Top 50 One Hit Wonders From The 80s You Forgot Were AWESOME

Hooked On Classics (Parts 1 & 2) (1981)

The monumental success of the Saturday Night Fever soundtrack in 1977 led to a whole slew of other artists attempting to revamp classical music for a disco and post-disco age. Hooked on Classics (Part 1 & 2) is just that: an amalgamation and medley of Beethoven, Mozart and more, all set to an electronically danceable beat. Dance floors were still chock full of disco during the earlier part of the 1980s, despite opposition to the contrary. This meant that novelty tunes such as Hooked on Classics (Part 1 & 2) could still thrive within an era of hard rock, heavy metal, punk and new wave.

Broken Land (1988)

There is a MASSIVE hook to be found within the main verse section to Broken Land by The Adventures. Its sort of strange to look back today and wonder why this Northern Irish group never really achieved the sort of success their musical talent seemed to deserve. Broken Land possesses a huge sounding production job, too, one thats polished and cavernous; drenched in magically resounding reverb. This allows the chorus of Broken Land to strike even harder, a powerfully melodic section that makes the most of Terry Sharpes wonderful vocals. The Adventures managed to make folk-influenced pop music cool back in the late eighties. Its just a shame not enough folks managed to check them out at the time.

General Hospi-Tale (1981)

The writing was sort of on the wall when this group decided to name themselves after a one-hit wonder from the previous decade. The Afternoon Delights became something of a self-fulfilling prophecy, since this very niche tune was probably destined for dollar bin obscurity status. General Hospi-Tale is a proto-rap/post-disco jam that uses its lyrics to summarize and recap various plot points from the long-running soap opera, General Hospital. Rebecca Hall actually deserves some props for being on the ground floor of adopting a hip-hop vocal cadence, while the musicality of General Hospi-Tale is a funky jam that wouldnt sound out of place on a Chic record. Wed be lying if we said this one hasnt grown on us!

Let My People Go-Go (1986)

Theres a quirkiness to The Rainmakers that sort of makes us understand why commercial appeal seemed consistently outside the grasp of this Missouri-based rock act. The horn sections arent for everyone, and Bob Walkenhorsts idiosyncratic vocals are equally unique to a fault. A deeper listen to Let My People Go-Go reveals some strong songwriting chops, however, particularly how the pre-chorus leads into its main, anthemic hook. The lyrics are equally outside of what pop fans normally heard during the mid-eighties, with some pop culture references and clever wordplay. Its not always easy standing out from the crowd, but The Rainmakers certainly walked to the beat of their own musical drum.

The First Picture of You (1983)

The 80s featured numerous British acts that found success with their brands of sophisticated pop. Yet The Lotus Eaters was one of the few cult acts that didnt quite achieve the same levels of visibility as some of their comrades. This wasnt through any lack of trying of course, and The First Picture of You is one of those tunes that foregoes a lot of flashy style in favor of songwriting substance. Theres a nice jangle to the guitars that lends The Lotus Eaters a certain gothiness analogous to some of The Cures more upbeat material. At the same time, however, The First Picture of You never feels like a copycat. Perhaps thats why The Lotus Eaters had difficulty following it up?

The Captain of Her Heart (1985)

This is the sort of song that was destined for the grocery store playlist: background music for many of us to hazily remember, but not enough to properly identify. The Captain of Her Heart by Double hangs its creative hat upon Felix Haugs keyboard playing, particularly those hooky notes that leap out at us during the chorus. Meanwhile, Kurt Maloos vocals are understated, but in a cool way; a low-energy slow burn that works, given the songwriting circumstances. Were not going to say that Double was cheated out of an epic career or anything, but The Captain of Her Heart still works wonders for us, all these years removed.

Funkytown (1980)

The song may have been written in 1979, but its 1980 release date as a single just slides it in under the nose for our criteria. And were glad, too, because Funkytown by Lipps Inc. was one of those late era disco jams that helped prove the genre didnt die in the seventies. The dance floor remained big business, and Funkytown served as an expertly crafted jigsaw puzzle of melodic hooks and earworm ideas that burrow their way into our brains. Theres a certain weirdness and coldness within the electronic composition of Funkytown that just works. Meanwhile, the sting sections and synth stabs all come together with some bubbling bass guitar and that famous chorus.

