The Biggest One-Hit Wonders Of The 1980s
While one-hit wonders were hardly a new phenomenon by the 1980s, a few factors of the swiftly changing music landscape of that decade made them more prevalent than before.
With the birth of MTV came a greater emphasis on a musical act’s image and flashy novelty, which meant that bands and artists who exploded onto the scene often found themselves leaving it just as abruptly. Tastes also became international, which meant that fluke hits from other countries became more commonplace. Yet, while these acts may not have been in the spotlight for long, they made an unforgettable impression while they were.
Bobby McFerrin – “Don’t Worry Be Happy”
Although Bobby McFerrin had proven himself as a master jazz vocalist whose impressive pentatonic stylings allowed him to conduct a capella performances that made him sound like he was working with a full band, he didn’t become known to the masses until 1988.
That came off the strength of his humorous but legitimately relaxing award-winning hit “Don’t Worry Be Happy,” which was further boosted by an iconic music video featuring Robin Williams and master clown Bill Irwin. Although he was briefly a superstar, he continued following his own muse throughout his career.
Midnight Oil – “Beds Are Burning”
Although they could hardly be considered one-hit wonders in their native Australia — and frontman Peter Garrett (second from left) would go on to be the nation’s Minister of Environment — the eclectic alternative rock band Midnight Oil crossed over to America for one politically-charged moment.
While American audiences had their attention attracted by the signature blaring three-note riff of “Beds Are Burning” and Garrett’s unusual warbling vocal style, those who listened closely were moved by the band’s condemnation of their government’s historic brutality against Australia’s indigenous peoples.
Falco – “Rock Me Amadeus”
Falco was an unusual case in the annals of one-hit wonder history and that wasn’t just because his success continued long after his fluke ’80s hit in Europe (especially its German-speaking portions).
While his unusual but catchy ode to Mozart “Rock Me Amadeus” couldn’t have been timed better in the wake of the successful 1984 film Amadeus, he was also the original artist behind British band After The Fire’s translated sole American hit, “Der Kommisar.” In the United States, this made Falco a two-hit wonder in a bizarrely indirect way.
Animotion – “Obsession”
As darkly compelling as the lyrics to the psychological stalker anthem “Affection” were, they were overshadowed by the blaring, iconic synth riff that makes the song instantly recognizable even 40 years later.
Although many ’80s hits (especially by one-hit wonders) had to wait for the 2000s for ’80s nostalgia to rejuvenate interest in them, “Obsession’s” signature synth line remained well-known for years after the fact to its association with fashion TV programming throughout the ’90s.
A-ha – “Take On Me”
Although Norwegian synth pop act a-ha were hardly the only European band to remain successful on the continent after their sole American hit, it’s easy to underestimate just how massive their presence was outside of the States.
While Americans were charmed by their creative comic book-themed music video, “Take On Me’s” instantly catchy synth line, and led singer Morten Harket impressive falsetto in the chorus, they retained enough cachet in Europe to be tapped for the theme of the 1987 James Bond film The Living Daylights.
Nena – “99 Luftballons”
While songs in other languages can occasionally become big hits in America, Nena’s “99 Luftballons” presented an unusual case where the German version of the song remained the most popular despite the existence of an English version.
The lively synth pop instrumental and Nena’s spirited vocals were infectious in their own right, but the apocalyptic subject matter of jumpy Cold War-era military leaders starting World War III by attacking 99 harmless balloons also resonated with audiences in the waning years of the long-term conflict.
Dexys Midnight Runners – “Come On Eileen”
Powered by its pleasant Celtic folk vibes and its feel-good sing-along refrain, “Come On Eileen” has gone down in pop history as one of the most beloved hits of the ’80s. As such, lead singer Kevin Rowland’s yelping, sometimes hard-to-understand vocals only added to the song’s charm.
Of course, Dexys Midnight Runners were yet another case where international listeners would scoff at the idea of referring to them as one-hit wonders. Inspired by the “northern soul” scene in their native England, the band had already achieved a number-one hit in the U.K. with 1908’s “Geno” before repeating that success with “Come On Eileen.”
Thomas Dolby – “She Blinded Me With Science”
When MTV first debuted, the first acts to get big via its programming typically did so by pairing a quirky yet catchy song with an unusual video and nobody understood this formula better than Thomas Dolby.
Although the wacky experimentation of MTV’s early days was short-lived, the hooks and unusual features he crammed into the novelty hit “She Blinded Me With Science” — such as Magnus Pyke yelling “science!” — made the song impossible to ignore. After notching another hit elsewhere in the world with “Hyperactive!” Dolby became a visionary entrepreneur in audio technology, most notably regarding cell phone ringtones.
Twisted Sister – “We’re Not Gonna Take It”
From this photo alone, it’s clear that Twisted Sister lead singer Dee Snyder did a lot to stand out in the burgeoning metal scene of the early ’80s. As their hit proved, the band’s music was as flamboyant as Snider’s image.
Although bands like Metallica and Slayer had already started their respectable runs at the time, mainstream metal hits were few and far between when Twisted Sister released “We’re Not Gonna Take It.” Although the video contextualized this sentiment as teenage rage against their parents, listeners started to see metal as a way to vent their anger about a wide range of situations.
Devo – “Whip It”
Much like Bobby McFerrin or Dexys Midnight Runners, Devo commanded far more respect than their novelty hit and quirky visual gimmicks — the hats were only one example — implied.
Although the tight bassline and yelping call and response vocals made “Whip It” a sensation, they’re just as known in retrospect for their then-underground 1978 debut album Q: Are We Not Men? A: We Are Devo! Their excellent cover of the Rolling Stones song “Satisfaction” even featured in the Martin Scorcese film Casino in an extended sequence.
