The 60 Most Unusual One Hit Wonders of the '60s and '70s

The tune, originally performed by blues artist Lead Belly, was first recorded in 1977. However, in 1973, Bill Bartlett rearranged the song under the title “Starstruck” before forming Ram Jam. Four years later, the band released the single nationally. Since its initial release, the song has continued to be popular, frequently appearing on playlists and in films. Despite its success, Bartlett was unable to replicate this achievement with any subsequent music projects. As a result, it is believed that he retired from music at the end of the 1970s.

Nick Lowe is an artist who defies the need for hits. He is a skilled songwriter, creating witty and biting pop songs that resonate regardless of the era. Additionally, he has gained recognition as a successful producer, overseeing some of the most popular albums of the 1970s and 1980s. Despite this, Lowe did experience a taste of one-hit wonder status with his melancholic track “Cruel to Be Kind,” which became his only solo single to chart in the United States. Nevertheless, he continued to have success globally with other hits. Although he never replicated his chart success, Lowe remained active as both a touring musician and producer.

It is quite astonishing how this song became a popular hit single. Vicki Lawrence, primarily recognized for her appearances on The Carol Burnett Show and Mama’s Family, achieved great success in 1973 with this captivating true crime anthem centered around a murder in a quaint southern town. Despite her ongoing music career in the ’70s, Lawrence was unable to replicate the triumph of this hit.

Whether you were alive during the release of the Surfaris’ 1963 hit or just recently born, “Wipe Out” is a tune that you are undoubtedly familiar with. Even if you only recognize the catchy tom-tom drum intro or the playful call of “Wiiiiipe out,” this song has made its mark. It achieved considerable success, spending two months on the Billboard charts and peaking at number 2 during its six-week reign. This accomplishment is noteworthy, considering that the genre it belongs to quickly faded from popular culture after its initial rise.

It is surprising that a Scottish cover of an Everly Brothers song became such a massive hit. The song achieved platinum status for Nazareth in both the United States and the UK, catapulting the band to their highest level of mainstream success. Despite being labeled as a one-hit wonder, the band has not been negatively impacted. In fact, they continue to tour to this day with their original bassist, Peter Agnew.

During the year 1976, DJ Rick Dees unveiled “Disco Duck,” an unconventional song that recounted an unusual tale about a duck igniting a popular dance phenomenon. It is truly perplexing how this peculiar track managed to achieve success, as it remains a mystery to comprehend. However, it serves as evidence that during that time, any tune with a catchy rhythm and an enjoyable melody had the potential to become a chart-topper.

During the 1970s, there was a peculiar trend noticeable in the music of one-hit wonders from this era. These songs featured a funk-lite sound, reminiscent of the popular music of that time, but lacking the energy and impact exhibited by bands like Earth, Wind, and Fire. “The Rapper” by The Jaggerz epitomizes this particular sound. Although the song is decent, it merely exists without leaving a lasting impression. It is understandable why it managed to climb to Number 2 on the Billboard Hot 100, but also why it quickly faded from the charts.

One of the most iconic tracks by a one-hit wonder is Iron Butterfly’s “In-A-Gadda-Da-Vida”. It’s remarkable for being such a wild song to become a hit. Despite its whopping 17-minute length, the abridged version of the track managed to reach Number 30 on the Billboard charts in 1968. Considered an early precursor to heavy metal, this bombastic song features both an organ and a drum solo, all within the context of a love song set in the Garden of Eden. Reflecting on the wildness of the ’60s, it’s a shame that this type of song no longer dominates the charts.

When Jim Peterik composed the popular song “Vehicle” in 1970 for his band Ides of March, he expressed his frustration towards a girl who he believed was taking advantage of him by constantly asking for rides in his car. This unbalanced portrayal of a man feeling exploited remains one of the more unpleasant individual hit singles by an artist from the mid-century era. However, what adds an even stranger twist to the story is the alleged romantic involvement between Peterik and the woman after the song’s release. Hopefully, she was able to avoid listening to this song during their courtship.