Someone Like You (1989)

The death of 1980s hair metal was greatly exaggerated by the end of that decade, as evidenced by the proliferation of groups like Bang Tango into the nineties. This L.A. group took cues from other bands attempting to mix glam riffs with other genres of music, with Someone Like You going hard on the sleaze. The bands debut LP, Psycho Cafe, also had some funky moments on there for adventurous listeners, in addition to heavy rockers like Sweet Little Razor. Meanwhile, the star of Someone Like You is that chorus, which offers a place for singer Joe Leste to howl his brains out with a voice that peels paint off the walls. Consider this one a worthy hair metal deep cut.

True (1983)

Have you ever wondered why some band names or song titles click within our memory banks, while others struggle for that connection? Spandau Ballet isnt exactly a moniker that rolls off the tongue, while True is a very simple, yet also forgettable song title. Yet we know this classic 80s jam from the moment that ah huh huh huh vocal ad lib hits our hearts. True is a great song, and Spandau Ballet seemed prime for equally great things after this tunes chart success. At the same time, however, it seems as if this British pop group will always be tied to this mega-hit, rather than any of their other great songs. Which is sort of a shame, right?

19 (1985)

His is a name synonymous with pioneering electronic music during the 1980s, a keyboard wizard that saw chart success come to him with 19. This hit song from 1985 was just one highlight from Paul Hardcastles enviable career, and proof that one-hit wonders dont necessarily live in obscurity after striking it big. Instead, Hardcastles legacy today is respected, both for those who dig the poppiness of 19, as well as for those who appreciate Hardcastles other electronic and jazz records. Its remarkable y to analyze the sampling, production and composition of 19 today - the song was just so ahead of its time. 19 also fully leaned into its political message, which also stood out from other, more disposable music of the era.

Touch of Grey (1987)

The Grateful Dead truly didnt need to embrace the video age with Touch of Grey in order to earn success or respect. They were already certified legends in 87, but this music video allowed The Dead to crossover to a new audience and a younger demographic. The image of Jerry Garcia and company performing as skeletons proved to be an iconic one, and Touch of Grey was a hooky pop tune that streamlined The Deads jamming psychedelia. Sure, fans know all about the Grateful Deads classic discography, but Touch of Grey was a party where everybody was invited, including the MTV generation.

The Promise (1987)

British synth-pop hadnt waned during the late eighties, and instead attempted to carry on its legacy of chart success with new artists like When in Rome. The Promise sounds tailor made for the dancefloor, and boasts a full-sounding production that could easily pass for a tune five years or so into the nineties. When in Rome certainly seemed to know a good chorus when they heard one, and The Promise contains a great one. This was the groups only major flirtation with the Billboard Hot 100 Chart in the U.S., although diehard fans of When in Rome know full well that there are probably other tunes that couldve potentially broken through to the masses.

Twilight Cafe (1981)

Susan Fassbender and her songwriting partner Kay Russell scored a U.K. singles hit back in 1981 with Twilight Cafe. The song is an earworm if weve ever heard one, an infectious tune thats led by Fassbenders charming vocals, her impressive keyboard skills and a catchy bassline. If Twilight Cafe commits any sin, its being a little innocuous, but theres an economy to the songwriting that feels intentionally simple. This ultimately works in the songs favor, although Fassbender and Russell never really reached the commercial heights of Twilight Cafe again in their careers.

Waiting for a Star to Fall (1988)

Never underestimate the power of a great turnaround. Seattles Boy Meets Girl clearly knew what they were doing when they wrote and released Waiting for a Star to Fall in 1988. The song boasts a great chorus and strong vocal performances from the duo of George Merrill and Shannon Rubicam. But its that little turnaround hook before the chorus hits that turns Waiting for a Star to Fall from a good song into a great song. Meanwhile, the decision to modulate the songs finale adds to the impact and texture of Waiting for a Star to Fall. Its a perfect pop storm that still sounds great so many years later.

