20 Worst Songs By Great Bands

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Writing this article on the 20 worst songs by great bands wasn’t easy. The problem isn’t finding really bad songs by bands we love. No, the issue is that we don’t really like writing negative stuff about bands we love. These are bands we grew up with that have brought us great joy; we’ve listened to their albums hundreds, if not thousands, of times. But the fact is, there are very few bands, and even fewer albums by any band or artist, where every song is perfect. I’m not talking about songs that are less than perfect, just so-so. I am talking about something here that is, well, kind of cringe-worthy. It’s the songs by these bands that made you stop and go, ” Whoa, what were they thinking?

When I put this list together, I told myself I wouldn’t rule out any bands. No exceptions here. Every band deserves a look. Of course, there are bands we’ve listened to our whole lives, and we know every album, every song. With bands like that, we don’t even have to think about it; we already know which songs we’d argue should never have been released. We don’t all agree on everything. I mean, there are some songs where they were maybe just so bad they were actually good. It kind of either fell in love with them or said, ” Oh, you know what, I get it now. But maybe that first time you heard it, it was another one of those head-turning moments where you thought, “What is going on?”

In the end, I’m going to stop the apologies, stop tiptoeing, and get right to it. Here are 20 songs released by incredibly famous bands that have well earned a spot on this list. I know it’s not the most flattering list. But in the end, it’s just a fun read, and the bottom line is that nothing we say here will affect anybody but maybe get a laugh or two. And perhaps a subtle “oh yeah, I remember that one.”

# 20 – Back To Zero – The Rolling Stones

I’m sorry, but I had to open up this list with this song. I’m a huge Rolling Stones fan. I pretty much love all their stuff. Yet this song kind of ticks me off. It’s just that disco groove early 80s sound that I never really liked. The song really sounds forced. When the Rolling Stones released “Miss You” in the 1970s during the disco era, it worked because it was a great song. If you’re going to try to release something that sounds current in any given time period, you have to release a good song.

This one is definitely a zero. It was released on the album Dirty Work. For many Rolling Stones fans, this is probably the least-liked Stones album. The album was released in 1986. The album’s lead single was a cover of “Harlem Shuffle,” written by Bobby Byrd and Earl Nelson, who originally released it as Bob & Earl in 1963.

Rumors circulated that Mick Jagger and Keith Richards didn’t get along then. It didn’t seem like a good time for the Stones. Nonetheless, I still kind of liked the album. It just wasn’t a real old-school Stones album. I’m glad they’re back now, releasing music that blends their old-school 70s style with a modern approach. In the end, it comes down to really good songs, and that’s why many people never liked it.

Read More: Top 10 Rolling Stones Songs

# 19 – Hot Dog – Led Zeppelin

When I saw Led Zeppelin in 1977, it felt like I was seeing God. That’s how powerful this band was. They had a mystique, an aura that made them seem untouchable. No one sounded like all four musicians in the band. Every album from Led Zeppelin I through Presence was just a phenomenal exercise in blues power, taken to an entirely new level of musicianship and style. It’s my favorite band of all time. However, I don’t think I’m alone in how disappointed I was with the album In Through the Out Door.

In Through the Out Door has grown on me over the years. Maybe it’s because it was the least listened-to Led Zeppelin album in my collection, so it kind of sounds the freshest. But when it was released, it was another one of those what-happened moments.

I get the tribute on the song “Hot Dog” and what they were going for. But after all they achieved, and with every album a true gem, this song just didn’t belong on a Led Zeppelin album. A good B-side, a fun B-side would have been more like it.

Read More: Top 10 Led Zeppelin Songs

# 18 – Babies – The Kinks

I love the Kinks. I mean, how could you not love a band that gave us songs like “Waterloo Sunset,” “You Really Got Me,” and “Lola”? Ray Davies is one of rock’s greatest songwriters, especially when it comes to telling stories about ordinary people. But even a songwriter as gifted as Ray Davies could occasionally write something that made you wonder what was going on. That’s how I feel about “Babies.”

The song appeared on the Kinks’ 1993 album Phobia, their final studio album. That record has some pretty good songs, but “Babies” isn’t one of my favorites. The whole thing just feels overdone, from the vocal delivery to the arrangement.

The Kinks were always at their best when Ray Davies could take a simple idea and turn it into something unforgettable. This time, the song just doesn’t have that magic. It feels like the kind of track you listen to once and then skip whenever you play the album again.

