Troubled Production/Real Life/Music

Examples of s in Real Life include:

"Martin entered the studio with engineer Bob Moon – and wouldn’t emerge again for a month. Not to sleep. Not to visit friends. Not for anything. Moon’s recollection is vivid. “It was just insane. I remember at one point standing outside the studio with Jason, and hearing him say that it was the first time he’d seen the daylight in seven days.” “I didn’t leave the Green Room for a month. Period. [...] I was having a semi-breakdown,” he admits. “It was a sick experience.”"
 * The Smashing Pumpkins' mainstream breakthrough Siamese Dream ended up as this. Billy Corgan moved the band from Chicago to Marietta, Georgia in an attempt to get Jimmy Chamberlin to stop abusing so many drugs (it failed), he came down with suicidal depression and writer's block, D'arcy Wretzky and James Iha broke up at the same time and by the end Billy wound up playing most of the guitar and bass just to get things done quicker. Eventually, the album was finished after four months and $250,000 over budget and became a massive success.
 * My Bloody Valentine's Magnum Opus, Loveless. You can probably get the whole lowdown on The Other Wiki or the band's own page, but just to recap: main vocalist/guitarist/songwriter Kevin Shields is perfectionist to the point of James-Cameron-ness, 19 recording studios were used, 16 engineers were credited (most of them just ended up bringing Shields tea; only Anjali Dutt and Alan Moulder actually engineered anything), Shields and vocalist/guitarist Bilinda Butcher didn't allow the engineers to actually listen to them while recording vocals, drummer Colm Ó Cíosóig couldn't take part due to illness and homelessness (his drumming was sampled, and he only played live on two tracks), they took two weeks to master the whole thing and it was almost all ruined when the computer they were using threw the entire album out of order and Shields had to piece it back together from memory. For years their label head Alan McGee claimed they spent 250.000 pounds and almost bankrupted Creation Records, a claim Shields always disputed as exaggerated - his most recent explanation was that only "a few thousand" were actually used to record while the rest was "money to live on". However, it is true that the production of Loveless ended up terrorizing Creation's staff and draining their finances, with the label's second-in-command Dick Green having a nervous breakdown and tearfully begging Shields to just get it over with already - one publicist even commented that Green's hair turned grey from all the stress.
 * Red House Painters had this happen to them twice:
 * During the production of what was supposed to be a Mark Kozelek solo album, Songs for a Blue Guitar, 4AD's record manager Ivo Watts ended up in a raging argument with Kozelek over a guitar solo. Because Kozelek refused to change it, Watts threw not just Kozelek but the entire RHP project off the label, just a couple of months before the album was due to be released. During the next several weeks, Kozelek desperately tried to find a label that would release the album as well as let him finish it. Even when Island Records took him in, they demanded the guitar solos changed and that the album be labeled as Red House Painters rather than a solo album. While the guitar solos ended up staying, Kozelek would not release his first true solo album until 2000. Songs For A Blue Guitar is considered one of the best albums to be associated with the singer/songwriter.
 * When the band got back together to record Old Ramon, Kozelek (feeling just a little too proud of the critical response to the previous album) was going through an ego trip. The band were constantly arguing with instrument arrangements, which on previous albums were a group effort, but now Kozelek was composing everything himself. Their connection with Island Records was also falling through, with the label one-upping 4AD's dropping them by not just dropping the band, but refusing to let them have the master recordings of the album. Old Ramon remained unheard (a miracle even by late 90's standards) until 2001 when Sub Pop records offered Island more money than the album was truly worth just to get this great piece of art out to the public.
