worst songs

A few years after the original, this song was transformed into a thing of beauty by a pair of British DJs, who put the vocals over the infamous Soul II Soul beat, with atmospheric synth noises and what sounds like a guitar, taking her adlib at the end and making it into a chorus.
Is it really possible for an artist to release one of the worst songs in the world and one of the best songs in the world on the same album – in fact, back-to-back as the first two tracks? Well, if you’re a New York folkie, undeniably talented yet sadly precious, clever yet too-clever-by-half, sensitive and senseless, it’s possible.
This shopping-list harangue shows up on a good number of ‘worst song ever’ lists for good reason.
Songs don’t have to rhyme, but in the absense of anything else that would indicate it took her longer than two minutes and nine seconds to compose the song, a rhyme or two would be nice.

To celebrate Billboard’s Hot 100’s 55th birthday, Sage is counting down the twenty worst (and best) songs to ever reach number one.
Continuing the epic countdown, Sage finishes what he started with the best songs to ever hit number one.
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Flame-haired former American defender Alexi Lalas makes a cameo in the video for "Red, White & Blue," a song produced by the Miami-based Fusion TV channel to help encourage support of the U.S. men’s national team in Brazil.
It’s fair to say that relations between Bosnia and Croatia have been strained in the past, so Bosnian rapper Ante Cash has attempted to break down the political barrier between the two nations with his World Cup song.
This reworking of a Gary Barlow/Take That song features an array of pop stars and backing from the likes of Michael Owen, Peter Shilton, Glenn Hoddle and Sir Geoff Hurst on vocals.
Logically, I should want to burn my speakers every time this song comes up, but instead I always find myself turning up the volume the second I hear that cheesy harmonica riff.
Shredding guitars, a loud drum beat and Kroeger’s punchy vocals can all be cited as qualities that make you like the song but, overall, it’s just a good time.
Getting sick of the three-hour loop the song seems to be playing on in your brain? Better learn to deal with it – you’ll find yourself turning into a giant human blueberry a la Veruca Salt sooner than the song leaves your head.
So, while you may not want to tell your friends or family you jam to this song, listening to it in your car does, in fact, make you feel more badass, thus making it one of the best worst songs.
At the end of the day, this song fits their discography to a tee — it’s a generic rock track with less than stellar lyrics backing it.
Think the lyrics are silly? That won’t stop them from escaping your lips when the song comes on the radio.
This song, which is beyond vapid (though I pray it’s intentional), describes the frighteningly inane musings of a millennial girl.
#SELFIE is a song that would have been greatly successful as a funny, viral YouTube video, but its incessant radio play has only led to highlight its mindless absurdity.
“What are they, like, 12?” You couldn’t get away from this generic chart pop song at one point, and it’s catchier than chicken pox.
(Also, where did all these children come from?) It only takes these few short moments for the song to sink its claws into you and make sure that its irresistible melody has a permanent piece of your finite brain space – whether you like it or not.
There was a girl my age who lived next door and we would often spread a blanket down on the ground, whip out the JAX cheese doodles, and I would impress her by singing all the words to “Wannabe.” She marveled at my talent and confidence as we shared the bond of being the biggest Spice Girls fans in the world.
Why can’t we stop singing it!? Do we secretly wish to be asked that chat-up line? Or maybe it’s just the jam to blast out — ironically of course — in your convertible, heading to the beach with your girlfriends.
"That weird thing you did with your tongue during oral might have worked for your ex-girlfriend, but not all lady parts are created the same—meaning different things feel good to different women.
"If you're doing something that feels good and has me making a ton of noise, and then you start doing something different and I go silent, I'm not enjoying it anymore.
It's not a good sign if you're screaming inside your head, "Are we having fun yet?" If you're actually wondering, the answer is probably no.
This line dancing song may be fun when you're drunk at the country bar, but it is unacceptable for you to listen to it on your own, especially when the last thing you want to do in the moment is get on your feet.
I couldn’t decide between this song and her other horrible hits of the ’70s (“I Honestly You,” “Hopelessly Devoted to You,” and “With a Little More ”), but in the end, the title question itself is what put it over the top.