Read More: Top 10 Kinks Songs

# 17 – I Finally Found My Way – KISS

I know what KISS fans are thinking. How could anybody complain about Peter Criss singing another ballad? After all, “Beth” was one of the band’s biggest hits, and it showed a completely different side of KISS. Well, the problem with “I Finally Found My Way” is that it sounds like somebody sat down and decided they needed another “Beth.” That’s usually when things start going wrong. You can’t just manufacture that kind of magic because it worked twenty years earlier.

The band released the song on its 1998 album Psycho Circus, with Peter Criss singing lead vocals. Paul Stanley and Bob Ezrin wrote it. Ezrin also worked on the band’s classic Destroyer album. On paper, that sounds like a pretty good combination.

The recording is just too sentimental for my taste, and the melody doesn’t come anywhere close to the emotional impact of “Beth.” I was excited when the original KISS lineup reunited, but this was not what I wanted to hear from them. Give me “Detroit Rock City” or “Deuce” any day of the week.

Read More: Top 10 Kiss Songs

# 16 – Cool Cat – Queen

Queen was one of those bands that could pretty much do anything. Freddie Mercury could sing rock, opera, ballads, and almost any other style you can imagine. Brian May was one of rock’s most distinctive guitarists, and John Deacon and Roger Taylor made an incredible rhythm section. So when I listen to “Cool Cat,” I ask a pretty simple question. Why? What exactly were they trying to accomplish here?

The song appeared on Queen’s 1982 album Hot Space, a record that pushed the band heavily toward funk, dance music, and electronic arrangements. Written by Freddie Mercury and John Deacon, “Cool Cat” features Mercury singing almost entirely in falsetto over a light funk groove.

I understand that Queen wanted to experiment, and there’s nothing wrong with that. But this one sounds more like background music playing in a trendy restaurant than a Queen recording. This was really upsetting.

Read More: Top 10 Queen Songs of the 1970s

# 15 – Meanstreak – AC/DC

AC/DC is one of the most consistent hard rock bands of all time. You put on an AC/DC album, and you pretty much know what you’re going to get. Big guitar riffs, Brian Johnson screaming his lungs out, and a rhythm section that can shake the walls. That’s why a song like “Meanstreak” is so frustrating.

AC/DC released “Meanstreak” on their 1988 album Blow Up Your Video. Harry Vanda and George Young produced the album. They had worked with the group on some of their greatest early recordings. The record has a couple of really good songs, especially “Heatseeker.” But “Meanstreak” just doesn’t go anywhere for me.

The riff never really develops into anything memorable, and the chorus lacks the punch that makes the best AC/DC songs so much fun. With this band, I don’t need anything complicated. I just need a great riff and a great song. This one doesn’t deliver either.

Read More: Top 10 AC/DC Songs

# 14 – Seamus – Pink Floyd

Now this one is almost too easy. Pink Floyd gave us some of the most incredible music ever recorded. I saw them in 1977 at MSG just a few weeks after seeing Led Zeppelin. We’re talking about a band that created The Dark Side of the Moon, Wish You Were Here, and Animals. They could take listeners on musical journeys that no other band could match. And then there’s “Seamus,” a song featuring a dog howling along with the music. Yes, a dog. I don’t know what else to say about that.

“Seamus” appeared on Pink Floyd’s 1971 album Meddle, the same record that gave us the magnificent twenty-three-minute composition “Echoes.” The song is basically a short acoustic blues number accompanied by the howling of a dog named Seamus.

I understand that the band had a sense of humor and enjoyed experimenting with unusual sounds. But there’s experimenting, and then there’s making people wonder if somebody accidentally left a microphone turned on near the family pet. It’s a funny little novelty once. After that, I’m reaching for the next track.

Read More: Top 10 Pink Floyd Songs

# 13 – Look Away – Chicago

It’s not a bad song if someone like Cher or Celine Dion recorded it. Yet even though Chicago at the time had been moving more and more toward that shiny pop sound that David Foster steered them into beginning with Chicago 16 and continuing through Chicago 17, this one just went too far. I grew up listening to Chicago when they were one of the greatest horn-driven rock bands in the world. Their first few albums were incredible combinations of rock, jazz, and pop. When I heard “Look Away,” I honestly wondered how the band that recorded “25 or 6 to 4” had ended up here.