 * Jeff Buckley had both a very notable aversion and straight-forward example of this. Grace is one of the most easy-going recordings in popular music history, while Sketches For My Sweetheart The Drunk is an entirely different story. After the commercial disappointment (at least in Sony's eyes) of Grace, Sony sent in a record producer that demanded hits from the singer-songwriter. During this album's production he threw out an entire album's worth of material and completely reworked songs against the producer's wishes. Buckley's own fellow band members recall the high-heated arguments during recording sessions that created high-tension drama for the musicians involved. As if that weren't bad enough, Buckley made it worse by dying in the middle of production. This left many of the already troubled songs completely unfinished. The album was released with production as close to finished as the producers thought would be in the singer's wishes, the first CD containing the mostly finished previously-recorded material that had been rejected, and the second disc the more unfinished songs and home demos. The album is generally considered good, but really jarring, as the potential the album could have had brings sadness to many listeners.
 * A milder example but one that still qualifies, the sessions for The White Album found The Beatles largely working alone with whatever engineers they had handy and spending hours jamming with no results. The tense atmosphere and lack of productivity caused their longtime engineer Geoff Emerick to quit halfway through and even George Martin felt he had to take a vacation. It pretty much marked the point when the arguments and fights that would later break up the band first reared their ugly head. The ambient was so bad Ringo even left the band for a couple of days, leading Paul to play drums in both "Back in the USSR" and "Dear Prudence".
 * The Beatles started work on Let It Be thinking that returning to the good ol' days of studio jams would get them out of their rut. It didn't work, of course, and the documentary film that was supposed to capture genius at work instead captured the ugly breakdown of a once great band. The album was eventually released several years later when Phil "Wall of Sound" Spector cobbled together what usable bits existed of the recording sessions and turned them into complete songs (such was the acrimony among band members that they never actually recorded a complete take from beginning to end). In 2003, Paul McCartney completely remixed the album producing a rawer, more stripped down sound that he claimed was closer to the band's original vision. The accompanying film has not been shown publicly since the mid-80s because the remaining Beatles say that it brings back too many bad memories.
 * Pink Floyd's late seventies-early eighties albums.
 * The Wall: the band had to leave the UK for tax reasons, and recorded the album in studios in France and the USA. Homesickness predictably ensued. Roger Waters started really becoming the band's dictator, and argued with producer Bob Ezrin. Rick Wright was fired for his refusal to cut his vacation short and rush back to the studio when the album turned out to be behind schedule. The extravagant tour ended up losing the band money, except for Wright, who was the only "official" member to profit from the tour on the basis that he played and was paid as a session musician during the tours.
 * The movie was just as bad, with Waters, director Alan Parker and animation director Gerald Scarfe constantly getting into each other's nerves.
 * The Final Cut: Roger completely took over by this point, not allowing David Gilmour any input and becoming quite the Small Name, Big Ego - at one point he lost his shit and argued with Michael Kamen after finding that Kamen had just scribbled "I must not fuck sheep" repeatedly instead of taking notes. Nick Mason was replaced for a few songs by session drummers as he was suffering from self-confidence issues and marital problems. As a result, Gilmour requested to have his name removed from the producer's credits, but still received producer's royalties.
 * A Momentary Lapse of Reason: much less angsty but still a bit. Gilmour had problems with writer's block and brought in numerous musicians to help, while Mason and Wright (the latter whom, at the time, was not an official member until 1994) themselves didn't do much due to, again, self-confidence issues (Gilmour said that Waters had a talent for "making others feel worthless"). Finally, at the same time the album was produced, Gilmour and Mason were fighting a lawsuit against Waters over ownership of the Pink Floyd name.
 * The Rolling Stones' beloved Magnum Opus Exile on Main St. Much like Pink Floyd, the Stones left the UK in 1971 for tax reasons and settled in France. Most of the backing tracks were recorded in the basement of Richards' villa at Nellcôte, a poorly-ventilated environment where the heat would cause the guitars to go out of tune. Recording took place all night but none of the Stones ever showed up all at the same time - Wyman sat out most of the sessions, Jagger was frequently AWOL and Richards was just getting started on his infamous substance abuse. He was joined in said substance abuse by Taylor, producer Jimmy Miller, session musician Bobby Keys and engineer Andy Johns - Wyman claimed in his autobiography that he, Watts and Jagger were the only people in the villa who abstained to some degree. The band then took the piecemeal recordings and backing tracks to Los Angeles, added all the overdubs and assembled them into Exile.
