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The 20 Strangest One-Hit Wonders

Ryan Gibbs

 

There are a lot of definitions for the term one-hit wonder, but the one that has seemed to have stuck has been an artist who has had just one Top 40 hit.

Since Billboard began publishing the Hot 100 in 1958, there have been hundreds of artists that fit this definition, ranging from acts that have been forgotten by history to legendary acts that have been inducted to the Rock & Roll Hall of Fame.

This article isn’t your traditional list of one-hit wonders. It’s not entirely comprised of famous bands that only managed one hit (there are a ton of those articles) or one hit wonders that were secretly influential (there’s a ton of those too). This is one hit wonders whose appearance on the Top 40 was intriguing, strange or both. Some have an interesting back story as to how they got to the chart, others are indeed the only big hits for major acts, but aren’t exactly the songs you’d think their one hit would be.

I’m also pretty sure this is one of the longest articles that The Young Folks has ever run so I’ve made it a slideshow to make it easier to read and not an imposing wall of text. Prepare yourself for 5000(!) words worth of chart geekery.

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Bo Diddley, “Say Man” (#20, 1959)

I’m a bit of a Billboard chart geek (gosh, can you tell?), but every now and then, I can be surprised by chart positions, which songs were or were not hits and famous artists that fall into the criteria for a one hit wonder.

Before I started to research this list for instance, I had no idea that the legendary Bo Diddley only had a solitary top 40 hit, “Say Man.” Of course he had several R&B hits, but it’s quite jarring to find out that legendary cuts like “Bo Diddley”, “I’m a Man” and “Who Do You Love?” not only failed to reach the top 40, but also the Hot 100.

Diddly isn’t the only Rock & Roll Hall of Fame inductee to score only a single top 40 hit in the United States. I’m not devoting this article to these cases, since many of them have been written upon extensively.

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However, i’ve provided a list of them below because I imagine there’s still people out there who would be surprised to learn that the Jimi Hendrix Experience only made the top 40 once, and with “All Along the Watchtower”:

Kyu Sakamoto, “Sukiyaki” (#1, 1963)

In the history of the Billboard Hot 100, there have been relatively few songs to reach the top 40 that were recorded in a language other than English. Of those songs, only six reached number one. One of the most interesting of these is “Sukiyaki,” a number one hit in 1963 for Japanese crooner Kyu Sakamoto.

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The song became a hit largely because of its catchy, upbeat melody, which contrasted the song’s lyrics about the end of a romantic relationship. Of course, few American music buyers knew what those lyrics were about. The song’s title was even changed for its American release, from “Ue Muite a Aruko” (translated: “I Look Up as I Walk”) to “Sukiyaki,” after the food (the official explanation? It sounded “recognizably Japanese”).

American pop duo A Taste of Honey had a Top 5 hit with an English translation of the song in 1980, and R&B group 4 PM had their own only hit with an a capella cover of the song in 1994.

If you want to learn more about “Sukiyaki” and how strange it was for a foreign language song to reach #1, WYNC’s Soundcheck featured its story in an installment of their wonderful “That Was a Hit?!?” segment last year.

The Wonder Who?, “Don’t Think Twice” (#12, 1965)

One of the cheapest ways to ensure a hit single is to keep the artist’s name a secret, to keep music buyers guessing as to who is actually behind the song (is it someone famous recording under a pseudonym? Or just some studio singer?). This is how Tony Orlando & Dawn’s career was launched (Orlando, who had a few hits in the early 60’s, kept his name and image off the single release of “Candida”), and Donny Osmond achieved a late period hit with “Soldier of Love” when his label intentionally kept his name off the copies of the song distributed to radio stations. Recently, Who is Fancy had a minor pop radio hit with a song called “Goodbye” and kept DJs guessing at the singer’s identity which was only recently revealed.

Here, the act covering Bob Dylan’s “Don’t Think Twice, It’s Alright” under the nom de plume “The Wonder Who?” is actually seasoned hitmakers Frankie Valli and the Four Seasons. Frankie Valli sings in a “softer” falsetto than he usually does, apparently as a joke.

The cover itself is pretty unremarkable and despite the major success of The Four Seasons, one of the few American acts that retained their popularity at the height of the British invasion, it’s doubtful this cover would have made it all the way to number 12 without the mystery gimmick attached.