“Look Away” was released in 1988 on the album Chicago 19. Written by Diane Warren and produced by Ron Nevison, the song featured Bill Champlin on lead vocals and became a number one hit on the Billboard Hot 100. So obviously, plenty of people loved it. I just wasn’t one of them.

The problem isn’t the performance, because Champlin is a fantastic singer. The problem is that almost any adult contemporary artist of the time could have recorded the song. Virtually nothing remained of the original Chicago sound that made the band so special. It might have been a huge hit, but it sure didn’t sound like my Chicago.

Read More: Top 20 Chicago Songs

# 12 – Did You Steal My Money – The Who

Few bands have meant more to me than the Who. Pete Townshend is one of rock’s greatest songwriters, Roger Daltrey has one of the most powerful voices in the business, and Keith Moon and John Entwistle were one of the most unbelievable rhythm sections ever assembled. When I listen to albums like Who’s Next or Quadrophenia, I’m reminded of just how magnificent this group was. Then I put on “Did You Steal My Money,” and I wonder what happened to that songwriting magic.

The song appeared on the Who’s 1981 album Face Dances, their first studio album with Kenney Jones replacing Keith Moon on drums. Now we have interviewed Kenney, so it’s not easy to include this song here.  But Pete Townshend wrote it, so I guess it’s okay.

It has this odd, repetitive feel that never seems to develop into anything particularly exciting. I don’t mind a band changing its sound, and I actually like several songs on Face Dances. But this track just doesn’t have the fire, melody, or emotional impact I expect from the Who. It sounds more like an unfinished Townshend idea than a song that deserved a place on a Who album.

Read More: Top 10 Who Songs

# 11 – The Disco Strangler – Eagles

I have always thought the Eagles were one of the best bands at combining beautiful vocal harmonies with great songwriting. From “Take It Easy” to “Hotel California,” they created some of the most memorable recordings in classic rock history. Even when they got darker and more serious, there was usually a great melody holding everything together. That’s what makes “The Disco Strangler” such a strange recording. I can’t think of too many Eagles songs that sound less like the Eagles.

The song appeared on the band’s 1979 album The Long Run and was written by Don Henley, Glenn Frey, and Don Felder. I understand that they were taking a shot at the disco scene and its excesses. That’s fine, and the Eagles were certainly capable of writing clever social commentary. But the song itself is just so repetitive and awkward.

The rhythm plods along, the melody barely registers, and the whole thing feels completely out of place next to songs like “I Can’t Tell You Why” and “Heartache Tonight.” For a band that was usually so careful about what went on its albums, this one is a real head-scratcher.

Read More: Top 10 Eagles Songs

# 10 – Rivendell – Rush

I know this selection will upset some Rush fans. That’s okay. I love Rush, and I have tremendous respect for everything Geddy Lee, Alex Lifeson, and Neil Peart accomplished together. They were three extraordinary musicians who created some of the most ambitious rock music ever recorded. But when I listen to “Rivendell,” I find myself waiting for something to happen. And waiting. And waiting some more.

“Rivendell” appeared on Rush’s second album, Fly by Night, released in 1975. The song draws on J.R.R. Tolkien’s fictional world and takes a much quieter approach than most of the band’s early material. I understand the idea of creating a peaceful, atmospheric piece, and the band certainly had every right to experiment.

This one just puts me to sleep. It lacks the dynamic changes and musical excitement that made Rush such an incredible band. When I think about the brilliant arrangements they created on albums like 2112 and Hemispheres, “Rivendell” sounds like a long rest stop along the way.

Read More: Top 10 Rush Songs

# 9 – I Can’t Dance – Genesis

This is another one that’s probably going to make some people angry. I know “I Can’t Dance” was a massive hit, and I get that Genesis was having a little fun with it. But I remember when this band was creating incredible progressive rock albums like Foxtrot, Selling England by the Pound, and The Lamb Lies Down on Broadway. Even after Peter Gabriel left, they continued making great music. By the time we got to “I Can’t Dance,” though, I barely recognized the band anymore.

Genesis released the song on their 1991 album We Can’t Dance, and it became a major hit in 1992. Written by Phil Collins, Tony Banks, and Mike Rutherford, it featured a deliberately simple blues-style riff and a humorous video poking fun at fashion advertising. I get the joke. I really do. But that doesn’t mean I want to listen to the song.