 * An awesome example is the 1969 tour that was being documented by a film crew. The crew just happened to be on hand to capture the planning for and performance of the infamous concert at the Altamont Speedway. This was intended to be the Stones' Crowning Moment of Awesome, but things started to go wrong very early, giving the whole proceedings an aura of doom. The event just barely got pulled together, and was marked by fighting in the crowd. The cameras were able to capture the whole fiasco, including the murder of an attendee by a Hell's Angels guard. The production was intended to be a standard concert film, but became Gimme Shelter, a dark documentary that shows how what was intended to be an answer to Woodstock became seen by some as the event that marked the end of the hippie era.
 * Extensive use of cocaine marked much of the production of the Fleetwood Mac album Rumours, recorded shortly after two members of the band had divorced, another two members were in a on/off relationship, and the drummer discovered that his wife was having an affair. The resulting LP was a huge critical and commercial success, and regularly appears on lists of the best albums ever made.
 * The same problems continued, just turned up a few notches, when they went back into the studio to make the double album Tusk. Lindsey Buckingham was largely in charge, and he found yet another way to piss off his ex-girlfriend, Stevie Nicks, by cutting "Sara" down to six and a half minutes from the original 14. He was influenced by the New Wave sound of the time, and it shows. For the title track they got the USC marching band to play along. It cost a million dollars to make, the most expensive album ever recorded at that time, and although it generated three hit singles ("Sara" among them) and sold four million copies it was widely regarded as a failure because that was nowhere near the business Rumours had done.
 * Pete Townshend, after Tommy's immense success, intended to create another rock opera, this time with a sci-fi bent, called Lifehouse. Its plot would involve a dystopian heavily polluted virtual reality-based future (virtual reality before the term was even coined), where a Scottish farmer family go to the Lifehouse concert in London, the perfect note rings out and the concertgoers disappear after having achieved musical Nirvana (no, not that kind). The Who would take over the Young Vic theatre, develop new material with influence from the audience and a story would evolve. It would be a movie. Pete would modify his new synths to pick up information from audience members to create musical portraits (something basically impossible then and still pretty complicated now). Unsurprisingly, this was a recipe for disaster. Pete's inability to figure out just what the fuck he wanted caused him to have a nervous breakdown, and after spending four months of live concerts at the Young Vic and unproductive studio sessions, he finally junked the whole Rock Opera concept. The Who gathered up their best songs, and entered Olympic Studios with producer Glyn Johns. The result was Who's Next.
 * Metallica's mainstream breakthrough Self-Titled Album, to a certain extent. To recap: band members get sick of hyper-complicated prog-metal songs that are "too fucking long" during the ...And Justice for All era, hire Motley Crue producer Bob Rock, he proceeds to alter the band's schedule and actually challenge them on songwriting (something previous producers Jon Zazula, Paul Curcio and Flemming Rasmussen never did; in one specific example, Rock told Hetfield up front that his original, crib death-themed lyrics for "Enter Sandman" sucked hard and he needed to write better ones) and emphasising the still-picked-on Jason Newsted in the mix (in contrast to Justice's infamous lack of bass), lots of arguments ensue. Metallica themselves said that they somehow bonded during the sessions through finding new ways to torment Rock - Hetfield claimed that at one point he was browsing a magazine which happened to contain a gay ad that startled Rock, so the next day he plastered an entire room with gay porn. Despite all the animosity, Metallica stuck with Rock due to the success they had with the Black Album (which is still the best-selling album of the Sound Scan era and the best-selling Heavy Metal album), all the way up to the disastrously received St. Anger.
 * St. Anger itself, as the Some Kind of Monster documentary (filmed during recording of said album) handily proved.