Sen. Everett McKinley Dirksen, “Gallant Men” (#29, 1967)

Did you know a sitting United States senator once had a Top 40 hit?

Dirksen, a Republican senator from Illinois and the Senate Minority Leader at the time of his hit, also released four albums of spoken word and won a Grammy for the LP this thing was taken from. When this song made #29 on the Hot 100, Dirksen became the oldest recording artist to ever have a Top 40 hit. The “Gallant Men” speech is one of Dirksen’s many pro-military speeches that he made at the height of the Vietnam war.

Spoken word hits were quite common throughout the 60s, but there have been relatively few since. Australian film director Baz Luhrman barely missed the top 40 in 1999, when he was credited as the artist for “Everybody’s Free (To Wear Sunscreen)” (which he neither wrote or narrated, but is based on a remix of “Everybody’s Free” from his film Romeo + Juliet)

Tony Burrows, the man who was a one hit wonder four (or five) times

Another thing that was very common in the 1960s and 70s was producers hiring session musicians to sing on a track that would then be credited to a studio band for the sole purpose of releasing that one song. Instant one hit wonders, if you will. There were plenty of well known examples of this: Steam’s deathless 1969 #1 hit “Na Na Hey Hey Kiss Him Goodbye” for instance.

Even so, it was an anomaly that four hits released in 1970 featured the uncredited vocals of English singer Tony Burrows. Those songs were “Love Grows (Where My Rosemary Grows)” by The Edison Lighthouse (#5, and a #1 hit in the UK), “My Baby Loves Lovin’” by White Plains (#13), “Gimme Dat Ding” by The Pipkins (#9) and “United We Stand” by The Brotherhood of Man (#13, but the group later had a second hit without Burrows with “Save Your Kisses for Me”). In 1974, Burrows had his fifth chart entry and fourth run as one hit wonder when “Beach Baby” by The First Class made it to #4. Burrows later recorded under his own name, but had no luck in scoring a hit single.

 

Matthews Southern Comfort, “Woodstock” (#23, 1971) and Ian Matthews, “Shake It” (#13, 1979)

Iain (later Ian) Matthews was an original member of the seminal British folk-rock group Fairport Convention, and sang on the group’s first two albums. Matthews left the group in 1969, following the release of What We Did On Our Holidays, and struck out on a solo career that provided him with an interesting place in chart trivia history.

First, his post-Fairport group Matthews Southern Comfort scored a #23 hit with their arrangement of Joni Mitchell’s “Woodstock” (the song also went all the way to #1 in the UK).  In 1978, several years after he left Southern Comfort for a solo career and a stint as the singer for Plainsong, Matthews scored a solo hit with the soft rocker “Shake It“. Matthews scored no further top 40 hits, making him the rare example of an artist that became a one-hit wonder, twice.

Others artists with that distinction include Everlast (who reached #3 with 1992’s “Jump Around” as a member of House of Pain, and then #13 in 1999 with his solo hit “What It’s Like”) and Janis Joplin (who made it to #12 with Big Brother & The Holding Company’s “Piece of My Heart” and then had a posthumous #1 with “Me and Bobby McGee” in 1971)

 

Kraftwerk, “Autobahn” (three minute edit) (#25, 1975)

In 1975, Kraftwerk’s genre defining “Autobahn” might as well have sounded like it had been beamed from space. No other hit that year sounded anything like it.

Although it’s unfortunate that an act as massively influential and pioneering as Kraftwerk only had one Top 40 hit in the US, they’re one of the rare cases where the song they did it with was the most important and vital song in their entire discography.

The song was cut down from its original side-long 23-minute length to a radio friendly three and a half. The fact that this edit is even listenable is astounding. It acts as a highlight reel for the full version of the song, distilling the tracks poppiest moments into one package. It served as an impressively effective commercial for the full thing and helped the Autobahn album reach the top five on the Billboard 200 album chart.

Still, “Autobahn” is a testament that length isn’t a barrier for a classic song to cross in order to become a hit.

 

Lindisfarne, “Run for Home” (#33, 1978)

Some of the entries on this list are based on how surprising the artist’s Top 40 entry is to me, personally. I would not have guessed that Lindisfarne, one of the major acts in the famed British folk revival of the late 60s and 70s, scored a top 40 hit in America.