Toni Basil – “Mickey”
Although Toni Basil’s signature hit “Mickey” was mostly a cover of the Racey song “Kitty,” she is solely responsible for the most memorable part of her singular hit: The “Hey Mickey, you’re so fine/You’re so fine you blow my mind/Hey Mickey” cheerleader chant.
Yet while further pop success eluded Basil, she was primarily known for her impressive creativity and longevity as a choreographer, having worked with The Monkees, David Bowie, and notably with David Byrne of Talking Heads for the video for their iconic hit “Once In A Lifetime.” In that respect, she began getting high-profile work as far back as the 1960s and her most recent work was on Quentin Tarantino’s 2019 film Once Upon A Time In Hollywood.
The Buggles – “Video Killed The Radio Star”
Although “Video Killed The Radio Star” came out in 1979, The Buggles’ signature song nonetheless earned its status as a certified ’80s hit by soundtracking the first video played on MTV just after midnight on August 1, 1981.
Blending old Hollywood nostalgia with the new wave of synthesizers, The Buggles captured the hearts of listeners with the old time radio effects on Trevor Horn’s voice in the verses, the blend of electric guitars and synthesizers throughout the song, and the infectious chorus sung by Debi Doss and Linda Jardim-Allan. The band’s momentum was hampered by its key members joining progressive rock band Yes in 1980.
Gary Numan – “Cars”
Although Gary Numan’s anxious song about automotive isolation, “Cars” is best-known for its heavy guitar riff, it could argued that more than half of the hits of the 1980s wouldn’t have existed without him.
Not only was Numan already a successful musician in the U.K. by the time “Cars” charted in the United States in 1980 but he is now regarded as a pioneer of the electronic pop music that all but defined the decade. Like Devo, he’s retained a dedicated cult following ever since.
Soft Cell – “Tainted Love”
Regardless of the decade in question, it’s considered the height of risk for a musician to break onto the scene with a cover of someone else’s song. As After The Fire, Pseudo Echo, Taco, and Toni Basil can all attest, such a move paying off typically dooms an act to one-hit wonder status.
Despite how slick and impactful Soft Cell’s take on the Gloria Jones song “Tainted Love” was — Jones was a ’60s R&B artist who was later known in England as the queen of the aforementioned northern soul scene — to the point of not seeming like a cover, their polished synth version is all people remember the duo for.
Dead Or Alive – “You Spin Me Round (Like A Record)”
Although it’s likely clear by now that the ’80s were loaded with synth pop one-hit wonders, few managed to be quite as flamboyant as Dead Or Alive.
Although the dizzying synths and harmonized chorus did so much to implant their song “You Spin Me Round (Like A Record)” into the public consciousness, it was also powered in no small way by lead singer Pete Burns’ mischievous confidence. While Dead or Alive didn’t last long after their hit, those traits made Burns a fixture of British pop culture until his passing in 2016.
Eddy Grant – “Electric Avenue”
After Guyanese-British reggae artist Eddy Grant left Britain for Barbados in the wake of the 1981 Brixton Riots — the region’s titular Electric Avenue being the first market street in England to gain electricity — he discovered that the music he wrote in horror after witnessing them was lost in transit.
As such, he wrote the serious yet catchy and danceable “Electric Avenue” in a haste to make up for his lost work. However, that pressure seemed to mold the new song into a diamond, as the groovy but righteously angry track became a top-ten hit in 13 different countries.
A Flock Of Seagulls – “I Ran”
Although people who really had their ears to the ground in the ’80s will say that “Space Age Love Song” deserved even more accolades than A Flock Of Seagulls’ biggest hit, there’s still much about the enduring hit “I Ran” that makes it such a curiosity.
Aside from lead singer Mike Score’s bizarrely unique hairstyle, the band stood out for its catchy melodies, bright guitar riffs, and mysterious lyrics about love in the midst of a possible alien abduction. In both look and sound, they exemplified the ’80s.
Men Without Hats – “The Safety Dance”
Before they released the song that would make them internationally known, Montreal, Canada-based band Men Without Hats had made the switch from punk to new wave that underground bands often did as they entered the ’80s. In the process of that switch, lead singer Ivan Doroschuk had been kicked out of a club for a jumping dance called “pogoing,” which nightclub owners regarded as unsafe.
Thinking this was absurd, Doroschuk wrote a satirical song called “The Safety Dance,” protesting this anti-pogoing perception and his authoritative baritone blended with the endlessly catchy synth instrumentation to create a big, enduring hit. Technically, they had a second Top 40 hit in “Pop Goes The World” but it’s lesser-remembered.
Edie Brickell & New Bohemians – “What I Am”
Although much of the public was taken by surprise by the rise of the rise of the alternative nation in the ’90s, Edie Brickell’s wry, earthy folk rock song “What I Am” showed there are always markers of a big sea change.
While she and her New Bohemians earned some dedicated followers after that song provided a breath of fresh air in 1988, she was a pioneer for the character of the following decade’s popular music rather than someone who would benefit from the coming change she represented.
Modern English – “I Melt With You”
Through its gentle but busy guitar foundation, its shifting passages, and its lyrics about embracing romantic optimism through even the most apocalyptic of events, British new wave band Modern English’s signature song “I Melt With You” is widely considering one of the best one-hit wonders of the ’80s, if not all time.
However, the irony is that it actually wasn’t much of a hit in the United States, as it only reached number 78 on the Billboard Hot 100 in 1983 and number 76 when it was re-issued in 1990. Although it went gold stateside — and platinum in Canada — it’s definitely a case of a song that became much bigger in retrospect.