Dont Close Your Eyes (1989)

The subject of self-destruction isnt, historically speaking, one that tends to pop up within the world of 1980s hair metal. And its true that Kix was generally a band that worked within the rockin n partyin parameters associated with that scene. Yet Dont Close Your Eyes was composed in collaboration with an outside songwriter, Bob Halligan, Jr., and this deviation from the formula ultimately worked in Kixs favor. Dont Close Your Eyes is a moody ballad that feels sincere, particularly within the vocal delivery of Steve Whiteman. Meanwhile, the bridge section serves as connecting tissue to lift Dont Close Your Eyes significantly above the batting average of Kixs contemporaries.

Wait For You (1989)Jason Bonham likely felt a lot of pressure when it came to the formation and release of The Disregard of Timekeeping back in 1989. The son of Led Zeppelin drummer John Bonham couldve easily released a warmed over rehash of his famous fathers work, but instead the younger Bonham pursued the Sunset Strip. Wait For You still possesses that bluesy crawl reminiscent of classic Zep, only painted with a heavy sheen of stylish glam rock. Daniel MacMasters vocals channel a polished Robert Plant, while Bonhams drum work drives the song with a technicality missing from many other hair metal bands of the day. These unique elements all allow Wait For You to stick out from the crowd in a great way.

Heart and Soul (1987)

This British group definitely wasn't one hit wonders at home, since other songs like Valentine and China in Your Hand hit the charts and earned TPau further success. Its Heart and Soul thats synonymous with TPau in many other areas, however, including North America. Theres way worse songs with which to be associated, thats for sure, since Heart and Soul still sounds totally radical. Carol Deckers intentionally murmured vocals on the verse feel half-rapped, before the singer brings the proverbial thunder for an epic chorus. Heart and Soul is a song that never overstays its welcome, instead begging the listener to flip the record over and spin it again.

Luka (1987)

This is one of those songs that feels out of time, possessing a beauty that could work within any decade. Luka by Suzanne Vega possesses impeccable production, and boasts arrangements that sound beautiful, juxtaposed against some tragically dark lyrics. Lukas subject matter of a protagonist suffering a harrowing and violent family life is a powerful one, and executed to perfection by Vega, whose narration tugs on our collective heartstrings. This is a bittersweet song, one that we love listening to, yet are always brought back down to earth by its enduring power and message.

Life in a Northern Town (1985)

Pink Floyd guitarist David Gilmour was no stranger to collaborations, having worked with artists like Kate Bush, alongside his own solo career. This included producing The Dream Academys debut album, an LP that contained a major hit with Life in a Northern Town. The tune is lush, evocative and atmospheric, with the vocalizations on the chorus probably serving as the most memorable aspect of its composition. Its sort of easy to see why Gilmour wanted to work with the group, since The Dream Academy definitely felt cut from a more experimental cloth than some other pop acts from the eighties.

Bang Bang (1989)

This New York-based hard rock group loved a little reduplication when it came to their band name and their song titles. It was sort of a gimmick with Danger Danger, reflected in both singles from their self-titled debut album. Naughty Naughty didnt quite resonate in the same way as their second release, Bang Bang, but both tunes were polished and highly memorable slices of pop/metal arena rock. The latter in particular possessed an on-the-nose but ultimately sing-a-long able chorus, a silly anthem for an indulgent age. Meanwhile, the actual album proper contained a number of quality deep tracks, including Under the Gun and the rock-solid ballad, Dont Walk Away.

When Im with You (1983)

It wasnt unheard of for power ballads like When Im with You by Sheriff to see chart success back in the 80s. It was, however, unique for such a song to resonate without a music video on MTV. This meant that Sheriff essentially did it the old fashioned way, by writing good songs that rose up the charts via radio airplay and word-of-mouth. When Im with You may sound somewhat formulaic by modern standardsalmost like a parody of those hyper-sincere soundtrack cuts of the decade. Sheriff found an audience, though, and When Im with You deserves to be mentioned in the same breath as other 80s power ballad hits. This is thanks primarily to that INSANE ending high note, of course.

