The history of rock is littered with triumphant debuts – and tricky follow-ups.
A great first record can set a band up for instant stardom, but it also creates sky-high expectations that are almost impossible to meet. All too often, the second album arrives rushed, confused, or simply out of ideas. During rock’s (roughly) 1966-1985 heyday in particular, labels pressured artists to capitalise on debut success with rapid follow-ups, leaving bands to juggle fame, fatigue, and the intense scrutiny of critics and fans.
Sometimes the failure stems from rushing the creative process, other times from copying the debut’s formula too closely, leaving the music feeling derivative. Some bands overcomplicate arrangements in the studio, chasing ambition over coherence, while others simply buckle under the weight of expectations.
For every Never Mind the Bollocks or Led Zeppelin II, there’s a Communiqué, Adventure, or Second Coming – proof that reproducing lightning is never easy. Sometimes the muse just needs time to breathe; sometimes it never comes back. Here are 15 albums that proved that the notoriously tricky second record can be a high-stakes gamble.
1. The Byrds - Turn! Turn! Turn! (1965)
Released in late 1965, Turn! Turn! Turn! consolidated The Byrds’ shimmering folk-rock sound but offered little that felt new. The formula that had made their debut irresistible – Rickenbacker jangle, heavenly harmonies, Dylan covers – was repeated almost wholesale. While the title track became a classic, the album lacked the sense of discovery that had electrified Mr. Tambourine Man, leaving critics to wonder if the Byrds were already coasting on their own brilliance.
2. Moby Grape – Wow (1968)
After their dazzling 1967 debut, Moby Grape’s Wow (1968) arrived as a self-indulgent sprawl. Laden with gimmicks – fake surface noise, abrupt tempo shifts, even a track meant to be played at 78 rpm – it buried the band’s sparkling songwriting under studio excess. Critics who’d hailed them as San Francisco’s great hope were bewildered, and what could have been a triumph became an early cautionary tale in psychedelic overreach.
3. The Electric Prunes – Underground (1967)
The Electric Prunes’ second album struggled to capture the raw, acidic energy of their debut. Overproduced and weighed down by studio interference, it sounded polished but hollow, losing the garage-psych immediacy that had defined The Electric Prunes. Fans found the songs less memorable, and critics noted a lack of cohesion, as if the band’s personality had been diluted by label demands. It became a classic case of sophomore expectations gone awry.
4. King Crimson – In the Wake of Poseidon (1970)
In the Wake of Poseidon (1970) was an uneasy follow-up to the groundbreaking In the Court of the Crimson King. While technically accomplished, it felt derivative, echoing the debut’s gothic flourishes and complex arrangements without the same shock of invention. Critics and fans noted that Robert Fripp seemed content to repeat rather than innovate, leaving the album admired for skill but lacking the debut’s sense of daring and immediacy.
5. Television – Adventure (1978)
Television’s sophomore album, Adventure (1978), arrived with sky-high expectations after the band’s stunning debut, Marquee Moon, widely hailed as one of the most important albums of the punk and post-punk era. But, while Adventure retained the band’s intricate guitar interplay and literate lyrics, it lacked the raw urgency and thrilling spontaneity that had made Marquee Moon so electrifying.
The songs felt more polished and controlled, and the album’s atmosphere was comparatively subdued, leaving some critics and fans disappointed. Even Tom Verlaine later admitted that the band was exhausted and under pressure from their label, which contributed to a record that, though competent, failed to capture the same creative spark and risk-taking of its predecessor.
6. The Jam – This Is the Modern World (1977)
The Jam’s second LP was rushed out just six months after their debut, leaving little time for reflection or refinement. Though still infused with Paul Weller’s sharp songwriting, the album felt rushed and underdeveloped, lacking the urgency and cohesion that had made In the City so compelling. Critics and fans alike sensed the pressure behind its creation, and while competent, it fell short of the high expectations set by the band’s explosive debut. Great cover, though.
7. The Clash – Give ’Em Enough Rope (1978)
Featuring 'I Fought the Law', 'Complete Control' and other raw, visceral three-minute punk gems, The Clash’s eponymous debut was nothing short of incendiary. But its follow-up suffered in comparison. Polished under producer Sandy Pearlman’s hand, it smoothed over the raw, streetwise aggression that had defined The Clash, trading grit for a more radio-friendly sheen. While the songwriting remained strong, critics and fans alike felt the album lacked the urgency and authenticity that made the first record a revolutionary statement. It was competent, but for many, it was a disappointing step back.
8. Devo – Duty Now for the Future (1979)
Following the angular brilliance of Q: Are We Not Men?, Devo’s second LP was darker, denser... and far less immediately accessible. Stripped of the debut’s sly pop hooks, it plunged deeper into dystopian satire and conceptual experimentation, leaving fans puzzled and critics divided. Its mechanical rhythms and cerebral lyrics demanded patience that few were willing to give at the time. Only in retrospect has the album been recognised as a crucial bridge, laying the groundwork for the sharper, more celebrated sound of 1980's breakthrough Freedom of Choice.