 * U2 have had a few:
 * Achtung Baby was recorded at first in Berlin's famous Hansa Ton Studios (formerly Hansa By The Wall, what with them being right next to the Berlin Wall) at the same time that an intra-band conflict started up: Bono and The Edge, burned by the poor reception of Rattle and Hum and their own Creator Backlash, wanted to go in a cyberpunk-industrial-electro-alternative-rock direction, inspired by the contemporary growth of the Alternative Rock, Shoegazing and Madchester scenes. Larry and Adam, on the other hand, wanted to keep the "old U2" sound. Hoping that they would be inspired by the post-Cold-War-ending euphoria, the band instead found the mood in Germany something of a malaise and their hotel really poor. Cue lots of arguments and little tangible progress despite the aid of producers Brian Eno and Daniel Lanois. They decamped back to Ireland with the tapes, managed to sort them out and came out with one of their most beloved records.
 * Pop was meant to further the band's explorations into electronic and dance music, recorded with the help of more producers. They were so confident they allowed their manager to schedule a tour for the summer of 1997. Then Larry had to sit out a lot of the sessions due to back surgery, the band hit some walls creatively and ended up in a mad rush to finish recording the album in time for the PopMart tour - Bono's vocals for "Last Night on Earth" were, funnily enough, recorded on the last day of mixing and mastering, and the whole band basically worked like they were Japanese until the CD was finally released, then just went straight into touring. This left them no time to practice for the tour, resulting in some pretty poor early shows (including a disastrous start in Las Vegas, where they had to stop and re-start "Staring at the Sun" because they lost timing).
 * Smile, by Brian Wilson and The Beach Boys, is one of the most fascinating examples of this in music history. It was meant to be, in Brian's words, a "teenage symphony to God", a whole album's worth of music similar in style to their smash hit "Good Vibrations", and the album that would top his previous masterpiece, Pet Sounds. But as time went on, Brian's already fragile psyche began to crumble, coupled with his heavy consumption of cocaine and LSD, to the point that he began believing that one of his songs was starting fires around the studio it was recorded at. Things weren't going well around him, either; by that time, the band was suing Capitol Records over royalties and trying to set up their own record label, Brian's brother Carl Wilson was nearly drafted for the Vietnam War, and worst of all, Brian's bandmate and cousin Mike Love came into heated arguments with Brian's lyrical partner Van Dyke Parks over the meaning of such lines as "columnated ruins domino" and "over and over, the crow cries uncover the cornfield", eventually driving Van Dyke Parks into leaving the project behind. By that point, Smile was basically over, and on May 6, the project was officially shelved. (more than 30 years later, Wilson resurrected the thing as a solo album)
 * Guns N' Roses' Chinese Democracy. 11 years of development, millions of dollars spent, at least 11 musicians involved, and much pressure on getting the album released.
 * While recording Synchronicity in Montserrat, the members of The Police each recorded their parts in different rooms and only overdubbed instruments when just one of them was in the studio at a time because they couldn't stand to be in the same room. Additionally, Sting and Stewart Copeland started a fight while recording "Every Breath You Take", which almost made producer Hugh Padgham walk out.
 * It got even worse when they went back to try to record what would have been their sixth album, where they were going to do new recordings of all their greatest hits (it was released, with only "Don't Stand So Close to Me" updated). According to Andy Summers, one morning, as he expected, Stewart and Sting got into a fight about how to program a Synclavier shortly after they began working. He slipped out and came back seven hours later ... only to find them still having the same exact argument.
 * Happy Mondays' New Sound Album Yes Please! was a production so troubled that it bankrupted the label that financed it, Factory Records. The album went way over budget, members became addicted to crack (while attempting to kick a heroin habit), and a recording session in Barbados resulted in recorded instruments but no vocals (due to the members forgetting to write the lyrics). When the album was released, it was universally panned and failed to sell.
