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13 Musicians Who Hated Their Own Albums

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Whether it was due to creative differences or illicit substance use, sometimes popular bands and recording artists just hate their own albums. Here are 13 of them.

1. BRUCE SPRINGSTEEN // BORN TO RUN (1975)

While recording Born To Run in 1975, Bruce Springsteen became so increasingly frustrated with writing and mixing the songs that he grew to hate the album. He hated it so much that he threatened to give up and not release it at all.

“After it was finished? I hated it! I couldn't stand to listen to it,” Springsteen admitted. “I thought it was the worst piece of garbage I'd ever heard. I told Columbia I wouldn’t release it. I told ‘em I’d just go down to the Bottom Line gig and do all the new songs and make it a live album.”

2. JAY-Z // IN MY LIFETIME, VOL. 1 (1997)

Jay-Z believes his second album, In My Lifetime, Vol. 1, suffered from writing songs for radio play instead of making music he loved.

“I don't listen to that album because I think I messed it up,” Jay-Z said in 2009. “There's so many incredible records on there that I think I missed having two classics in a row by trying to get on the radio ... I can’t listen to it. When that record comes on it just irks me.” He later called the album “the one that got away.”

3. FOO FIGHTERS // ONE BY ONE (2002)

Foo Fighters' fourth studio album, One by One, was a commercial and critical success in 2002, even winning the band a Grammy Award for Best Rock Album of the Year. Despite its success, frontman Dave Grohl grew to hate the album because he felt that it was rushed and poorly made.

"I was kinda pissed at myself for the last record," Dave Grohl told Rolling Stone in 2005. "Four of the songs were good, and the other seven I never played again in my life. We rushed into it, and we rushed out of it."

4. EMINEM // ENCORE (2004)

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Eminem had a pretty serious prescription drug problem throughout the 2000s. The albums he released between 2003 and 2008 before he got clean weren’t indicative of his best work, particularly 2004's Encore.

“Looking back on it now, there was some pretty mediocre things that I was putting out,” Eminem admitted to Vibe. “When I was making Encore, my addiction took on a life of its own. I remember going to L.A., recording with Dre and being in the studio high, taking too many pills, getting in this slap-happy mood and making songs like 'Big Weenie' and 'Rain Man' and 'A** Like That.'”

5. WEEZER // PINKERTON (1996)

While Weezer didn’t find commercial or critical success with Pinkerton (Rolling Stone readers considered it one of the worst albums of the year), the sophomore effort from the Los Angeles-based rock band found a cult following over the years. However, when Weezer followed it up after a five-year hiatus with the long-awaited "Green Album" in 2001, frontman Rivers Cuomo grew to resent Pinkerton because fans and critics kept comparing the two albums.

“The most painful thing in my life these days is the cult around Pinkerton,” Cuomo told Entertainment Weekly in 2001. “It's just a sick album, sick in a diseased sort of way. It's such a source of anxiety because all the fans we have right now have stuck around because of that album. But, honestly, I never want to play those songs again; I never want to hear them again.”

6. MORRISSEY // KILL UNCLE (1991)

Steven Patrick Morrissey is very dismissive of his second solo album, Kill Uncle. He believed that he ran against his limits while writing and recording the 1991 record, which he described as “pale and pasty” and "session-musician embalming fluid” in his 2014 autobiography.

7. OASIS // BE HERE NOW (1997)

Oasis guitarist Noel Gallagher considers Be Here Now the band's worst album. He described it as “The sound of a bunch of guys, on coke, in the studio, not giving a f*ck. All the songs are really long and all the lyrics are sh*t and for every millisecond Liam is not saying a word, there's a f*cking guitar riff in there in a Wayne's World style.”

8. DRAKE // THANK ME LATER (2010)

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Although Drake’s debut album, Thank Me Later, was a mainstream hit in 2010, the Canadian rapper believes it wasn’t his best work because it felt incomplete and rushed. He tried to make a better album with his sophomore effort, 2011's Take Care.

"To be 100 percent honest,” Drake told the Los Angeles Times. “I wasn't necessarily happy with Thank Me Later. People loved it [but] I just knew what I was capable of with a little more time.”