Despite its resemblance to southern rock influenced by Skynyrd, “Mississippi Queen” is not performed by a band from the South. Surprisingly, it is actually performed by Mountain, a group of individuals from Long Island. Formed in 1969, the band had the fortunate opportunity to perform at Woodstock, showcasing their talents at the perfect moment. Additionally, they achieved a notable #21 hit on the Billboard Hot 100 in 1970 with this song. However, the group disbanded two years later, affirming the belief that sometimes it is better to enter and exit the music scene swiftly.

During the early 1970s, the direction of popular music was uncertain. As psychedelic rock gradually transformed into heavy metal, remnants of hippie-inspired pop songs lingered, persisting like a persistent headache. “In the Summertime” by Mungo Jerry defied categorization. This exuberant song, selling over 30 million copies, celebrated happiness regardless of the time. However, the continuous rotation of band members seemed to burden the group, preventing them from capitalizing on the success of this single. Consequently, Mungo Jerry became an anomaly of the 1970s.

It is quite surprising that a melancholic song from the viewpoint of someone approaching death became massively popular. Roy Clark’s rendition of “Yesterday When I Was Young” gained immense success in Canada and the United States in 1969. Adding to its peculiarity, this particular version of the song was played during the funeral of baseball icon Mickey Mantle in 1995.

Songs with political themes that endorse war have found success throughout history. However, it was only during the 1960s that a ballad performed by an actual Staff Sergeant, using a peculiar talky voice, managed to reach the top spot on the Billboard charts. This single sold over two million copies, while the accompanying album sold close to 10 million copies. It is truly remarkable that such a song became so popular. After achieving such immense success, it was challenging for Sadler to replicate it, as his subsequent single, “The A Team,” failed to achieve comparable chart performance.

The Starland Vocal Band, consisting of a husband and wife duo, must find it gratifying that their sensual and folksy tune, “Afternoon Delight,” resurfaces in various forms in movies and TV shows every few years. This catchy song gained significant popularity, earning the group two Grammy Awards and receiving widespread airplay across the nation. However, despite their initial success, the band failed to recreate the enchantment of this particular song, causing them to gradually fade away like the setting afternoon sun.

This globally popular song from the 1960s is truly unique. It draws inspiration from “Lucy in the Sky with Diamonds,” but instead of following the Beatles’ psychedelic style, it leans more towards lounge-inspired pop. Even today, listening to this track is a bizarre experience. The lyrics of “Judy In Disguise” are utterly nonsensical, with lines like “Come to me tonight, come to me tonight/Taking everything in sight/Except for the strings on my kite, etc.” It’s no wonder that audiences grew tired of John Fred rather swiftly.

Regrettably, despite their significance in the 1960s, Buffalo Springfield is labeled as a one-hit wonder based on statistics. Their song “For What It’s Worth” became a tremendous hit, leaving a lasting impact even in present times. Tragically, shortly after their million-selling single was released, the band experienced a string of lineup changes, resulting in the departure of Neil Young, followed by Steven Stills.

“Na Na Hey Hey Kiss Him Goodbye” was written and recorded by Paul Leka, Gary DeCarlo, and Dale Frashuer. They created a fictional band called “Steam” for the song, but it was actually a studio-only group. When the song became a hit, Paul Leka formed a real band named Steam to go on tour. However, the band disbanded before they could start touring, so Leka had to assemble another group. The song reached number one on the Billboard Hot 100 in late 1969 and stayed on the charts into early 1970. In 1977, Nancy Faust, the organist for the Chicago White Sox, started playing the song whenever the team’s sluggers hit a home run. The fans began singing along, and this became a beloved sports ritual. The chorus of the song is still widely recognized and is often used as a chant at various sporting events.

Undoubtedly, “I Love the Nightlife” stands as one of the most unforgettable disco tracks from the 1970s, highlighting Alicia Bridges’ exceptional vocal talent. Despite not attaining further chart success, this song has become a staple in nearly every film revolving around the disco era or the joy of dancing. If Bridges retains the publishing rights for this hit, she must have received a substantial financial reward. Bridges continues to actively engage in music production and DJing, indicating that her passion for the nightlife remains unwavering.

