From Hit to Hate: When Artists Turn on Their Biggest Songs

Published: January 1, 2024

Many musicians experience a love-hate relationship with their most popular songs. What starts as a creative spark can evolve into a source of frustration, regret, or even reluctant acceptance.From Nirvana’s “smells Like Teen Spirit” to Willow smith’s “whip My Hair,” the reasons behind this phenomenon are varied and complex. Overexposure, artistic regret, external pressures, and unexpected success all contribute to artists sometimes disowning the very songs that propelled them to fame. This article delves into the stories behind some of music’s most iconic tracks and the artists who grew to resent them.

Nirvana – “Smells Like Teen Spirit” (1991)

Nirvana’s “Smells Like Teen Spirit,” released in 1991, became an anthem for a generation. However, frontman Kurt Cobain grew to resent the song’s ubiquity. The constant radio play and the association of his identity with a single track led to embarrassment and frustration. Cobain’s initial artistic vision for Nirvana was far broader than the grunge label the song helped solidify, leading to a disconnect between his creative aspirations and the public’s perception.

Oasis – “Wonderwall” (1995)

oasis’ “Wonderwall,” a Britpop staple from 1995,also became a source of irritation for Liam Gallagher. Similar to Cobain, Gallagher grew tired of the song’s constant presence and its overshadowing of other Oasis tracks. The song’s simple structure and singalong chorus, while contributing to its popularity, also clashed with Gallagher’s desire to showcase the band’s more complex and experimental work.

Charli XCX – “Break the Rules” (2014)

Charli XCX’s “Break the Rules,” released in 2014, is another example of an artist expressing dissatisfaction with a commercially successful song. Charli XCX has voiced artistic regret, feeling the song didn’t represent her best work. The circumstances of its creation, perhaps involving writing camps and rushed composition, may have contributed to her feeling that the song lacked the artistic depth she strives for in her music.

billy Joel – “We Didn’t Start the Fire” (1989)

Billy Joel’s “We Didn’t Start the Fire,” released in 1989, is a rapid-fire historical recap set to music. However, Joel himself has expressed reservations about the song’s quality. The sheer volume of information packed into the lyrics, while notable, may have overshadowed the song’s musicality in Joel’s eyes.

Chrissie Hynde (The Pretenders) – “Brass in Pocket” (1979)

Chrissie Hynde of The Pretenders initially felt negatively about “Brass in Pocket,” released in 1979. She expressed dissatisfaction with the song’s initial sound and her own vocal performance. However, over time, Hynde has found a measure of thankfulness for the song, connecting it to positive memories and acknowledging its impact on her career. This shift in perspective highlights how an artist’s relationship with a song can evolve over time.

Jani Lane (Warrant) – “Cherry Pie” (1990)

Jani Lane of Warrant experienced a complex relationship with “Cherry Pie,” released in 1990. Lane highlighted how label pressure and commercial considerations can lead to the creation of songs an artist may later regret. The song’s success ironically became a source of personal angst for Lane,who felt it overshadowed his other songwriting efforts. Despite his initial reservations, lane later showed an recognition for the enduring popularity of his hit.

Slash (Guns N’ Roses) – “Sweet Child o’ mine” (1987)

Slash of Guns N’ Roses initially didn’t think much of the riff that became “Sweet Child o’ Mine,” released in 1987. The sheer unexpected success of the song caused a disconnect between Slash’s initial creative intent and the song’s eventual meaning. What began as a simple guitar exercise transformed into one of the most iconic rock anthems of all time,a transformation that Slash found somewhat perplexing.

Cyndi Lauper – “The goonies ‘R’ Good Enough” (1985)

Cyndi Lauper initially clashed with producers over “The Goonies ‘R’ Good Enough,” released in 1985 for the film *The Goonies*. Music supervisor Joel Sill explained the conflict: “I think she felt it was an infringement on her creativity, which I agreed with. But all of us had a bigger duty to the movie. It was a big investment we all had in utilising the music to sell the film, and the film would then sell the music.” Lauper initially resisted changing the lyrics to be more film-specific but eventually relented on the title. Despite her initial reservations, she has recently included the song in her farewell tour setlists, suggesting a possible reconciliation with the fan-favorite track.

Beastie Boys – “Fight For Your Right (To Party)” (1986)

The Beastie Boys’ “Fight for Your Right (To Party),” a defining anthem of the 1980s, was reportedly written in just “about five minutes” at the Palladium nightclub in New York. However, the song’s satirical intent was often lost on its audience. Mike D expressed his frustration with the song’s misinterpretation: “the only thing that upsets me is that we might have reinforced certain values of some people in our audience when our own values were actually totally different. There were tons of guys singing along to [‘Fight for Your Right’] who were oblivious to the fact it was a total goof on them. Irony is frequently enough missed.” The song, intended as a parody of boorish behavior, was embraced unironically by the very demographic it mocked, leading to the band’s disillusionment.

Metallica – “Escape” (1984)

“Escape” was a last-minute addition to Metallica’s 1984 album,*Ride the Lightning*.Frontman James Hetfield never fully embraced the hastily written track. The band famously avoided playing it live until their Orion Music + More Festival in 2012, where they performed the entire album. Hetfield acknowledged the significance of the moment before playing the song: “This is groundbreaking right here. This is historical for those of you who might know what’s coming up next. The song that we never wanted to play live ever is now on the setlist. We’re not afraid, we just hope it is indeed good. And we’ll do our best.you can sing along if you want,all right? That might help.” The performance marked a rare and perhaps reluctant acknowledgment of a song the band had long distanced themselves from.

