Ice Ice Baby – Vanilla Ice (1990)
Named by a Houston Press critic as the worst song ever to emanate from the state of Texas, in 1990 Vanilla Ice had his one and only hit song with Ice Ice Baby, a monstrosity that set white rappers back a decade.
As the song was built around an unauthorized sample of the bass line from Queen and David Bowie's Under Pressire, it was also the subject of a lawsuit which saw the correct crediting take place in an out of court settlement.
Thong Song – Sisqó (2000)
A repetitive chorus, overly sexualised lyrics and an obsession with ladies’ underwear ranks Sisqó’s 2000 effort Thong Song amongst the worst of all time.
By dedicating a whole song to the thong in this overtly sexist tune, Sisqó landed himself the top spot in a St. Paul Pioneer Press reader poll as the worst song in history.
Sussudio – Phil Collins (1985)
Heavily synthesized and with an overbearing use of a horn section, Phil Collins’ 1985 track Sussudio was described by critic Michael Saunders in the Sun-Sentinel as the worst song of the rock era.
Collins has even said himself he simply used the word Sussudio as a placeholder for a better title, but just gave up on finding one.
Don’t Worry, Be Happy – Bobby McFerrin (1988)
This song was named by Village Voice critic Michael Musto as the worst of all time after its 1988 release.
It was in the year 2000 however that Don’t Worry, Be Happy would combine with arguably the worst novelty item of all time, Big Mouth Billy Bass. An animatronic fish glued to a board became the living manifestation of hell on earth every time it opened its mouth to sing this song.
Baby – Justin Bieber (2010)
When a fresh faced sixteen year old started singing about falling for his baby, the cringe level only got worse by the introduction of a soft rap cameo from Ludacris.
This song did launch the successful career of Bieber but that didn’t stop its official video from being the most disliked on YouTube until 2018.
Friday – Rebecca Black (2011)
A perfect example of the power of social media, Friday by Rebecca Black became an overnight sensation in 2011 for all the wrong reasons.
The online hype prompted Lyndsey Parker of Yahoo! Music to ask if it could be the worst song ever. The song uses voice altering software Auto-Tune throughout, resulting in pitchy, awkward vocals.
Ob-La-Di, Ob-La-Da – The Beatles (1968)
This 1968 song is so out of The Beatles’ usual wheelhouse it sounds like they accidentally pressed record when messing about in the studio – which is sort of how the song actually ended up existing.
The song was voted the worst track ever recorded in a listener poll organized by Mars, and it was hated by John Lennon so much that he purposely messed up the song’s piano intro which was left in the final edit.
Who Let the Dogs Out? – Baha Men (2000)
Who exactly did let the dogs out? After suffering through every radio station overplaying this annoying track in the year 2000, we never even found out – but it did hit top spot in Spinner’s Top 20 Worst Songs Ever poll.
The Baha Men tried their best to bring their Bahamian Junkanoo sound to the masses but at the end of it all we were just left scratching our heads at how this became a hit.
It’s Everyday Bro – Jake Paul (2017)
Not content with annoying the world on YouTube, Jake Paul thought it would be a good idea to record this diss track in his hip-hop debut in 2017.
With weird lyrics like ”England is my city”, Paul at least kept his YouTube notoriety up with the video for this song being the second most downvoted video of 2017 after Justin Bieber’s Baby.
Life – Des’ree (1998)
Des’ree’s 1998 track Life was actually a huge hit, especially in Europe, but it’s the lyrics that make this song stand out, having been voted as having the worst lyrics ever in a poll conducted by the BBC.
The song just doesn’t make sense, with one notable line of “I don’t want to see a ghost, it’s the sight that I fear most, I’d rather have a piece of toast, watch the evening news” leaving listeners simply baffled.
Moves Like Jagger – Maroon 5 (2010)
Maroon 5’s route to stardom looked justified with the release of their debut album Songs About Jane in 2002. However, fast forward eight years and they were producing the most overly commercial nonsense known to man, with Moves Like Jagger being their most embarrassing work to date.
From half-baked lyrics to the desperate oohs of a singer who sold his soul to the record label, this song was the true sign of what was to come from a band that happily put profit over artistry.
True – Spandau Ballet (1983)
This is truly the soundtrack of the down-on-his-luck father of four, sipping his way through his seventh glass of Merlot in an empty bar before he heads home after a tough day at work.