Even weirder is that it came as late as 1978. Weirder so is how bland and uninspired the actual song is. “Run for Home” sounds more like the milquetoast AOR that dominated rock radio in late 70s than the pioneering group that recorded “Meet Me on the Corner” just a few years before. I wouldn’t consider this to be an example of a band that achieved their hit due to selling out, but there’s nothing here that shows the band’s roots as part of one of the most vibrant celebrated subgenres of British pop music.

Benny Mardones, “Into the Night” (#11, 1980 and #20, 1989)

Speaking of AOR! “Into the Night” hasn’t aged well (and that video is amazingly terrible, isn’t it?), but it’s one of the very few songs in the history of the Hot 100 to chart twice. Unlike the UK pop charts, reissues and recurrents rarely chart on the Hot 100, and usually on in special cases. “Into the Night” reached #11 in 1980 and then prompty fell into obscurity.

Then in 1989, spurred by a “Where Are They Now?” segment on an Arizona radio station, a Los Angeles DJ began playing “Into the Night” again. The song became a radio once more, and the reissued single promptly peaked at #20. The success of the song prompted Mardones to re-record a new version (with a new, now equally dated video), but apparently most stations stuck with the 1980 version. It kind of goes to show how weird of a decade the ’80s were that a song recorded at the beginning of the decade could fit in with the current trends in pop music at the very end of it.

The 1980 recording of “Into the Night” stuck around as a radio recurrent through the early ’90s, but now both versions of the song are largely remembered as an interesting piece of chart trivia than anything else

 

Paul Hardcastle, “19” (#15, 1985)

For as strange as this song is, I nearly didn’t put this one my list because I thought it was too well known! After all, it was a number one smash in 13 countries and one of the biggest hits worldwide in 1985.

Still, it’s really strange in hindsight that a dance song based around soundbites from a Vietnam documentary made the charts at all (real sample lyric: “According to a Veteran’s Administration study, half of the Vietnam combat veterans suffered from what psychiatrists call ‘post traumatic stress disorder’.” I can’t see myself ever dancing to that.)

The narration that serves as the center of the song was by broadcast announcer Peter Thomas and taken from the ABC documentary Vietnam Requiem. Some of the facts therein (including the title’s claim that the average American soldier in Vietnam was 19 years of age) have become contentious in the ensuing decades. Yeah, factchecking a dance song isn’t something that happens every day, right? Hardcastle never had a hit on the magnitude of “19” again, but did have some modest success in his native England.

The real success story to come out of “19” was Hardcastle’s manager, Simon Fuller, who founded his company 19 Entertainment after the song became a hit. As the head of 19 Entertainment, Fuller created the show Pop Idol in 2001 for British broadcaster ITV, which was then imported to America by Fuller as American Idol and you probably the know the rest of this story. Yes, this strange song about Vietnam is inadvertently responsible for the careers of Kelly Clarkson, Carrie Underwood and the dozens of other stars to have come out of the Idol franchise. Weird, huh?

 

Sheriff, “When I’m With You” (#1, 1989)

The aforementioned Benny Mardones is far from the only time an artist has had a hit years after the song was originally released. However, the Mardones example is atypical because usually, the song wasn’t a hit the first time around. Such is the case of Canadian arena rockers Sheriff, whose ballad “When I’m With You” reached #61 in 1983 and prompty fell into obscurity.

The band broke up in 1985 after only releasing one album. In 1988, out of nowhere, a DJ in upstate New York began playing “When I’m With You,” prompting the band’s label to reissue the song. It reached #1 in February of 1989 despite the fact that there was no video (or band, for that matter) to promote the song.

Some of the members of Sheriff understandably wanted to capitalize on their one hit, but other members of the band declined to reunite, leaving them a one hit wonder by default. Instead, the members that were interested in reuniting form the group Alias, who had a couple hits in the early 90’s before grunge pretty much made this kind of music semi-irrelevant.

Electronic, “Getting Away With It” (#38, 1990)

Electronic was a veritable alternative supergroup, comprised of New Order singer Bernard Sumner, Smiths guitarist Johnny Marr and, for this single only, Pet Shop Boys singer Neil Tennant. The band’s first single was hotly anticipated by every fan of left of the dial music in 1989, and “Getting Away with It” managed a respectable #38 on the Hot 100.

