Top 20 One Hit Wonders From the 70s You Forgot Were Awesome

#20: “Hold Your Head Up” (1971)

Argent

Keyboardist Rod Argent formed the band that bore his name prior to the dust fully settling from the breakup of his prior group, The Zombies. Argent didn’t quite have as much influence or chart success as that formative psych-pop group, but “Hold Your Head Up” did do extremely well for the band. This mid-paced rocker charted in Argent’s native U.K., as well as Canada and the United States, while the band themselves became something of a reliable, album-focused group throughout the 1970s. It’s “Hold Your Head Up” that remains Argent’s most formidable attack on the international pop charts, however, a song that still gets mention and airplay to this day.

#19: “Put Your Hand in the Hand” (1971)Ocean

It’s one of the most frequently covered songs from the admittedly niche genre of religious pop, a tune that’s become notable for its equally-sampled open-drum break. “Put Your Hand in the Hand” first became popular thanks to a 1970s cover by Canada’s Anne Murray, while Ocean’s take from a year later became that group’s most successful hit. “Put Your Hand in the Hand” is short and to-the-point, boasting a memorable, sing-a-long-able chorus and a mildly groovy rhythm. It’s that aforementioned drum break that’s arguably kept “Put Your Hand in the Hand” relevant today, however, thanks to outlets as diverse as the Beastie Boys or the soundtrack to the 2013 thriller, “Prisoners.”

#18: “Ride Captain Ride” (1970)Blues Image

The career of hard rockers Blues Image was short, but the legacy of infamy behind their founder, Mike Pinera is actually quite interesting. Pinera co-wrote Blues Image’s biggest hit, “Ride Captain Ride,” which helped the group’s sophomore effort, “Open,” become a huge success. The tune is catchy and melodic, to be sure, but Blues Image only managed one more LP before imploding in 1970. Pinera would go on to play in many more bands, however, while also becoming involved in the notorious “tax scam label” culture by founding Illusion Records. These were labels that released albums of dubious legality with an intention of failure, in order to take advantage of tax loopholes.

#17: “Sky High” (1975)

Jigsaw

Now this is one song that knows how to make an impact! “Sky High” by Jigsaw seems to intentionally lead with a bombastic orchestral section, presumably due to its inclusion on the soundtrack to the 1975 action flick, “The Man from Hong Kong.” It isn’t Richard Hewson’s backing score that assists “Sky High,” however, since Jigsaw’s disco-ified funk always works really well on the track. Des Dyer’s lead vocals also create a great chorus, which got a lot of people listening to “Sky High.” The song charted in Jigsaw’s native Britain, as well as in the U.S. and Japan, while “Sky High” even became connected with the professional wrestling industry in Mexico. It was used as an opening theme by the legendary luchador, Mil Máscaras.

#16: “Midnight at the Oasis” (1974)

Maria Muldaur

Hey, do any of the local radio stations where you live ever go in on a “deep cut” marathon for any sort of holiday weekend? If so, then perhaps you’ve heard a disc jockey say these words, “and coming up next, we’ll have ‘Midnight at the Oasis’ by Maria Muldaur.” That’s because this warm pop tune used to be an AM radio staple, a song that feels like it was tailor made to be played at a ‘70s lounge or dive bar. If the color pattern of “brownish-yellow” were a song, it would be “Midnight at the Oasis” This isn’t an insult, either, because Maria Muldaur’s quirky, folk-influenced vocals just sounds SO seventies, in the best possible way. Pour us another round, bartender.

#15: “Popcorn” (1972)Hot Butter

It’s definitely the strangest hit tune on this list, but also one of the coolest…or is it just us who are still in love with that Moog synthesizer sound of the 1960s and ‘70s? “Popcorn” was an instrumental that was originally composed by electronic music legend Gershon Kingsley in 1969 before being adapted by jazz musician Stan Free a few years later. His version, under the moniker of “Hot Butter,” would become a huge hit in Europe, where it became something of a dance anthem. “Popcorn” was also used, to perhaps even weirder effect, by exploitation maverick and notable female film director Roberta Findlay in the 1974 horror film, “Shriek of the Mutilated.”

#14: “One Tin Soldier” (1971)Coven

Success came calling to the occult rock icons in Coven back in 1971, only a couple of years after they first made an impact with 1969’s “Witchcraft: Destroys Minds & Reaps Souls.” “One Tin Soldier” couldn’t feel more removed from that album’s satanic rock leanings, however, instead working as a pop ballad for the 1971 film, “Billy Jack.” This tune, perhaps thanks to the popularity of the “Billy Jack” franchise, became a huge hit for Coven singer Jinx Dawson, and the band would go on to re-record the tune for their second album. “One Tin Soldier” certainly feels cinematic in scope, while Dawson continues fronting Coven at the time of this writing!

#13: “Black Betty” (1977)Ram Jam

It’s interesting to see how a song with a history as lengthy and important as “Black Betty” can eventually be changed so far from its original iteration. Today, most folks can probably recognize the arrangement Ram Jam placed to “Black Betty” back when they covered it in 1977. Yet, did you know that this song actually dates back all the way to the early 1930s? “Black Betty” actually started off as a spiritual, usually being performed in a more somber, folk-influenced manner. Fast forward to 1977 and former Lemon Piper Bill Bartlett forms two groups, Starstruck and Ram Jam, both of which cover “Black Betty.” This new arrangement features heavy riffs, guitar harmonies and boogie rhythms over Bartlett’s energetic vocal. The rest is history!

#12: “Turn the Beat Around” (1976)Vicki Sue Robinson

The disco era was in no shortage of one hit wonders, but very few of them sound as cool and fresh to us as “Turn the Beat Around” by Vicki Sue Robinson. Sure, the production here sparkles with that inimitable seventies sheen, but “Turn the Beat Around” doesn’t really sound kitschy, but instead breathes with a vibrant and danceable glow. Robinson was an actress and singer with a backstory that encompassed everything from folk, rock and pop. Her work as a disco singer wound up being the trick to get her remembered, however, thanks not only to the song’s slick composition, but also to Robinson’s charisma and musical instincts, particularly with her cool ad-libs.

#11: “New York Groove” (1978)Ace Frehley

All four original members of KISS released solo albums back on September 18th, 1978. The “Gene Simmons” LP may have charted the highest, but “Ace Frehley” sold the most copies, being certified less than a month after its release. This was thanks, presumably, to Ace’s cover of the Russ Ballard-penned tune, “New York Groove,” which was also the highest charting KISS solo single. The song had already been a hit in the U.K. after being covered by glam rock group Hello, but it would be the Spaceman that would take “New York Groove” and make it his own. Ace Frehley continued to include this slinky, smooth-sounding rocker in his concert sets all the way to his tragic death in 2025.

#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

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” 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, 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.

What, to you, defines a perfect one hit wonder? Let us know in the comments!