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Top 10 Worst Songs on Great Albums

Top 10 Worst Songs on Great Albums
VOICE OVER: Rebecca Brayton WRITTEN BY: Andy Hammersmith
Even masterpieces have their missteps! Join us as we count down the most skippable tracks on otherwise brilliant albums. These songs make us reach for the skip button faster than you can say "what were they thinking?" From rock legends to rap pioneers, no genre is safe from the occasional musical misfire! Our countdown includes The Police's "Mother," Queen's "Seaside Rendezvous," Nirvana's "Endless, Nameless," The Beatles' "Maxwell's Silver Hammer," and Fleetwood Mac's "Oh Daddy." Which song do you always skip on your favorite album? Let us know in the comments below!
Top 10 Worst Songs on Great Albums

Welcome to WatchMojo, and today we’re counting down our picks for the most out-of-place, and/or ineffective tracks on classic records.

#10: “Mother” (1983)

The Police

On their final release, The Police were in top form. They crafted plenty of enduring singles like “Every Breath You Take” and “King of Pain.” “Mother” is not a classic, but it does appear on a fantastic album. The repetitive riff and obnoxious vocals feel more like a joke. There aren’t any catchy hooks, intriguing lyrics, or engaging drum parts here. Instead, audiences have to sit through guitarist Andy Summers yelling about his mother. Even as an experiment, this track proves to be grating. Some listeners might want to hear it to be a completionist. For most other people, we assume that you skip this one for your own sanity.

#9: “The Crunge” (1973)

Led Zeppelin

These rock gods are no stranger to musical homages, but this one doesn’t fit on “House of the Holy.” It’s not even a terrible song either. Led Zeppelin jam out on this track, channeling a James Brown-style groove. Robert Plant really gets into the vocals, making this deep cut come alive. Needless to say, you probably aren’t searching for “The Crunge” when you want Zeppelin. The funky release didn’t have the intensity or mystical qualities of their other work. This is not “The Song Remains the Same,” trading hard rock licks for something out of the group’s depth.


#8: “Something 2 Dance 2” (1989)

N.W.A.

As one of the finest debuts of its decade, “Straight Outta Compton” stands as an iconic release. It also contains some of the greatest gangsta rap ever. At the end of the record, “Something 2 Dance 2” charts a different course. It’s a dance track written by the member Arabian Prince. While it might be funky, the tune also sounds like it’s from another artist. The tune might be dated to some, while others might be thrown off by the production. Others would have preferred more verses from Ice Cube. It doesn’t ruin this masterpiece, but it does make you wonder how it ended up on the album.

#7: “Seaside Rendezvous” (1975)

Queen

Many of Queen’s songs could be called campy in positive or negative ways. On this record, Freddie Mercury tries out a song fit for a bygone era in music history. It’s evocative of a certain time, but it’s not the kind of music you want from the arena rockers. Mercury gives a solid performance that still doesn’t feel that it’s essential. They’re known to have an eclectic list of music, but this one doesn’t stack up to album hits like “Bohemian Rhapsody.” It feels like a lesser tune that could have been replaced by something more operatic or dynamic.


#6: “The Overload” (1980)

Talking Heads

After three inventive records, Talking Heads topped themselves with “Remain in Light.” It features experimental tracks and hits like “Once in a Lifetime.” To end the album, the band creates a haunting piece called “The Overload.” It feels like a stylistic and lyrical shift from their other music. With a slower tempo and darker sound, the art rockers seem to be in uncharted territory. In this case, they might be pushing themselves too far out of their musical range. It’s a dour tune that they thankfully never tried to replicate. At the very least, they moved on and created “Stop Making Sense.”

#5: “All by Myself” (1994)

Green Day

Just when you think this album is over, you’re greeted by a surprise on “Dookie.” The piece “All by Myself” comes after the epic “F.O.D.” Courtesy of drummer Tré Cool, this simple song explores a much different sound for Green Day. It might be a fun Easter egg for some, but it also ends up being creepy. Cool’s lyrics become more unhinged as the strange story unfolds. If you don’t like gross-out humor, you’ll probably want this to end before it starts. Purists might disagree, but the joke wears thin after a few listens. You’d be better off listening to any number of other great tracks.

#4: “Jamaica Jerk-Off” (1973)

Elton John

Sometimes you just make a mistake. “Jamaica Jerk-Off” sounds like an idea that never should’ve made it to the record. Elton John tries out a Caribbean influence for this track. Depending on how you hear it, the singer sounds like he’s doing the Jamaican patois pronunciation. It’s a strong choice that comes off like a bad impression. “Goodbye Yellow Brick Road” is one of his definitive collections, but this track makes it harder to sit through the whole album. The vocalist is much more at home singing in his normal voice. We can argue about various details, but don’t get us started on the title.

#3: “Endless, Nameless” (1991)

Nirvana

For their monumental release “Nevermind,” Nirvana included a hidden track. “Endless, Nameless” ends the album after an extended silence. While it might come after “Something in the Way,” this song is the furthest thing from acoustic. It’s mostly a chance for the trio to unleash their pent up aggression. Other than its raw energy, the track feels more like chaos than music. This piece mixes elements of a jam with some of Cobain’s angriest vocals. Unless you’re a hardcore fan, you’re likely avoiding this one. There are several other cuts from the band with loud and much more effective results.


#2: “Maxwell’s Silver Hammer” (1969)

The Beatles

The Fab Four easily ranks among the best bands ever. They’ve also got classic albums like “Abbey Road,” but that doesn’t mean they’ve got a perfect streak. “Maxwell’s Silver Hammer” is one example of their lesser output. Paul McCartney took the lead here, crafting a whimsical song about a killer. It also falls flat after some much better music. Add in an anvil and you have a much goofier track. McCartney is a master of pop songwriting, but this work comes up short in an otherwise great lineup. He wasn’t the only band member writing duds either, with John Lennon bringing out an inferior idea for “Sgt. Pepper’s”.

#1: “Oh Daddy” (1977)

Fleetwood Mac

With the release of “Rumours,” Fleetwood Mac achieved a new level of popularity. The album features more than a few hits worth remembering. “Oh Daddy” slows things down, opting for a much more somber sound. This song from Christine McVie is not as memorable with its storytelling or musicality. In her other work on the record, the songwriter shines on both ballads and upbeat singles. This one seems to get in the way of the otherwise stellar roster. McVie had far better music to write, such as her song “You Make Loving Fun” or the anthem “Don’t Stop.”


Did we forget another lesser song from an awesome album? Let us know in the comments below.

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