9. The Knack – …But the Little Girls Understand (1980)
Get the Knack (and single 'My Sharona') had turned them into overnight stars; its follow-up arrived barely eight months later and sounded rushed, defensive, and creepily self-referential. The critical knives came out, the backlash was brutal, and by year’s end The Knack's 15 minutes were up.
10. Dire Straits – Communiqué (1979)
Dire Straits’ second album, Communiqué (1979), followed the quiet triumph of their self-titled 1978 debut, which had introduced Mark Knopfler’s distinctive fingerpicked guitar and understated storytelling. While Communiqué maintained the same clean, polished production and lyrical focus on working-class narratives, many listeners and critics found it underwhelming in comparison.
The songs were competent and well-crafted, yet the album lacked the freshness and immediacy that had made the debut so compelling. Some felt the band was playing it safe, repeating formulas rather than expanding their sound. Though not a failure by any means (and tracks like 'Where Do You Think You're Going? and 'Portobello Belle' became live favourites), Communiqué was widely regarded as a safe, restrained effort that failed to capture the understated magic of Dire Straits’ breakout record.
11. Guns N’ Roses – G N’ R Lies (1988)
G N’ R Lies (1988) was marketed as Guns N’ Roses’ second album – but was really a hybrid of the Live ?! EP and new acoustic tracks. Following the explosive Appetite for Destruction, fans expected another high-octane rock statement, yet Lies felt stripped-down and uneven. While songs like 'Patience' showed range, much of the album was rough, hastily recorded, and thematically inconsistent, leaving critics and listeners disappointed that the band’s follow-up lacked the debut’s raw power and cohesion.
12. The Stone Roses – Second Coming (1994)
Five years after their dazzling 1989 debut, The Stone Roses returned with The Second Coming (1994), a lumbering, sprawling blues-rock record that baffled both fans and critics. The songs were competent but lacked the invention, immediacy, and euphoric energy that had made the first album legendary. It wasn’t terrible – just ordinary – and for a band once hailed as the vanguard of the Madchester scene, that ordinariness felt like a profound misstep. By the time they regained form, Britpop had firmly claimed the spotlight.
13. Hootie & the Blowfish –Fairweather Johnson (1996)
Hootie & the Blowfish’s follow-up to Cracked Rear View arrived under intense commercial and critical pressure. While the album retained the band’s polished pop-rock sound and earnest songwriting, it lacked the charm, immediacy, and irresistible hooks that had made their debut a multi-platinum phenomenon. Critics found it safe and formulaic, and fans, though initially supportive, were disappointed by its predictability. Despite respectable sales, Fairweather Johnson cemented the band’s reputation as capable but creatively limited.
14. Kula Shaker – Peasants, Pigs & Astronauts (1999)
Kula Shaker’s Peasants, Pigs & Astronauts (1999) was a muddled, overblown follow-up to the band’s vibrant debut, K. While the album showcased ambitious production and psychedelic experimentation, its sprawling structure and inconsistent songwriting left listeners confused. Lacking the immediate charm, catchy hooks, and concise energy that had made the debut a commercial and critical success, the record struggled to connect with fans and critics alike, ultimately failing to replicate the excitement of their first outing.
15. U2 - October (1981)
U2’s second album is a somewhat disappointing follow-up to their debut, 1980's Boy. Critics and fans noted that while it retained the band’s signature post-punk energy and Bono’s earnest vocals, it was more subdued, introspective, and sparse than expected. The album’s spiritual preoccupations and sometimes underdeveloped songs made it feel unfinished, and it lacked the immediacy and hook-laden appeal of Boy.
Even U2 themselves have acknowledged the recording was rushed and challenging, with bassist Adam Clayton and guitarist The Edge struggling to find confidence in their parts. Despite this, October contains glimpses of the band’s evolving identity and remains an important step in their early development.
What's more, during the recording of October in 1981, Bono famously lost much of the album’s lyric notebook while travelling through an airport . This mishap forced him to improvise lyrics on the spot during the sessions, contributing to the album’s spare, fragmentary feel. The lost lyrics partly explain why October comes across as more minimalistic and unfinished compared with Boy, and why some songs feel less fully realized, even as the album captures U2’s earnest spiritual and political ambitions at that early stage.
We will say, though, that the haunting uileann pipes that begin the track 'Tomorrow' make for one of the most hauntingly beautiful intros in all of rock.
And talking of beautiful beginnings, the very next track (the title track, 'October') also has an opening of immense emotion, sorrow and grandeur. So perhaps we're being a little harsh on October...
Artist pics Getty Images
