12 bad songs that nearly ruined otherwise great albums

Even the most exceptional individuals among us can err, and it’s no different for bands and artists. There isn’t a musical group or performer who hasn’t released a track that missed its mark.

To put it another way, while opinions may vary, there are songs that most people agree are below average, not just for a particular artist, but generally speaking.

Often times, I stumble upon tracks like these on albums that seem to find the artist or band stuck in a creative slump. Yet, it’s not uncommon to discover a less-than-stellar song amidst an otherwise fantastic album, and I can’t help but wonder, how on earth did this one sneak its way onto here?

12 bad songs that nearly wrecked great albums

A wide variety of factors could lead to mistakes in artistic work – for instance, contractual obligations, tight deadlines (having to release an album before a specific date), emotional ties by the artist, momentary lack of good judgment, or ultimately, the piece becoming outdated over time.

On these albums by renowned artists, there are several tracks that might seem like mere strokes of luck, even though they shine among the rest.

Love – “Revelation” (from Da Capo, 1966)

Da Capo, Love’s second studio album, was brimming with treasures penned by Arthur Lee such as “Stephanie Knows Who” and “She Comes In Colors,” culminating in one of the most iconic punk rock songs – “Seven And Seven Is.

Nevertheless, the record features an extended jam showcasing early prog rock elements. Regardless of whether they were under the influence or creatively stumped during its composition, this particular track fails to deliver.

Cream, “Blue Condition” (From Disraeli Gears, 1967)

On the second album of Cream, it’s often noted that the blueprint for a successful supergroup lies in members setting aside their individual egos and focusing on producing exceptional music. However, in an effort to provide each member with songwriting opportunities, this record also features an attempt at songwriting by Ginger Baker.

Although Baker was an exceptional drummer, it’s clear that songwriting wasn’t one of his strong points, as far as we know from that time period.

Beatles, “Maxwell’s Silver Hammer” (From Abbey Road, 1969)

For over half a century now, this topic has sparked intense discussion, given the multitude of fans who adore McCartney’s song. In many instances, it seems discordant with the overall atmosphere and harmony of the magnum opus, “Abbey Road.” Interestingly, even Macca himself had reservations about its placement, but due to the growing rift within the band, he persisted in including it on the album.

Sly & the Family Stone, “Sex Machine” (From Stand!, 1969)

Instead of referencing the James Brown funk anthem or Sly’s version, let me describe a different take on a slow-paced funk track. Although it’s not terrible, it might be criticized for being overly lengthy without making significant progress. This album also contains some of the most impressive blends of funk and rock, but it unfortunately lingers too long without reaching a satisfying conclusion.

Velvet Underground, “The Murder Mystery” (from The Velvet Underground 1969)

After John Cale’s departure and taking full control of the band, Lou Reed aimed to steer the group towards a more palatable sound. Most tracks on this album indeed fit that description, showcasing both his and the band’s talent. However, there is an enigmatic spoken word piece where all members contribute simultaneously. This oddity, unfortunately, is largely incomprehensible and hard to appreciate.

Beach Boys, “Student Demonstration Time” (from Surf’s Up 1971)

In simpler terms, “Surf’s Up” was an album released in the early 1970s that marked a comeback for the Beach Boys. This album featured songs like the title track which originated from the aborted Smile sessions, as well as the impressive ” ’til I Die.

While Mike Love wasn’t known for being a weak songwriter, his rendition of the 1950s hit “Riot in Cell Block Number 9,” which he claimed as his own, seemed cheesy or outdated, even when it initially came out.

Elton John, “Jamaica Jerk-Off” (from Goodbye Yellow Brick Road, 1973)

In the 70s, Elton John was producing some truly remarkable albums, and “Goodbye Yellow Brick Road” was definitely among them. However, his jaunt to Jamaica, with its less-than-impressive lyrics and an attempt at a Jamaican accent, seemed more like a distraction. It’s no surprise that both Elton John and Bernie Taupin are trying to brush this one under the rug.

Bob Dylan, “Sarah” (from Desire 1976)

Man, I’ve been diving deep into Bob Dylan’s latest album, and lemme tell ya, it’s packed with some fantastic tunes! From the opening “Hurricane” to “Romance In Durango,” each track is a masterpiece. The duets with Emmylou Harris are pure genius, but here’s the thing – this final track, well, it seems like Bob was trying to impress his then-wife with some… let’s just say, not his finest lyrics.

Fleetwood Mac, “Oh Daddy” (From Rumours, 1977)

It’s clear that “Rumours” leaned more towards pop music than rock, but it still delivered an impressive pop album with ten outstanding tracks. The vocal style of Christine McVie in this album doesn’t quite sit right and often falls short compared to her usual songwriting abilities. It seems like something unusual may have influenced the recording process, as there were indeed rumors about the band during that time.

Prince, “Lady Cab Driver” (from 1999, 1982)

1999 stands as one of Prince’s (and many others’) top albums, yet it leans heavily on the “workout” aspect rather than traditional funk. Additionally, the lyrics in this album are among Prince’s least effective, and the excessive sound effects detract from what could have been a stronger piece.

The Replacements – “Gary’s Got a Boner” (from Let It Be 1984)

The Replacements’ “Let It Be” album stands out not just as one of their finest works, but also as one of the most outstanding albums produced during the 80s, boasting exceptional post-punk tunes such as “Unsatisfied.” However, it’s puzzling why Paul Westerberg, who was known for bucking trends, included what seems like a rather ordinary track in this album. The reason behind its inclusion remains unexplained.

The Smiths – “Meat Is Murder” (from Meat Is Murder 1985)

Certainly, Morrissey has long been recognized for his commitment to animal rights, a noble endeavor indeed. However, this particular piece seems excessively graphic with its depiction of slaughterhouse sounds and intense lyrics, which might be too much for some listeners. Regarding the musical aspect, the instrumentation in this song doesn’t quite reach the band’s usual standard.

2025-06-01 13:04