9. R.E.M. // AROUND THE SUN (2004)

In 2004, R.E.M. released their thirteenth studio album, Around The Sun. It was the band’s first record that failed to reach the top 10 on the Billboard 200 since 1988, and received mixed reviews from music critics. R.E.M. was so ashamed of the album that its songs are usually excluded from live shows.

“It seemed like we'd turned into one of those bands that just book like a million months in the studio and just beat it to death,” said R.E.M. guitarist Peter Buck. “The last record, for me, just wasn't really listenable, because it sounds like what it is, a bunch of people that are so bored with the material that they can't stand it anymore.”

10. THE STROKES // ANGLES (2011)

After The Strokes released their third studio album, First Impressions of Earth, in early 2006, the New York City-based band took an extensive five-year break from recording and touring. They came back together with their long-awaited fourth album, Angles, in 2011. While it was a commercial hit, the record received mixed reviews from music critics.

In an interview with Pitchfork for The Strokes’ 10-year anniversary, frontman and singer Julian Casablancas admitted, “I was going to let things go so there's a bunch of stuff [on the record] I wouldn't have done." Guitarist Nick Valensi mirrored Casablancas’s remarks, saying, "I won't do the next album we make like this. No way. It was awful—just awful."

11. LYKKE LI // YOUTH NOVELS (2008)

Swedish singer Lykke Li admitted that she hates her first record, Youth Novels, because it felt so raw and unrefined. In an interview with The Telegraph in 2014, the singer was quite candid with her feelings about her debut. “I cannot stand my first album,” she said bluntly. “It is so bad. I sucked.”

12. THE CLASH // CUT THE CRAP (1985)

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In 1985, The Clash released their sixth and final record, Cut The Crap. At the time, Clash vocalist Joe Strummer was pretty jaded about his band, and was also grieving the death of his parents.

"CBS had paid an advance for it so they had to put it out,” Strummer later explained in 2000. "I just went, 'Well f*ck this', and f*cked off to the mountains of Spain to sit sobbing under a palm tree, while Bernie [Rhodes, the band’s manager] had to deliver a record."

13. AT THE DRIVE-IN // RELATIONSHIP OF COMMAND (2000)

In the year 2000, At The Drive-In released their third and final album, Relationship of Command. Although the hit record brought the El Paso, Texas-based band mainstream success, At The Drive-In broke up shortly after its release due to their growing popularity.

Despite its success, guitarist Omar Rodríguez-López openly bashed At The Drive-In’s final release, telling Alternative Press, "One of my only regrets out of everything I've ever done is the way that record was mixed. People think that was a raw and energetic record, but what they're hearing is nothing compared to what it truly was before it was glossed over and sent through the mixing mill.” He added, “I just find it the most passive, plastic ... It’s the one record I still to this day cannot listen to. The mix ruined it for me."

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11 Single Facts About Bridget Jones’s Diary
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While it's not officially a holiday movie, so much of the action in Bridget Jones's Diary happens around the most wonderful time of the year that the rom-com has become essential wintertime viewing for many movie fans. Based on Helen Fielding’s novel of the same name, it tells the story of a very single, and hopelessly romantic, working professional named Bridget (Renée Zellweger) who is determined to improve her love life. Enter two strapping gentlemen (Colin Firth and Hugh Grant) to vie for her heart. Get to know more about the timeless dramedy that’s been delighting audiences since 2001. Just as it is.

1. THE SOURCE NOVEL CAME ABOUT FROM AN ANONYMOUS COLUMN ABOUT SINGLE LIFE.

In the foreword of Bridget Jones’s Diary, author Helen Fielding wrote about how she came to conjure up the story: “The Independent asked me to write a column, as myself, about single life in London. Much as I needed the money, the idea of writing about myself in that way seemed hopelessly embarrassing and revealing. I offered to write an anonymous column instead, using an exaggerated, comic, fictional character. I assumed no one would read it, and it would be dropped after six weeks for being too silly.”