True by Spandau Ballet is so melodramatic and so dreary, it’s no wonder Gary Kemp found it so hard to write the next line.
Photograph – Ringo Starr (1973)
Now, admittedly, this one does go down well in certain venues, mainly in bingo halls and at funeral services.
Photograph is Ringo Starr’s most successful solo number, which further explains why he was the only Beatle who didn’t attain regular songwriting credits during the band’s glory days.
Achy Breaky Heart – Billy Ray Cyrus (1992)
Billy Ray Cyrus’ only global hit Achy Breaky Heart was also his debut single. The song presents a classic example of how pop song lyricists can get away with anything.
However fragile someone’s lovelorn heart may feel, any sympathy would surely be lost the moment they chose to describe it as ‘achy breaky’.
Barbie Girl – Aqua (1997)
Barbie Girl by Aqua stripped all the innocence away from the franchise it was based on, turning Ken into some kind of pervert, with Barbie all too willing to go along with him.
This song shot into public consciousness more out of its shock factor than anything. The resurgence of the Barbie franchise has unfortunately meant that Barbie Girl has once again made a return, this time in the form of an equally bad cover, named Barbie World.
The Cheeky Song (Touch My Bum) – The Cheeky Girls (2002)
The Cheeky Girls seemed to come out of nowhere, sing one dreadful song, and disappear into the abyss of artists who lack any substantial talent.
The Cheeky Girls were of a time when the general public was still working out what to do with TV talent show singers, letting all manner of chancers through the door. Unfortunately, the world still had Chico Time to endure.
You’re Beautiful – James Blunt (2005)
You’re Beautiful took over the world in an instant in 2005, turning James Blunt from an army veteran to a global pop star seemingly overnight.
“I saw your face, in a crowded place” Blunt sang, as he removed his clothes and jumped off a cliff. Incessant radio play and basic rhyming lyrics killed this song off.
Photograph – Nickelback (2005)
We’re getting to the point now where it is no longer cool to trash Nickelback, but you cannot have a worst songs list without the inclusion of Photograph.
The lyrics are beyond infantile, with lyricist Chad Kroeger opting for the most basic, predictable rhymes throughout the song. “What the hell is on Joey’s head” is one standout line.
We Built This City – Starship (1985)
Co-written by Elton John’s long-time collaborator, Bernie Taupin, and featuring the vocals of the great Grace Slick, it is a shame that this highly commercial, anti-commercial anthem has to make this list.
It’s as cheesy as they come, aging as badly as many other commercial pop numbers from the 80s have.
Kokomo – The Beach Boys (1988)
It is no surprise that, Brian Wilson, the catalyst for The Beach Boys’ 1960s success had nothing to do with the writing or recording of the 1988 surprise hit Kokomo.
The cringeworthy lyrics and syrupy instrumentation make the song feel like The Beach Boys are doing a parody of themselves, a trait that was evident in much of their 1980s work.
Revolution 9 – The Beatles (1968)
As the 1960s drew to a close and The Beatles began dismantling their relationship as a functioning band, John Lennon began his venture into the world of ultra-strong substance abuse.
Mix that with his blind following of Yoko Ono into the world of avant-garde art and you get Revolution 9, a clumsy collage of soundscapes and sound effects.
Dilemma – Nelly (2002)
The early 2000s was a dark time for music, with so-called R&B acts churning out overly manufactured, plastic hits while the general public lapped them up.
This spot on the list could quite frankly have been taken by over a dozen songs, but Dilemma by Nelly seems to sum up that generation of music most succinctly. The video also features Kelly Rowland attempting to send a text message via Microsoft Excel. Bizarre.
Shiny Happy People – R.E.M. (1991)
With R.E.M.’s track record of producing great work, Shiny Happy People was undoubtedly a blot on their record. Its fluffy, substance-free lyrics have caused it to be included in many worst song lists.
Most significantly, it's one of the few singles excluded from R.E.M.’s greatest hits collection, even though it was arguably their biggest breakthrough song. Frontman Michael Stipe has stated his hatred for the song multiple times in interviews since its release.
Cotton Eye Joe – Rednex (1994)
It is still amazing how Cotton Eye Joe has been allowed to fester within public consciousness for as long as it has. The song contains a mixture of American country music and Central European techno music, put together in an uncomfortable combination by the Swedish band Rednex.
Much like Aqua, Rednex formed in 1994 and released one notable novelty song which has somehow lasted the test of time.
