Bad albums made to fulfill contractual obligation

Michael Oldfield - Heaven's Open 

^That is not a bad album.

Love Beach?

DoobieBrother6 wrote: ... horrid almost as much filler as Floyd's "The Wall"

I think of filler as a deliberate attempt to make an album longer despite knowing that the music does not add significant value. I would posit that what some call filler is actually mortar for The Wall. Some of what I have seen called filler I do believe helps with the atmosphere of the album and acts as useful bridges. I think that The Wall is a great concept album and some of what I have seen called filler works with other tracks as some of my fave favourite sections of the album.

That said, if the band states that there is filler (just to make the album a full double-album) then I won't disagree with them.

King Crimsons "Earthbound"...  Theres a good story behind that one. Recorded on a cassette player outdoors IIRC.  Although I wouldn't call it a BAD album.  But it does sound like a bootleg and features Boz Burrell on Vocals.  Best version of Schizoid man IMO. Too bad it wasn't recorded nicely.

Edited by Valdez - February 05 2025 at 19:40

Camel's 'The Single Factor' was a classic case of a contractual obligation album created under pressure from a record label (in Camel's case Decca Records) to produce a hit single, and the "made-to-order" nature of its composition resulted in a selection of songs described as "odd" on the band's official website. Unlike previous Camel albums, 'The Single Factor' consists exclusively of shorter compositions of around 3 to 5 minutes in length.

The Sicilian Defence by Alan Parsons Project is another example.

yam yam wrote: Camel's 'The Single Factor' was a classic case of a contractual obligation album created under pressure from a record label (in Camel's case Decca Records) to produce a hit single, and the "made-to-order" nature of its composition resulted in a selection of songs described as "odd" on the band's official website. Unlike previous Camel albums, 'The Single Factor' consists exclusively of shorter compositions of around 3 to 5 minutes in length. This is how the album is described on the Camel Productions website: In mid-1981, as he would tell 'Q' Magazine some 10 years later, drummer Andy Ward succumbed to alcohol and drug abuse and attempted suicide, unsuccessfully to the relief of all. But it rendered Ward unable to play drums in the foreseeable future. In shock, the band dissolved, the remainder of the tour was canceled and recording for the next album was postponed in the hope that Ward would recover. Internal problems of the band were not the concern of Decca Records to which CAMEL were contractually bound for a specific recorded output. Decca refused to be put off any longer and upped the pressure for a hit single. With delays no longer possible, Latimer had to accept that his friend and drummer would not recover and thus, with Andrew Latimer the sole surviving member of CAMEL, 'THE SINGLE FACTOR' was recorded and duly released in April 1982. Writing on demand had produced an odd mix of songs but entering the studio provided an unexpected bright spot. During the recording of NUDE in studio 3 at Abbey Road Studios, the Alan Parsons Project were recording just down the hall in studio 2. Curious by nature, singer Chris Rainbow and bassist/singer David Paton popped in on the CAMEL sessions and new friendships were forged. Unbeknownst to all at the time, this laid the groundwork for a new lineup. Eventually, 'THE SINGLE FACTOR' would see a whole new line of artists including Rainbow and Paton as well as Anthony Phillips (former Genesis), Francis Monkmon (Sky), and guest drummers Simon Phillips (The Who, Jeff Beck, Toto), Dave Mattacks (Fairport Convention) and Graham Jarvis (Cliff Richard). Time had healed the rift between Latimer and Peter Bardens and although their opposing musical styles would not see eye-to-eye again, Bardens made a guest appearance on the album, forging new friendships himself that would later become 'Keats'. But Ward was unable to appear on the album and hoping to keep the matter private, CAMEL naively included a simple footnote in the liner notes that Andy Ward did not appear due to an injury to his hand. I don't personally consider the album to be anywhere near as bad as it's made out to be though.

Although being crafted under contractual obligation, Camel's "Single Factor" really shines.

Hrychu wrote: The Sicilian Defence by Alan Parsons Project is another example.

Released only as a bonus for fans who purchased The Alan Parsons Project's box set, which contained all of their studio albums, The Sicilian Defence is a decent album overall. Actually, in contrast to the APP's typical goals, The Sicilian Defence, entirely instrumental, may even be regarded as an experimental album, which is, to be honest, a rare relief for the band, which has never concealed its inclination for a more mainstream approach since its debut.

Agree on "Love Beach".

This gets trashed and parroted about all the forums but its a fine lp.


Also:
FM City of Fear
Gentle Giant Civilian


Nothing the matter with these.