Concept album with lamest concept

For me it's probably Tangerine Dream's 1985 opus Le Parc, which is about Edgar Froese's visits to several world-famous parks.

That actually sounds pretty cool, but i’ve never heard it. On paper i’m more interested in that than “MESSIAH ALIEN/MUSICIAN/KID FIGHTS THE EVIL OVERLORD/LIZARD PEOPLE/CRITICS.”

Eloy - Power and the Passion:

"The story follows Jamie, the son of a scientist, who absorbs a "time eroding" drug and finds himself in Paris, in the year 1358. He meets Jeanne, whom he introduces to marijuana. After time spent in jail following a peasants' mutiny against their landlord, Jamie finds an eccentric magician that sends him back to his own time frame."

Ironically the Eloy record was based on what had actually happened to the bass player, based on a true story.

Came here to mention Nektar’s Remember the Future, but in the grand scheme of things it’s not that weird: a blue-skinned, winged space alien sends telepathic messages to a blind boy. But the concept and the lyrics, which I’ve never followed too closely, never really intrude on the music. And it’s one if my all time favorite records, so I didn’t want anyone dogging on it. So forget I brought it up.

Do you guys know any good Christian concept albums?
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MewithoutYou albums are always on the edge of being concept albums and relative to Christian music…. They do alright? (Specifically brother/sister and it’s all crazy etc.)

Isn’t all Christian music concept music?

kilroy was here

A Grand Don’t Come For Free

Never heard Rick Wakeman's 1984, but this made me lol

He chose to make a concept album based on the 1949 dystopian novel Nineteen Eighty-Four by George Orwell. Despite thinking the book was "lousy", Wakeman adapted it with a more lighthearted approach.

that's amazing

Bowie's 1. Outside has the worst concept framing a good album.

T.I.'s "T.I. vs T.I.P." is probably the most poorly executed one I've heard.

the coheed and cambria albums

lol I've never actually paid attention to the stories on those.

and yet the only Coheed album I hated is the one they did without a concept.

music from "the elder"

i read summaries of the story of each record last year. just about the the most incoherent and trashy sci fi epic possible, but not in a fun or cool way at all

re: coheed

I know there are fans who do follow the concept obsessively but I do find it very telling that in the conversations I've had with huge Coheed fan friends of mine, none have ever brought up the stories at all.

a high school friend named her first child Cambria

I kind of consider every good start-to-finish album a good concept album. Even the best (or most famous) actual "concept" albums usually fall apart. We saw a 30th anniversary stage preview of "Tommy" last week, and "Tommy" remains pretty sketchy/silly at best, as far as story goes. Same for "Lamb Lies Down on Broadway," which has a similarly impenetrable final act. "Southern Rock Opera" is one of my favorite albums, but as a narrative concept it's pretty loose. I recall "A Grand Don't Come for Free" being pretty solid, though the concept itself is kind of simple. Maybe that's why it works? The Thermals "The Body, the Blood, the Machine" works pretty well.

oooh, thought of another less obvious one...

so Savatage did a bunch of these after Streets (usually the brainchild of producer Paul O'Neill). Some were really good (Dead Winter Dead), some were a bit odd (The Wake of Magellan which features a boy who speaks to the sea), and then one that really stunk (Poets and Madmen). Mostly because the latter didn't originate as a concept album and then Paul O'Neill retrofitted one into the album about the late journalist Kevin Carter.

Paul was often lazy with his concepts and would leave entire plot developments out of the album itself (not appearing as either a spoken interlude or anywhere in the song's lyrics), and would just write exposition in the liner notes in italics between lyrics to tracks. On previous albums, this was done sparingly, but on this one, a ton of the exposition was done this way, and you can tell most of the songs originally had nothing to do with Kevin Carter at all.

he also wrote Beethoven's Last Night by the Tage-affiliate Trans-Siberian Orchestra, featuring Beethoven's last night on Earth being a battle with Mephistopheles for his soul/legacy. It's completely cornball, with Jon Oliva doing a cartoonish vocal for Mephistopheles. but it mostly sticks together, until the final climax. "Who is This Child?" is a moody tune that sounds like the preamble to the final showdown between Beethoven and Mephistopheles, but it never happens. It segues into the triumphant finale "A Final Dream", with ALL of the climax happening in the liner notes.

also, Mephistopheles has a son named Twist in this thing (i.e. "twist of fate")

also on the original release, they spelled Beethoven's name wrong throughout the liner notes - calling him Ludwig von Beethoven and instead of Ludwig VAN Beethoven (and had to correct it on re-release).