Million Dollar Bill – Whitney Houston (2009)
2009 was the year that legendary singer Whitney Houston made real attempts to get her career back on track. Million Dollar Bill was a true example of plastic music, a meaningless, soulless song written by a team of songwriters, including Alicia Keys, with one intention, to make a radio-friendly hit.
And my word, this song was played to death by stations across the world, quickly extinguishing any joy it may have brought to people because of its inescapability.
The Final Countdown – Europe (1987)
Europe’s one and only big hit outside of their native Sweden was clearly written with the intention of it becoming a stadium anthem.
However, its overblown instrumentation and grandiose production style have prevented it from aging gracefully, making it more of a novelty song than a glam rock classic.
Dancing on the Ceiling – Lionel Richie (1986)
Dancing on the Ceiling clearly orbits the songwriter’s inability to find another compatible word that rhymed with ‘feeling’. Lionel Richie has a string of bland, mundane easy-listening songs, with this one’s senseless narrative meaning it takes the crown as his worst.
Despite this, it still manages to get members of a certain generation up to the dance floor when it inevitably comes on at wedding parties.
What’s Up – 4 Non-Blondes (1993)
“Hey, yeah, yeah, yeah.” Read these lyrics aloud and they resemble a small-talk-filled office conversation rather than a hit pop song.
What’s Up was 4 Non-Blondes’ only major hit, with its grating chorus ensuring that it quickly became just as hated as it was well-received.
Little James – Oasis (2000)
“Live for your toys, even though they make noise”, sings Liam Gallagher on Little James, one of his early ventures into songwriting. The trouble when you haven’t always been the songwriter in a hugely successful band is that there isn’t really anywhere to hide when you finally give it a go.
The wholesome sentiment of loving your child is clearly there in this song, but the lyrics read as though they have been written by Little James himself.
TiK ToK – Ke$ha (2009)
Kesha, formerly Ke$ha, has lambasted her early music, suggesting she wasn’t afforded a single bit of creative control by her record label. This is evident with Tik Tok, stylized as TiK ToK (it was the 2000s).
The song sounds, and the lyrics read, as though they were written by a record label executive desperate to stay in touch with the younger generation. Kesha has since dropped the $ from her stage name and is now writing and producing records the way she would have always liked.
Try That in A Small Town – Jason Aldean (2023)
If you’re from anywhere outside of the USA, where country music is rightfully ignored, then you probably won’t have heard of Jason Aldean’s song, Try That In a Small Town.
Aldean’s somewhat desperate territorialism doesn’t come across as threatening to people of other backgrounds as Aldean intends, instead feeling more like your next-door neighbor’s chihuahua barking at you through a locked gate.
I’m a Marionette – ABBA (1978)
ABBA were flying high in 1978, with Benny and Björn producing pop standards from thin air. With their songwriting standards so high, and their work rate so prolific, you can almost forgive them for churning out I’m a Marionette.
It’s an intense, almost operatic number, which would turn you away from ABBA forever if it happened to be the first of their songs you ever listened to. Thankfully, that’s almost impossible.
Breakfast at Tiffany’s – Deep Blue Something (1995)
Breakfast at Tiffany’s has been a staple for easy-listening radio stations since its release in the mid-90s. There’s not a great deal to say about it in all honesty, as it offers very little substance, both in a musical and lyrical sense.
As well as slating Ice Ice Baby, as mentioned earlier in the article, The Houston Press named Deep Blue Something’s Breakfast at Tiffany’s as the second worst song to come out of Texas.
Emotions – Mariah Carey (1991)
Aside from All I Want For Christmas Is You, Emotions is pop diva Mariah Carey’s most famous song, mainly because it showcases her ability to squeal, a talent many children lose once they hit their teenage years.
We can all appreciate Carey’s technical ability, there’s no doubting it, but Emotions is ultimately just a woman screeching into a microphone. It hurts even more when you realize she’s just smashed your brand-new set of wine glasses using her voice alone.
My Humps – Black Eyed Peas (2005)
When listening to My Humps by the Black Eyed Peas, you can’t help but wonder what Fergie would have thought when she was first handed the song’s lyric sheet.
Not only are the overtly sexual lyrics completely free of wit or humor, but they are also crammed into a melody that lacks any redeeming features. Black Eyed Peas’ popularity remains one of the biggest myths of the mid/early 2000s.