2. SEVERAL CHARACTERS ARE BASED ON PEOPLE IN HELEN FIELDING’S LIFE.


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These include Jude (Tracey MacLeod) and Shazzer (Sharon Maguire, also the film’s director). In a column for the Evening Standard, MacLeod described how she didn’t even realize she inspired part of her best friend’s story until Fielding’s book launch party. “At the launch party for the first Bridget book, I was cornered by a smug married friend, ‘So ... what's it like being Jude?’ she asked,” MacLeod writes. “I was outraged. Of course I wasn't Jude, with her self-help books and horrible boyfriend. My boyfriend wasn't anything like Vile Richard ... But as more people began to believe that Jude and Shazzer were thinly-veiled portraits of myself and Sharon, I secretly got to like the idea.”

3. TONI COLLETTE DECLINED THE LEAD, AND KATE WINSLET WAS CONSIDERED FOR IT.

Before Zellweger stole the show, Aussie Toni Collette and Brit Kate Winslet were up for the part. According to AMC, “Toni Collette declined the role because she was on Broadway starring in The Wild Party at the time, and Kate Winslet was considered but the producers decided she was too young.”

4. HUGH GRANT ONLY SIGNED ON WHEN RICHARD CURTIS WAS ANNOUNCED AS THE WRITER. 


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“The only reason [I was a hard sell] was because I didn't feel they had the script quite right for a long time,” Firth told Cinema.com. “And I kept saying, ‘It's not working. Just get Richard Curtis to come in and help rewrite it.’ Eventually they did, and as soon as Richard came on board, I signed on the dotted line. So that's all it was.”

5. RENÉE ZELLWEGER GAINED 17 POUNDS FOR THE PART.

Zellweger’s weight gain for the role had the media abuzz for a while. According to The Guardian, “In order to play the eponymous heroine in the film adaptation of Fielding's bestseller, the actress gained 17 pounds, consulting a dietitian and endocrinologist who devised a regime of three full meals a day, multiple snacks, and no exercise.”

6. ZELLWEGER WORKED AT PICADOR FOR THREE WEEKS.

Zellweger went full Method for her iconic role, and became a temporary employee of the Picador publishing house. “We came up with a plan: she would be Bridget Cavendish, Bridget for obvious reasons and Cavendish as she was to be passed off as the sister of Jonathan Cavendish, a friend of one of our company chairmen,” Picador publicist Camilla Elworthy told The Guardian. “That last bit at least is true, and no one was to know that Jonathan Cavendish was one of the film's producers.”

7. ZELLWEGER KEPT A PHOTO OF JIM CARREY ON HER DESK.


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While working at Picador, Zellweger kept a picture of Jim Carrey on her desk—which made her alter ego Bridget Cavendish seem like some sort of obsessed fan. “Under the name Bridget Cavendish, she answered phones, served coffee, and made photocopies—without being recognized by any of her co-workers, who offered career advice and wondered privately why she kept a photo of Jim Carrey (her then-boyfriend) on her desk,” noted Hollywood.com.

8. ZELLWEGER INVITED HER BOSS AT PICADOR TO BE AN EXTRA ON SET.

In Camilla Elworthy’s write-up for The Guardian, she noted how she became a part of the production. “Renée sent me a thank you letter and gift after she'd gone and I have seen her a few times since then," Elworthy wrote. "She invited me on to the film set one day. She informed me that I had to stick around and be an extra and made sure that I was put somewhere that I would be seen ... As a result, half my head can be seen for half a nano-second in the launch party scene.”

9. THE EPIC FIGHT SCENE BETWEEN GRANT AND COLIN FIRTH WASN’T CHOREOGRAPHED.

You can thank the two actors for the hilarity of the iconic scene. In a Vulture article about the greatest fight scenes in movie history, writer Denise Martin recalled the improvised spar, writing, “No stunt coordinators. No elaborate choreography. Just a perfectly realized wimp brawl between two upper-middle-class Englishmen coming to awkward fisticuffs in front of a Greek restaurant.”

10. FIELDING ASKED FRIEND SALMAN RUSHDIE TO CAMEO IN THE FILM.

Recalling how he came to be part of the film, famed novelist Salman Rushdie told Texas Monthly, “Helen Fielding, the author of the book, is an old pal of mine, and she asked if I’d come along and make a fool of myself, and I said, ‘Why not?’”