I recall "A Grand Don't Come for Free" being pretty solid, though the concept itself is kind of simple. Maybe that's why it works?

yea there's something to be said for that - I mean I've constantly got music on while I'm doing other things, a lot of concept albums I don't even realize are concept albums because I'm not paying a whole lot of attention to the lyrics. or I am but my attention is dipping in and out. like I had no clue there was a story behind some of those Nektar albums. but The Streets you get it, because it's such a simple one, and besides you're really just getting his disorganized thoughts the whole way anyway. there's not much to follow. kinda why I liked Zappa's approach to the concept album, where if you actually follow it then the joke's on you

a grand don't come for free has a surprisingly cathartic ending, dunno about the rest of it as a story but it nails that part

I feel embarrassed but for years I mistakenly thought Iron Maiden's Number of the Beast was a concept album. I have no idea what I thought the story was though.

Satan, and his number.

its about how he chose the number

"Beasti Don't Lose That Number"

An album where the concept actually results in worse music: Double Fantasy.

if the concept wasn't supposed to be "look how much cooler and hipper yoko is can you believe she has to put up with this drip" they certainly failed

after reading https://en.wikipedia.org/wiki/List_of_concept_albums which casts a very wide net my head hurts trying to understand exactly what a concept album is or isn't

I'm not a Tool fan but I remember trying to get into their stuff back in high school. Their concepts were just absurdly overcomplicated to the point of incoherence, e.g.:

The title track, "Lateralus", incorporates the Fibonacci sequence.[26] The theme of the song describes the desire of humans to explore and to expand for more knowledge and a deeper understanding of everything. The lyrics "spiral out" refer to this desire and also to the Fibonacci spiral, which is formed by creating and arranging squares for each number in the sequence's 1,1,2,3,5,8,... pattern, and drawing a curve that connects to two corners of each square. This would, allowed to continue onwards, theoretically create a never-ending and infinitely-expanding spiral. Related to this, the song's main theme features successive time signatures 9/8, 8/8, and 7/8.[27] The number 987 is the sixteenth integer of the Fibonacci sequence.[28]

*proggy grunge riff*

My feeling is, though there are definitely lame concepts for albums, that we can't come up with one undeniable dud must mean all concept albums are classic

Learning a lot from that Wikipedia list:

Stylistically, Perry claimed that he based the structure of Susquehanna on James Joyce's Ulysses in that each of the songs were written in a different style and genre but the album was thematically coherent.[1] He elaborated that he drew inspiration from Jean-Luc Godard's 1965 film Pierrot le fou in that "songs are a means to an end. Genres reflect off each other".[2] "It's like a little movie, doing what I always do with genres, which is to use them kind of like paint. I use various genres and grind them against each other. I like to put a flamenco song next to a song that's a glam rock song next to a song that's a swing song, so that the flavor changes."[3]

Like most of the Daddies' previous albums, Susquehanna is written as a loose concept album. Described by Perry as a portrait of "various relationships in decay", each song deals with memories, all written in the format of an abstract narrative following a character in the aftermath of a broken relationship.[4] Perry has summarized Susquehanna as being about "losses and continuing on. It's about love, doubt and fatigue...and ultimately about gratitude".[5]

Just to clarify, this would be the Cherry Poppin Daddies.

Robin Thicke- Paula

xpost lol

Robin Thicke- Paula

― INDEPENDENTS DAY BY STEVEN SPILBERG (President Keyes), Tuesday, June 20, 2023 1:51 PM bookmarkflaglink

also wins the 'most pathetic concept' award as well

I just turned in a piece on the Mars Volta's De-Loused in the Comatorium, which is one of those "a guy in the hospital has a bunch of dreams" concept albums, translated into Cedric Bixler-Zavala's jabbering nonsense lyrics. I'll link it when it runs.

