10 Classic Songs With Terrible Vocal Sections

Music is a masterful tapestry of composition and performance; sometimes, though, even the most iconic songs have their weak spots. When classic tracks fall short, it’s often the vocal performance that listeners point to as the sticking point. This paradox—incredible songs undermined by less-than-stellar singing—can be found throughout the annals of music history. Here we delve into ten such songs, where the vocal delivery didn’t quite match up to the surrounding musical genius.

Kiss – ‘Shock Me’

Initially a quiet force within Kiss, Ace Frehley’s leap to the microphone was ambitious. His inclusion “Shock Me” is a clear exhibition of his unrefined vocal style, which lacks the commanding presence of bandmate Paul Stanley. The song, born from a moment when Frehley was actually shocked on stage, definitely has a story that merits a powerful vocal execution. Regrettably, Frehley’s delivery, recorded while he reclined on his back, potentially hints at his own uncertainty in this unfamiliar role. The rawness in his voice carries its own charm, but it lacks the robust energy that the song’s backstory seems to demand.

Wings – ‘Cook of the House’

Paul McCartney, a legend who loomed large over Wings, allowed the occasional spotlight for other voices, including that of his wife Linda McCartney. When listening to “Cook of the House,” one can’t help but notice a certain flatness in Linda’s performance. The song’s lyrics, focused on domestic simplicity, might have shone with a more vibrant delivery. Unfortunately, Linda’s vocal take on the track feels more tentative than transformative. Although her contributions on the keyboard have been pivotal in previous works, it seems her voice was best suited in a complementary capacity rather than as the main event.

U2 – ‘Numb’

U2 has never shied away from experimentation, and “Numb” was no different. The decision to place The Edge at the vocal helm was a departure from their norm. Yet, what’s described as singing here is more akin to a monotone recitation, with The Edge delivering lines against a backdrop of buzzing technology-infused effects. This might have seemed like a fresh take; however, The Edge’s established capabilities as a backup vocalist leave listeners wondering why this particular vocal approach was chosen, especially given its jarring contrast to his known talent.

Red Hot Chili Peppers – ‘They’re Red Hot’

The Red Hot Chili Peppers have always had a flair for playful irreverence, but “They’re Red Hot” pushes past playfulness into bewildering territory. The track mashes up punk energy with blues in a frenzied rewrite of the Robert Johnson classic. Here, Anthony Kiedis’s vocals dash through the song with a hurriedness that feels chaotic rather than creative. While it’s clear the band doesn’t take themselves too seriously, perhaps this particular piece of jesting would have been better left for the stage rather than etched into their discography.

Metallica – ‘Frantic’

The entire “St. Anger” album by Metallica has been the subject of critique, and the vocal work on “Frantic” is no exception. This opener sees James Hetfield yelling more than singing, a reflection of his post-rehab phase where technical proficiency wasn’t a priority. The resulting rawness of “Frantic” is jarring, a strange contrast to the polish that Metallica’s music had previously exhibited. It’s a track that bears witness to a band in transition, leaving fans divided on the vocal style’s effectiveness.

The Who – ‘Tommy’s Holiday Camp’

The Who’s “Tommy” is a complex rock opera that required a full range of talent from the band. As the story of Tommy progresses, Keith Moon’s eccentric vocals on “Tommy’s Holiday Camp” emerge, illustrating his uncle’s character. The piece, meant to be unsettling, ends up being more peculiar than poignant, given Moon’s peculiar delivery. His voice carves a jester-ish tone that doesn’t quite synchronize with the narrative’s tragic conclusion, highlighting his role as more of a colourful performer than a traditional vocalist.

Traveling Wilburys – ‘Inside Out’

Known for his distinctive timbre, Bob Dylan never pretended to be a classic vocalist. In “Inside Out,” his unique voice stands in stark contrast to the smooth sounds of his Traveling Wilburys bandmates. The song, which brings together rock luminaries, accentuates Dylan’s gruff voice—especially when juxtaposed with the harmonious backing vocals. Dylan’s rough-around-the-edges style has its place, but in this ensemble of seasoned musicians, it occasionally feels out of step.

Pink Floyd – ‘Bring the Boys Back Home’

Not typically noted for their vocal missteps, Pink Floyd’s “Bring the Boys Back Home” is poignant yet presents a vocal delivery that doesn’t quite marry up with the musical gravitas the band is known for. Roger Waters, who’s more acclaimed for his songwriting and concept creation than his singing prowess, leads the charge. His vocals, critical for conveying the song’s emotional weight, tend instead to lose the intensity, faltering amidst the powerful instrumental backing.

Genesis – ‘Who Dunnit?’

Pioneers in the progressive rock realm, Genesis is revered for their complex compositions and compelling narratives. Yet in “Who Dunnit?”, the vocals divert from the nuanced storytelling the band is known for. Phil Collins delivers a perplexing and repetitive performance that deviates from his signature vocal expertise. The track sticks out as an odd member of their catalogue, where the quirky lyrical repetition detracts rather than adds character.

Lou Reed – ‘Metal Machine Music Part 1’

Lastly, Lou Reed’s foray into avant-garde with “Metal Machine Music Part 1” reframed the boundaries of what could be considered music. Reed’s spoken-word approach is notable for its intent to disrupt conventional expectations. Nevertheless, the track’s grating soundscape challenges the listener to find the harmony between Reed’s voice and the industrial noise, often leading to polarized critiques of his vocal execution.