Swagger Jagger – Cher Lloyd (2011)
How Cher Lloyd’s Swagger Jagger ever managed to slip through the TV talent show system, we’ll never know. Released in 2011 when the word ‘swagger’ was all the rage, record company executives clearly saw an opportunity to move in. The song was never good, but its age has made it worse.
With braindead lyrics and horrific over-production, the song is a perfect example of the horrors radio listeners had to put up with in the late 2000s/early 2010s.
You Can’t Hurry Love – Phil Collins (1982)
Phil Collins really does have a special knack for dissipating the magic from songs, transforming them from shining gold into tarnished brass, as he did with The Supremes’ classic, You Can’t Hurry Love.
Collins made no real changes to the song’s backing track, which made the song less of a cover version, and more like somebody’s dad having a go at karaoke.
Could It Be Magic? – Take That (1992)
British pop band Take That have never been known for being cool, which was exemplified by their choice to cover the Barry Manilow track, Could It Be Magic? in 1992.
The end result is as cheesy as you would expect, dragging an already cruise-ship-worthy song even further into the mud.
Agadoo – Black Lace (1984)
Agadoo by novelty band Black Lace is so awful that the BBC banned it from being played on their radio stations as it was not viewed as a credible song. Despite this, it still managed to reach number 2 on the UK singles charts.
Its accompanying dance routine, as seen in the song’s music video, has been recreated by many a drunk uncle at many a wedding in the years since its release.
I’m Too Sexy – Right Said Fred (1991)
99% of Right Said Fred’s back catalog could have made it onto this list, but if we had chosen a song that wasn’t I’m Too Sexy, you most likely wouldn’t have heard of it.
It’s impossible to know whether anyone, genuinely, liked this song, or whether its novelty factor provided the ladder that helped it climb to the top of the charts.
Grenade – Bruno Mars (2010)
Laying down your life for your partner is a romantic notion, one which Bruno Mars explores in his 2010 record Grenade. Unfortunately, the singer gets a bit too caught up in the premise.
The song quickly turns into a list of increasingly gruesome ways in which Mars would die for his lover. Oddly enough, singing about getting hit by trains isn’t quite as romantic as Mars thinks.
Yes, Sir, That’s My Baby – Harry Kari and His Six Saki Sippers (1953)
A cover of a 1925 hit song, Yes, Sir, That’s My Baby consists of comedian Harry Stewart (under the alias Harry Kari and His Six Saki Sippers) singing in a wildly racist Asian accent.
The record was savaged in a Billboard Magazine review, which ironically gave it enough publicity and radio play to land it on Billboard’s own charts.
Marvin Gaye – Charlie Puth ft. Meghan Trainor (2015)
Unsurprisingly, taking the late, great Marvin Gaye’s name and turning it into a euphemism for sex did little to endear Charlie Puth to music critics.
The singer-songwriter might have been given more leeway if the record was genuinely sexy, but Puth instead kills the mood by using the opportunity to self-indulgently show off his technical talents.
Yummy – Justin Bieber (2020)
While Justin Bieber can be forgiven for Baby on account of the fact that he was only 15 when the song was released, the same cannot be said for Yummy.
The 2020 record consists mostly of an auto-tuned Bieber repeating “Yeah, you got that yummy-yum” over an almost-embarrassingly simplistic 808-driven instrumental.
Rockstar – Nickelback (2005)
While Rockstar is ostensibly written from the perspective of someone who wants the lifestyle of the rich and famous, the fact that the members of Nickelback are in fact rich and famous makes it borderline nauseating to listen to.
The song’s only saving grace is that it spawned an unironically great sea-shanty cover, which went viral on social media in 2021.
Supplies – Justin Timberlake (2018)
Justin Timberlake’s 2018 album Man of the Woods saw him trying to explore his Southern roots by adopting a country and western style. However, the singer was clearly also deeply concerned about alienating fans of his pop music, leading to abominations like Supplies.
The record tries to force country guitars over trap-inspired beats, while Timberlake uses the song’s title as a way to describe his junk.
She Bangs – Ricky Martin (2000)
While Livin’ la Vida Loca – Ricky Martin’s most famous record – is a touch on the cheesy side, it’s still a feel-good anthem guaranteed to get revelers singing along. The same emphatically cannot be said for She Bangs.
It's a painful cringe-fest of a song filled with sexist lyrics that have aged terribly. Martin had no part in writing the track, but he still bears responsibility for agreeing to perform it.