 * Of the two big post-September 11 benefit concerts, "The Concert for New York City" proved a sensation, while "United We Stand: What More Can I Give" in Washington, D.C. proved a debacle. The Daily Show brutally mocked it with the correspondent sent to cover it hoping that the proceeds were going to a charity that could get him several hours of his life back. This Salon article (calling it "The Worst Benefit Concert Ever!") and this kinder MTV article provide the details; among the "highlights" noted:
 * Several billed performers didn't show up, such as Mick Jagger and KISS.
 * Myriad technical difficulties not only interfered with the performances but put the show over three hours behind schedule. (Luckily this show, unlike its N.Y.C. counterpart, wasn't broadcast live.)
 * Mariah Carey's appearance came in the wake of her public breakdown and the flop of Glitter—which her appearance still tried to promote.
 * A few sets were marred by performers' careless use of the American flag as a prop.
 * Top-billed, show-climaxing Michael Jackson (the concert's organizer and one of those careless flag users) lip-synched his way through his one solo number before the grand finale.
 * Starflyer 59's sophomore album, Gold. Prior to recording, "internal tensions" reduced the band's members to Jason Martin, and then the pressure of recording the album all by himself pushed Jason to the verge of a nervous breakdown. As J. Edward Keyes' semi-official biography of the band describes it:


 * The creation of Public Image Ltd's third LP, Flowers Of Romance, was plagued with setbacks, most stemming from the departure of Only Sane Man bassist Jah Wobble over monetary disputes, all worsened by Keith Levene's heroin addiction and John Lydon's increasing paranoia. It shows.
 * Michael Jackson's Invincible had over 50 songs recorded for it over four years (the final album had only 16 of them), and the production costs soared to $30 million before it was finally ready in the fall of 2001 under pressure from Sony chief Tommy Mottola. For reference, the album had originally been promised for Christmas 1999. By that point, Jackson was both planning to leave the label over contract disputes and unwilling to do a U.S. tour to support the album. Instead, he staged two Madison Square Garden concerts with fellow artists paying tribute to him as the lead-in to a set that, among other things, reunited him with his brothers for the first time in years that September. Unfortunately, the first concert was plagued by delays between sets, and while the second night went better, it happened to take place on September 10. The Sept. 11 attacks wiped discussion of the shows off of the media's table (save for an Entertainment Weekly cover story by an unimpressed attendee), and when the album arrived at the end of October it didn't sell nearly as well as expected/needed in the wake of mediocre reviews. When Sony decided to stop pushing the album through videos, singles, etc. in early '02, Jackson proceeded to claim they intentionally sabotaged its promotion out of racism.
 * The boys from Canadian band Rush had some of this while making their fifth album Hemispheres as Neil explains this interview. The album would eventually go to Platinum status in the US.
 * Steely Dan's 1980 album Gaucho has one of the more troubled productions in rock music history. For starters, guitarist/songwriter Walter Becker was hit by a car before recording began, and while recovering from leg injuries, developed other infections which further delayed recording. Also, Becker and co-leader Donald Fagen became control freaks in production, demanding dozens of takes from studio musicians and continuous tweaks to already recorded material (the fade-out for "Babylon Sisters" alone took 55 attempts for Becker, Fagen and their longtime producer Roger Nichols to decide on a version they liked). Then, a song called "The Second Arrangement"—which the band had slaved over more than any other track—was accidentally wiped by a recording assistant and eventually had to be scrapped. Lastly after the album had been finally been finished, a three way legal wrangle sprang up between the band's former label (MCA), the label that the band had just signed to and planned to release the album on (ABC/Warner), and the band themselves, who just wanted the darned thing to be released. MCA won out, and released the album for an inflated price exclusively because the band were popular.
 * Fagen and Becker, long-time friends and the only two permanent members of the band, began to grow distant due to Becker's drug use and Fagen's plans on releasing a solo album. Steely Dan broke up under a year after Gaucho's release, with Fagen and Becker not reuniting the band for 15 years.
