Regarding Van Halen in Hot Fot Teacher: you realize they are laughing at themselves, right? It’s a goof. You really think they were trying to look serious?! 
This. Literally, this. There is a reason why the 70s has the reputation it does. Lots of great music, but a whole lotta shit, and there is nothing more embarrassing than the moment when Darryl Dragon said “You know what this track needs? Rat sex sounds!”
And “Float On” is a great smooth soul track. The guy opens the song by telling us his astrological sign and, to this Aries, nothing is more 70s than that. 
There are no bad Peter Gabriel interludes sir. And he makes that song, he doesn’t ruin it.
I showed that to a co-worker of mine and she was, like, back in the day, I was really trying to get backstage and collect some of that, but all of a sudden, I’m really glad I failed.
Cherish by the Association is cringe worthy for different reasons. The singers and the accompanists are just enough out of tune from each other to make my ears hurt. This really pisses me off, because the song and harmonies would be great - if they were in tune.
Grumble Grumble…
Cherish was the first “real song” that I remember liking when I was a kid.
For me, it was their song Windy. Their syrupy-sweet harmonies and arrangement have become a cult-snob thing known as Sunshine Pop, with Curt Boettcher as a lead player: Curt Boettcher - Wikipedia
As a kid, I just thought it was good - but Bill Withers’ Lean on Me was my favorite
In terms of cringe-worthy, I heard the Doors song Touch Me, with its Bad 60’s horn charts build up to Mr. Mojo Risin’s Las Vegas debut lyric “c’mon c’mon c’mon touch me babe.” I love me some Tom Jones, but not coming from the so-called Lizard King.
Everyone always blames Mr. Mojo Risin’, even when the song is by Igor Beer-Biker.
Is that an anagram for Robbie Krieger? I think so…and yes, he wrote it, but it is dreck regardless and hearing Jim all posey and dangerous launching into the lyrics is pure schmaltz to my ear.
It’s not that it doesn’t rhyme; it does. It’s that the rhyme is so painfully forced.
Most may disagree, but I thought this was one of the wonderful, uplifting moments in the pantheon of pop music history:
(things really heat up from :47 to 1:04)
Unfortunately no link, but if anyone caught Robert Palmer performing *I Didn't Mean To Turn You On* on Merv Griffin in '84, then you missed something that I can only describe as execrable to the point that you would've wanted to attack him with mini-drones, like in Stephen King's short story *Battleground* (despite there being no drones in it).Anything involving the demonstrably barf-laden Bronski Beat was simply an affront to pop. Especially seeing that Jimmy Somerville puke-nuts throwing jizzing (? < or hopefully I was seeing things) coconuts from a tree in one of those videos that I just really can’t bother ferreting out right now.
At least it’s not like we’re all ganging up on the 80’s or anything.
ok - something non-80’s, then:
Two Virgins
Bill Shatner/all those other doofi attempting spoken word recordings
Lee Hazelwood
vehemently thirding Muskrat Love hi-jinks.
diarrhea synth sounds at end of Dream Weaver
elsewhere-mentioned Abra-dabra - this song used to put me in brief psychotic breaks back in grade 11, resulting in property damage and slight pulmonary aberrations.
I, like, could really go on…
Nitpick: Robby Krieger
He’s credited as Robby on some albums and Robbie on others. On The Soft Parade, the album that includes “Touch Me,” it’s spelled Robbie.
**Biffy ** - any thoughts on the song? Cringe-worthy?
Nah, just a particularly minor entry in the Doors canon. Cringe-worthy is when a drunken Morrison changed it onstage to “Come on, come on, come on, come on, come on now suck me babe!”
After Bob Saget left “America’s Funniest Home Videos”, he did some profanity-laden HBO specials.
There was something very incongruous about him dropping F bombs right and left.
Cat Stevens" Moon Shadow, with the abysmal lyrics:
“If I ever lose my mouth,
lose my teeth both north and south…”
NM.
Queen showed everybody how great a band can be that day. Simon Le Bon showed everybody what studios are for.
I assume you’ve heard Roth’s isolated vocals from Running With the Devil?
