In terms of instruments that have completely lost their luster in rock 'n' roll, the saxophone hovers at the top of the list (beaten only by the keytar).

What was once an essential ingredient of early R&B, soul and garage rock has now pretty much become a punchline. The reason? Its atrocious misuse in numerous hits of the '70s, '80s and early '90s, when the sax became synonymous with cheesy blaring, honking and "quiet storm" come-on attempts.

Here are the 10 biggest groan inducers of that era, sax-men  - and women - who should've known when to use a mute.

10. Eddie Money - "Take Me Home Tonight"

Eddie and a ladder rock an empty concert hall - with Ronnie Spector slinking around backstage, apparently trying to locate the entrance, Spinal Tap-style. The sax doesn't come in until the 2:05 mark, but Eddie's all over that shit. Banging on ladders, wheezing into woodwinds ... the man can do it all! Actually, had the auditorium been packed, the crowd would've quickly thinned out.

9. Quarterflash - "Harden My Heart"

Otherwise known as "the '80s hit by that lady who looks like your mom." The sax comes storming out of the gate at the beginning, then come keeps popping back in like an unwelcome guest who forgot his keys, then his cell phone, then his leftover beer...

8. Wham! - "Careless Whisper"

The biggest hit on this list practically defined the '80s sax sound: seductive and sappy. There's no discreet "whisper" here; that horn's as in-your-face as a belligerent drill instructor. Later covered by Seether, sans sax, in an even more ear-bleeding version.

7. Icehouse - "Electric Blue"

Jesus, these guys have so many things working against them already - unfortunate mullets, Debbie Gibson hats, a general attitude of "hot shitness" - the last thing they need is a terrible sax solo to further crap up their song. But that's just what they give us on a poo-poo platter at the 2:00 mark, with a looooong sloooooow instrumental break.

6. Tim Capello (a.k.a. Saxophone Guy from "Lost Boys") - "I Still Believe"

What happens when an oily meathead, some gyrating hips, a jackhammer-like sax and an approving Corey Haim meet? Somewhere, rock 'n' roll weeps quietly to itself.