Top 10 One Hit Wonders From the 70s You Forgot Were Awesome

#10: “Tighter, Tighter” (1970)

Alive ‘N Kickin’

The psychedelic rock scene of the 1960s and ‘70s was often notable for its hard-edged fuzz guitar and wild musicianship. At the same time, however, groups such as Alive ‘N Kickin’ combined legitimate pop hooks with commercially-viable psychedelia to create a hit. “Tighter, Tighter” was one of those flashes-in-the-pan that climbed to number seven on the Billboard Top 100 back in 1970. The tune was co-composed by a certified legend in the form of Tommy James, who had miles of credits to his name. “Tighter, Tighter,” as a result, is a pop-psych gem in the mold of Janis Joplin with Big Brother and the Holding Company. A horn section backs up a killer groove, while some heavier guitar accents a big-sounding chorus. It’s great stuff.

#9: “It Never Rains in Southern California” (1972)

Albert Hammond

Albert Hammond has achieved more than his fair share of hits…they’re just not usually credited to him as a solo artist. Nevertheless, this prolific songwriter achieved success on his own terms back in 1972 with “It Never Rains in Southern California.” The tune is one of those “story songs” that was immensely popular during the 1970s, a tale as old as time about a young and hungry artist with big dreams. Unfortunately, the protagonist of “It Never Rains in Southern California” finds out the hard way about how sometimes those same dreams can wind up in a Skid Row gutter. The song’s actual composition belies this negativity, however, a melodic and sunny pop song with impeccable production and Hammond’s strong vocals.

#8: “In the Summertime” (1970)

Mungo Jerry [a]

Success found Mungo Jerry largely outside of North America. This group actually had 8 top 40 hits in their native U.K., yet it’s “In the Summertime” that remains Mungo Jerry’s primary musical calling card. Perhaps it’s the tune’s skiffle arrangements that made “In the Summertime” so popular in Britain, since that style of folk music became so prevalent in that area. Elsewhere, “In the Summertime” feels evocative of those hazy and lazy days, a non-aggressive tune that celebrates rest and relaxation. This is despite modern critical appraisal of the song’s lyrical content, which some have labeled as “problematic.”

#7: “Seasons in the Sun” (1974)

Terry Jacks

With “Seasons in the Sun” by Terry Jacks,” the fatalistic energy of the source material feels omnipresent. This isn’t necessarily a bad thing, since this take on “Le Moribond[b]” by France’s Jacques Brel still feels melancholic, just with a semi-brightened reworking by Jacks. The latter tooled around with the lyrics to make the story of a regretful and dying man feel more optimistic. Meanwhile, the overall musicality of “Seasons in the Sun” feels roughly analogous to Jacks’ former work in the psychedelic pop mold with his wife Susan and The Poppy Family. It’s a spooky, ghostly tune that’s probably not as depressing as it could’ve been, yet still feels indicative of the “anything goes” sentiment of 1970s pop radio.

#6: “Love Grows (Where My Rosemary Goes)” (1970)

Edison Lighthouse

The music business is exactly that: a business, with lots of groups coming, going and being forgotten. Edison Lighthouse may not be a name immediately recognized by everyone, but those of a certain age will likely remember their huge hit from 1970. Well, maybe that isn’t entirely accurate, because “Love Grows (Where My Rosemary Goes)” was initially recorded by pop singers Geoff Turton and Tony Burrows, the latter alongside some session musicians. The surprising chart success of this version necessitated the formation of a quick group to take advantage. Enter the local group Greenfield Hammer, who became Edison Lighthouse, and this hooky pop/rock tune entered the chart-chat for good.

#5: “Ring My Bell” (1979)

Anita Ward


The disco era was in no shortage of blink-and-you-missed them hits. This isn’t said to necessarily disparage the genre, but disco chart success was often fleeting. Yet this is also why so many disco defenders still appreciate hits like “Ring My Bell” from Anita Ward. These tunes have endured to the modern day without that retro irony that’s accompanied many other novelty tunes from the era. Instead, this jam can still be found in clubs today, thanks to clear-as-a-bell (pardon the pun) production from songwriter Frederick Knight. Ward’s work on the chorus is particularly memorable, with just enough kitsch to be fun, while definitely evoking a certain time and place. One where dancing and fabulous fashion ruled the day!

#4: “Wildfire” (1975)

Michael Martin Murphey

The story of Michael Martin Murphey is one of those where his legacy as a one hit wonder arrives with an asterisk. That’s because this country and western artist has achieved other chart success…it’s just that he’s primarily associated with the 1975 hit “Wildfire.” Murphey had formerly been a part of the psychedelic folk-rock group The Lewis and Clarke Expedition, and this experience of composing more progressive-minded music served him well. The arrangements of “Wildfire” are smooth, but never boring, and contain interesting guitar licks that drive home satisfying melodies. Meanwhile, the warmth of that chorus feels thick, like molasses, and sounds capital S “Seventies” in the best possible way.

#3: “Dancing in the Moonlight” (1972)

King Harvest

The influences of the French/American act known as King Harvest ranged from pop and rock to folk, but it was their take on this 1970 track from Boffalongo that eventually became their biggest international hit. There’s an irrepressibly funky groove present on King Harvest’s “Dancing in the Moonlight” that makes it virtually impossible not to, well…dance! It’s a wonderful mix of upbeat drumming and that all-time classic keyboard intro. It’s one of those tunes that you may hear at a cool supermarket, but don’t think for a second “Dancing in the Moonlight” is mere Muzak. This song still jams!

#2: “Mr. Big Stuff” (1971)

Jean Knight

Patient and dedicated crate diggers already know that the world of soul music from the 1960s and ‘70s can be a paradise of one-and-done obscurities. “Mr. Big Stuff” from Jean Knight doesn’t exactly fall into that category, but it was the only major hit for which this singer was known. Knight’s single (and album of the same name) for Stax Records is basically Soul Music 101, a poppy and catchy tune with a recognizable hook and economical arrangements. Knight’s voice is in charge, possessing sass and strength as she evokes an almost effortless sense of cool. “Mr. Big Stuff” is one of those songs that always seems to appear on “greatest hits” compilations from this era, and with good reason: it’s an absolute classic.

#1: “Vehicle” (1970)

The Ides of March

It’s known by a number of names. Call it “horn rock,” or even “jazz rock,” but there was definitely something in the water back in the 1970s. Something that emerged after Chicago’s debut LP from ‘69, where more rock groups started incorporating brass into their arrangements. The Ides of March were one of those groups, and “Vehicle” was their big song. The song was the fastest selling in the history of Warner Bros. Records up until that point, a hyper-energetic horn-dominated anthem that SCREAMED “seventies!” “Vehicle” boasts a gritty vocal from guitarist Jim Peterik[c], and a brassy hook to die for. It’s time capsule stuff, sure, but almost certainly a defining tune that got heavy replay from just about every aspiring lounge act in town.

Do you celebrate one hit wonder-dom like we do? Shout out your favorite obscurity in the comments!

[a]https://youtu.be/-vxJCh1TJcg?si=rdxn-tCFF0NFy7oE&t=13

[b]https://forvo.com/search/Le%20Moribond/
https://forvo.com/search/Jacques%20Brel/
[c]PETER-ick https://youtu.be/-TkiEUpbiKI?si=MAKOMP-U75tjimU-&t=142