The Greatest One-Hit Wonders From The 90s – How Many Of These Iconic Tracks Do You Remember?
Although every decade has its share of one-hit wonders, there was something about the ’90s that made it particularly prone to flash-in-the-pan acts. It was often a vibrant era of unexpected shifts in culture and taste, which meant that even mainstream music saw an unprecedented amount of experimentation and strangeness.
Of course, some bands and artists got luckier in that era than others. While some of these one-hit wonders were obviously going to be ephemeral, others were perfectly talented and respectable artists who got lucky but not quite lucky enough.
Mark Morrison – “Return Of The Mack”
Ironically, British R&B singer Mark Morrison’s breakout hit served as the most effective rebuttal possible to — as the song describes — a relationship failing because of his struggling music career.
Yet while “Return Of The Mack” remains beloved today, one of the main reasons Morrison wasn’t able to capitalize on its success concerned frequent troubles with the law in his home country.
Semisonic – “Closing Time”
In 1998, cult favorite pop rock band Semisonic released a moving and deeply relatable song in “Closing Time,” which used the metaphor of a bar’s last call to express people’s anxieties and excitements as they meet new chapters in their lives.
Yet, while all three of the band’s initial run of albums are of similar excellent quality and catchiness, only “Closing Time” from the second of them — Feeling Strangely Fine — appeared to make an impact on mainstream audiences.
New Radicals – “You Get What You Give”
After New Radicals lead singer and songwriter Gregg Alexander toiled in the music industry for years, he and the band he formed captured the zeitgeist of 1998 with the wry, socially aware and somewhat edgy but ultimately hopeful anthem “You Get What You Give.”
Remembered for its iconic mall video where Alexander dances in the bucket hat shown here — and its stray jabs at Hanson, Beck, Marilyn Manson, and Courtney Love — the song gave the band the only hit from their sole studio album, Maybe You’ve Been Brainwashed Too.
Los Del Rio – “Macarena”
While there are logical ways to explain the utter dominance that “Macarena” had throughout the ’90s (largely due to its eponymous and ubiquitous dance), that didn’t make the smash hit any less surprising to the world nor to the veteran pop duo who recorded it.
As they discovered after 30 years of recording together in their native Spain, all it took to turn one of their songs into a worldwide phenomenon was for someone else to add a dance beat to it. Even so, it’s hard to catch lightning in a bottle twice.
Harvey Danger – “Flagpole Sitta”
Although the rage and angst of the alternative nation was burning out in the public consciousness by 1997, Harvey Danger was able to adapt its neuroses, frustrations with modern society, sense of irony, and literate charm into an enduring hit with “Flagpole Sitta.”
If that name isn’t familiar, the song’s iconic refrain “I’m not sick but I’m not well” — which is often mistaken for its title — will likely instantly bring memories of the band’s bespectacled lead singer Sean Nelson shout-singing its catchy chorus.
Natalie Imbruglia – “Torn”
After making a career transition from Australian soap opera actress to British recording artist, Natalie Imbruglia moved audiences the world over with her vulnerable, finely written and passionately performed song, “Torn.”
Unlike many one-hit wonder to grace the American charts, however, Imbruglia’s relevance in the music realm continued well into the 2000s. Until the underperformance of her 2009 album Come To Life and the six-year hiatus that followed, she was still notching hits in the U.K. and Australia.
The Proclaimers – “I’m Gonna Be (500 Miles)”
Although The Proclaimers had respectable music careers in their native Scotland before and after their big international hit, their short-lived American success came from an unlikely source.
The catchy but repetitive song was introduced to the United States through the successful 1993 movie Benny and Joon. It was added to the soundtrack at the behest of co-star Mary Stuart Masterson, who happened to be a big Proclaimers fan.
Fastball – “The Way”
Sometimes, a song is just so well-constructed that people can’t resist it and that was the case from the melodic, subtly experimental and lyrically compelling power pop song “The Way.”
A romantic portrait of a couple who got fatally lost miles away from their intended destination, every part of the song has something to hook the audience in. Yet, while the band’s output remained of consistent quality after “The Way,” none of their other singles seemed to catch on the same way.
Lisa Loeb – “Stay”
While Lisa Loeb’s folk-influenced song “Stay” chronicled the immediate aftermath of a relationship that left her with regrets, it found its audience after playing over the Closing Credits of the counter-cultural teen movie Reality Bites.
Although Loeb’s musical moment in the sun may have lasted for less time than she had hoped, her signature horn-rimmed glasses also influenced the styles of those within the lighter alternative scene at the time.
Lou Bega – “Mambo No. 5”
The ’90s were a banner decade for dance songs inspired by classic genres and it’s hard to think of a more emblematic example than German artist Lou Bega.
His upbeat revival of classic mambo mixed with his vintage zoot suit-inspired style and his playful lyrics about womanizing made Bega a unique figure in 1999. While Bega included original lyrics, the song’s instrumental was largely a cover of a 1949 version by Cuban musician Dámaso Pérez Prado.