11. GRANT DIDN’T HEAR ZELLWEGER SPEAK IN HER AMERICAN ACCENT UNTIL THE FILM’S WRAP PARTY.

Zellweger was so engrossed with Bridget Jones that one of her leading love interests didn’t meet the real actress until the end of the shoot. “Not once did she stop speaking with that accent, until the wrap party,” Grant told Cinema.com, “when suddenly this weird ... Texan appeared. I wanted to call security, I didn't know who the f*ck she was!”

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15 Surprising Facts About Scarface
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Say hello to our little list. Here are a few facts to break out at your next screening of Scarface, Brian De Palma’s gangsters-and-cocaine classic, which arrived in theaters on this day in 1983.

1. IT WASN'T THE FIRST SCARFACE.

Brian De Palma's Scarface is a loose remake of the 1932 movie of the same name, which is also about the rise and fall of an American immigrant gangster. The producer of the 1983 version, Martin Bregman, saw the original on late night TV and thought the idea could be modernized—though it still pays respect to the original film. De Palma's flick is dedicated to the original film’s director, Howard Hawks, and screenwriter, Ben Hecht.

2. IT COULD HAVE BEEN A SIDNEY LUMET FILM.

At one point in the film's production, Sidney Lumet—the socially conscious director of such classics as Dog Day Afternoon and 12 Angry Men—was brought on as its director. "Sidney Lumet came up with the idea of what's happening today in Miami, and it inspired Bregman," Pacino told Empire Magazine. "He and Oliver Stone got together and produced a script that had a lot of energy and was very well written. Oliver Stone was writing about stuff that was touching on things that were going on in the world, he was in touch with that energy and that rage and that underbelly."

3. OLIVER STONE WASN'T INTERESTED IN WRITING THE SCRIPT, UNTIL LUMET GOT INVOLVED.


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Producer Bregman offered relative newcomer Oliver Stone a chance to overhaul the screenplay, but Stone—who was still reeling from the box office disappointment of his film, The Hand—wasn't interested. "I didn’t like the original movie that much," Stone told Creative Screenwriting. "It didn’t really hit me at all and I had no desire to make another Italian gangster picture because so many had been done so well, there would be no point to it. The origin of it, according to Marty Bregman, [was that] Al had seen the '30s version on television, he loved it and expressed to Marty as his long time mentor/partner that he’d like to do a role like that. So Marty presented it to me and I had no interest in doing a period piece."

But when Bregman contacted Stone again about the project later, his opinion changed. "Sidney Lumet had stepped into the deal," Stone said. "Sidney had a great idea to take the 1930s American prohibition gangster movie and make it into a modern immigrant gangster movie dealing with the same problems that we had then, that we’re prohibiting drugs instead of alcohol. There’s a prohibition against drugs that’s created the same criminal class as (prohibition of alcohol) created the Mafia. It was a remarkable idea."

4. UNFORTUNATELY, ACCORDING TO STONE, LUMET HATED HIS SCRIPT.

While the chance to work with Lumet was part of what lured Stone to the project, it was his script that ultimately led to the director's departure from the film. According to Stone: "Sidney Lumet hated my script. I don’t know if he’d say that in public himself, I sound like a petulant screenwriter saying that, I’d rather not say that word. Let me say that Sidney did not understand my script, whereas Bregman wanted to continue in that direction with Al."

5. STONE HAD FIRSTHAND EXPERIENCE WITH THE SUBJECT MATTER.

In order to create the most accurate picture possible, Stone spent time in Florida and the Caribbean interviewing people on both sides of the law for research. "It got hairy," Stone admitted of the research process. "It gave me all this color. I wanted to do a sun-drenched, tropical Third World gangster, cigar, sexy Miami movie."

Unfortunately, while penning the screenplay, Stone was also dealing with his own cocaine habit, which gave him an insight into what the drug can do to users. Stone actually tried to kick his habit by leaving the country to complete the script so he could be far away from his access to the drug.

