Is There Such A Thing As A Bad Beatles Song?

“To the toppermost of the poppermost!” That famous rallying cry captured the Beatles’ ambition and their almost mythical rise to fame. For a band that redefined pop music and left a legacy that still ripples through every genre today, it’s tempting to believe their entire catalog is untouchable.

But even legends have their off days. With over 200 songs officially released and countless outtakes, experiments, and deep cuts, it’s only natural that not every track would strike gold. In between the revolutions and the yesterdays, a few songs missed the mark—whether due to awkward lyrics, uninspired arrangements, or ideas that simply didn’t land.

This article isn’t meant to diminish the Beatles’ impact or genius. Instead, it’s a reminder that creativity doesn’t always guarantee perfection—and that even the Fab Four occasionally stumbled. So let’s take a closer listen to the rare missteps in a discography that’s otherwise filled with brilliance.

1. “Wild Honey Pie”, The Beatles (1968)

Let me be honest—every time I listen to “Wild Honey Pie,” I still don’t know what to make of it. It’s short, weird, and feels like something Paul McCartney threw together on a whim. Sure, the Beatles experimented a lot, especially on the White Album, but this one? It’s like a strange little blip in the middle of something great.

I’ve seen people call it “fun” or “quirky,” and maybe that’s true if you’re in the mood for chaos. But for me, it disrupts the whole flow of the album. The rest of the record jumps around in genre, but at least most of the songs still feel like, well, songs. “Wild Honey Pie” sounds more like a sound check gone off the rails.

I get that the Beatles weren’t trying to please everyone, and sometimes they just did stuff for themselves. But this one has never really grown on me, no matter how many times I revisit it. It’s one of those tracks I tend to skip—fast.

2. “Ob-La-Di, Ob-La-Da”, The Beatles (1968)

This one’s a bit tricky, because I want to like “Ob-La-Di, Ob-La-Da.” It’s catchy. It’s playful. It tells a cute story about a couple named Desmond and Molly. But man, it gets old fast. The more I listened to it, the more it started to feel like it belonged in a kids’ cartoon more than a Beatles album.

Even the band had mixed feelings about it—John apparently hated it, and I kind of get why. It just feels overly bouncy and sugary, almost like it’s trying too hard to be fun. Compared to the depth and emotion they were capable of (even on the same album), this one falls pretty flat.

Still, I’ll admit—if it comes on at a family gathering, I’m not storming out of the room or anything. But when I’m deep into a Beatles binge, this is the kind of song I usually skip in favor of something with a little more bite.

3. “Mr. Moonlight”, Beatles for Sale (1964)

Okay, let’s talk about “Mr. Moonlight.” I remember hearing it for the first time and thinking, Wait… was that really the Beatles? It starts with this super dramatic vocal from John Lennon, and not in a good way—it’s more like karaoke-night-in-space kind of dramatic. The organ solo that follows doesn’t help either. It’s just… odd.

This was a cover they threw into Beatles for Sale, and to be fair, they did a lot of covers early on. But compared to their energetic takes on Chuck Berry or Little Richard songs, “Mr. Moonlight” feels flat and out of place. It doesn’t have that usual Beatles charm or spark.

I’ve tried to give it the benefit of the doubt—maybe it was meant to be a little theatrical or tongue-in-cheek. But every time I hear it, I end up thinking the same thing: they had so many better options, why this one?

4. “Revolution 9”, The Beatles (1968)

This one’s infamous—and for good reason. “Revolution 9” isn’t even really a song in the traditional sense. It’s more of a sound experiment: random voices, eerie noises, backwards tape loops, and a whole lot of confusion. I’ve listened to it a bunch of times trying to understand the appeal… and I still don’t really get it.

From what I’ve read, this was mostly John and Yoko’s doing, trying to push boundaries and make something avant-garde. And hey, I respect that. The Beatles weren’t afraid to take risks. But this feels less like a bold experiment and more like a track that tests your patience.

It’s not that I hate experimental stuff—it’s just that when I listen to a Beatles album, I’m usually not in the mood for nine minutes of chaos. Even after all the research and debate I’ve seen around this one, I’m comfortable saying it’s just not for me.

5. “What’s the New Mary Jane”, Anthology 3 (1996)

Now this one is a deep cut. “What’s the New Mary Jane” didn’t even make it onto an official Beatles album until the Anthology series came out, and honestly… that kind of says it all. It’s weird, messy, and full of bizarre lyrics like “He got the tambourine out” and “Let’s hear it for the four of us.” It feels like something they made up while goofing off in the studio.