Van McCoy wrote “The Hustle,” a disco track that continues to energize dance parties, despite being a nostalgic reminder of the disco era. While it may be his only notable success, McCoy also penned The Beegees’ hit “I Started a Joke” and another track called “The Shuffle.” Tragically, McCoy passed away at the age of 39 in 1979.

“Gimme Gimme Good Lovin'” is a bubblegum pop track released under the name Crazy Elephant, a band assembled in the studio by the Marzao-Calvert Studio Band. Although the song itself follows a typical love song formula, it is not the only peculiar aspect surrounding it. Instead of just releasing the single without much fanfare, the Marzao-Calvert Studio Band members went a step further and developed a bizarre and intricate backstory for Crazy Elephant. In fact, their biography becomes increasingly bizarre with each syllable.

Written in just under 10 minutes, the song “All Right Now” was crafted by the band as a direct response to the uninspiring reception they received from their live audiences. With an aim to create an irresistible groove that would captivate the crowds, their efforts proved fruitful as the track achieved remarkable success, reaching the Top 30 in the U.S. and the Top 10 in the UK. However, despite this triumph, the band eventually faded into obscurity, joining the ranks of one-hit wonders and retreating to the metaphorical farm where they reside.

Perhaps “Junk Food Junkie” can be considered one of the finest novelty songs from the 1970s. We’re not quite prepared to fully support this claim, but we do find it quite amusing. This comical homage to junk food and the trend of a healthy diet at the time spent a remarkable 15 weeks on the Billboard Charts, ultimately reaching the impressive position of Number 9 on the Hot 100. Groce eventually departed from the realm of pop music to become a co-founder of the popular two-hour live radio show Mountain Stage, which he hosted from 1983 until 2021.

The ’70s witnessed the peculiar rise of “Apollo 100,” an unconventional Top 10 Billboard hit. Surprisingly, it was an electronic interpretation of Johann Sebastian Bach’s renowned composition, “Jesu, Joy of Man’s Desiring.” It remains unclear whether the audience craved the unique blend of robotic and classical music or if this success was merely a stroke of luck. Nevertheless, we appreciate that the members of Apollo 100 experienced the gratifying embrace of triumph, even if it was only for a fleeting moment.

In 1969, an exceptionally peculiar hit single emerged, ingeniously incorporating a poem from the late 19th century that exudes utter eccentricity. Although Spiral Staircase never replicated the immense success of this particular song, it has been repeatedly reinterpreted by a diverse range of artists, including Sonny and Cher, Lena Horne, and the pop-punk band Goldfinger.

If you’re not familiar with this rendition of the Animal’s “House of the Rising Sun,” it’s alright. Back in 1970, the song reached number 11 on the charts in the United States and number 5 in Canada, but following that, the band essentially vanished within four years. Oddly enough, the band reunited in the 2010s and released a series of albums, despite having no original members. It begs the question, what does that metaphor about an old boat with new beams mean?

Although “Venus” did not mark the start of a string of successful singles for the Netherlands’ Shocking Blue, the song has proven its lasting appeal. In 1986, Bananarama achieved success with their rendition, and more recently, it resurfaced in The Queen’s Gambit. Despite touring and releasing albums during the ’70s, Shocking Blue was unable to replicate the immense impact of “Venus” with any subsequent hit in the United States.

It is difficult to envision a popular song today starting with the line, “I am the god of hellfire and I bring you… fire.” However, this was one of the unique aspects of the Groovy era. Odd songs had the ability to embed themselves into the collective mindset due to their inherent peculiarity. The additional fascination lies in the fact that the song possesses elements reminiscent of lounge music. While this track remains Arthur Brown’s sole major success, he continued to capitalize on its fame for many years, extending even into the 2000s.

This song became a hit due to its catchy sitar melody and lyrics centered around a pan handler seeking money. What makes it even more interesting is the tape echo effect applied to the word “play” in the chorus, creating an echoing effect that blends with a snare roll. This groovy element resonated with people for a short period of time. The song reached Number 1 in the United States and Canada, and eventually made it to the Top 10 globally. Unfortunately, this marked the end of the Lemon Pipers’ success.

