Альбомы, которые не понравились вначале критикам

15/1/19 01:15
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“Led Zeppelin” - Led Zeppelin (1969)

Slide 2 of 21: The reason for this list is also its earliest entry. When Led Zeppelin dropped its debut record, Rolling Stone famously panned it and the band (get used to this kind of miss from the magazine) by criticizing everything from the authenticity (calling them a lesser version of the Jeff Beck Group) to Jimmy Page’s multiple roles, referring to him as “a very limited producer and a writer of weak, unimaginative songs.” Robert Plant was dubbed a “nowhere near so exciting” Rod Stewart. Numerous publications in England also tore into their fellow countrymen, as did some American rags across the pond. But these nay-saying voices soon found themselves drowned out by fans who bought “Led Zeppelin” en masse, launched it to No. 10 on the Billboard 200, got it ranked on best-record lists and eventually put the source of songs like “Good Times Bad Times,” “Communication Breakdown” and “Dazed and Confused” in the Grammy Hall of Fame in 2004.

“Abbey Road” - The Beatles (1969)

Slide 3 of 21: If “Abbey Road,” a masterpiece by the Beatles, can appear on this list, then clearly no record is safe. The Fab Four’s 11th studio album was turned into road kill by critics like Nik Cohn of The New York Times, who said the tracks are “nothing special.” Rolling Stone lamented the use of its signature synthesizers, saying the sound “disembodies and artificializes” the music. William Mann of the London Times called the album’s best songs “minor pleasures in the context of the whole disc,” while Life magazine critic Albert Goldman said it wasn’t one of the band’s great albums. Conversely, “Abbey Road” was also praised by many critics, with most of the naysayers quickly switching sides following the record’s instant and overwhelming success.
“Black Sabbath” - Black Sabbath (1970)



Slide 4 of 21: Lester Bangs of Rolling Stone might have been the best rock critic there ever was, but he also missed the mark on one of the greatest metal records there ever was: Black Sabbath’s 1970 self-titled debut. The source of songs like “Black Sabbath,” “N.I.B.,” “Evil Woman” and “The Wizard” was dubbed a Cream rip-off by Bangs, who also called it “a shuck” filled with “inane lyrics” and “discordant jams.” On its way to a C-minus grade, “Black Sabbath” was called “bull****” and a reflection of "the worst of the counterculture” by Robert Christgau of the Village Voice. Of course, the debut eventually topped lists of the greatest metal records of all time, with Rolling Stone backtracking on its previous review, saying the opening number “would define the sound of a thousand bands.”
“Ram” - Paul and Linda McCartney (1971)
Slide 5 of 21: We’ll admit that other than the near-perfect track “Maybe I’m Amazed,” Paul McCartney’s 1970 debut solo album was pretty weak. However, his second attempt, 1971’s “Ram,” was unfairly grouped together with its predecessor. Jon Landau of Rolling Stone called it “so incredibly inconsequential and so monumentally irrelevant” and “unbearably inept” while trashing nearly every track. Elsewhere, Q described it as “frustratingly uneven,” Robert Christgau simply said it’s “a bad record” and NME settled on the term “mediocre.” Even Playboy wouldn’t recommend playing it. Fans had a different opinion. They helped the tune “Uncle Albert/Admiral Halsey” become McCartney’s first No. 1 single as a solo artist, heavily supported the singles “The Back Seat of My Car” and “Eat at Home” and caused critics to re-evaluate their stances on the album. More recently, publications have not only cited “Ram” as a predecessor of indie pop but also as one of the former Beatle's best solo works.
“Exile on Main St.” - The Rolling Stones (1972)
Slide 6 of 21: When the Rolling Stones released “Exile on Main St.” in 1972, critics collectively yawned at what they deemed inconsistent and what Rolling Stone writer (and Patti Smith guitarist) Lenny Kaye said “once again slightly miss[ed] the mark” and left him thinking the best Stones album of the band’s mature period was yet to come. Kaye wasn’t alone in his opinion. However, “Exile on Main St.” would later be deemed not just the best album of the Stones’ career, but also one of the greatest rock records in music history. In fact in 2003, Rolling Stone ranked it No. 7 in its list of the 500 Greatest Albums.
“Harvest” - Neil Young (1972)
Slide 7 of 21: “The album, despite some embarrassing moments, is an interesting one lyrically,” said an early review of Neil Young’s 1972 effort, “Harvest,” in The Montreal Gazette. And that’s one of the kinder critiques. John Mendelsohn of Rolling Stone basically called it a rip-off of Young’s previous album, “After the Gold Rush,” citing a “discomfortingly unmistakable resemblance of nearly every song on this album to an earlier Young composition.” Mendelsohn also called the heartfelt classic “The Needle and the Damage Done” “glib,” and said Young’s backing band “pale miserably in comparison to the memory of Crazy Horse,” among other jabs. Christgau’s B-plus rating was one of the few early bright spots for “Harvest,” which became the best-selling album of 1972, the No. 1 album of the Billboard 200 for two weeks and even earned the No. 78 spot on Rolling Stone’s 500 Greatest Albums list in 2003.
“On the Corner” - Miles Davis (1972)
Slide 8 of 21: What does it take for a record to get a good review in 1972? Well, Miles Davis’ foray into jazz fusion on his “On the Corner” album certainly couldn’t figure it out. Jazz critics (and many fans) didn’t just critique “On the Corner,” but they destroyed it. “Repetitious crap” and “an insult to the intellect of the people,” were both part of published reviews. “Pure arrogance” was the wording selected by CODA’s Eugene Chadbourne. Even some of the musicians on the album didn’t care for it! And the collective critical opinion didn’t sway after a few months or years; people relentlessly hated on “On the Corner” for decades. It took the eventual evolution of genres like hip-hop, electronica and experimental jazz for people to realize that Miles Davis’ 1972 album wasn’t bad at all. It was simply ahead of its time.
“Blood on the Tracks” - Bob Dylan (1975)
Slide 10 of 21: Rolling Stone famously printed two reviews of Bob Dylan’s 15th studio album, “Blood on the Tracks,” and they appeared directly across from each other. One called the record “magnificent,” while the other (by Jon Landau) reported it having been “made with typical shoddiness.” Landau wasn’t alone. NME’s Nick Kent decried the songs of “Blood on the Tracks” as “so trashy they sound like mere practice takes” and Crawdaddy’s Jim Cusimano took a shot at the perceived incompetence of the instrumentation. Today, “Blood on the Tracks” is the standard to which Dylan’s newer music is compared, a double-platinum-certified top-seller in the icon’s catalog and a Grammy Hall of Fame inductee as of 2015. Rolling Stone is no longer divided on its opinion of the record either; in 2003, it earned the No. 16 spot on the magazine’s list of the 500 Greatest Albums of All Time.
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