The Worst Motley Crue Songs Ever Created

Mötley Crüe, the epitome of ‘80s rock excess, are undoubtedly one of the most iconic bands of their era. Their anthems of sex, drugs, and rock ‘n’ roll have become synonymous with the decade. But while their hits are undeniable, it’s easy to forget that not every song they cranked out was a diamond. In fact, some were downright turkeys.

The band, often more preoccupied with their hedonistic lifestyle than crafting musical masterpieces, produced a fair share of tracks that are, quite frankly, painful to listen to. Believe us, we’ve endured them all.

So, prepare to have your faith in Mötley Crüe shaken. We’re about to dive headfirst into the murky depths of their discography to unearth the absolute worst songs they ever committed to tape.

10. “She Needs Rock N’ Roll” (2000)

Kicking off this countdown with a track that feels like a shadow of its former self. It’s as if Mötley Crüe, once the kings of excess, are sleepwalking through a forgotten dream. The energy is flat, the passion muted, and the overall vibe is more reminiscent of a tired old band going through the motions than the rock gods we once knew.

While it’s not an outright disaster, “She Needs Rock N’ Roll” is a far cry from the electrifying anthems that made the band legendary. It’s a track that leaves you wondering if these rock titans had simply lost their mojo by the time they recorded it.

9. “Toast Of The Town” (1981)

There’s a common misconception that Mötley Crüe’s debut album is flawless. Well, let’s just say that isn’t entirely accurate. Buried within that collection of early hits is this track that sounds like a lost puppy trying to bark like a Rottweiler. “Toast Of The Town” is a clumsy attempt at glam metal that misses the mark by a country mile.

The riffs are as subtle as a brick to the face, and the vocals are like a car crash you can’t look away from. If you’re brave enough, venture into the guitar solo at your own peril. It’s a sonic disaster area that will make you question everything you ever thought you knew about music.

8. “Sumthin’ For Nuthin’” (1987)

Beneath the glitz and glamor of Mötley Crüe’s larger-than-life image lies a surprising truth: sometimes, even rock gods can produce tracks that sound more like a garage band’s first jam session than a polished studio recording. One such track is “Sumthin’ For Nuthin’” – a prime example of this unexpected mediocrity.

With its generic title and even more generic riff, this song feels like a lazy rehash of every other rock anthem ever written. It’s as if the band decided to phone it in for this one, serving up a musical equivalent of fast food: cheap, easy to consume, and quickly forgotten.

7. Slice of Your Pie (1989)

Mötley Crüe, being the excessive rock stars they are, occasionally ventured into territory that felt like a desperate attempt to emulate their rock idols. One such track is a prime example of this misguided homage. While Aerosmith’s influence is clear, the band’s execution falls flat.

The Crüe’s attempt at capturing the funky energy and soulful vocals of their predecessors is about as successful as a squirrel trying to fly. The addition of psychedelic elements doesn’t salvage the track, but instead creates a bizarre and jarring sonic collision.

6. “Poison Apples” (1994)

The infamous “Vince Neil-less” Mötley Crüe album spawned a track that, while showcasing the vocal talents of John Corabi, ultimately falls flat. Despite the singer’s valiant effort to infuse the song with a raw energy reminiscent of Mott The Hoople, the underlying melody remains disappointingly weak.

It’s as if the band was trying to reinvent themselves without quite figuring out who they wanted to be. The result is a track that feels like a half-hearted attempt at a new sound, lacking the raw power and rebellious spirit that defined the Crüe’s earlier work.

5. “Brandon”(1997)

Tommy Lee’s attempt at a heartfelt ballad on Generation Swine is a cringe-inducing spectacle. Channeling the ghost of John Lennon for a song dedicated to his son is a noble intention, but the execution is about as subtle as a sledgehammer.

While undoubtedly meaningful to those closest to him, the song comes across as overly sentimental and lacks the emotional depth required to resonate with a wider audience. It’s a track that’s likely to leave listeners feeling awkward rather than touched.

4. “Louder Than Hell” (1985)

Buried within the depths of Theatre of Pain is a track that should come with a warning label. It’s a sonic assault that masquerades as heavy metal but is, in reality, a sluggish and uninspired mess. The vocals are grating, the pace is glacial, and the overall effect is akin to being trapped in an elevator with a broken speaker.

The band’s attempt to inject a sense of groove into this track is about as successful as a fish trying to ride a bicycle. Save yourself the agony and skip this one entirely. Your ears will thank you.

3. “She Goes Down” (1989)

Mötley Crüe, as much as they were a rock band, often felt like a tabloid headline waiting to happen. Their personal lives were as captivating, if not more so, than their music. This particular track from Dr. Feelgood gives the impression that the band themselves might have felt a bit lost in the whirlwind of fame and excess.

It’s a song that feels like a casual afterthought, a track thrown together more out of obligation than inspiration. It’s as if the band were simply going through the motions, their minds more occupied with the drama unfolding offstage than the music they were creating.

2. “Jailhouse Rock” (1987)

The band’s decision to include a live cover of Elvis Presley’s iconic “Jailhouse Rock” on their Girls, Girls, Girls album is a baffling choice. Their rendition is a chaotic and uninspired mess that completely misses the mark.

Motley Crue’s frantic energy and Vince Neil’s ear-piercing vocals transform a classic rock ‘n’ roll anthem into a sonic nightmare. It’s a cover version that feels like a desperate attempt to cash in on someone else’s fame, and it’s a painful reminder that not every band can pull off a successful cover.

1. “Save Our Souls” (1985)

Yeah, save our souls indeed after this one. There’s a special kind of torture reserved for music fans: songs that drag on and on, promising a heavy metal catharsis that never arrives. One such track is a prime example of this auditory purgatory. It’s a dirge disguised as a rock song, a plodding, interminable journey through a sonic wasteland.

Slow metal should be a suffocating experience, a claustrophobic descent into darkness. Instead, this track feels more like a sedative than a stimulant. It’s the musical equivalent of watching paint dry, only with added guitar noise.