 * The Kovenant's fabled fifth album, Aria Galactica, has been in Development Hell for nearly a decade.
 * Def Leppard's most successful album, 1987's Hysteria, suffered from an immensely troubled production. They began working on it in late 1983 after completing the tour for their previous album Pyromania without that album's producer (Mutt Lange), aware that they'd likely struggle top a Diamond-certified album. Disaster struck in December 1984 when drummer Rick Allen had a car accident that cost him his left arm, but he was determined to continue playing the drums with one arm and set about learning to play a modified electronic kit. Meanwhile, Executive Meddling resulted in the recruitment of Jim Steinman as producer over the band's objections; when Steinman failed to produce anything meaningful with the group he was sacked, but still had to be paid. Eventually they finished the album with a returning Lange, but it had gone so far over its budget by that point that they barely covered it's costs in spite of selling about three million copies. They didn't catch a break until "Pour Some Sugar On Me" was released as the fourth single and propelled the album back to the top of the charts.
 * Sly & the Family Stone's There's a Riot Goin' On has this trope written all over it. The band was agreed to be on a roll, due to the combined effect of the hit Stand album, their triumphant Woodstock appearance, and the new singles on the hit Greatest Hits album. Behind the scenes things were falling apart. Sly Stone moved from San Francisco to LA, creating physical and personal distance from the others. He and some other members greatly increased their drug intake. The Black Panthers, showing odd priorities, were pressuring Sly to fire drummer Greg Errico and saxophonist Jerry Martini because they were white. Errico did leave around that time, mainly because Sly's use of drum machines and guest musicians was leaving him with little to do. During all this turmoil, song lyrics showed a surprising level of bleakness. The resulting album is remembered as simultaneously one of the group's classics and the beginning of the end for the Family Stone.
 * Foo Fighters' One by One. Probably helped by the band being burned out by years of touring, no one was satisfied with the recordings. Then during a UK minitour, drummer Taylor Hawkins had an overdosis. As he left the hospital, the band rushed back to their Virginia studio, eventually moving to a top-notch LA one... and not only the frustration continued, but tensions were escalating. The band eventually decided to take a break - where, to make it worse, Dave Grohl went touring with Queens of the Stone Age, raising some ire from Hawkins. The band eventually decided they'd at least play the Coachella festival - where the rehearsals were mostly silent until guitarist Chris Shifflet (who was recording his first album with the band) said "Man, is it just me or we can cut the air here with a knife?" and fights broke out. But the concert was done, and since the band enjoyed their performance, they decided to re-record the album from scratch in Virginia during just two weeks. As Dave put out: "This version of 'All of My Life' cost $1 million and sounds like crap. This was recorded in half an hour in my basement and is the biggest fucking song we've ever had!"
 * Perhaps the most morbid example was Mayhem's Magnum Opus, De Mysteriis Dom Sathanas. Back in 1991, before most of the songs were fully written, (initial songwriting began in 1987) lead singer Dead offed himself by hacking his wrists up multiple times before blowing his brains out with a shotgun. Almost immediately after Dead's suicide, stories about guitarist Euronymous taking pictures of the body and even making a stew out of the brain (along with Euronymous's generally poor treatment of Dead when he was alive) had prompted bassist Necrobutcher to leave the band. Mayhem, lacking both a vocalist and a bassist, brought on Attila Cishar and Euronymous's then-friend Varg Vikernes to help finish recording. From the start there were issues with finishing what Dead started. Meanwhile in 1992 Varg and Euronymous were out burning churches along with the rest of the "Black Circle" started by Euronymous. However, tensions soon rose between the duo over both priorities (Euronymous feared Varg was using Mayhem and the Black Circle's crimes to boost Burzum record sales) and politics (Euronymous leaned far to the left, and Varg was even farther to the right). The details of what eventually happened are still disputed but by the end of it Varg had stabbed Euronymous to death in 1993, with recording just finished. He was arrested and sentenced to 21 years in prison for both the murder and the arsons. Drummer Hellhammer was asked by Euronymous's family to remove Varg's bass and redo the parts, but eventually he simply left it in, most likely because he had no idea how to play bass. The album would not be released until 1994 due to the controversy surrounding the murder. (Oh, and their next album? 1995's Dawn of the Black Hearts, an LP with one of Euronymous's postmortem photos of Dead as the cover.)
