10 Terrible Songs That ALMOST RUINED Great Albums

Just Shy Of Perfection.

Led Zeppelin II
Atlantic Records

As much as Rolling Stone would try to say otherwise, no album is perfect. While some bands get dangerously close to achieving the perfect balance of hookiness for their respective albums, there's no way of assembling the best track list of all time to put on a single creative work.

Though these are some of the best of the bunch, there's a little fly in the appointment to be had with every one of these records.

From a sonic standpoint, each of these records were a gamechanger in their field, only to fall prey to that one song that no one likes to talk about. Compared to the genius across these albums, these stick out like a sore thumb in the worst way, almost pulling you out of the experience altogether at the worst of times.

That might not even be the artist's fault though, with a lot of these more coming down to padding out the runtime than actually giving a worthwhile experience to the audience.

Regardless of how it's made, it doesn't make them any fun to listen to, especially when they're next the sonic company they have. Whether it hasn't aged well or tanked from the moment you heard it, we're probably better off just pretending that these songs don't exist.

10. Ten Seconds to Love - Motley Crue

Most hair metal bands needed a few years to really get things going. As much as the larger than life performances from the likes of Twisted Sister and Def Leppard were eye-catching at the time, people weren't taking notice until things started to pick up steam after the US Festival of 1983. While Shout at the Devil by Motley Crue shows the turning point in hair metal's journey, Ten Seconds to Love is proof that it's not exactly golden from cover to cover.

Compared to some of the more sleazy cuts on the record like Bastard and Looks That Kill, this album cut towards the back half of the record feels like it's half-finished by comparison. Though the actual chorus chant is catchy enough for what it is, something about the song doesn't feel fully realized, as if Nikki Sixx came up with the main chant and forgot to actually string the rest of the song together.

What makes it all the more apparent comes from the fact that it's sandwiched between some of the prime cuts on the record like Too Young to Fall in Love and their ode to the mean streets of Hollywood on Danger. The energy is certainly here in spades, but this is a good case study that the energy of a song is only half the battle.

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