For better or worse: 10 records that saw artists completely changing genre
It’s natural for musicians to go through a metamorphosis. Although many may not do this as drastically as you might find in a Franz Kafka novel, most, in one way or another, end up changing their sound or even their genre for better or for worse. The issue with this is that fans – particularly ones who have been there since day one – might not always take to the new sound as easily. In other situations, the change is a significant improvement and a welcomed change of pace.
Of course, sometimes this sudden diversion may be a career-saving move, while other times it can be entirely the wrong decision, resulting in significant audience losses and, by extension, a drop in monetary success. Luckily, some can bounce back from such mistakes, but for others, it proves to be the end of the road.
Musical transformation for an artist is almost as natural as breathing. However, it’s also one of the biggest challenges. A debut album, for instance, might become an overnight success, but how you continue that trajectory is the real hurdle. Moreover, do you continue on the same path or keep it fresh by doing something completely new? Some play it safer than others, opting to blend various genres to appeal to more audiences.
David Bowie, however, was a master of disguises throughout his entire career – he often followed his instincts when crafting music, opting to merge various elements of musical genres to create complete magic. However, not all musicians are as skilled at cross-convergence as the Starman, and some end up embarking on a long road of attempting to regain credibility. Let’s take a look at some of the highs and lows of switching genres.
Records that changed an artist’s genre:
Fleetwood Mac – Fleetwood Mac
Before the release of their self-titled album in 1975, Fleetwood Mac was primarily a blues-rock band. Many of their songs, like ‘Black Magic Woman’ and ‘Albatross’, indicate the band’s earlier sound, which, largely thanks to Peter Green, usually involved dynamic shifts and memorable guitar riffs. However, they had yet to experience a real breakthrough, which would officially arrive upon the introduction of Stevie Nicks and Lindsey Buckingham into the lineup.
The 1975 album was like everything finally clicked; songs like ‘Rhiannon’, ‘Landslide’, and ‘Say You Love Me’ are still hugely favoured tracks in Fleetwood Mac’s discography and served as a significant primer for the forthcoming project, the legendary Rumours. Fleetwood Mac experienced a significant transformation with these albums, with a sound that shifted more towards a pop-rock direction and garnering mass appeal.
On The Corner – Miles Davis
With the 1972 release On The Corner, Miles Davis changed tact to such an extent that many purists effectively picketed him as a turncoat who had abandoned jazz. In some way, he had. At the very least, he had fused the old genre with funk and rock ‘n’ roll. This change might have led to many people turning against him, but it does mark the album as one of the most important and prescient in modern music history.
The present times are typified by a sense that there is no longer a prominent genre. This is added to further by the fact that genres themselves are dissolving. Davis was ahead of the curve on this front. Vitally, with On The Corner, he didn’t just change out of boredom or the fact that he was evidently rock’s favourite jazz player anyhow, but because he saw a brighter future. Now, this maligned record even showcases halmarks of hip hop.
Plastic Beach – Gorillaz
Understanding Gorillaz‘s enduring success is not easy. Most of us know and love the early hits, like ‘Feel Good Inc’ and ‘DARE’, but the sound that came after 2010’s Plastic Beach marked a significant departure that Damon Albarn and Jamie Hewlett continue to chase even today.
Many claim Plastic Beach to be too much of a diversion from the earlier, more popular albums, as it showcased them heavily incorporating synthesizers, drum machines, and electronic beats. While it showcased Gorillaz’s willingness to experiment with different sounds and styles, the change was too much of a shocker for many, who found it difficult to remain engaged for any subsequent releases.
Tranquility Base Hotel + Casino – Arctic Monkeys
Arctic Monkeys fans are some of the most passionate fans in the world. While some contend that nothing will ever come close to being as good as the debut album, others say that their evolving sound is what demonstrates their prowess. Considering the fact that staying loyal to their earlier indie roots would have probably been a difficult feat, especially as the band members have each grown and changed significantly, Arctic Monkeys’ transformation was ultimately a good thing. But when did it happen officially?
Between the release of AM and Tranquility Base, frontman Alex Turner became more immersed in the world of science fiction, watching movies like 2001: A Space Odyssey while listening to French pop and a lot of film soundtracks from the 1960s. Therefore, his musical inclination naturally became a lot more lounge-focused, with heels firmly digging into the foundations of rock ‘n’ roll. This surprised many and even turned off entire factions of the fanbase, but it presented a new, more mature Arctic Monkeys that were just as capable of commanding the spotlight.