 * Doctor Who 'trock' band, Chameleon Circuit, experienced a hard time making their two albums. They were forced to release their first album unfinished because their producer left them. Their second album, their new producer, Michael Aranda, was stuck in France for two months, because the boarder officials won't let him go to London. Their second album was number 23 in the US Heat chart.
 * Wings' 1973 Band On The Run album was also troubled. On the eve of the recording of the album, guitarist Henry McCullough and drummer Denny Seiwell leave the band, reducing the group to Paul McCartney, wife Linda, and guitarist/bassist/singer Denny Laine. The three of them decided to record in Lagos, Nigeria, helped by a recommendation from Ginger Baker and feeling that the change in atmosphere and sunny weather would do them good. Except it turned out that Nigeria was in the middle of monsoon season, and was going through violent revolution. The studio, owned by EMI, was a seriously under-equipped 8-track facility with limited microphones and underexperienced engineers. The hotel arrangements were miserable, and engineer Geoff Emerick (an associate from the Beatles days) was freaked out by the Nigerian creepy-crawly and reptilian population (Paul and Linda pranked Geoff by dumping dead spiders in Geoff's studio bed). Moreover, as Paul and Linda were out for a stroll, they were robbed at knifepoint, and (among other possessions) the demos of the songs Paul wrote for the album were stolen from them, meaning Paul had to work from memory and/or write new material in the studio. They only got out with their lives as they were white, and the black thieves felt Paul and Linda would not be able to identify their muggers due to their skin color. On top of that, Paul suffered a bout of sunstroke while going outside for a break, and the band were cornered by a visiting Fela Kuti, who was convinced that Paul had come only to steal African beats and profit from them (Paul had to play back what Wings had recorded to Kuti to prove it untrue). The album was finished in England by transferring the Lagos recordings to 16-track for horns, strings and overdubs.
 * Garbage's Bleed Like Me. The first sessions were mostly fruitless and lead the bandmembers to fight each other. After a four month breakup, they decided to resume recording with an outside producer, John King - who was eventually ditched for the band to finish themselves, though one of his tracks is on the final album. The thing still burned the group so much the album's tour was cut short and the band entered a hiatus afterwards, only playing together again two years later. The band blamed new label Geffen for the bad vibes - singer Shirley Manson declared that “We got dumped on a label who did not give one flying fuck about us. And it just became a very joyless process. Something that should be really incredible, exciting and adventurous became like a noose around our neck. And we sort of turned in on each other as a result, I think.”
 * "Rock Me Tonite", the music video that killed Billy Squier's career, fits this trope. According to the Wikipedia article, he had come up on his own with a concept whereby he and some fans would be shown, in grainy film and subdued colors like American Gigolo, getting ready for a concert and then going to it. The first director he approached, the guy who'd done "Beat It", was willing to do it but only if he got a bigger budget, and as he knew Squier's label, Capitol, would likely not give him that much money, he turned it down. The second director had his own concept which Squier didn't like. So, with two weeks to go till the World Premiere Video date they promised MTV, and his tour coming up, they were receptive when Kenny Ortega offered to do it. Squier was too nice a guy to refuse to do the video when he saw the set, or tell MTV to wait, or reject the whole thing and do another video. But if he had been, we'd have been spared the spectacle of him prancing around the bedroom set, rolling around on the satin sheets and tearing off a pink tank top. Everyone thought he was gay, and he stopped selling out shows.