I liked that one, with the words flying through other soundz, and the wordplay (?) was effective enough, like did he screech "psychiatrist" or "cicatrix"? Appropriate either or both ways, like a one that was also thee other. Plus, the concept came from real-life situation: their visionary/hallucination-tending artist friend who jumped off an overpass into bigass Texas traffic.
Trying to remember concept/storyline of Quaraphenia and if the album was good---?

Album is great, concept is ... rival streets gangs and amphetamines?

The narrative centres on a young working-class mod named Jimmy. He likes drugs, beach fights and romance, and becomes a fan of the Who after a concert in Brighton, but is disillusioned by his parents' attitude towards him, dead-end jobs and an unsuccessful trip to see a psychiatrist. He clashes with his parents over his usage of amphetamines, and has difficulty finding regular work and doubts his own self-worth, quitting a job as a dustman after only two days. Though he is happy to be "one" of the mods, he struggles to keep up with his peers, and his girlfriend leaves him for his best friend.

After destroying his scooter and contemplating suicide, he decides to take a train to Brighton, where he had enjoyed earlier experiences with fellow mods. However, he discovers the "Ace Face" who led the gang now has a menial job as a bellboy in a hotel. He feels everything in his life has rejected him, steals a boat, and uses it to sail out to a rock overlooking the sea. On the rock and stuck in the rain, he contemplates his life. The ending is left ambiguous as to what happens to Jimmy.

lol at that generous wiki list of concept albums.

Eloy - Power and the Passion:

"The story follows Jamie, the son of a scientist, who absorbs a "time eroding" drug and finds himself in Paris, in the year 1358. He meets Jeanne, whom he introduces to marijuana. After time spent in jail following a peasants' mutiny against their landlord, Jamie finds an eccentric magician that sends him back to his own time frame."

― darts macabre (Matt #2), Monday, June 19, 2023 7:29 PM (yesterday) bookmarkflaglink

Came here to mention this. Though I think it's so hilariously absurd that it transcends "lameness"

Patrick Moraz's The Story of I. Great music but the low fantasy erotica schtick is imo something to ignore entirely (though it is probably prescient).

The album is based around a romantic story of a massive tower in the middle of a jungle. The tower lures people from all over the world to go inside it. Inside the tower, people are able to experience their wildest desires and fantasies. The only rule is that the people inside the tower may not fall in love with each other. However two people inside do so and decide to escape since the tower acts also as a prison which inhabitants are slaves of their own desires.

Soweto Kinch A Life In the Day of B19: Moira Stuart as narrator, some weak skits, but pretty good overall.

Corgan said: "I thought for sure I would get really strong reviews for our new album Monuments to an Elegy, based on all the feedback I was getting. But I'm getting the same reviews I got back in the day, these kind of middling, muddling reviews that just won't fucking say: 'This is a fucking brilliant album from a brilliant artist,'" and also elaborated that, "It's not a three-star fucking record. Nobody believes it's a three-star record. Nobody! OK, these people obviously did, so maybe I shouldn't be so absolute. But I've been in this business for 25 years and there is nobody in it who believes this is a three-star record. Nobody!"

I wonder how many rock (or rap, as per the Streets) operas *don't* end with an ambiguous or choose-your-own-adventure ending.

It's sort of fascinating how - without meaning to be reductive here - a lot of the MEGA rock operas are in some sense sort of the same thing... Male misfit, disenfranchised by the world, eventually develops an alter ego and a sense of self-empowerment, this becomes too much and starts crashing down. Plus maybe that ambiguous ending.

Or by a lot I at least mean maybe four, ahem

The Residents' God in Three Persons sounds so dire I don't even want to listen to it. But that's mostly because I really don't like the Residents that much.

Here are some lyrics from that Eloy album, make your own minds up

I'll tell you who I am and whence I came
It's not going to be easy to explain
My body has returned, my mind is all at sea
Will you tell me who you are
And where we're meant to be?

