While the opinions of rock critics have lost that aura of authority they had a few decades ago, and some of the big names, like Lester Bangs, are not even around anymore, their opinions, good or bad about any given rock music album still count.
Quite a few listeners might swear by their word, or at least rely on their opinion about a certain piece of music. So what happens when those critics have differing opinions or even sometimes more baffling, change their minds about a certain album?
There can be various reasons for that change of hats - critics can reevaluate an album after some time passes due to shifts in cultural perception, a more detailed look at the influence a certain artist and a specific album had, or they just started accepting a certain piece of music.
18 albums that rock music critics did not like upon original release
Usually, that opinion goes from a negative to a positive, and most of the 18 albums below were panned the first time around, and are now listed among all-time classics, in most cases, for all the right reasons.
Pet Sounds - The Beach Boys (1966)
Everybody loved The Beach Boys' sun-drenched surf and fast cars when the band started. Yet when the band’s mastermind Brian Wilson went for a fully orchestrated sound for this album and some more introspective and come-of-age lyrics of Peter Asher, it created confusion, first among some band members and then the critics themselves, particularly in the U.S. Now, it is universally hailed as one of the all-time rock classics.
The Velvet Underground & Nico - The Velvet Underground (1967)
When this album was first released, it not only sold poorly, but some critics called it “abrasive” and “too avant-garde,” possibly for the Andy Warhol connection, and his tricky cover that was banned in some places. As time passed by, it turned out to be one of the most influential rock albums around, as it is now considered one of the most groundbreaking albums in rock history.
Forever Changes - Love (1967)
It is not that so many critics panned this lush, detailed album the first time around, most of them simply ignored it, and the initial reaction of the audience was similar, as it initially sold quite poorly. Yet as time passed, praises of its greatness started to pour in, its re-releases became more deluxe by the day, and the forever term became attached to its praises quite often now.
Sweetheart of the Rodeo - The Byrds (1968)
Whenever an artist or a band makes a big shift in sound and even generates a new sub-genre along the way, there will be many critics included, who will not agree with the change. That is exactly what happened when Roger McGuinn, along with then-member Gram Parsons and co. went from psychedelia to full-blown country. At the time the album went nowhere with both critics and the audience, but is now considered as the seminal country rock album.
The White Album - The Beatles (1968)
“Inconsistent,” “could have been a good single disc album,” and “four solo albums in one” were some of the thoughts passed on by the critics about this double album that was officially self-titled. Now, it is placed along with the best the legends created, praised for its diversity and full-on ambition by all the band’s members.
The Kinks Are the Village Green Preservation Society - The Kinks (1968)
Gone was the punkish, energetic attitude of the early Kinks singles, and in came a concept, a different attitude that was pore pastoral, and it turned out thoughtful. The album was practically ignored the first time around and is now considered the Kinks masterwork that ushered in quite a bit of musical innovation.
Fun House - The Stooges (1970)
Iggy Pop and his cohorts were considered really controversial, particularly due to their live shows, and they rubbed quite a few critics the wrong way, most of them saying that they would throw the album in the trash bin. Well, if they did so, they seem to have taken them out of the bin later on, as this album is now considered a punk/garage rock classic of all time.
Paranoid - Black Sabbath (1970)
Another album that received harsh epithets initially - from simplistic, to even dangerous. Now it turns out that some critics were paranoid themselves, as this album turned out to be one of the foundations for what we now know as heavy metal.
Led Zeppelin IV - Led Zeppelin (1971)
Some critics at the time were expecting more blues-tinged riffs, and not the inclusion of pastoral, folky elements along with hard rock riffs, and terms like “bombastic” and “derivative” were thrown around. These days, some of the same critics label the album as the band’s best. That is what the passage of time can do to you.
Exile on Main St. - The Rolling Stones (1972)
It could be all the rumors of chaos and debauchery that surrounded the recording of this album, or that it followed a classic that is Let It Bleed, yet many critics at the time considered this one as “too long” and “uneven.” Yet, relatively quickly, it turned out to be yet another Stones classic that is enshrined as one of the best around.
Berlin - Lou Reed (1973)
The debate is still on bout some of Lou Reed’s albums, particularly Metal Machine Music, but not anymore about this one. While some critics initially labeled it as “too bleak” or “too depressing,” now it is ranked among Reed’s (and everybody else’s) classics.
Tonight's the Night - Neil Young (1975)
Along with its intentional lo-fi sound, this one got the same blame as the Lou Reed album above. Some even though it had too much raw emotion. Yet, it turned out to be another, albeit dark, classic that withstood all the tests of time.
Ramones - Ramones (1976)
Coming up with something completely different and against the grain of the prevailing musical taste at the time can be difficult, and so was the case with the Ramones' debut album.
Low - David Bowie (1977)
“Inaccessible,” “hermetic,” and “too much electronics,” were thoughts of some of the critics at the time, but they later realized that one of the greatest musical shapeshifters in rock was never standing still and that innovation and novel thoughts were his mode of operation, as this turned out to be another Bowie classic. But as punk caught fire, the influence Ramones and this album had was relatively quickly recognized.
Tusk - Fleetwood Mac (1979)
How do you follow your most poppy and polished album? Instead of more (shoe) polish, Fleetwood Mac went for quite an experimental sound, that quite a few critics (and a large chunk of the band’s audience) hated at the time. As time passed, it seems both sides have (rightfully) taken this album out of the real or imaginary trash bins.
Tim - The Replacements (1985)
Turning your sound from real hardcore to real power pop did not impress too many critics at the time, with the usual use of the “inconsistent” phrase. Yet, these days this one turns out to be one of the band’s best, and along the way, one of the best of the eighties.
Be Here Now - Oasis (1997)
Here’s one with a counter-opinion example. When this one was first released, particularly in Britain, critics showered it with praise. Now, those praises are getting rarer by the day, and the current band revival ticket prices controversy is not helping.
Kid A - Radiohead (2000)
Not enough guitars? Yes, that was exactly what some critics complained about this album, probably not liking the extensive experimental elements this album presented. These days it is considered as one of the more visionary albums of the new century.