Aqua – “Barbie Girl”
Although Aqua did have genuine fans when their best-known song “Barbie Girl” came out in 1997, it’s also a song that’s largely been rescued by time.
It generated backlash for the shallowness of its lyrics — which were more intentional and satirical than people realized — and was even the subject of a lawsuit by Mattel by the lascivious re-contextualization of Barbie’s image. The lawsuit was dismissed and Aqua would see continued success throughout Europe until their initial breakup in 2001.
House Of Pain – “Jump Around”
In 1990, Daniel O’Connor and Erik “Everlast” Schrody decided to parlay their Irish-American lineage into the hip-hop trio House Of Pain, which they formed with Leor “DJ Lethal” Dimant.
Success found them fast, as “Jump Around” and its iconic, shrill, blaring beat rocketed them to Billboard’s top ten soon after they released their debut album in 1992. Although they were able to keep some momentum going in their second release, the group disbanded in 1996. Everlast would go solo, while DJ Lethal would join Limp Bizkit.
Scatman John – “Scatman (ski-ba-bop-ba-dop-bop)”
The story of Scatman John is a bittersweet yet heartwarming one, as it saw a famously sweet and positive man achieve global fame and affection — especially in Japan — after decades of self-consciousness about his stutter.
Indeed, this veteran jazz pianist and scat singer turned to music as a means of overcoming his stutter, and was encouraged by his wife to combine his vocal talents with electronic dance music despite fears that he would be mocked for it. Instead, audiences were impressed and he brought joy to the world before his sad passing in 1999 from lung cancer.
Blind Melon – “No Rain”
Although Blind Melon is a fondly remembered and respected band among followers of the alternative nation, most people would recognize them for the serene and passionately sung ballad “No Rain.”
It’s remembered for its iconic video featuring a little girl in a bumblebee costume and lead singer Shannon Hoon’s passionate falsetto, but Blind Melon fell into the unfortunate circumstances of releasing a follow-up album — 1995’s Soup — that would only be appreciated in retrospect. Worst yet, misfortune compounded into tragedy that year when Hoon passed away from an overdose.
Sir Mix-a-Lot – “Baby Got Back”
Despite the jokey afterlife Seattle rapper Sir Mix-a-Lot’s enduring and oft-quoted hit has had in pop culture, there were more than jokes behind lines like the famous “I like big butts and I cannot lie” opening.
While it’s impossible to deny playfulness inherent in a song with a video featuring posterior-shaped mountains, Sir Mix-a-Lot was making a serious — and surprisingly successful — attempt to challenge Eurocentric beauty standards and express appreciation for common Black bodily features. His failed, more lascivious follow-up “Put ‘Em On The Glass” lacked this context.
Billy Ray Cyrus – “Achy Breaky Heart”
In an odd twist of fate, it isn’t technically accurate to call country singer Billy Ray Cyrus a one-hit wonder anymore. After all, he wasn’t involved in making a number-one hit until he collaborated with rapper Lil Nas X on the remix of the surprise 2019 smash hit “Old Town Road.”
However, this came after 17 years of duelling backlash and nostalgia for his line dancing-friendly 1992 hit, “Achy Breaky Heart.” Although the song’s goofy title and severe overplay during the ’90s made Cyrus a malign figure in pop culture, time — and the intervention of his his daughter Miley — healed his reputation significantly.
Deee-Lite – “Groove Is In The Heart”
Although those who followed house and dance music in the late ’80s would have already been aware of Deee-Lite’s infectious energy before their brief burst into the mainstream, the funky and proudly silly “Groove Is In The Heart” was the rest of the world’s introduction to them.
The 1990 dance hit caught eyes and ears quickly due to its hypercolor video, its layered, hard to predict production, and lead singer Lady Miss Kier’s campy performance style. Although their follow-up releases didn’t garner as much success, it was ultimately intra-band tensions that destroyed Deee-Lite by 1994.
Chumbawamba – “Tubthumping”
Unlike most bands at the time, long-running anarchist musical collective Chumbawamba neither expected nor desired a pop hit by the time the raucous, defiant 1997 drinking song “Tubthumping” unexpectedly captured the public’s fascination.
As such, they essentially reacted to their success with a shrug and continued to make the politically-charged music they made before and after their brief time on a major label regardless of what EMI’s executives wanted. The band’s impressive 40-year run would end with their breakup in 2012.
4 Non Blondes – “What’s Up”
There were two kinds of people in 1993: Those who related to the frustration, confusion, and feelings of arrested development that 4 Non Blondes wrote about on “What’s Up” and those who couldn’t get past how grating they found Linda Perry’s screeching vocals.
Regardless of their perception, however, differences within the band led to their breakup before they finished recording their second album in 1994. Oddly, “What’s Up” would find new life in the 2000s thanks to a silly meme pairing a cover of the song with footage of the ’80s He-Man cartoon.
Right Said Fred – “I’m Too Sexy”
Considering how repetitive and comedic it was, it would be reasonable to expect that the British pop band behind the oft-quoted novelty “I’m Too Sexy” would disappear soon after the joke got old for audiences.
