25 Most Overrated Albums: From Nirvana’s ‘In Utero’ to The Beatles’ ‘Sgt. Pepper’s’

Besides politics, pineapple pizzas, and Elon Musk’s Twitter feed, few things stoke as much virulent social division as a Best Albums list. Pub tables are rent asunder over the precise relative merits of Hunky Dory and It Takes a Nation of Millions to Hold Us Back. WhatsApp groups shatter over whether Nevermind trumps The Queen Is Dead. Entire families are separated forever into warring factions of Bob Dylan’s Blood on the Tracks versus Beyonce’s Lemonade.

Because, no matter what your musical taste, you’re not wrong. It’s just that sometimes a critical hysteria hits, mass sonic delusion descends and records are hoisted into positions of historic and cultural importance that you don’t think they quite deserve. And saying so risks social exclusion, online canceling, and a sudden walk-out by that hot Hinge date who loves The King of Limbs.

Below, a selection of writers take their careers, reputations, and online lives into their hands and tackle some perhaps over-worshipped holy cows of music. Some are slaughtered, some just nudged a little way back into the herd. You’ll probably disagree with every single selection in this list of their most overrated albums, but let he who truly adores Trout Mask Replica cast the first stone…

Madonna – Confessions on a Dance Floor

Confessions on a Dance Floor was designed as a remedy, a chart-friendly comeback album led by an Abba-sampling pop steamroller of a single in the form of “Hung Up”. But this is a record largely embraced back in 2005 for what it wasn’t: namely American Life, Madonna’s personal, political, and controversy-dogged album from two years earlier. While American Life, in all its unpretty soul-baring and cyborgian vocals, has improved with age, Confessions feels less and less essential to the canon of Madonna classics.

It’s still very good, a full-throated disco pastiche that undeniably pops off at every turn, but it’s also an album that coasts largely on vibes and nostalgia. These are roads Madonna only heads down when she’s hit a creative or commercial wall; her best work is forward-thinking, experimental, and typically misunderstood upon arrival—none of which applies to Confessions.

The Beatles – Sgt Pepper’s Lonely Hearts Club Band

Because sometimes even the best records ever made can get a bit… overhyped. For decades after its release, Sgt Pepper… was lauded as the pinnacle of rock achievement, exemplifying Sixties psychedelia and instigating art-rock with its grand leap into the experimental studio-as-instrument world. Time has rightly elevated Revolver, The White Album, and Abbey Road above what was once The Beatles’ Mona Lisa. While Sgt Pepper has its moments of brilliance, certain tracks feel underwhelming and somewhat disjointed, making it less fulfilling compared to other Beatles records.

Billie Eilish – When We All Fall Asleep, Where Do We Go?

Billie Eilish seemed to arrive on the music scene almost fully formed in 2019. By the time her debut LP came out, she was already a sensation, complete with her own clothing line and a large social media following. Declared an album triumph, When We All Fall Asleep, Where Do We Go? is an uneven mix of tracks, with a few standout hits like “Bury a Friend” and “Bad Guy”. Fortunately, Eilish’s career and music have only improved from there.

PJ Harvey – Let England Shake

When Polly Harvey returned in 2011 with Let England Shake, it marked a fascinating evolution in her career. The album was an engrossing curio, steeped in dark atmospheres and stories of ancient English wars. Critically acclaimed, it seemed to overshadow her entire previous body of work, which holds masterpieces like “Oh My Lover” and “50ft Queenie”. While Let England Shake is excellent, it should perhaps share the spotlight more evenly with the rest of her artistic canon.

Lorde – Pure Heroine

Lorde’s debut single “Royals” was a colossal hit, and her 2013 album Pure Heroine captured teenage ennui with hip-hop influenced beats and laconic delivery. Critics hailed her as a bright hope, but except for standout tracks “Royals” and “Tennis Court,” Pure Heroine lacks consistent brilliance. Her 2017 follow-up, Melodrama, is arguably more deserving of the praise often reserved for her debut.

David Bowie – Low

When Low was released in 1977, it polarized critics from the get-go. Bowie combined krautrock electronics with funk on side one, creating a groundbreaking set of songs. However, the lengthier instrumental soundscapes on side two, though evocative on their own, created a disjointed album experience. Low could be seen as symbolizing Berlin’s divided nature in 1977, but when considering cohesiveness, it may fall short.

The White Stripes – Elephant

With the release of Elephant in 2003, The White Stripes cemented their spot in the indie rock world. Despite its success with hits like “Seven Nation Army” and “The Hardest Button to Button,” Elephant occasionally feels weighed down and less energetic compared to their previous, more spontaneous works. White Blood Cells remains a breathless, pulse-quickening affair by comparison.

Self Esteem – Prioritise Pleasure

The media frenzy around Self Esteem’s 2021 album Prioritise Pleasure felt a bit much considering the album’s content. Hailed as a modern pop star, the album’s feminist messages felt a bit regressive and clichéd. While Taylor’s contemporaries tackled similar themes in more powerful ways, Prioritise Pleasure stands somewhat in the shadow of their brilliance.

U2 – Songs of Innocence

U2’s 2014 album Songs of Innocence received as much criticism for its forced distribution strategy on iTunes as for its content. Despite appearing on several year-end best albums lists, the album is often considered bland and lacking the vitality of U2’s classic works. The album’s safe, flavorless rock tracks stand in stark contrast to the band’s more groundbreaking past.

Interpol – Turn on the Bright Lights

Much of our connection with music hinges on our reaction to a singer’s voice. Interpol’s Paul Banks has a voice that, to some, resembles a syphilitic, constipated mountain goat more than the lead vocalist of a revered post-punk band. Despite the acclaim that surrounded Turn on the Bright Lights, many, including myself, find Banks’s voice irritating and the album largely unlistenable. It remains a polarizing piece in the rock music canon.

Source: Independent