Pump Up the Volume (1987)

The origin of this experimental electronic hit was actually a collaboration between two different British artists: Colourbox and A.R. Kane. It almost didnt happen, as well, since Pump Up the Volume actually came into being at the insistence of both groups record label, 4AD. The end results proved to be successful, however, with Pump Up the Volume serving to legitimize an embryonic house music scene into a major cultural player. This MARRS track also pumped up the attention paid to its sample sources, including Coldcut and Eric B. & Rakim, essentially being a win-win for everybody involved.

Electric Avenue (1983)

Some music genres meld better with commercially-viable pop hooks than others. It wasnt a foregone conclusion that reggae could crossover into the mainstream MTV generation in quite the same way as Bob Marley did back in the day. Yet Eddy Grant silenced all doubters in 1983 with his infectious style of funk-infused pop-reggae. Electric Avenue would go on to become a musical calling card for Grant. Its honestly sort of surprising that some of his other album cuts and single efforts didnt resonate in the same manner as Electric Avenue. But hey, nobodys ever going to deny that this song is a banger, right?

Into the Night (1980)

This hit from Cleveland-born singer Benny Mardones peaked at number 11 on the Billboard Hot 100, but gained infamy for its lyrical content. The topic of age disparity in romance tended to overshadow the immense vocal power in Into the Night. However, a 2022 interview with the Professor of Rock on YouTube revealed how the late Mardones was actually inspired by a real neighborhood family he met during the songwriting process. The tune remains a resonating soft rock bangeralthough the songs initial controversy perhaps contributed to Mardones being unable to replicate its success.

In My House (1984)

Musical luminaries such as Prince and Rick James also composed and produced efforts for other artists in their creative orbit. The latter in particular assisted his studio singers, including writing the hit In My House for the Mary Jane Girls. The song was hugely controversial at the time, having entered the cultural zeitgeist during a period when the perceived degradation of morality was blamed by some on pop music. In My House was singled out by Tipper Gore and the infamous Parents Music Resource Center as being overtly sexual and harmful to children. Today, however, its probably just better to remember the tune as a catchy, highly synthesized ode to 80s decadence.

All I Need (1984)

Its a story as old as time: actors wanting to rock, and musicians wanting to act. Jack Wagner earned some chart traction with this hit from his debut studio album. But the success of All I Need may not have been a surprise to those who were familiar with Wagners character, Frisco Jones, on General Hospital, where he showcased his musical talent. All I Need boasts a strong chorus and economical set of arrangements. The soap opera star was afforded some high-quality help during recording sessions from songwriting legend Glen Ballard.

St. Elmos Fire (Man in Motion) (1985)

The acronym AOR has been said to translate to everything from Adult-Oriented Rock to Album-Oriented Rock, but one things for sure: you know it when you hear it. You also know John Parrs voice when you hear it, since the man has delivered the goods on a number of film soundtracks. It feels sort of unfair to label Parr as a one hit wonder, as a result. But the British artist is admittedly most known for his theme to the 1985 film St. Elmos Fire. The song is catchy as sin, with copious hooks to go along with Parrs powerful vocals. What can we say? We never get tired of this one.

Beds Are Burning (1987)

Midnight Oil was an Australian band that didnt feel political statements and commercial chart success needed to be mutually exclusive. Their fiery, passionate lyrics and a desire to have creative voices heard resonated with pop fans back in the late 80s with Beds Are Burning. This song about demanding rights for Aboriginal Australians also just happened to have a chorus for the ages, one that was instantly recognizable. The songs arrangements also benefit from its simple chord structure and anthemic tone. Its a near-perfect symbiosis of commercial success and artistic integrity.

The Warrior (1984)

The New York City band Scandal may have notched four other hits on the Billboard Top 100 chart, but none of them managed to crack the Top 40. The Warrior, however, was a different story. It peaked at the number seven position. This success feels justified, because the song absolutely ROCKS with pure pop/rock brilliance. The Warrior is anchored by Patty Smyth's incredible vocals and personal style. Her voice displays both range and power. Meanwhile, that main riff is simple but super catchy and memorable. Scandal may have never shot to the top of the charts again after "The Warrior," but we'll never forget that million-dollar chorus.