Bad Songs that Probably Could Have Made This List But I Couldn’t Help Loving Them Because I Was Young and Stupid At the Time: “Precious and Few” by Climax, “Last Night I Didn’t Get to Sleep at All” by the Fifth Dimension, “Day After Day” by Badfinger (yes, Badfinger), “Rock Me Gently” by Andy Kim, and “I Can See Clearly Now” by Johnny Nash.
Other Songs I Sang Along to in My Expert Falsetto: “You Make Me Feel Brand New” and “Stone in Love” by the Stylistics, and “Have You Seen Her?” by the Chi-lites.
My one rule for both lists is that I couldn’t include any obscure songs (e.g. “Mary Queen of Arkansas” from “The Wild, the Innocent, and the E Street Shuffle” or any track from the Bay City Rollers second album).
“Sing a Song” is NOT the worst hit song of that decade.
The song that morning was “Sing a Song,” by the Carpenters, from 1973.
And remember: This is NOT my list of what are (objectively) the “BEST” songs; it’s my list of MY favorite songs.
Other Bad Songs About Death That Were Indeed Quite Catchy: “Seasons in the Sun” by Terry Jacks and “Billy, Don’t Be a Hero” by Bo Donaldson and the Heywoods.
I mean, isn’t it inevitable for the latest fads to be infused into music? But, selfies? Exponentially growing in popularity, you may want to shield all your friends named Jason from this strange concoction.
I dare not get into that issue, instead, I want to promote this embarrassingly addictive gem, which involves the world’s most dangerous combination: two girls in a bathroom armed with selfies.
The magazine’s list of "The 50 Worst Songs Ever," which hits newsstands Tuesday in New York and Los Angeles and April 27 nationwide, distills the lamest popular rock-era records into one sonic landfill.
Also sealing the song’s fate were Starship’s steep fall from grace as the admired Jefferson Airplane and "the sheer dumbness of the lyrics," Marks says.
I think this list says more about the people who compiled it than it does about the songs themselves.
The Cub Scout camping song that goes "Mom, wash my underwear! Mom, wash my underwear! 'Cause it's my only pair!" <—– my little sister was singing that one time at the top of her lungs when I took her to the grocery store with me once.
I kind hate the song " Suck My Kiss" and " Give It Away" by Red Hot Chili Peppers, but I love most of their other songs.
Please try to put bad songs by bands that are usually OK, don't put the whole discography of a band you don't like as "the worst songs ever".
There are a load of classics in the "Worst of" list, I guess, but maybe these songs are coming up because new kids have never grew up with them and are sick of hearing them played all the time.
They were not well-known songs in the United States, but Adam and the Ants "Prince Charming" and "Ant Rap" both deserve a spot in any "worst songs" list.
How is there not a single soulja boy song on this list.
The Pauly D fan club on these forums are going to have a field day when they see he’s number one.
[quote][b][user][/user][/b] said: hahaha, odd topic "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" is the worst peice of **** that the words Pink Floyd are attached too.
"Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" is the worst peice of **** that the words Pink Floyd are attached too.
16 2014 11:47 PM The “How Does Stephen Colbert Work?” Edition Slate’s new podcast about work explores Stephen Colbert’s workday and how The Colbert Report is made.
Originally called Huang Chung (Chinese for "perfect pitch"); the band also claims "Wang Chung" is a sound make by strumming a guitar; named 3rd worst song ever by Blender magazine and VH1.
Song is based on a note left in George Michael’s hotel room one night from band mate Andrew Ridgeley; popularity soared with the MTV showing the band wearing "Choose Life" t-shirts.
Fictional brothers Art and Artie Barnes are really artists Robert Haimer and Bill Mumy, who played Will Robinson in the TV series "Lost in Space." Though the song was recorded in 1978, it was released on the 1980 album Voobaha; made popular on the Dr.
Perhaps the most overplayed songs of the 80s (along with "Come On Eileen" and "Melt with You"), it’s not even Hart’s highest charting song — Never Surrender is; along with "The Future’s So Bright…" that makes two songs in the top 20 about wearing sunglasses.
Tipper Gore named this song one of the "Filthy 15," a list of "indecent songs" by the PMRC.
Band was composed of backup musicians for Elvis Costello and Van Morrison; several other band tunes — "Heart of Rock and Roll" and "I Want A New Drug" — barely missed inclusion on this list.
Known as "9 to 5" in England but changed in the U.S. to avoid confusion with Dolly Parton’s song.
