While 2009's repugnant "We Made You" was a close runner-up for this slot, "Just Lose It" still manages to sound worse with each passing listen. Dre ever put together, "Just Lose It" is a mishmash of terrible ideas: Peewee Herman voices, obvious fart jokes, an unhealthy obsession with Michael Jackson's child molestation accusations, and multiple instances of gay panic, all crammed into a cheap knockoff of a D12 single. Yet for 2004's "Encore", his lead single was one of the most head-scratching, unfunny, and unfortunate songs he ever released: "Just Lose It". His debut had "My Name Is", "The Marshall Mathers LP" had "The Real Slim Shady", and "The Eminem Show" had his best one to date, "Without Me". With any luck, it'll stay that way.īy the time we got to Eminem's fourth studio full-length, his albums had followed a certain release formula, in which the lead single would always be a jokey comedy-rap song. Despite the track's near-universal hatred, it remains to this day Limp Bizkit's last track to chart on the Billboard Hot 100. It adds nothing to the song outside of some cheap, obnoxious branding, and we as a culture are off worse for having heard it looped four times. Having a Speak & Spell actually spell out the word "L-I-M-P" slowly followed by the word "discover" was as inexplicable a choice as they come and makes for a jarring listen. It would be written off as forgettable in any other context, but what really destroyed everyone's listening experience was the bridge. The band's cover is pretty straightforward, and Durst gives an ample but bland vocal take. Yet The Who's "Behind Blue Eyes" is a dramatic, vulnerable song, which assuredly didn't play into frontman Fred Durst's strengths as a vocalist. The rap-rockers have done successful covers before: their 1998 take on George Michael's "Faith" was a ridiculous recontextualization that made sense against all odds, largely due to the band's wink-nudge sense of humor about it. On the surface, Limp Bizkit's "Behind Blue Eyes" isn't bad so much as it is misguided. As with any controversy in her career, Madonna sustained and kept moving on, but it still stands as arguably her worst standalone track. It felt gimmicky because that's exactly what it was. The story of watching the American dream fade away is not best buoyed by shiny techno keyboards, and Madonna singing about how she "drove my Chevy to the levee but the levee was dry" reeks of tourism because we believe McLean when he sings it but don't when Madonna dryly intones it. The problem from the get-go was authenticity. charts), but it was rightly lambasted as being one of the worst covers ever conceived in the history of music. It went #1 in several countries (and topped out at #29 on the U.S. For her 2000 star vehicle with Rupert Everett, "The Next Best Thing", she, unfortunately, decided to drop her synthpop remake of Don McLean's "American Pie" as the soundtrack's lead feeler. For "Austin Powers: The Spy Who Shagged Me", she unleashed the original song "Beautiful Stranger", which is genuinely one of her all-time greatest (and still somehow underrated) singles. Martin had no hand in writing the track, and in the years since Martin has come out of the closet, he may take issue with singing wildly derogatory lines like "She looks like a flower / But she stings like a bee / Like every girl in history." He may have felt it was the right move at the time, but two decades later, it's one of the most unfortunate tracks in his entire discography.įollowing Madonna's groundbreaking 1998 album "Ray of Light", it made sense she'd continue working with dance producer William Orbit, and following the "Ray of Light" promo cycle, she dropped two soundtrack cuts she had worked on with her then-current muse. "She Bangs", however, has only gotten even more cringe in the years that followed, aging like terrible cheese. Ricky Martin had other goofball singles off of his English-language self-titled record (think "Shake Your Bon-Bon"), but "Livin' La Vida Loca" is what he was known for, so the lead single for his second album "Sound Loaded" was a rehash of that. Rick Martin's 1999 Grammy Awards performance of "La Copa de la Vida" / "The Cup of Life" was as grand a star-making moment as they come, but it was the blockbuster single "Livin' la Vida Loca" that defined his career, as well as ushering in the entire Latin pop craze of the early 2000s.
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