Lennon was clearly in his experimental phase here, and I respect the creative freedom they had during the White Album sessions. But as a listener, this track just doesn’t do anything for me. It’s like a half-finished idea wrapped in noise and whimsy.

I know there are some fans out there who love the Beatles’ stranger moments, and that’s cool. But this one? I’ve tried to like it. I’ve tried to get it. But after all that listening and reading, I still think it’s one of their most forgettable oddities.

6. “Run for Your Life”, Rubber Soul (1964)

“Run for Your Life” has one of those melodies that sticks, but when you actually listen to the lyrics… yikes. It opens with “I’d rather see you dead, little girl, than to be with another man,” and yeah, it only gets more uncomfortable from there. Even John Lennon later admitted he wasn’t proud of writing it.

The tune itself is kind of catchy, in that early rock ‘n’ roll way, but it’s hard to get past the possessive, borderline threatening tone. It’s like hearing a jealous boyfriend rant to a beat. When I revisited the track during my deep dive, I found myself asking how this ever made it onto Rubber Soul, an album full of otherwise brilliant songwriting.

I get that it was a different time, and not every song needs to be a moral compass—but for me, this one doesn’t age well. It’s not just a bad Beatles song; it’s a cringey one that makes you feel a little gross for singing along.

7. “Blue Jay Way”, Magical Mystery Tour (1967)

“Blue Jay Way” is one of those songs that sounds cool at first—moody, spacey, full of echo—but then it just kind of… goes nowhere. George Harrison wrote it while he was waiting for a friend in Los Angeles, and it definitely captures that hazy, bored feeling. Too well, maybe.

There’s a trippy vibe here that fits the Magical Mystery Tour aesthetic, but it drags. The droning organ, slow tempo, and repeating lyrics start to feel more like a lullaby for a bad dream than an actual song you’d want to play again. It’s like being stuck in traffic in a foggy mood.

I’m a huge fan of George’s songwriting overall—don’t get me wrong. But “Blue Jay Way” feels more like filler than something fully formed. Every time I circle back to it, I kind of wish I hadn’t.

8. “The Continuing Story of Bungalow Bill”, The Beatles (1968)

This one feels like a nursery rhyme with a side of sarcasm. “Bungalow Bill” tells the story of a rich kid who goes hunting and comes back with a clean conscience, all wrapped in a sing-songy melody that sounds almost like a campfire tune. On the White Album, it stands out—but not really in a good way.

The lyrics are obviously satirical, and I do appreciate the commentary hiding beneath the surface. But musically, it’s clunky. The “All the children sing” line is kind of jarring, and Yoko Ono’s vocal cameo? Yeah, it doesn’t help. The whole thing feels more like a performance art piece than a track you’d willingly replay.

I don’t hate it as much as others do, but I also don’t go out of my way to hear it again. It’s one of those Beatles songs where the concept might be more interesting than the actual execution.

9. “Dig It”, Let It Be (1970)

I can’t really bring myself to consider “Dig It” a full song—it’s more like a jam session fragment that somehow wandered onto Let It Be. Clocking in at under a minute, it’s basically the band goofing around in the studio while John mumbles some nonsense about “like a rolling stone.”

Now, don’t get me wrong—I love studio outtakes and behind-the-scenes stuff. But putting something like this on a finished album? It just doesn’t make much sense to me. It’s fun in a casual, throwaway kind of way, but on an album meant to be their swan song? It feels out of place.

There’s nothing offensive about “Dig It,” but there’s also nothing memorable. It’s the kind of track you forget even exists until you accidentally hear it again and go, Oh yeah, that weird little bit.

10. “Good Night”, The Beatles (1968)

And yet, another White Album track. And no, I don’t have a beef with their most iconic album. “Good Night” is the final track on the White Album, and it’s… unexpected. After the chaos of “Revolution 9,” suddenly you’re being tucked into bed by Ringo Starr, backed by a sweeping orchestra. It’s sweet, I’ll admit, but also a bit too much. It leans so heavily into the lullaby territory that it borders on schmaltzy.

I’ve read that John wrote it for his son, and that gives it some emotional weight. But as a closer to one of the Beatles’ most chaotic, genre-jumping albums? It feels like a mismatch. After everything that came before, “Good Night” kind of floats away like a Disney ending.

It’s not terrible—it’s just not something I’d ever listen to on its own. I appreciate the sentiment, but it feels more like a solo project dressed in Beatles clothes.