Somebodys Watching Me (1983)

We would love to say with confidence that Somebodys Watching Me by Rockwell wouldve been a hit without that million-dollar Michael Jackson chorus. It just doesnt seem plausible, however, given the comparative chart success of Rockwells other singles, Obscene Phone Caller and Peeping Tom. One hit song is certainly better than no hit song, of courseand Somebody Watching Me remains a Halloween playlist staple to this day. Yet, its longevity is likely more due to its macabre musical arrangements and M.J. than Rockwells Boris Karloff impressions on lead vocals. That said, Somebodys Watching Me remains a defining tune of the music video eraand one that we still love to pieces not just on Halloweenbut every day!

Obsession (1984)

Animotion was a unique group. Their ultra 80s sounding synth-pop was tailor-made for the decade, and its true that some of their other singles did chart on the Billboard Top 100. However, its largely argued that Obsession is Animotions number-one calling card. The song straddles a line between a clubby dance sound and colder, more experimental synth sounds found during this early part of the decade. Its this artificiality that works in Animotions favor, however, since the song is actually a cover. The slightly more rock feeling of the Holly Knight and Michael Des Barres original is replaced by Animotions detached and computerized approach. Its weird, wonderful, and it works!

Break My Stride (1984)

You may only know Matthew Wilder from his smash hit Break My Stride, but thats only part of the mans story. This New York native has actually been responsible for producing hits for a ton of projects and artists, too, including No Doubt, Christina Aguilera and Kelly Clarkson, as well as the Disney film Mulan, for which Wilder co-composed the music. Break My Stride, a quirky tune taken from Wilders 1983 debut album, is a reggae-influenced pop tune with a vocal inflection from the singer that undeniably sells the tunes charisma. This is breezy, feel-good music thats upbeat and impossible to resist. Its hard to believe this is Wilders only solo brush with mainstream chart success.

Too Shy (1983)

Too Shy was a monster hit for the British New Wave group Kajagoogoo back in 1983. The band did manage to follow up with other success in the U.K. but, for many fans across the pond, its Too Shy that cements the group in a collective, time capsule memory. This could be thanks to the bands arresting appearance that made front man Limahl and crew easy on the eyes. However, the song itself also boasts an immensely memorable chorus, as well as subtly catchy slap-bass work from Nick Beggs. Limahl would find chart success as a solo artist with the theme from The NeverEnding Story but, unfortunately, Kajagoogoo wouldnt reach the chart heights of Too Shy ever again.

One Night in Bangkok (1984)

There seems to be a laundry list of actors whove tried their hands at the pop music game. Some of them have had more success than others. Murray Heads thespian career took a detour into the music business, thanks to his performance on the rock opera soundtrack for 1973s Jesus Christ Superstar. However, his solo career is likely better known for yet another Broadway hit: One Night in Bangkok. From the musical Chess, this is a track that certainly feels like a showtune. Head, for his part, talks through the tune more than he sings, but his cadence is nothing short of catchy. Meanwhile, the chorus is an earworm of the highest order, accompanied by some of the most 80s sounding synthesizers this side of a radio shack.

Come On Eileen (1982)

Its not unusual for a pop act to strike gold more than once in their native land. Geno served as a second number one hit for Dexys Midnight Runners in the U.K., but its Come On Eileen that remains the groups calling card in other parts of the world. This is due, in part, to the songs iconic video clip, which arrived during the early years of MTV. The visual of the group clad in matching overall, would go on to become closely associated with their conceptual legacy. Meanwhile, the songs folk-influenced melodies and dramatic build during the finale makes Come On Eileen feel so vibrant, even today. We challenge anyone not to kick up their heels and break out dancing to this one.

Fantasy (1982)

The glam metal explosion that would occur in a post-Bon Jovi and Quiet Riot world was still a hairspray can or two away when Aldo Nova released Fantasy in 1982. As a result, it doesnt feel unfair to give this Canadian axe-man at least a little credit for being ahead of the curve. Fantasy is a hard rocker through and through, anchored by a sturdy main riff and some catchy keyboard accompaniment. Meanwhile, the video clip is all pomp and ridiculously laser-obsessed. Novas skills as a guitarist, however, are no joke. His leads on Fantasy ensure that rock fans still remember this solo hit from back in the day, no matter how far away it gets.

