Music fans anticipated new releases at the beginning of September, but as the month dragged on it became apparent some artists could not carry their weight. Suffering through miserable melodies and mediocre lyrics, here are some of the worst albums that rang through the ears of let-down fans last month.

Miley Cyrus: “Younger Now,” Sept. 29

Miley Cyrus’s sixth studio album sees her retreating from the drug-addled persona she’s cultivated for the past few years. Instead of the spacey experiments of 2015’s “Miley Cyrus and Her Dead Petz,” “Younger Now” sounds like mutated country-pop.

The albums possess an attractive sonic idea, but the execution isn’t there. Cyrus sounds like she’s sleepwalking on lead single “Malibu,” and the production is flat, lifeless and in some spots, just annoying. The bass line on third track “Rainbowland” is so repetitive and simple it could win an award for “Most Aggravating Rhythm Track of 2017.”

It’s a shame the album is so lifeless because Cyrus has a compelling voice when she puts effort in. She sounds warm and husky on “Miss You So Much” and she hits some big notes when she chooses to. “Miss You So Much,” and “I Would Die For You” are quiet and introspective, with gentle strumming guitars and minimal percussion; it’s interesting to hear Cyrus step out of her comfort zone.

Unfortunately, the back half of the album takes a huge step in the wrong direction. “Thinkin’” is a shuffling pop number as forgettable as any other song on the radio. It’s as if Cyrus couldn’t fully commit herself to a new persona so she tried to turn around and have the best of both worlds. The indecision doesn’t work.

Cyrus is in a transitional stage on “Younger Now,” and while this album doesn’t provide many worthwhile songs, it will be interesting to see which angle her next album takes.

Prophets of Rage: “Prophets of Rage,” Sept. 15

The most disappointing rock album of September has to be the self-titled debut album from Prophets of Rage. The rap-rock supergroup consists of the instrumentalists from Rage Against The Machine, Chuck D from Public Enemy and B-Real from Cypress Hill.

“Prophets” isn’t terrible but feels forced and clunky when compared to the best work from their former groups. It’s as if for the first time in their careers, these men have to work for it instead of skating by on pure skill.

The Rage guys sound just as tight as they ever did. Drummer Brad Wilk still clobbers the skins and bassist Tim Commerford has never sounded more nimble on the four-string.

The group’s power and groove isn’t an issue, but B-Real’s clumsy rapping is. “Legalize Me” has the kind of tornado riffage former Rage front man Zack De La Rocha could have turned into a thunderous political rally.

Instead, B-Real unimaginatively lists places where weed is legalized; it becomes the kind of song a seventh grader could come up with to amuse his schoolyard buddies.

Chuck D fares better but no amount of great Public Enemy records can excuse lines like “I lost my home, so I roam wherever, and my belly’s on E, and I gots no cheddar,” from “Living on the 110.”

It’s good to hear these musicians still going, but for those who need some politically charged fighting music, “Prophets of Rage” is the weakest project these men have been part of. These songs would work better as concert experiences where the machismo and power of the band could overpower some of the weak rhymes.

Ringo Starr: “Give More Love,” Sept. 15

Ringo Starr is beyond legendary, he drummed for one of the greatest groups in history; even the man’s glasses are iconic. Nobody is going to going to stop him if he decides to put out an album of nondescript rock songs. He’s not out to prove anything to anyone and his lack of ambition dooms “Give More Love.”

Simply put, Starr doesn’t seem to have the drive or patience to write decent lyrics. No matter how iconic he is, it’s impossible to get through lines like “I know what I’ve got to do, and I’ve got to do it right now” from “Speed of Sound,” the third song, without cringing.

Every song on “Give More Love” suffers from childish writing. The lyrics on “Laughable” are ironically hilarious for the wrong reasons: “Woke up this morning I was feeling good. Turn on the radio I understood. Things are changing, like never before. Soon I’ll go back to bed and close the door.” It’s hard to believe someone who played with John Lennon and George Harrison can still write rhymes this clunky.

Thankfully, Starr knows how to get talented people in his corner. Steve Lukather from Toto lays down a great, sidewinding guitar riff on opener “We’re On The Road Again” and Paul McCartney himself shows up to play bass on a few tracks. What Starr really needs is an editor though because whoever let him run his voice through auto-tune on “Electricity” needs to be flogged immediately.

“Give More Love” is nothing more than an excuse for Starr to play music with his friends, and while the man has absolutely earned the right to do so, it doesn’t mean listeners have to suffer through his shallow songwriting.