So, you’re asking, why am I talking about this song here? Well, that #38 position makes the song the only time Marr, one of the most celebrated guitarists of the alternative era, ever performed on a Top 40 single in the United States. After all, The Smiths never charted on the Hot 100. Nor did “(Nothing But) Flowers,” the Talking Heads classic on which he plays lead guitar. The closest he came to the Top 40 after this was when “Dashboard” by Modest Mouse made #61 in 2007.

“Getting Away with It” is a stone cold classic (full disclosure: it’s one of my favorite songs of all time), but it’s weird that Marr’s only American hit with a single and a band that’s much less remembered than songs that never even charted there.

 

The Soup Dragons, “Divine Thing” (#35, 1992)

Like Lindisfarne, this was one of those Top 40 hits that surprised me when I first got interested in tracking one hit wonders. After all, The Soup Dragons (in a more shambolic incarnation) were on the infamous C86 tape back in 1986. By 1989, the Scottish band was scoring hits in England and on American alternative radio on the back of the baggy/Madchester scene.

The song you probably know the best by these guys isn’t “Divine Thing” here, but rather this workmanlike 1990 cover of The Rolling Stones’ “I’m Free.” That cover was later used in Edgar Wright’s The World’s End, which has a soundtrack that is a who’s who of considerably better British indie bands of this era (none of whom would score a Top 40 hit in America, by the way. Not even Blur).

In fact, one of the bands on The World’s End soundtrack (and coincidentally the C86 tape) is who The Soup Dragons copied pretty much wholesale for their lone American Top 40 hit. “Divine Thing” is a blatant knockoff of Screamadelica-era Primal Scream (and particularly “Movin’ On Up,” right down to some of the melody). The song itself is fine, and with it’s gigantic singalong chorus, so it’s not really surprising per say that this squeaked onto the Top 40.

Notably, that very 90’s video up there got nominated for Best Alternative Video at the MTV Video Music Awards, where it was flattened by Nirvana. The Soup Dragons died out in the mid 90s after their fourth album flopped, and as a result of their lack of staying power, they haven’t been as remembered as many of their post-Smiths pre-Oasis peers. And yet, they’re the ones with the American hit. Go figure, right?

Public Enemy, “Give It Up” (#33, 1994)

Let me guess, you had one of three questions enter your head when you scrolled down here:
1. Wait, Public Enemy only had one Top 40 hit?
2. Wait, Public Enemy’s only Top 40 hit was this, of all songs? That literally no one remembers?
3. Wait, Public Enemy waited until 1994 to have a Top 40 hit? Long after all of their essential albums and classic singles from Nation of Millions and Fear of a Black Planet? And at a point when their relevance at the height of gangsta rap was contested at best?

Yeah, i’m at a loss for this one too, and don’t really have much to say about it. I’m actually really curious as to why this, of all songs, ended up as their lone Top 40 entry. Believe it or not they only had one other Hot 100 single, 1991’s “Can’t Truss It,” which made #50. That seems wrong, but here we are. In case you were wondering, PE had four number one hits on the Hot Rap Songs chart (none of which were “Give It Up”) and did quite well on the R&B charts, too.

PE isn’t alone in being a successful band whose lone Top 40 is a surprising single that isn’t nearly as well remembered as stuff that peaked far lower on the Hot 100. For instance, Korn’s only Top 40 single wasn’t “Freak On a Leash” or “Twisted Transistor,” but “Did My Time” from the Tomb Raider: Cradle of Life soundtrack. Likewise, the White Stripes’ lone Top 40 entry is 2007’s “Icky Thump,” a song that’s certainly more better remembered than “Give It Up” or “Did My Time,” but nowhere near as much as “Seven Nation Army” (which has become one of the most iconic rock songs of the 21st century; it made #76) or “Fell In Love With A Girl” (which didn’t even make the Hot 100). Lastly, Eric B. & Rakim, a duo often considered one of the greatest hip hop acts of all time, got their lone hit with a guest appearance on a forgotten Jody Watley song. These examples are certainly inexplicable, but it’s arguably more down to serendipity than any other factor…

 

The Folk Implosion, “Natural One” (#29, 1996)

…which makes a nice segue to what is, for my money, one of the most inexplicable fluke Top 40 hits in the history of the Hot 100. After all, it’s a low-key indie rock song taken from the soundtrack of Kids, one of the most controversial films of 1996 (it was even rated NC-17 before Miramax opted to forgo the rating). I’m not sure how this got onto the Top 40. Was it actually played on pop radio, or was its position because of alternative radio airplay and singles sales? If it did get pop airplay, that would actually be pretty incredible because “Natural One” would have sounded jarringly out of place on pop radio at the time.