Under the Milky Way (1988)

Because of their change-up in genre and style, the Church is a bit of a special case. A respected Australian rock act with a worldwide following, this is a band with numerous charted songs. With that said, Under the Milky Way, from their fifth studio album, was released at a time when fans had already latched on to the groups gothic and moody dream pop sound. The song proved to have mainstream commercial legs, all the same, earning the Church a top 40 U.S. hit. Its easy to see why, too, as Under the Milky Way rolls over the listener with smooth, stargazing melody and a soft, enveloping atmosphere.

Party All the Time (1985)

Ok, so obviously Eddie Murphy isnt a one-hit wonder in any other famed aspect of his life. However, is there any song from Murphys musical career thats as well-known as this jam from 1985? Party All the Time is the sort of vanity project that one can only get off the ground when they achieve THIS level of fame. Hot on the heels of Beverly Hills Cop and his comedy special, Delirious, Murphy was in the perfect position to release Party All the Time. Still, the song is better than it has any right to be, thanks largely to the production duties of Rick James. The grandiose orchestrations hide Murphys limitations as a singer, and help lift Party All the Time to cult classic status.

Shes Like the Wind (1987)

Chalk this next hit up as another song from an actor who had no right being this freakin good. Patrick Swayze proved that he was a treasure trove of creative riches when he released this soundtrack cut from Dirty Dancing. The actor actually co-wrote the song, too, intending it for release alongside a different 80s film. Today, however, Shes Like the Wind is nearly impossible to separate from Dirty Dancing and why would you? The image of Swayzes earnest, emotional vocals, that saxophone, the booming 80s productionits just fantastic all around. Plus, Wendy Fraser assists Swayze near the end with her own great vocals. We cant help but miss Patrick Swayze just a little bit more every time we hear this beautiful ballad.

No Easy Way Out (1985)

Has there ever been a soundtrack cut better suited for a kick-ass, emotional montage? Well, maybe, but Robert Tepper does his best with this contribution to the 1985 Rocky IV, and succeeds in a HUGE way. No Easy Way Out is an absolute banger, a surging pop/rock tune thats anchored by persistent synth stabs, urgent bass playing and Teppers own dramatic delivery. Seriously, the man goes for broke right from the jump, eschewing subtlety for raw emotion and pure honesty. Just check out Teppers solo dance moves for the accompanying video, and try not to be inspired! This is pure, unadulterated 80s awesomeness, undiluted to a perfect, excessive essence.

Heartbeat (1986)

It isnt uncommon at all for actors to try their hands at creating music. While Don Johnson was co-leading the show Miami Vice, he released his debut single, Heartbeat. The songs slick visuals and expensive music video mimics the style-and-substance excess of Johnsons hit show. And it helps that the chorus of Heartbeat is instantly memorable and sounds epic. Although the production is super processed and ultra-eighties, that isnt a bad thing for the song. Johnsons performative emoting and the videos dramatic narrative showed he was dedicated to making music. Unfortunately, Johnsons follow up song Heartache Away didnt achieve the same level of success.

Puttin On the Ritz (1982)

Although one-hit wonders don't have to be cheeky or weird, they can really stand out when they are. This was definitely the case with Tacos cover of the Irving Berlin song, Puttin on the Ritz. It became his only top 5 hit in the U.S. back in 1982, shot to the top of charts in Germany and even reached the number one slot in Finland! Puttin on the Ritz is quirky and absolutely soaked in processed 80s synthesizers. While Taco puts in a performance that may not be traditionally good, its definitely memorable. But its still a one-off song that feels as distinctly 80s as hairspray and shoulder pads.

Two of Hearts (1986)

Stacey Q is a California-born singer whos been able to find success in the worlds of movies and music. Her synth-pop band, SSQ, earned cult status with the material penned for classic horror film The Return of the Living Dead, but the biggest hit of Staceys solo career had to be 1986s Two of Hearts. The song is infectious right from the jump. It boasts an energetic backbeat, electric synth and Staceys warm and appealing vocals. The singer proved that she could come across as both sinister and sweet. None of her other tracks quite captured the magic of Two Of Hearts. However, it will always serve as the perfect B-side for Stacey Qs darker work in the horror realm.

