An album is like a pizza, and as much as I like to buy single slices now and then, I really feel that it's the full pizza that represents the best dining experience. You lift the lid on a little square box and therein lies a disc divided into 10 or so segments, and what you want is for all those segments to taste the same (though inevitably even the best pizza has that one slice where the dough formed a huge bubble and everybody keeps passing over it in hopes it'll somehow go away). And so it is with albums, too.
But sometimes you open that box and the disc inside just isn't what you ordered, and you didn't think they could find a way to ruin such a nominally straightforward experience, but goddammit, you were wrong. Few things are as outright sad and bemusing as a bad pizza (if you don't know what I mean, just go to Domino's and ask for THE ANYTHING), but a bad album certainly is, and here's a list of some of the worst kinds and why they're bad.
5 The Urban Sombrero
There's an episode of Seinfeld where a character's hubris results in the marketing of a hideously ill-conceived article of clothing that she can't see is the worst idea ever until it's too late. This article of clothing is the urban sombrero, and it's my go-to metaphor for the inevitably terrible result of assuming you can do no wrong. And much like blind self-belief results in terrible metaphorical hats, it also results in terrible art (I will type "George Lucas" and you will finish the thought), and many terrible albums.
An urban sombrero album is sometimes a band's first release following their overnight success. After years of drudgery, their second album managed to fulfill some kind of cultural need, and it took off into the stratosphere -- taking with it their sense of validation. Suddenly it's been 18 months since anybody had the balls to say no to them, and into this echo chamber comes the call to get working on the next album. The members of the band gradually arrive at the studio, all in separate vehicles now, and eventually an album begins to emerge, and the band thinks it's great and the engineer says it's great and the producer says it's great and the label guys say it's great and the early reviews say it's great and the message boards say it's great because everyone wants it to be great. But slowly they realize it's not great -- it's a great big Mexican hat.
It's soulless and uninspired, it's the musical equivalent of latter-day James Cameron or Stephen King, it's cocaine literally pressed into the shape of discs and accompanied by liner notes and Johnny Depp on slide guitar. It's what happens when you think you're successful because of who you are rather than what you've made, and thus you don't need editors because whatever you make will be brilliant. Hopefully making a real sombrero of an album will drag you back to earth in time to save your integrity (OR NOT).
4 The Bait and Switch
This is when an album might be brilliant in its own right but is ruined for you by expectations -- typically via a lead single and/or video that's misleadingly different from everything else on the album. It's not that they're bad songs, it's that you were understandably expecting one thing but then got the opposite, and thus it's one of the worst kinds of album.
The other side of this is the Reverse Bait and Switch, where you miss out on something good because the packaging is so lame. Let's just say you'd have a wider variety of albums if entire genres of talent weren't so often undermined by asinine marketing -- soullessly polished videos and album cover photos that Cosmopolitan would reject as too Photoshopped. Such visual autotune gives little but the false impression that an album lacks depth when it seldom actually does (even the most airbrushed top 40 singers have amazing session musicians all over their records). Worthless douche-rock albums from the dregs of musical society should be the ones with imbecilic glamour shots of the lead singer's face on the cover, thus scaring off small children and anyone rightly expecting a terrible album.