Yet, while that was true in the United States and the band had fewer hits in the U.K. after the fact than some might expect, Right Said Fred’s most recent album came as late as 2017. That’s because they continued to have inexplicable success in Germany and Austria.
Digable Planets – “Rebirth Of Slick (Cool Like Dat)”
Consisting of Ishmael “Butter Fly” Butler, Craig “Doodlebug” Irving, and Mariana “Ladybug Mecca” Vieira, Digable Planets were a uniquely thoughtful and quietly artistic jazz rap outfit who achieved crossover success with their relaxing and catchy 1993 “Rebirth Of Slick,” known for its trademark jazzy riff and its chorus that repeats the phrase “I’m cool like that.”
Although critics adored their follow-up album Blowout Comb, the lack of similarly catchy singles consigned it to the fate of being largely ignored by the public before the group broke up in 1995.
Marc Cohn – “Walking In Memphis”
Although Marc Cohn only got one song into the public consciousness, that song nonetheless had legs because the self-titled album it came from went platinum in 1996, five years after “Walking In Memphis” was released.
The song chronicles the spiritual experience Cohn had while exploring Elvis Presley’s hometown, but the lack of any successful follow-up was sadly far from the worst misfortune he experienced. He was shot in the head in 2005 during an attempted carjacking. However, his miraculous survival showed that he had incredibly good and back luck all at once.
The Cardigans – “Lovefool”
Like many unlikely hits in the ’90s, the Swedish band The Cardigans’ “Lovefool” was brought into the public consciousness by a popular movie. In this case, it was Baz Luhrman’s unintentionally hilarious adaptation of Romeo and Juliet from 1996.
While the sad subject matter and the sweetness of lead singer Nina Persson’s voice made it a perfect fit for the teen melodrama, the band only commanded underground appreciation in the United States with their darker, heavier 1998 follow-up Gran Turismo. Nonetheless, the album sold three million copies throughout the rest of the world.
The DiVinyls – “I Touch Myself”
As this photo shows, The DiVinyls were a much heavier band when they formed in the early ’80s. Yet while they saw some success in their native Australia, it wasn’t until a stylistic change brought them the more pop-friendly 1991 single “I Touch Myself” that the achieved a number-one hit in the nation.
Despite the difference in style, the song was nonetheless controversial for the kind of self-love it promoted. Sadly, the band’s success didn’t stop them from experiencing promotion troubles from their label, which was compounded by an intra-band falling out that led to their breakup in 1996.
Tal Bachman – “She’s So High”
The son of revered The Guess Who and Bachman-Turner Overdrive guitarist Randy Bachman, Tal Bachman was able to notch an international hit of his own with the sweet love song “She’s so High” in 1999.
While Bachman didn’t see any further hits in The United States, he was able to find some moderate success in his native Canada during the 2000s and ended up joining Bachman-Turner Overdrive in 2023.
Tom Cochrane – “Life Is A Highway”
Before Tom Cochrane found massive international success on his own — if only for a moment — he actually achieved some modest success in the United States as part of the band Red Rider.
However, it was only when he went solo that he set the world on fire with the catchy and upbeat 1991 favorite, “Life Is A Highway.” The song hit number one in his native Canada but also proved to be a top-ten hit in the United States, Australia, and New Zealand. His 1995 follow-up would also go platinum in Canada.
Eiffel 65 – “I’m Blue (Da Ba Dee)”
Despite the name, Eiffel 65 is an Italian Eurodance trio who came out of nowhere with the 1999 dance hit “Blue (Da Ba Dee).” Known for its nonsense chorus and its now-dated music video featuring a warlike race of blue extraterrestrials, the song was either fun or annoying, depending on who you asked.
Although the bizarre hit marked the only impact Eiffel 65 had stateside, they would see a little more success in their native Italy before the group went their separate ways in 2005.
Tag Team – “Whoomp! (There It Is)”
Sometimes, even a hit that remains well-known for 30 years after its release eclipses its artist so much that few remember their name. That was the unfortunate fate of Tag Team, who got the term “Whoomp, there it is” stuck in everyone’s head forever in 1993.
Indeed, they could be considered a cautionary tale for any future rap act that achieved their notoriety through a simple dance song. Much like rock bands who get people’s attention with a cover, it’s often a one-way ticket to one-hit wonder status.
Rednex – “Cotton Eye Joe”
It has some surprising staying power for such a widely-hated song but “Cotton Eye Joe” by Rednex came right as the Eurodance boom of the late ’90s was starting to take off. Yes, despite their rural American iconography, Rednex is actually a Swedish band.
Actually, it may be more accurate to call it a “brand,” as the group consists of multiple touring acts with no consistent members.
Haddaway – “What Is Love”
Although this song’s shelf life continued thanks to Saturday Night Live’s Roxbury skits, it’s easy to underestimate how big of a hit Trinidadian-German singer Haddaway had on his hands when he released “What Is Love” in 1993.
It didn’t quite scrape the top ten in the United States but the energetic, thumping, and dramatic dance club hit made it all the way to number one in 13 countries. Although his second album The Drive scored Haddaway a top-20 hit in the U.K., his further records were not as successful.