Are you familiar with the catchy tune of “Sugar Sugar” by the Archies? It might be playing in your mind as we speak. Apologies if it’s not your cup of tea, but as our duty, we take pleasure in highlighting these remarkable one-hit wonders. In the year 1969, amidst a period of significant social turmoil and groundbreaking musical advancements, this track managed to grace the Hot 100 chart for an impressive 22 weeks. Although the fictional group known as the Archies continued to release singles during the ’70s, none of them could quite capture the same level of impact as their beloved hit “Sugar Sugar.”

Bobby “Boris” Pickett, known for his one-hit wonder status in the 1960s, created an iconic and captivating song of the decade called “The Monster Mash.” This catchy tune was written as a way to capitalize on the popularity of horror movies and dance trends during that time. Surprisingly, the song’s immense success came as a shock to the singer. Despite his attempts to replicate this triumph with other monster-themed songs like “The Monster Swim” and “The Monster Rap,” he could never achieve the same level of accomplishment. Nonetheless, “The Monster Mash” remains an undeniable hit that continues to captivate listeners.

“Ring My Bell” was initially intended for Stacy Lattisaw, an 11-year-old singer, with the aim of creating a fun novelty hit centered around telephone calls. However, when Anita Ward took hold of the song, it underwent a transformation into a captivating and seductive disco track.

Dr. John, the talented performer, had always managed to captivate audiences worldwide with his boogie-woogie blues act, making the use of a radio unnecessary. That’s why it seems unusual that his song, “Right Place, Wrong Time,” became a hit. Dr. John was never seeking commercial success, which is likely why he unintentionally created this iconic ’70s hit.

“Fooled Around and Fell in Love” defies the typical fate of most one-hit wonders, as it has managed to endure over time. Despite being released in 1976, the song stands out because it does not showcase Bishop as the lead vocalist. Instead, the background singer, Mickey Thomas, stepped forward and infused the track with a soulful and effortless quality. This impressive performance led to Thomas becoming the lead singer of the beloved ’80s band, Jefferson Starship. Meanwhile, Bishop remains unfazed by the label of a one-hit wonder and continues to captivate audiences with his performances to this day.

The ’60s single is best remembered for its catchy refrain, which unfortunately also made it feel outdated. The iconic line “Come on people now smile on your brother, get together try to love one another right now” carries a positive message, but it can come across as cheesy. Despite releasing five albums within a span of five years, The Youngbloods never managed to replicate the same level of success.

Despite being prevented from reaching the top spot on the Billboard Hot 100 charts by Gilbert O’Sullivan’s “Alone Again (Naturally),” this song from 1972, which tells the story of a solitary barmaid in a harbor town, has remained popular throughout the past five decades. Notably, it even received significant recognition in Guardians of the Galaxy Vol. 2.

During the ’60s, it was truly remarkable how a novelty song like “They’re Coming to Take Me Away, Ha-Haaa!” could become a Top 5 hit without any backlash from audiences. Jerry Samuels, performing under the name Napoleon XIV, released this single as part of an album centered around the theme of insanity. Although the album may not have had long-lasting appeal, it doesn’t prevent us from appreciating this delightfully crazy track. The song itself, created by Samuels during his time at New York’s Associated Recording Studios, featured a combination of instruments including a snare drum, tambourine, and a siren that added to the escalating intensity of Samuels’ vocals in the chorus.

In 1971, it was absolutely mind-boggling that a song detailing a mine implosion and the resulting act of cannibalism managed to climb its way into the Top 20 on the Billboard charts. What made this song even more peculiar was the fact that it was initially banned by radio stations due to its controversial content. However, some stations took a different approach and decided to play the song simply to stand out from their competitors, ultimately resulting in its unexpected success as a hit single. This peculiar situation may very well be one of the few instances where a song reached the top of the charts purely out of spite.