Wiggle – Jason Derulo ft. Snoop Dogg (2014)
While Wiggle boasts an impeccably produced, irresistibly fun instrumental, it’s simply not enough to save the record from Jason Derulo’s lyrics.
With lines like “you know what do to with that big fat butt” and “if I take pictures while you do your dance, I could make you famous on Instagram,” it’s nigh-on impossible to make it through the track without wincing.
One Bad Apple – The Osmonds (1970)
One Bad Apple was originally written for the Jackson 5, who wisely turned it down. The Osmonds had less sense, and the track ended up becoming the worst of their entire discography, although it’s also the only one which still has any cultural relevance.
While the whole song is the worst kind bland, saccharine pop, it’s Donny Osmond’s screeching vocals that make it truly unbearable.
Some Girls (Dance With Women) – JC Chasez (2004)
Some Girls (Dance With Women) is clearly supposed to be about JC Chasez bragging about his womanizing prowess. Unfortunately, it ends up coming off as the ramblings of a psychopath, thanks to lyrics like “The game is legal / You don’t have to kill ’em though”.
The chorus is also based around the premise that a woman would only ever dance with another woman to get male attention, which isn’t exactly enlightened.
Red Solo Cup – Toby Keith (2011)
Toby Keith recorded Red Solo Cup as a joke, but that didn’t stop it becoming a frat party anthem. Keith has publicly spoken about his anguish about the fact that the record is easily his best-known work, which is understandable.
Still, everyone else had to hear it blasted on the radio for months on end, so it’s only fair that Keith should suffer too.
Wind it Up – Gwen Stefani (2006)
Gwen Stefani is a vocal dynamo and The Neptunes are arguably the most talented production duo of all time, so one can only guess at how this went so wrong. But how wrong it went.
Wind it Up consists of a series of inexplicable creative decisions, from the sampling of The Sound of Music to recordings of horses’ hooves, and don’t get us started on the yodeling.
My Pal Foot Foot – The Shaggs (1969)
Despite the fact that they adamantly did not want to become musicians, Dorothy, Betty and Helen Wiggin were forced into forming The Shaggs by their father, who believed they were destined for success.
Determined to prove him wrong, the sisters recorded a single album, wholeheartedly showcasing their aggressive lack of talent. While all the tracks are comically terrible, My Pal Foot Foot is the worst of the bunch.
Same Girl – R. Kelly & Usher (2007)
It’s impossible to enjoy any of R. Kelly’s music these days, but even before he was outed as a predator this collaborative effort with Usher was borderline unlistenable.
The fault mostly lies with the instrumental, which primarily consists of a stilted drum loop and some wah-pedaled chords that sound like they’ve been lifted straight from a bad adult movie.
Get Your Boots – U2 (2009)
Even for those who can normally stomach Bono’s self-important, sappy platitudes, Get Your Boots on is a painful listen.
Bland to its core, the record revolves around a childishly simple guitar riff while the lyrics alternate between issuing instructions to “get your sexy boots on” and making hopelessly vague appeals to “love and community.”
Knockout – Lil Wayne & Nicki Minaj (2010)
Both Lil Wayne and Nicki Minaj have some outstanding records in their discographies, but this, to put it mildly, is not one of them.
Released in 2010 – when Wayne was going through his misguided rap rock ‘n’ roll phase – the track’s already lackluster verses are delivered over the top of overdriven guitars that just don’t work in a hip hop context.
Tonight, Tonight – Hot Chelle Rae (2011)
Hot Chelle Rae frontman Ryan Follesé clearly felt he was onto a winner when he wrote the lyrics “alright, alright, tonight, tonight”, because the words are endlessly repeated for much of Tonight, Tonight’s runtime.
In fact, a full two-thirds of the track revolves around minor variations of this refrain, and by the time the song ends the words will be ringing in your ears.
Downtown – Macklemore & Ryan Lewis (2015)
Macklemore blew up by crafting genuinely catchy hip hop bangers around goofy premises, but that’s not the kind of formula with a lot of longevity, as 2015’s Downtown proves.
While Thrift Shop had an infectious instrumental and some entertaining wordplay, Downtown’s drum machine backing track is yawn-inducing, and the track’s harebrained lyrics about buying a moped never manage to amuse.
7 Years – Lukas Graham (2015)
Lukas Graham’s 2015 hit 7 Years bears all the hallmarks of a terrible pop record. Endlessly repetitive and uninspired instrumentation? Check. An easily predictable structure that makes the song feel three times as long as it actually is? Check.