Theme song to "White Nights" won Richie an Oscar.
Band reportedly was horrified that "Katrina" was the name of last year’s killer hurricane.
Based on song "Pass the Kouchie," which — yes — is about smoking pot.
I encourage Depeche Mode to experiment with sounds and to keep releasing awesome stuff… like "When The Body Speaks"… How could anyone NOT like that song? I think "Work Hard" has the coolest music and sound.
In its place as the fifth song on "Kid A," which rivals "OK Computer" as the band’s most coherent and complete artistic statement when gobbled up in one listen, it serves as an ambient segue between the haunting wail of Thom Yorke on “How To Disappear Completely” and the crunching thunder of “Optimistic”.  You can also view it as the line of demarcation between the first and second half of the album, a little palette-cleanser that gives your senses a rest before diving back into this heady world.
There will be times early on in this list when it seems like I’m picking on "Pablo Honey."  In truth, I think it gets unfairly labeled sometimes as “Creep” and 11 bits of filler.  But I also can’t deny that the leap in quality from "Pablo Honey" to "The Bends" was nothing short of stratospheric, and that the quality level of the music the band has released since has stayed on that dizzyingly high plateau.  That means that the first album is always going to lag by comparison.
I’ve always felt that "Hail to the Thief" gets underrated somewhat, suffering because it didn’t have the media hook of the albums that sandwiched it (the “destroy rock” shock value of "Kid A" and "Amnesiac" and the revolutionary method of distribution for "In Rainbows").  There are, however, two criticisms about the album that are fair, in my opinion: The album teeters a bit between straightforward rock and computer experimentation, thus depriving it of some consistency, and that it was maybe a song or three too long.
“Arpeggi” as in arpeggio, those circular guitar figures that dominate this "In Rainbows" track.  Jonny Greenwood and Ed O’Brien certainly get a finger workout here, as their byplay propels the early parts of this song.  In typical Radiohead fashion though, the track shapeshifts toward the end, allowing some spotlight to the bass of Colin Greenwood.  Phil Selway typically keeps everyone in line with rock-steady yet inventive work on the drums.
The production, as a whole, is a bit lacking, with the guitar blow-up after the soft opening sounding over-compensatory.  Little of the ambition that would come to characterize the band is evident here either.  Yorke would eventually abandon the song on the seemingly never-ending tour in support of the album, allegedly because he was unsettled by crowds singing along to the “I’m better off dead” refrain.  Truth be told, I doubt that it’s missed that much these days.
The very first song on the very first Radiohead album, “You” finds many of the elements that would define the band already in place.  Chief among those is the inspired guitar interplay, from the opening arpeggio that, in classic band fashion, seems to have just one note out of place to cause a hint of unsettlement, to the squall and drone lurking in the background of the verses, to the power-slam explosion in the refrains.
That squashed voice is the most memorable thing about the song.  After what sounds like a spaceship landing to start, the rest is just some computer twitching and Jonny Greenwood’s omnipresent Ondes Martenot, an instrument resembling a theremin on which the band for their more outré sound explorations has leaned heavily since "Kid A."  Phil Selway’s kicky drum beat seems almost out of place, but then again, disjointedness seems to be the feeling the song wants to convey.  That it does, almost too well for it to be anything more than a dark curiosity.
But this list is a celebration of the songs of Radiohead, and, as such, “Treefingers” has to fall to the bottom, because it fits the category of song rather loosely.  Somewhere in there is an Ed O’Brien guitar piece that might have indeed been more concrete in its original form, but that was then subsequently and digitally re-imagined into the waves of sound that appear on the album.
I suppose I can’t prove that claim, and Tyra wouldn’t actually corroborate, so I guess you, the reader, are left with my own take on this song.  That’s actually Thom Yorke noodling around on the reverb-heavy guitar, creating this space-filler that sets up the head-tripping “Like Spinning Plates” on the album.  It does a nice job creating a mood if not wowing us with technical mastery of the instrument.
The Rwandan genocide apparently inspired the sparse lyrics, and you can glean that from the chilling line “We can wipe you out anytime.”  Yorke’s vocal is up front in the mix, with an itchy computer beat and a muffled riff (can’t even tell if it’s a guitar or keyboard) in the background.  The music rises subtly before finally busting out into a techno freakout, with Yorke intoning the words “the raindrops” some 47 times.
