10 Most Frontloaded Albums In Rock History
When first impressions are too strong.
While the album may be a dying format in the age of streaming, there’s still an art to sequencing a record. An LP should be a statement of intent which flows from beginning to end, meant to be listened to as a piece. Recently artists like Adele have spoken out against the practice of shuffling an album - they were designed to be played through from front to back.
Sometimes, though, the sequencing of an album doesn’t quite work. The temptation to put one’s best foot forward is too great, and the artist or record company sticks all the best, most propulsive, or most famous tracks front and centre, making the LP totally top heavy.
Frontloading an album doesn’t necessarily mean the second half is going to be bad - it may just be a lot less immediate or upbeat - but in some instances, the urge to play up to the midpoint and then switch the record off can be pretty great.
These ten records are the most extreme examples of the phenomenon, some of the most imbalanced releases in music history. Some remain great albums, others became half a great album, but they all eschewed a smooth, consistent structure in favour of an impactful start that set a pace which couldn’t be maintained.
10. Beastie Boys - Check Your Head
When the Beasties graduated from cartoonish frat boys to purveyors of the widest sound palette in hip hop, they celebrated their newfound freedom by filling their albums with every idea that popped into their heads. On 1989 masterpiece Paul’s Boutique, this worked wonders, a densely populated but tightly structured album that holds the listener’s attention from start to finish.
While 1992 follow up Check Your Head hits similar highs, it seems that less care is taken in the pacing of the piece. It starts with a sequence of tracks that demonstrate the Boys’ new interests, namely playing instruments harkening back to their hardcore days.
“Gratitude” is fully fledged stoner rock, while “So What’cha Want” and “Finger Lickin’ Good” is some of the least embarrassing rap/rock hybrid music you can ever hope to hear.
Towards the end, though, the Boys lose a little focus. The grooves are still there, but they’re solely grooves, rather than tight tracks built around charmingly loose musicianship. By MCA’s well meaning “Namaste”, the record’s energy has been squandered somewhat.