Self-indulgent lyrics that drown under the weight of their own overwrought attempts to come off as profound? Check again.
This is Why I’m Hot – Mims (2007)
Braggadocios lyrics aren’t exactly unusual in hip hop, with the majority of rappers self-indulgently boasting about their achievements and lyrical skills. Usually, however, something is offered in way of evidence for these claims.
Not in the case of Mims’ 2007 record This is Why I’m Hot, in which the rapper repeatedly insists that this is, in fact, why he’s hot, without ever actually offering an explanation for what “this” is.
Dark Fantasy – Kanye West (2010)
Kanye West’s prowess behind the mic has never quite matched some of his more lyrically gifted peers, but he’s generally able to compensate with his exceptional production talents.
The wheels truly come off, however, when West has a go at singing, as 2010’s Dark Fantasy indisputably proves.
Me! – Taylor Swift ft Brendon Urie (2019)
After delving into darker territory on her 2017 album Reputation, Taylor Swift overcorrected hard with Me!, the lead single from 2019’s Lover.
A collaboration with Brendon Urie, the track is a sickly-sweet mishmash of marching drums, blasting brass and infuriatingly cheerful lyrics (the initial version contained the line “Hey kids, spelling is fun!”). At least Swift was aware enough to eventually drop the track from her album.
American Pie – Madonna (2000)
Recorded for the soundtrack of 2000’s The Next Best Thing – in which the singer also starred – Madonna’s remake of Don McLean’s 1973 record American Pie is widely considered one of the worst covers in music history.
The main issue is the track’s cheerfully breezy tone, which clashes horribly with the song’s themes of disillusionment in the America Dream.
Never Gonna Give You Up – Rick Astley (1987)
These days, Rick Astley’s 1987 record Never Gonna Give You Up is most famous for its use as a way of pranking unsuspecting internet users. It was, however, annoying long before that.
Corny, commercial and maddeningly repetitive, Never Gonna Give You Up is exactly what you get when a track’s creative process is guided by a team of execs and marketing specialists.
Give Me Everything – Pitbull feat. Ne-Yo, Afrojack, Nayer (2011)
Lindsay Lohan was so offended about a line mentioning her name in Pitbull’s 2011 record Give Me Everything that she tried to sue the rapper. Honestly, though, that line is probably the last offensive part of this track.
That honor goes to the section where Pitbull ends two lines with the word “Kodak,”either because he’s genuinely incapable of thinking of another word that rhymes, or is simply too lazy to try.
Crank That – Soulja Boy (2007)
Crank That simultaneously introduced the world to Soulja Boy and proved that, so long as it comes with its own dance, even the most meritless records can achieve commercial success.
While it might have sparked the biggest dance trend since the Macarena, Crank That’s lyrics never transcend the level of drivel, no matter how many times Soulja Boy repeats them.
Scream and Shout – Will.I.Am ft. Britney Spears (2013)
Will.I.Am clearly has an immense talent for producing and marketing hit songs, but – if 2013’s Scream and Shout is anything to go by – his songwriting abilities appear to be in dire need of a tuneup.
The record boasts some of the worst lyrics in the history of pop, epitomized by the truly dreadful (and frequently repeated) “we sayin’ oh-wee-oh-wee-oh-wee-oh”.
Hello Kitty – Avril Lavigne (2013)
Avril Lavigne’s 2013 record Hello Kitty serves up a masterclass in how to alienate your fans in a misguided attempt to court the mainstream.
Eschewing the pop-rock sound which made her famous, Lavigne instead delivers the track’s faintly racist lyrics over the top of a badly produced EDM instrumental, baffling and irritating listeners in equal measure.
Behind Blue Eyes – Limp Bizkit (2003)
Another ill-conceived cover, Limp Bizkit’s reworking of Behind Blue Eyes – a track released by The Who in 1971 – is completely at odds with the band’s usual tongue-in-cheek style.
While this might not have been too problematic if they’d fully committed, Durst and co couldn’t resist adding a baffling bridge section with a robotic voice repeating “L-I-M-P, discover”, which quickly changes the tone from melancholy to embarrassing.
God’s Plan – Drake (2018)
Drake is known for his mellow take on hip hop and his instantly memorable melodies (see: One Dance). God’s Plan, on the other hand, is just plain boring, with the rapper droning monotonously over an uninspired instrumental.
The fact that the track broke Apple Music’s first-day streaming records says more about Drake’s hype than anything else.