One other element of this song that bears mentioning is Jonny Greenwood’s serrated solo toward the end.  For a guy as brilliant as he is on the instrument, he rarely steps into a clichéd spotlight solo role; even here, he is eventually enveloped by the rest of the guitars.  But the varied textures and colors he fits into the brief space he’s allotted to work is practically Hendrixian.  So “Vegetable” has that as well.  It should tell you something about the band’s catalog that a song with so much going for it is this far down the list.
You get the sense from the downbeat nature of this song that when Thom Yorke punctuates each line with the refrain “Over my dead body,” he means it less as a defiant stand and more as an unstoppable eventuality.  It’s also one of the few songs in which his concerns about the forces walling up all around us come off as more paranoid than pointed.
There are a few moments when this "Hail to the Thief" number gels, specifically Yorke’s hauntingly helpless benediction at the end:  “May pretty horses come to you as you sleep/I’m gonna go to sleep/And let this wash all over me.”  Still, despite all of the quirkiness the band tries to imbue, “Go To Sleep” remains one of their least memorable songs.
As we begin this list of the songs of Radiohead, we immediately run into the folly of such a project.  After all, this is a band that pays strict attention to the thematic flow of their albums, which means a song like the ethereal instrumental “Treefingers” is stripped of much of its meaning when evaluated all by its lonesome.
The song “Kid A” is sort of the dark inverse of that proposition, as Thom Yorke’s voice is distorted and stretched by technology beyond all recognition, to the point where it becomes devoid of every shred of humanity.  It also makes the chilling lyrics (non-sequiturs about things lurking in the shadows and the singer in a pied piper role) darn near unintelligible.
I’ve heard many rumors pertaining to the genesis of the album name "Kid A," but one that I remember reading around the time of the album’s release always stuck with me.  This particular rumor posited that Kid A was the name of a computer program that could accurately create the voice of a child.  Whether or not that’s even close to true, I’ve always though that it was a good symbol of the band’s ambivalent attitude toward technology, because when you think about it, such a program is equal parts awe-inspiring and horrifying.
The truth is that I don’t think our boys have it in them to write an aggressively bad song; their skill and diligence really don’t allow for such a thing to occur.  So “Treefingers” lands this spot by default as much as anything else.  On its own, well, as the cliché says, it is what it is.  On "Kid A," it takes one for the team.
Alas, it all comes in the service of a song that dips too far into the well of grunge, the music in fashion at the time that had a limited number of inspired practitioners along with a ton of wannabes that drove the whole dynamic of quiet-to-loud music and soul-blaringly blunt lyrics into the ground.  Radiohead, to their credit, saw that this type of song wasn’t in their wheelhouse pretty early in the game, and most grunge signifiers were absent by the time they released their next album.
It’s a chilling message, but the music, an exercise in tape-loopery, creates a hypnotic wash that dilutes some of Yorke’s urgency and harrowing imagery.  Anybody who subscribes to the knee-jerk assessment of "Hail to the Thief" as a return by the band to more straightforward guitar rock will likely be surprised by what they find in this one.
This version goes for a kind of fractured fairy-tale vibe, which, though it has a seductively spooky quality, sort of changes the whole meaning of the lyrics along the way, and I’m not sure for the better.  The original version’s slinky, stuttering rhythm was a nice match for the domestic disorientation of the lyrics.  On “Morning Bell/Amnesiac,” that disorientation turns to downright horror, but the subtlety is gone.
“Prove Yourself” is by no means a train wreck.  The tune in the verses is actually quite fetching, and the song would have done well to build off that rather than jump into the plodding chorus.  The guitar dynamics are fine as well, even if they dwarf Yorke a bit in the mix.
Stand Up.” falls under the blanket of both of those criticisms.  Although I judged it on its own for the sake of this list, I must mention that I’ve always felt it was an uneasy fit on the album following the incendiary opener “2-2=5.”  And while it has its worthwhile moments, I also don’t think it quite hangs with the rest of the album quality-wise.
want to know a person who preformed one of the worst songs you have listed and did it even worse check out william hung singing she bangs its so funny not in a racist way but its just funny that he thinks hes good and if anyone else sang it bad itd still be as funny but he did probably the best of doing the worst singing that song.

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