Let the Music Play (1983)

R&B singer Shannon may have earned a couple of number one hits on the U.S. dance charts over the course of her career, but Let the Music Play remains her biggest achievement on the Billboard Hot 100. Its easy to see why this smooth jam benefits greatly from Shannons personable and melodic vocals. She manages to create a great chorus with the song, while the instrumentation also does exactly what its supposed to: get bodies on the floor. Let the Music Play is a great throwback to an R&B era thats old school, but never dated. In fact, consider this one timeless.

867-5309/Jenny (1981)

Throughout the 1970s and 80s, the power pop subgenre was absolutely everywhere thanks to pioneers like Cheap Trick and Blondie. The group known as Tommy Tutone took full advantage of the trend to achieve modest chart success with Angel Say No. However, the song the band will always be associated with is 867-5309/Jenny. The track absolutely rocks thanks to a killer opening guitar melody, awesome guitar solo and instantly memorable lyrics. Its basically songwriting 101 for anyone searching to write a hit pop tune. The only people that were unhappy with this Tommy Tutone classic are people who actually had this phone number.

Harden My Heart (1981)

Some songs just have a timeless quality to them due to a mixture of nostalgia and vitality that keeps them in the public consciousness. Harden My Heart is definitely one of those tracks. This awesomely moody and memorable hit song comes from the Oregon-based group Quarterflash. Rindy Ross is front and center of the songs success. Her plaintive, melancholic vocals and excellent saxophone playing work perfectly with the emotive guitar and insistent, bass-driven groove. Near the songs finale, the song becomes so urgent and powerful that we just cant get enough. Harden My Heart was unquestionably this bands biggest smash. Its a shame more people dont remember Quarterflashs impressive effort.

Tarzan Boy (1985)

If youre looking for a truly unique musical rabbit hole to explore, may we suggest the wild world of Italo-Disco? This synth-obsessed subgenre provided countless single hits and strange music videos for fans to uncover. One of the most popular one-hit wonder tracks came courtesy of Baltimora with their hit, Tarzan Boy. The music video is a fever dream of hazy visuals and excessive makeup. But dont let those elements distract you from the fun vocals and strong composition of the song. Oh, and did we mention theres a version of Tarzans yell within the track? Theres an oomph to the arrangements that mixes just the right amount of repetition with melodies that burrow their way into your brain and just live there rent-free forever.

Black Velvet (1989)

Since this song was released in 1989, it may sound a little bit lesswell, Capital E Eighties. But that's not a bad thing. Black Velvet from Alannah Myles is the sort of slinky and sensual blues number that wouldnt sound out of place on a movie soundtrack. While Myles enjoyed success in her home country of Canada, Black Velvet serves as her singular calling card elsewhere in the world. This isnt taking away anything from Myles as a performer or Black Velvet as a song. It stands out from the late-period hair metal and pop that was dominating the charts back in 89.

Toy Soldiers (1989)

1989 was a good year for pop music. Part of the reason why comes down to Martikas Toy Soldiers. In 1989, she released this fragile and melancholic melody to the masses. Despite its darker tone, it was a number one hit in America that year. Theres a strength and sadness to the tune. The guitar melodies are impeccably produced, the drums are soaked in reverb, and Martikas vocals tug at the heart strings in the best possible way. Were not ashamed to say that Toy Soldiers still makes us shed a tear to this day. Then again, thats the power of music, right? Even if you call Martika a one hit wonder, you cant deny that she created a classic with this tune.

(I Just) Died in Your Arms Tonight (1986)

Admittedly, Cutting Crew hit the top 10 with both (I Just) Died in Your Arms Tonight and their follow-up, Ive Been in Love Before. However, the former song has endured far more than that latter as the band's most famous song. And with good reason, too. (I Just) Died in Your Arms Tonight is a dramatic New Wave hit that feels larger than life. The guitars are punchy, the synthesizers are perfect and the lyrics are iconic. Front man Nick Van Eede radiates both power and sensitivity as the brooding crooner at the lead of the track. We cant stop replaying this song on repeat and singing it at karaoke every chance we get. Our love for Cutting Crews biggest hit will never die.

Are there any one hit wonders that you feel deserved more chart success? Let us know in the comments!