Main Course – Bee Gees
Although it may be difficult to believe, the Bee Gees weren’t always the pioneers of the disco era that we came to know and love. Prior to the days of Saturday Night Fever, they were firmly placed in the pop and psychedelic rock space, releasing songs that became international hits, like ‘To Love Somebody’ and ‘Massachusetts’.
However, the release of Main Course marked a significant stride towards disco, setting the stage for their dominance of the era. Although they would later flirt with their pop roots once again, this album signified a major turning point and paved the way for the success of the subsequent albums.
Kid A – Radiohead
Although initially heavily immersed in their alternative rock sound, Radiohead became more involved in electronic sensibilities and abstract lyricism with the release of Kid A. The songs on this album became more atmospheric and cerebral than previous Radiohead albums and included lyrics that often came across as detached and fragmented.
Of course, Kid A was somewhat divisive as a result of these changes. Still, it ultimately became a commercial success, with fans praising the band’s ability to push boundaries and develop a fresher, more innovative sound. At the same time, however, it seems no amount of evolution can help the band escape ‘Creep’.
St. Vincent – St. Vincent
In the beginning, St. Vincent was more viewed as a singer-songwriter than a major pioneer of experimental art rock music. Although her debut was imbued with art rock elements, it wouldn’t be until her self-titled 2014 album that she showcased her boundless creativity and effortless penchant for fusing rock, pop, avant-garde, synth-pop, and electronic.
Though some may view this as a natural transformation, St. Vincent truly embraced the role of a trailblazer, stepping into the shoes of a real artistic creator reminiscent of the revolutionary David Bowie. Many claim to defy genre convention, but St. Vincent pulls it off with grace and sophistication, each release providing insatiable glimpses into where the singer may find herself next.
Highway 61 Revisited – Bob Dylan
Once again, we happen upon a switch of styles that was widely vilified. Bob Dylan hinted at a switch in style with Bringing It All Back Home, and those who were at the Newport Folk Festival already had their pitchforks at the ready, but it wasn’t until Highway 61 Revisited in his so-called electric trilogy that his transition was set in stone. Gone was the gingham of his old troubadour ways, and flying out of the traps was a searing hybrid of the timeless past with visceral rock ‘n’ roll.
The change afoot was more than just Dylan embracing ionised particles. He bolstered his sound with a full band, he welcomed subverted time signatures and middle eight flourishes to his work, and he got more cynical with his growling tongue. In many ways, this wasn’t just a change of genre. It was Dylan making a statement that he wasn’t beholden to any movement, even that of rock ‘n’ roll, while in the midst of half embracing it. It is from here that you can find one of the key ripples in what became the wave of punk.
Debut – Björk
Play Life’s Too Good and Biophilia back to back, and you’ll gain a mix of exciting experiences and existential crises. Björk‘s journey as a solo artist saw her evolving into an extraordinarily experimental artist who could probably sing about absolutely anything and make it seem – and feel – immensely profound.
The best part? Björk continues to change and innovate, making her next move nearly impossible to predict. One of Björk’s favourite musicians is Kate Bush, which makes complete sense considering both artist’s love for completely turning convention on its head. Ultimately, Björk embraced the avant-garde as a musical lifestyle, as it were, rather than a technical approach, making her music completely different to anything you will have heard during her time with The Sugarcubes.
Young Americans – David Bowie
The Thin White Duke was always moving in different directions, but the space between Diamond Dogs and Young Americans marked his departure from glam rock to a more soul and R&B sound. Young Americans has become a cult classic now, but in the early days, many regarded it as nothing more than a signifier of an artist who has lost his way. It was seen purely as what it was, a transitional record, but maybe stated that his talents were better placed elsewhere.
Bowie was, of course, heavily influenced by the American soul scene and musicians like James Brown and Smokey Robinson, which ended up significantly informing the direction of Young Americans, but for many it was too different. Nonetheless, in hindsight, we can appreciate it more for its demonstration of Bowie’s sheer versatility and buoyancy as an artist who would pretty much pull off anything.
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