She answers in a gentle lilting style
Says little but speaks volumes with a smile
With a sparkle in her eye, she takes me by the hand
"Come with me, I'll answer all I can"

Dialogue:
Jamie: April, 1358...Paris...I don't understand any more
My name is Jamie...and mine is a strange story
One which even I don't fully understand...my father is a scientist
And he's been experimenting with time-eroding drugs
Well, I was sitting in his work-room
It was late at night
And I was thinking...you know, about me and my future
'Cause I've just left school...and I don't know what I want to do
I must have somehow taken the drug... and landed up here

Jeanne: My name is Jeanne....let me tell you my story
My father owns many acres around here
Which are farmed by peasants...whom he rules with an iron hand
The neighbouring landlord's even worse
And I'm supposed to marry his son
That's not my choice... you know the saying: "Like father, like son"
Jamie: Well, I see we've both got our problems... perhaps we can help each other
I've got something here....lots of my friends smoke it
I don't suppose you know it
Try it, it helps at times like these

Jeanne: Oh, what a beautiful feeling
Everything's shimmering in the twilight
Look at that sunset...I've never seen such colours before
It all seems suspended in eternity...I wish moments like these would last forever
I'm not worried anymore
What are you thinking?

Jamie: I can't think at the moment...let's just enjoy it

Somehow we must stay together
Lifelong friend, my lifelong friend
Love like ours will last forever
Never end, and never end
We'll somehow wipe away our fears
And find a way to bridge the years

it feels like every magnetic fields album from 50 love songs on has some kind of concept. not a story, but a gimmick in the songwriting or titling or instrumentation. which is funny to me because magnetic fields always just sounds like magnetic fields. like oh great you wrote a 50-song album where each song reflects one year of your life? it sounds like magnetic fields to me

xxp it's a genuinely gross and horrifying concept even for the Residents but I think it's actually the best of all their 80s and 90s stuff

Patrick Moraz's The Story of I. Great music but the low fantasy erotica schtick is imo something to ignore entirely (though it is probably prescient).

lol I listened to this a dozen times and had no idea there was actually a storyline until I bought the record. still think it's really good though!!

Isn't The Wall basically Roger Waters' self-pitying autobio with some Syd mixed in to add to the phatos (or because just Roger would not be interesting enough), and metaphors taken way to literal, 'let's close myself off from the world with - A WALL! - and then open up again'? I rarely listen to it as I only really like the couple of songs Waters co-wrote with Gilmour (maybe one or two others, not many though) but every time I get to the end I feel as if I missed the reason why I should care about the character...

Of course there is also the Duckworth-Lewis method, a concept band with not one but two concept albums about cricket, which is insane. But they're funny and the tunes are good so they get a pass. And a second pass for featuring Matt Berry.

I owned God in Three Persons on CD way back when. Didn't like it much. This bit from the Wikipedia entry is interesting, though:

The songs are all sung in a rhythmic spoken word fashion, similar to talking blues. The entire lyrical content of the album is written in trochaic octameter, a rare poetic meter most famously used in Edgar Allan Poe's poem "The Raven". A central motif of the album is the organ riff from "Double Shot (Of My Baby's Love)" by 1960s frat rock band The Swingin' Medallions.

I think the case can be made that OK Computer is an album about a car crash. Of course, it's the opposite of lame.

I think Greta Van Fleet was trying for some kind of concept on their last album. It's pretty incoherent, though, and therefore arguably lame.

If anyone is familiar with (the British) Jigsaw's first album Letherslade Farm, well that's certainly one of the strangest records I've still ever heard. It's ostensibly a concept album about musical plagiarism, but it does this by mixing pastiche covers and mashups (played in character), parodies, interview excerpts with the thieving band, incomprehensible sketch comedy (many of the skits are just seconds long and some are repeated) and basically an assortment of random things over its 32 tracks I cannot make head nor tail of. It's like an incoherent musical comedy film of the period like MMT or the Scaffold's Plod, but an album, but STRANGER because this is a pop album, apparently.