The Who – “Pinball Wizard” (1969)

“Pinball Wizard,” a centerpiece of The Who’s 1969 concept album *Tommy*, is viewed less favorably by its writer, pete Townshend. He considered it a clumsy and embarrassing piece of writing. Townshend later recalled his initial reaction to the song: “I knocked it off. I thought, ‘Oh, my God this is awful, the most clumsy piece of writing I’ve ever done. Oh my God, I’m embarrassed. This sounds like a music hall song. I scribbled it out and all the verses were the same length and there was no kind of middle eight. It was going to be a complete dud, but I carried on.” Despite his initial misgivings, “Pinball Wizard” became one of The Who’s most recognizable and enduring hits.

Willow – “whip my Hair” (2010)

Willow Smith’s debut single, “Whip My Hair,” released when she was just nine years old in 2010, initially brought her immense attention, but also regret. In the years following its release, she often spoke negatively about the song. Smith expressed her desire to disown that period of her life: “For so long, I wanted to condemn that time of my life and forget it, just kind of push it under the rug.” The intense scrutiny she faced after the song’s success led to panic attacks. She told *The Independent* in 2022, “That was crazy. I was brainwashed into thinking,‘No,you’re being a brat,suck it up.’ Then I grew up, and I realised it was something that needed to be dealt with.” However,Smith has recently re-evaluated her feelings towards “Whip My Hair,” recognizing its thematic connection to her later,rock-influenced work. she stated,”I listened to ‘Whip my Hair’ not too long ago,after many years,and realised that it’s the same message.” She now sees the song’s message of self-expression and unapologetic individuality as consistent with her current artistic focus.

these stories highlight the complex and evolving relationship artists have with their work. What starts as a hit song can, over time, become a source of frustration, regret, or even eventual acceptance. The journey from creation to public reception and the artist’s own changing perspective makes for a fascinating look behind the music.

Common Themes

• Overexposure and Ubiquity: Many artists,like Kurt Cobain (nirvana’s “Smells Like Teen Spirit”) and Liam Gallagher (Oasis’s “Wonderwall”),grew tired of the constant play and association of their identity with a single song. the oversaturation led to embarrassment and frustration.
• Artistic regret: Several artists, such as Charli XCX (“Break the Rules”), Billy Joel (“We Didn’t Start the Fire”), and Chrissie Hynde (initially with “brass in Pocket”), expressed dissatisfaction with the song’s quality or the circumstances of its creation (e.g., writing camps, rushed composition). They felt the song didn’t represent their best work or artistic vision.
• External pressures: Jani Lane (Warrant’s “Cherry Pie”) highlights how label pressure and commercial considerations can lead to the creation of songs an artist may later regret. the song’s success ironically became a source of personal angst.
• A Shift in outlook: While initially negative, some artists, like Chrissie Hynde, have later found a measure of thankfulness for the song, frequently enough connecting it to positive memories or acknowledging its impact on their career. Jani Lane also showed a later appreciation for the enduring popularity of his hit.
• Unexpected Success: The sheer unexpected success of some songs (e.g., Slash’s initial unplanned riff that became “Sweet Child o’ Mine”) can cause a disconnect between the artist’s initial creative intent and the song’s eventual meaning.

Ultimately, these examples illustrate the sometimes paradoxical relationship between artistic creation and commercial success. While a hit song can launch an artist’s career, it can also become a point of contention and even resentment over time due to a variety of factors. The stories behind these songs offer a glimpse into the complex and often contradictory world of music and the artists who create it.

From Regret to Redemption: The Hit Songs Artists Secretly Loathed

Even the most accomplished musicians have songs in their discography that they’d rather forget.From Ariana Grande’s bubblegum pop debut “Put Your Hearts Up” in 2011 to Pink’s chart-topping “Don’t Let me Get Me” in 2001, some artists have publicly expressed their dislike for tracks that propelled them to fame. These songs, while commercially successful, often represent a creative direction the artist has since moved away from.Explore the surprising stories behind these hits and the reasons why their creators grew to resent them, sometimes years after their initial release.Discover the evolution of artists’ perspectives on their own work, and the complex relationship between commercial success and artistic satisfaction.

Ariana Grande – “Put Your Hearts Up” (2011)

Ariana Grande, now a global pop sensation with over 98 billion global streams, didn’t always have such a smooth ride.her debut single,“Put Your Hearts Up,” released in 2011,was a far cry from the music she’s known for today. The song, co-written by Linda Perry of 4 Non Blondes, was a bubblegum pop track that Grande later described as “inauthentic and fake.” The track,intended to launch her career,rather became a source of embarrassment for the burgeoning artist.

Grande expressed her strong feelings about the song and its accompanying video:

For the video, they gave me a bad spray tan and put me in a princess dress and had me frolic around the street. The whole thing was straight out of hell.I still have nightmares about it, and I made them hide it on my vevo page.

Ariana Grande,Rolling Stone

The experience clearly left a lasting impression on the artist,shaping her future artistic direction. Grande’s subsequent work reflects a desire for authenticity and artistic control, a direct response to her experience with “Put Your Hearts Up.”

Pink – “Don’t Let Me Get Me” (2001)

Released in 2001, Pink’s “Don’t Let Me get me” was a critical and commercial success, resonating with audiences worldwide. The song,known for its raw honesty and vulnerability,helped solidify Pink’s image as a rebellious and authentic pop star.However, a decade later, Pink revealed her true feelings about the song.

Despite its initial acclaim, Pink confessed her strong aversion to the track:

I wish I could burn that song and never sing it again!

Pink, Los Angeles Times, 2012

While she managed to laugh about it, her statement underscores the complex relationship artists can have with their own creations, even those that achieve widespread popularity. The reasons behind Pink’s dislike remain somewhat ambiguous, but it highlights the evolving tastes and perspectives of artists over time.

Cyndi Lauper – “The Goonies ‘R’ Good enough” (1985)