LISTEN u can tell. its the reason Licensed is the ONLY BB album in most "hood" cd collections. Paul's Boutique is really a proper introduction to the REAL Beastie Boys

Thanx 4 the info, I didn't know that...after all these years,never to old to learn

U mention Run DMC : at that time I bought the Run DMC album and indeed both albums sound similar...I just thought the Beasties were inspired by them.

[Edited 2/1/11 8:38am]

I didn't know that either.

SoulAlive said:

Madonna following up the hugely successful 'Like A Prayer' with this album of 30s inspired show tunes and ballads

Oh, Paleeze! She went out there with Vogue - her most commercial sounding song in years.