The Folk Implosion were the lesser of Lou Barlow’s two post-Dinosaur Jr. projects; the other being Sebadoh, who are deservedly better remembered and had a couple of genuine rock radio hits. Folk Implosion never really capitalized on “Natural One”‘s fluke success: their next album was a largely lo-fi affair and released on a label so tiny that it doesn’t even have a Wikipedia page. Interscope scooped them up in 1999, but by that time, American modern rock radio had moved on to arguably the worst era for that format (“The Durst Years“) and bands like Folk Implosion simply weren’t welcome.

By the way, A bit of trivia akin to that Electronic song being Johnny Marr’s lone American hit: “Natural One” makes Lou Barlow the only musician from a band profiled in Michael Azerrad’s essential tome on American alternative music, Our Band Could Be Your Life, to manage a top 40 hit.

Fastball, “Out of My Head” (#20, 1998)

“Wait a second,” you’re presumably saying to yourself, “I’ll give you that Public Enemy thing, but I remember Fastball having a second hit, and one that was way bigger and better remembered than this.”

And you’d be right: Another Fastball song, “The Way,” was pretty much everywhere in 1998.

But you’d also be wrong: “The Way” never made the Hot 100, only the airplay chart.

How?

Let me tell you about one of my favorite things to talk about and one of the most unfair practices of the 1990s: how the major labels inadvertently robbed several artists of hit singles entirely based out of greed.

See in the 90s, the major record labels were rolling in money, and were keen on getting more of the stuff. This is how we wound up with CD prices being in the $20 range and also inadvertently why Napster happened. In the mid 90s, some of the major labels got into their heads that if a song became a big enough hit, the sales of the cheaper CD single would outpace album sales. So, they devised a plan to basically destroy the physical single.

So, many huge hits simply weren’t released as physical CD (or cassette or occasionally vinyl) singles in the US, but instead serviced to radio and MTV. So if you wanted No Doubt’s “Don’t Speak,” you had to spend $20 on Tragic Kingdom. However, the problem was that even though the Hot 100 was based on both sales and airplay data, Billboard required a song to be physically released as a single in order to be eligible for the chart.

Inadvertently, this meant that several of the era’s defining songs are completely absent from the Top 40, sometimes even robbing artists of songs that should have been #1 singles. “Don’t Speak”? “When I Come Around”? “Fly”? “Closing Time”? “What I Got”? “Song 2”? “Lovefool”? None of these songs made the Hot 100 because of this. Really.

Because record labels weren’t going to stop this practice and because it was fudging Billboard’s data, they were actually forced to change the methodology for the chart in 1998 and allow airplay only singles. That was good news for The Goo Goo Dolls’ “Iris,” which despite being robbed of what would have been several weeks at #1, at least got away with a #9 peak. Less lucky was Natalie Imbruglia’s “Torn”; the rule went into effect as the song was at the end of its popularity and its official chart peak is #42.

Anyway, this is what caused Fastball’s first, bigger and better hit “The Way” to never make the Hot 100. “Out of My Head” charted after the methodology was changed, so i’m not sure if it charted because of this or got a CD single release and would have charted anyway. Regardless, it is technically the group’s only Top 40 single because of unfair label politics.

The moral of this story is that the record industry totally had what was coming to them a few years later when filesharing exploded. And that “The Way” is a great song and I won’t hear otherwise.

Garth Brooks as Chris Gaines, “Lost in You” (#5, 1999)

Yup, this ridiculous thing again. I’ve already written about how insane this entire project was, and you should read that article for more information if you haven’t already (there’s also a link to an absurd fake Behind the Music that aired only once in 1999 that you absolutely have to see if you’re any kind of music geek).

I briefly mentioned that “Lost in You” was Garth’s only Top 40 entry. While it was his only single that was ever targeted to the general pop market, Garth was so huge that he should have had many Top 40 hits just out of sheer force of will. After all, other country artists got Top 40 hits without any crossover and he’s the second best selling recording artist in American history!