At number eight on the list is “Nobody but Me” by the Human Beinz, a bar band hailing from Youngstown, Ohio. In their early days, they primarily focused on recording cover versions of popular songs by other bands. Surprisingly, their hit single is actually a rendition of an Isley Brothers track and is renowned for its excessive repetition of the word “no,” making it a standout in pop music history. Following the success of their hit, the band released a cover of Bobby Bland’s “Turn On Your Love Light,” which reached Number 80 in the United States but soared straight to the top spot in Japan. Unfortunately, the band disbanded in 1969, concluding their musical journey.

“Rapper’s Delight” is an iconic one-hit wonder that holds significant importance. Produced in 1979 by a trio of rappers who were assembled similar to a hip hop boy band, the song incorporates elements from Nile Rodgers and Chic while providing a glimpse into the realm of New York hip hop, reaching an audience unfamiliar with this style. Although “Rapper’s Delight” may sound outdated when listened to today, it undeniably paved the way for influential acts such as The Beastie Boys, Biggy, and Wu-Tang Clan.

If you believed that KC and the Sunshine Band performed this song, you’re not the only one. We also overlooked Wild Cherry, but that is not a problem for them as they are making a lot of money. Their amazing disco track, “Play That Funky Music,” not only sold over a million copies of their album and single but they also released three more albums in the ’70s. The band is now completely finished, but guitarist Bryan Bassett is still touring with Foghat to this very day, so at least one of them is keeping the funky music alive.

Despite being a prominent figure in electronic music since the late ’70s, pop music pioneer is officially classified as a one-hit wonder due to the immense popularity of this catchy single. Although Numan released several excellent singles thereafter (such as “Complex” and “She’s Got Claws”), none of them possessed the same crowd-pleasing impact as his 1979 tribute to cars. Numan continues to entertain audiences to this day, and his latest album, “Intruders,” reached an impressive number 2 on the UK charts in 2021.

Clint Holmes’ unexpected success with this song is noteworthy solely due to its extraordinary peculiarity. What makes it intriguing is its composition – a nursery rhyme-esque tune performed by Holmes and his seven-year-old son. Rather than being a mainstream hit, this song seems more fitting for Doctor Demento’s radio program, serving as a novelty track, rather than reaching the Billboard charts.

In 1970, Alive N Kickin’, a band reminiscent of Blood, Sweat and Tears, released a captivating song called “Tighter, Tighter.” This groovy track, written by Tommy James, famous for “Crimson and Clover,” revolves around the desire to be held closer and closer. Surprisingly, the single soared to Number 7 on the Billboard charts, despite the band facing a downward spiral. Unfortunately, their following singles failed to make an impact, and their management urged them to create that elusive hit. Ultimately, this pressure led the band to disband.

We absolutely adore this 1967 hit song for its killer groove, smashing hand claps, and the amazing farfisa sound that perfectly captures the essence of exotica music. All of these elements come together to create a mesmerizing composition about a fisherman’s daughter who finds herself bound to a dock. It’s undoubtedly a metaphor, and while it may not make much logical sense, that’s precisely why it holds a special place in our hearts.

Perhaps the most unforgettable among the numerous one-hit wonders of the 1960s is “96 Tears” by ? and the Mysteries. This tune, which reached the top spot in 1966, was recorded in the band’s manager’s living room. With its peculiar organ sounds and repetitive, peculiar lyrics, it essentially gave birth to a sub-genre of garage rock. Unfortunately, despite the triumph of their hit song, the band failed to seize the opportunity and attain further success.

“Without Norman Greenbaum’s habit of channel surfing in the 1960s, we would have never had the iconic song ‘Spirit in the Sky.’ One fateful night, he stumbled upon Porter Wagoner performing a gospel song on TV, and the rest, as they say, is history. Reflecting back in 2006, Greenbaum shared with the New York Times that those mere 15 minutes led to the creation of a monumental hit that has brought him peace and success for over four decades. While Greenbaum continues to grace the stage with his performances to this day, he has yet to reach the same celestial heights as ‘Spirit in the Sky.'”