The chorus is repetitive, the arrangement never develops into anything particularly interesting, and it sounds more like a novelty record than a Genesis composition. I know plenty of people love it, but I’ll take “Firth of Fifth” over this one every single time.

Read More: Top 10 Genesis Songs

# 8 – Tell All The People – The Doors

This may be the worst set of lyrics I have ever heard. Okay, maybe that’s a little harsh, but we’re talking about the Doors here. This was the band that gave us “The End,” “Light My Fire,” “When the Music’s Over,” and “Riders on the Storm.” Jim Morrison could be one of the most fascinating lyricists and singers in rock history. So when I hear him singing “Tell All the People,” I can’t help wondering how this song made it onto a Doors album. It just sounds completely wrong coming from this band.

Guitarist Robby Krieger wrote the song, and it appeared on the Doors’ 1969 album The Soft Parade. It was also issued as a single that year. The horn arrangements and polished production reflected the band’s experimentation with a different musical direction. I don’t mind the horns, and I’m certainly not against musicians trying new things.

The lyrics and melody just don’t work for me. The whole song feels like somebody was trying to turn the Doors into a conventional pop group. There was absolutely nothing conventional about the Doors, and that’s what made them so great.

Read More: Top 10 Doors Songs

# 7 – It’s Alright – Black Sabbath

When you think of Black Sabbath, you think of Tony Iommi’s crushing guitar riffs, Geezer Butler’s dark bass lines, Bill Ward’s thunderous drums, and Ozzy Osbourne’s unmistakable voice. This was the band that helped invent heavy metal. Their early albums were dark, powerful, and unlike anything else on the market. So imagine putting on a Black Sabbath album and hearing a gentle piano-driven ballad that sounds like it belongs to an entirely different group. That’s pretty much what happened with “It’s Alright.”

The song was released on Black Sabbath’s 1976 album Technical Ecstasy and features lead vocals by drummer Bill Ward. Ward wrote the song. And sadly, he sings the lead vocal. The problem is that it doesn’t sound anything like the Black Sabbath I fell in love with.

It’s a pleasant enough little song, but pleasant isn’t exactly what I was looking for when I bought a Black Sabbath record. I wanted those massive Iommi riffs that could shake the foundation of your house. This one sounds like the band decided to take a vacation from being Black Sabbath.

Read More: Top 10 Black Sabbath Songs

# 6 – Skateboard – Jefferson Starship

Yes, I know you were expecting “We Built This City,” but this one is worse. At least “We Built This City” has a melody that sticks in your head, even if you don’t want it there. “Skateboard” is another story entirely. I’ve always loved Jefferson Airplane and Jefferson Starship, especially the incredible combination of Grace Slick, Marty Balin, Paul Kantner, and the other musicians who made those bands so interesting.

Grace Slick and Craig Chaquico wrote “Skateboard,” which appeared on Jefferson Starship’s 1978 album Earth. The album was commercially successful and included excellent songs like “Count on Me” and “Runaway.”

“Skateboard” feels like a throwaway track that somehow survived the recording sessions. This one has always rubbed me the wrong wasy since I first bought this album.  I guess everybody was having fun, but I wish they’d had a little more fun writing a better song.

Read More: Top 10 Jefferson Starship Songs

# 5 – Mr. Roboto – Styx

The perfect example of rock star ego totally unchecked and out of control. That’s how I’ve always felt about “Mr. Roboto.” Now, before anybody gets upset, I love Styx. I grew up listening to albums like The Grand Illusion, Pieces of Eight, and Crystal Ball. They were a fantastic rock band with brilliant musicianship, great vocal harmonies, and some of the best arena rock songs of the 1970s. Then suddenly we got robots, futuristic costumes, and this strange theatrical story that seemed to take over everything.

The band released “Mr. Roboto” in 1983 on its concept album Kilroy Was Here. Written by Dennis DeYoung, the song became a huge commercial hit, reaching number three on the Billboard Hot 100. I know it sold a lot of records, and I understand that DeYoung was trying to tell a bigger story about censorship and the control of music.

I just couldn’t get past the song itself. The synthesizers, robotic vocals, and repetitive chorus felt completely disconnected from the Styx I loved. I couldn’t believe what I was hearing. To this day, I still cringe when I hear those opening notes.