And yet, the Hot 100 still had to deal with that physical single rule I mentioned earlier, and plenty of Garth’s biggest and best hits were only serviced to country radio. Also by the 90s, pop stations were really resistant to adding country music to their playlist and only played the stuff if it was poppy enough (Shania Twain, Faith Hill, Lonestar, et. al).

For all his hugeness, Garth really stuck to country music, and never got a Mutt Lange to sandblast all the genre quirks out of his songs. He wasn’t alone either. Reba McIntire has released 93(!!!) singles in her long career, and you know how many of those made the Top 40? Just three, and all came after the methodology changed and she could make the chart based on country airplay alone.

Basically, “Lost in You” was seen as an excuse for Top 40 station to finally play a song by one of the biggest stars in music, with the added bonus that they could also talk about the absurd Chris Gaines gimmick. In the Life of Chris Gaines would have done much better if it was just marketed as a pop album by Garth Brooks (although a lot of the stuff on it isn’t very good), but instead it was perhaps one of the biggest boondoggles in the history of pop music. “Lost in You” made #5, but it was forgotten within six months and really only exists as the collective fever dream of pop obsessed 90s kids.

In short, the reason why a man who has sold more records than Elvis Presley is a one hit wonder is because the public was confused and amused by him crooning in a soul patch and bought a CD single with hilarious liner notes as a lark. Hey, at least he didn’t end his career with this.

Taylor Hicks, “Do I Make You Proud” (#1, 2006)

Remember Taylor Hicks? Kinda, right?

Hicks won season 5 of American Idol and went straight to number one with his coronation single “Do I Make You Proud”. It was his only Hot 100 hit. There have been a few American Idol winners whose recording career didn’t provide the success that was expected of them, however Hicks is the only one among them to be a bonafide one hit wonder. I suspect one of the few reasons this song is even remembered as all is because of a “Weird Al” Yankovic parody the next year.

Season five’s breakout star wound up being Chris Daughtry, who came in fifth. With his rock group Daughtry, he became the third best-selling Idol alumni, trailing only Kelly Clarkson and Carrie Underwood. As for Hicks? He was dropped from Arista after one album. His second record, released independently, sold only 52,000 copies

Karaoke covers of Kid Rock’s “All Summer Long” (The Hit Masters, #19; The Rock Heroes, #29), 2008

In 2008, Kid Rock released “All Summer Long,” his biggest hit in years and a worldwide smash, reaching #1 in six countries. Despite being one of the biggest singles of the summer in the United States, the song only managed #23 on the Hot 100. The reason for this was because Kid was keeping his music off iTunes, and in the pre-streaming days of 2008, iTunes sales basically ruled the Hot 100.

Surprisingly, two karaoke covers branded under the artist names “The Rock Heroes” and “The Hit Masters” had respectable chart showing while Kid’s version was getting on the chart through airplay alone. Either people really wanted a version of the song and any version would do, or they were fooled into buying these anonymous covers through their own ignorance.

The Hit Masters’ version, which has completely disappeared off the face of the Earth in the ensuing years, actually charted several positions higher than the original version, reaching the Top 20. Eventually, Kid Rock and his label released the song to iTunes, but by the time he did the damage was done to the song’s chart progress and it potentially robbed him of his first Hot 100 #1 single.

Soko, “We Might Be Dead Tomorrow” (#9, 2014)

This song only made the Top 10 last year, but I doubt few people remember it, and it’s unlikely the artist will ever have another hit in this country. French indie singer Soko scored her fluke hit due to it being the soundtrack to a viral video.

The year before, Billboard included YouTube plays into its chart methodology for the first time, the immediate effect of which was the #1 debut of Baauer’s largely instrumental “Harlem Shake” because of the memetic video sensation that the song was attached to. Because “We Might Be Dead Tomorrow” was tagged as the soundtrack to the viral video “First Kiss”, every play of the video counted as a play of the song.

“First Kiss” wound up having a short shelf life, even by viral video standards, and once the video faded out of social media circulation, so did the song: “We Might Be Dead Tomorrow” dropped out of the Hot 100 completely following its #9 debut, making it the highest charting drop-out in chart history and the only song to ever do so from the Top 10.

Now that we’ve (finally) reached the end of the article, what you think is the most surprising one hit wonder in Hot 100 history? A novelty song you didn’t expect to be a hit? A classic artist whose only hit is a song that isn’t nearly as remembered as something that didn’t chart at all? Let us know in the comments!

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