I remember reading that Procol Harem or somebody once planned on making a concept album based on the Canterbury Tales, but became discouraged when they learned how long it was

Length didn’t stop the Edgar Winter band from making an album about L. Ron Hubbard’s Mission Earth.

https://www.youtube.com/watch?v=fonP6gr-2JI

I remember reading that Procol Harem or somebody once planned on making a concept album based on the Canterbury Tales, but became discouraged when they learned how long it was

This did not deter dungeon synth master Chaucerian Myth:

https://chaucerianmyth.bandcamp.com/album/the-canterbury-tales

guys

https://www.youtube.com/watch?v=-5fmy_bAZ_U

The album's somewhat rock-operatic story tells of a future in which a fascist and theocratic government and the "MMM (the Majority for Musical Morality)" have outlawed rock music. The story's protagonist, Robert Orin Charles Kilroy (DeYoung), is a former rock star who has been imprisoned by MMM leader Dr. Everett Righteous (Young). He escapes using a disguise (according to the album's famous song "Mr. Roboto") when he becomes aware that a young musician, Jonathan Chance (Shaw), is on a mission to bring rock music back.

Lock thread

Nowadays DeYoung would have Dr Righteous be the hero and he's banning facemasks

How does the ILM hivemind feel about 2112? Side one is an absolute banger musically, but a concept album based on a shitty book like Ayn Rand's Anthem? Eh.

Thus it ever was with Rush, though.

the whole thing is just incredibly awful but then at the end deyoung boogie woogies

https://www.youtube.com/watch?v=8RVTeDnINHM

isn’t there some suspect faux-Chinese stuff on 2112? :-/

Scratching my head. You mean "A Passage to Bangkok"?

2112 is laughable (and i like rush)

and KILLROY WAS HERE ripped off its worst parts!

'it's got wires that vibrate'!

Forget about your silly whim

I mean, Anthem is a book about a dystopian future in which a dangerous dissident discovers . . . a light bulb.

Rush disavowed Ayn Rand later on

Yeah, I think Peart (Mastermind) later had a song about being disconcerted by Free Enterprise in the form ov hivemalls, also that one about "the sounds---of salesmen."

And musically, they often soldiered on pretty effectively (even 2112 momentarily distracted some of us boys from Roxy and P-Funk and Miles and The Clash and so on)

It was more what we'd put on between The Who and Aerosmith in the 70s, though Rush didn't lose their luster later like those other two.

They weren't finished with faux chinoiserie either, see "Tai Shan".

Rush was consistently able to weld clunky lyrics and half-baked concepts to cracking music--see, e.g., the aforementioned "Spirit of Radio." "The Trees" is maybe not quite as awkward, but it's a weird screed lamenting the concept of leveling, a sort of "Harrison Bergeron" for the prog set.

Back to the concept of concept albums, Rush did several, including spreading "Cygnus X-1" between two records. I suppose most of these are only partial concept albums; Clockwork Angels is probably their only complete one.

Nowadays DeYoung would have Dr Righteous be the hero and he's banning facemasks

I don't know anything about the political leanings of, uh, Queensrÿche, but I had the feeling listening to Operation: Mindcrime over the lockdown that if it were made these days, the anti-authoritarian message would lean a lot more right-wing.

DeYoung has other concerns these days:

The music plays for free tonight
From the corporate parasites
Living off the blood of the creators
The player stands there all alone
Shreds his fingers to the bone
Everywhere he looks, nothing but traitors
Whatever skill that you posses
The new machine makes you second best
They're working hard, you know it's true
To find an app to replace you

idk, Geoff Tate is an egomaniac and an abusive shithead to bandmates (or at least his mates in Ryche), but he seemed pretty non-partisan during the pandemic, didn't make much noise around the happenings. he also claims to be Libertarian AND socialist - obv the libertarian side had me thinking he'd be screaming MUH FREEDOMS but if he thought that, it was privately. and current Ryche vocalist Todd La Torre put Florida (where he lives) on blast for how they handled it.

now, DAve Mustaine of Megadeth, otoh....

still can't get over this one, and all the fans in the comments acting as if this was the balls to the wall rocker of the century

https://www.youtube.com/watch?v=CFy4hB8EnVU

kinda wish Kid Rock would do a concept album about how cool it is to walk in front of a speeding train and then die while recording the music video

the Styx episode of Behind the Music would be even funnier to watch now

large portions of it, iirc, were just Tommy Shaw complaining about DeYoung insisting on all these theatrical antics and theme albums. so he left the band led by the man he said was an asshole and joined a band fronted by Ted Nugent

lol

Love Shaw's anecdote about Styx headlining a daylong stadium show, and having to follow Uriah Heep, Ted Nugent, Triumph, and Sammy Hagar with, "But Kilroy, what about the children of the world?"