"I moved to Paris and got out of the cocaine world too because that was another problem for me," he said. "I was doing coke at the time, and I really regretted it. I got into a habit of it and I was an addictive personality. I did it, not to an extreme or to a place where I was as destructive as some people, but certainly to where I was going stale mentally. I moved out of L.A. with my wife at the time and moved back to France to try and get into another world and see the world differently. And I wrote the script totally f***ing cold sober."

6. BRIAN DE PALMA DIDN'T WANT TO AUDITION MICHELLE PFEIFFER.


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De Palma was hesitant to audition the relatively untested Pfeiffer because at the time she was best known for the box office bomb Grease 2. Glenn Close, Geena Davis, Carrie Fisher, Kelly McGillis, Sharon Stone and Sigourney Weaver were all considered for the role of Elvira, but Bregman pushed for Pfeiffer to audition and she got the part.

7. YES, THERE IS A LOT OF SWEARING.

According to the Family Media Guide, which monitors profanity, sexual content, and violence in movies, Scarface features 207 uses of the “F” word, which works out to about 1.21 F-bombs per minute. In 2014, Martin Scorsese more than doubled that with a record-setting 506 F-bombs thrown in The Wolf of Wall Street.

8. TONY MONTANA WAS NAMED FOR A FOOTBALL STAR.

Stone, who was a San Francisco 49ers fan, named the character of Tony Montana after Joe Montana, his favorite football player.

9. TONY IS ONLY REFERRED TO AS "SCARFACE" ONCE, AND IT'S IN SPANISH.

Hector, the Colombian gangster who threatens Tony with the chainsaw, refers to Tony as “cara cicatriz,” meaning “scar face” in Spanish.

That chainsaw scene, by the way, was based on a real incident. To research the movie, Stone embedded himself with Miami law enforcement and based the infamous chainsaw sequence on a gangland story he heard from the Miami-Dade County police.

10. VERY LITTLE OF THE FILM WAS ACTUALLY SHOT IN MIAMI.

The film was originally going to be shot entirely on location in Miami, but protests by the local Cuban-American community forced the movie to leave Miami two weeks into production. Besides footage from those two weeks, the rest of the movie was shot in Los Angeles, New York, and Santa Barbara.

11. ALL THAT "COCAINE" LED TO PROBLEMS WITH PACINO'S NASAL PASSAGES.

Though there has long been a myth that Pacino snorted real cocaine on camera for Scarface, the "cocaine" used in the movie was supposedly powdered milk (even if De Palma has never officially stated what the crew used as a drug stand-in). But just because it wasn't real doesn't mean that it didn't create problems for Pacino's nasal passages. "For years after, I have had things up in there," Pacino said in 2015. "I don't know what happened to my nose, but it's changed."

12. PACINO'S NOSE WASN'T HIS ONLY BODY PART TO SUFFER DAMAGE.

Still of Al Pacino as Tony Montana in 'Scarface' (1983)
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In the film's very bloody conclusion, Montana famously asks the assailants who've invaded his home to "say hello to my little friend," which happens to be a very large gun. That gun took a beating from all the blanks it had to fire, so much so that Pacino ended up burning his hand on its barrel. "My hand stuck to that sucker," he said. Ultimately, the actor—and his bandaged hands—had to sit out some of the action in the last few weeks of production.

13. STEVEN SPIELBERG DIRECTED A SINGLE SHOT.

De Palma and Spielberg had been friends since the two began making studio movies in the mid-1970s, and they made a habit of visiting each other’s sets. Spielberg was on hand for one of the days of shooting the Colombians’ initial attack on Tony Montana’s house at the end of the movie, so De Palma let Spielberg direct the low-angle shot where the attackers first enter the house.

14. SOME COOL TECHNOLOGY WENT INTO THE GUN MUZZLE FLASHES.

In order to heighten the severity of the gunfire, De Palma and the special effects coordinators created a mechanism to synchronize the gunfire with the open shutter on the movie camera to show the huge muzzle flash coming from the guns in the final shootout.

15. SADDAM HUSSEIN WAS A FAN OF THE FILM.

The trust fund the former Iraqi dictator set up to launder money was called “Montana Management,” a nod to the company Tony uses to launder money in the movie.

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