Read More: Top 10 Styx Songs

# 4 – All I Wanna Do Is Make Love To You – Heart

There are few female rock singers who can match Ann Wilson. Her voice is extraordinary, and when you combine it with Nancy Wilson’s guitar playing and the great songs Heart recorded during the 1970s, you have one of the finest rock bands of all time. That’s why I have always had a problem with “All I Wanna Do Is Make Love to You.” It’s not that Ann doesn’t sing it beautifully. Of course she does. She could probably sing a restaurant menu and make it sound great. But the song itself is just ridiculous.

Released in 1990 on Heart’s album Brigade, the song was written by Robert John “Mutt” Lange and became a number two hit on the Billboard Hot 100. So once again, we’re dealing with a song that millions of people loved. But that story about a woman picking up a stranger, spending the night with him, and having his child is just too much for me.

I know rock music has always featured unusual stories, but this one sounds like a television soap opera squeezed into a power ballad. Heart gave us songs like “Barracuda,” “Crazy on You,” and “Magic Man.” Those are the songs I want to remember them for, not this one.

Read More: Top 10 Heart Songs

# 3 – Once – Van Halen

Van Halen was one of the most exciting bands I ever heard. Eddie Van Halen changed the way people played electric guitar, and whether David Lee Roth or Sammy Hagar was singing, the band had a sound that was instantly recognizable. They had energy, humor, attitude, and incredible musicianship. But by the time they recorded “Once,” something had gone terribly wrong. I remember listening to this track and wondering where all the excitement had gone. It certainly didn’t sound like the Van Halen that had blown everybody away with their debut album.

“Once” appeared on the band’s 1998 album Van Halen III, which featured Gary Cherone on lead vocals. The song runs more than seven minutes and moves through a series of atmospheric passages that never seem to develop into anything particularly memorable. I have nothing against Cherone, who is a very talented singer, and Eddie’s playing was never the problem.

The composition just wanders around without the fire or excitement that made Van Halen so special. By the time the song finally ends, I’m not thinking about how great the band sounded. I’m thinking about how much I would rather hear “Unchained” or “Panama.”

Read More: Top 10 Van Halen Songs

# 2 – Mother – The Police

I can still remember how exciting the Police sounded when they first arrived on the scene. Sting, Andy Summers, and Stewart Copeland were three phenomenal musicians who blended rock, reggae, punk, and jazz influences into something completely original. Every album seemed to push their sound further, and by the time they released Synchronicity, they were one of the biggest bands in the world. So why on earth did they put “Mother” on that album? I have asked myself that question ever since I first heard it.

“Mother” was written and sung by Andy Summers and appeared on the Police’s 1983 album Synchronicity. Instead of Sting’s familiar vocals, we get Summers shouting over an aggressive, disjointed arrangement that sounds almost intentionally unpleasant.

I understand that the song is supposed to express anxiety and frustration, and I’m sure there was an artistic reason for recording it this way. But that doesn’t mean I have to enjoy listening to it. On an album that gave us “Every Breath You Take,” “King of Pain,” and “Wrapped Around Your Finger,” this song sounds like somebody accidentally inserted a completely different record. It’s the one track I always want to skip.

Read More: Top 10 Police Songs

# 1 – Cook Of The House – Wings

I hate putting a Paul McCartney-related song at number one on a list like this. I really do. Paul McCartney is one of the greatest songwriters who ever lived, and the Beatles are probably the most important rock band in history. Wings also recorded some wonderful albums, and I’ve always been a big fan of their music. But “Cook of the House” is just one of those songs that makes me wonder what everybody was thinking when they decided to put it on an album. It’s not funny enough to be a great novelty song, and it’s certainly not strong enough to stand alongside McCartney’s best material.

The song was released on Wings’ 1976 album Wings at the Speed of Sound and features Linda McCartney singing lead vocals. Paul and Linda wrote the song together, and it was also used as the B-side of the massive hit “Silly Love Songs.” I understand that Paul wanted the other members of Wings to have opportunities to sing, and there’s nothing wrong with giving Linda her moment. But this particular song just doesn’t work.

The old-fashioned rock and roll arrangement feels awkward, and the lyrics about cooking don’t exactly make for compelling listening. I have enormous respect for Linda McCartney and everything she contributed to Paul’s life and career. But given the incredible music Paul was capable of writing, this song is almost impossible to defend. That’s why it lands at number one on our list of the 20 worst songs by great bands.

Read More: Top 10 Paul McCartney & Wings Songs

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