"Ah wanted to rock! Ah didn't wanta be in a band with---Barry Manilow."

Here at the Mayflower Review by Charlotte Dillon
Barry Manilow fans are a very loyal breed, but even if you haven't been a big fan before, you might still find you enjoy this 2001 release from the longtime artist. Here at the Mayflower is what is called a concept album -- each of the 16 tracks from this offering is listed in another apartment in the Mayflower building, such as "Apartment 6C: I Miss You," "Apartment 2G: I Hear Music Playing," and "Apartment 3E: Border Train." The music on Here at the Mayflower combines several of the styles that Manilow is known for using, including dance-pop, Latin, jazz, and even Broadway melody. These numbers are piano-driven, all composed in part or in whole by Manilow. Many of the songs carry an emotional impact, whether speaking of love, old age, or hope. They all succeed in delivering the ageless talents of this singer, composer, and pianist

:00 AM Paradise Café Review by Johnny Loftus [-]
In the liner notes to 2:00 AM Paradise Café, Barry Manilow confessed that the record's concept came to him in a dream and that it's the album for which he'd most like to be remembered. That's some top-shelf comment about an album that seems like a pretty calculated move toward long-term success as a vocal talent, like Mel Tormé or Sarah Vaughan, both of whom duet with him on 2:00 AM. That said, the album does lay down a dusty, late-night groove. Vocally, Manilow is able to sell the concept that this is all taking place in the wee hours inside a half-empty basement cabaret. The shuffling percussion of Shelly Manne is spot on, as are the cool tones of baritone sax man Gerry Mulligan -- you can just picture the blinking neon from the hotel across the street reflecting in the gold of his horn. Mundell Lowe's electric guitar adds a burst of attitude to the otherwise straightforward "Big City Blues," and Manilow and Bill Mays' piano playing is solid throughout. There's a bit of a problem though, since most every arrangement sounds essentially the same. After about half the record, it begins to seem like it's all happening in slow motion, or at least someone's just going through them. It's refreshing to hear stripped-down arrangements and Manilow experimenting a bit with his delivery to suggest he's singing after the streets have rolled up. All of this means that, while 2:00 AM Paradise Café is as pleasant as a nightcap, it's not the fine wine Manilow's dreams told him it would be.

Manilow also recorded a narrative album in 2011, called 15 Minutes, about the music business and pursuit of fame.

The opposite of this thread’s premise, but British crust-punk band Fall of Efrafa did an astonishing trio of records based on Watership Down. Worth seeking out.

Came here to mention L. Ron Hubbard’s sci fi album which an ex-roommate used to own and it was amazingly bad, but President Keyes already mentioned it, and now I see LRH actually released THREE albums - in ‘82, ‘85, and ‘86 - and I’m not totally sure which I heard but probably the first one. The personnel credited on each album appears to be mainly famous Scientologists.

Sort of afraid to listen to this record I probably haven't played since 1989

Doug is the story of a skinhead, named Doug, who kills a drag queen short-order cook, steals his recipe book and becomes a "culinary giant" when the cookbook becomes a nationwide bestseller. Doug embraces the celebrity lifestyle of stretch limousines and partying. Soon, his guilt drives him to become paranoid, and he's certain that the entire food service industry knows of his crime and is out for revenge—so he decides he will stop eating, and subsist solely on crack cocaine and alcohol. Having squandered his fortune on luxuries and drugs, Doug ends up back on the streets in poverty. IGN rated Doug the thirteenth greatest rock opera of all time in 2006.[2] A comic book version of this tale, drawn by singer/songwriter Jack Logan was included with the LP record and could be acquired by sending a dollar to DB Recs.

The bulk of the surprisingly negative review of the new King Gizzard album in Pitchfork seems to focus entirely on the concept, but imo, if your album features a giant lizard on its cover and is called "PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation," your work is basically done and any additional "concept" is not camp but icing on the cake.

As promised, my 20th anniversary write-up on the Mars Volta's De-Loused in the Comatorium.

not sure about the lamest, but i can tell you what the best one is
https://www.youtube.com/watch?v=e8aAHJqE5Yo