Take a trip down memory lane with this playlist of unforgettable one-hit wonders from the 1970s.
If you’re building a playlist of the Top 40 hits from the 1970s, you can’t leave out legends like Elton John and Rod Stewart—artists who dominated the charts. But we can’t forget the artists who only had one moment in the spotlight. Let’s make the ultimate playlist of 25 of the greatest 1970s one-hit wonders!
- 1. “Venus,” Shocking Blue, 1970
- 2. “In the Summertime,” Mungo Jerry, 1970
- 3. “Spirit in the Sky,” Norman Greenbaum, 1970
- 4. “All Right Now,” Free, 1970
- 5. “Signs,” Five Man Electrical Band, 1971
- 6. “Smiling Faces Sometimes,” The Undisputed Truth, 1971
- 7. “Dead Skunk,” Loudon Wainwright III, 1972
- 8. “Brandy (You’re a Fine Girl),” Looking Glass, 1972
- 9. “The Night the Lights Went Out in Georgia,” Vicki Lawrence, 1973
- 10. “Seasons in the Sun,” Terry Jacks, 1974
- 11. “TSOP (The Sound of Philadelphia),” MFSB ft. The Degrees, 1974
- 12. “Kung Fu Fighting,” Carl Douglas, 1974
- 13. “The Night Chicago Died,” Paper Lace, 1975
- 14. “Love Hurts,” Nazareth, 1975
- 15. “Play That Funky Music,” Wild Cherry, 1976
- 16. “Torn Between Two Lovers,” Mary MacGregor, 1976
- 17. “Don’t Leave Me This Way,” Thelma Houston, 1976
- 18. “Smoke from a Distant Fire,” The Sanford/Townsend Band, 1977
- 19. “Ariel,” Dean Friedman, 1977
- 20. “I Love the Nightlife,” Alicia Bridges, 1978
- 21. “I Can’t Stand the Rain” Eruption, 1978
- 22. “Hot Child in the City,” Nick Gilder, 1978
- 23. “Knock on Wood,” Amii Stewart, 1979
- 24. “Cruel to Be Kind,” Nick Lowe, 1979
- 25. “Makin’ It,” David Naughton, 1979
1. “Venus,” Shocking Blue, 1970
Released in the U.S. in October 1969 (okay, so not technically a 1970s song), “Venus” deserves a place on this list for its massive success during its first release and the success of Bananarama’s 1986 version, which also reached #1.
The song was released in the U.S. in October 1969 and entered the Top 40 at #31 on December 20, 1969, rocketing from #77 the previous week. The song hit #1 in February 1970 and remained in the Top 40 for 11 weeks.
The song’s twangy guitar intro pulls you in before you know what’s happening, and Mariska Veres’ commanding and hypnotic vocals keep you listening—and dancing. It’s no wonder the song has remained a staple in movies, TV shows, and commercials over the years.
Shocking Blue continued to be successful in the Netherlands but never reproduced its original success in the U.S., and ultimately disbanded in 197r after selling 13 million records.
2. “In the Summertime,” Mungo Jerry, 1970
| Debut | Peak | Total Weeks | ||
| 7/11/1970 | 74 | 9/12/1970 | 3 | 11 |
With its jangly acoustic guitar, catchy skiffle beat, and playful, almost improvised feel, “In the Summertime” is the kind of song that makes you want to roll down the car windows and let the warm breeze in.
Written by the band’s frontman, Ray Dorset, in just ten minutes, the song was inspired by the simple pleasure of sunny days and a life without worries. That vibe clearly resonated—“In the Summertime” sold over 30 million copies, making it one of the best-selling singles ever.
Released in May 1970, “In the Summertime” hit the Top 40 at #32 in July 1970 and climbed up the charts, hitting #3 in September 1970. It was the anthem of the summer of 1970 and still brings back that lazy summer day vibe even now, more than 50 years later.
But what happened to Mungo Jerry after their big hit? While the band never matched the global success of “In the Summertime,” they kept making music and remained popular in Europe. Over the years, the band underwent numerous lineup changes, but Ray Dorset remained the driving force and continues to perform occasionally.
3. “Spirit in the Sky,” Norman Greenbaum, 1970
| Debut | Peak | Total Weeks | ||
| 2/28/1970 | 64 | 4/18/1970 | 3 | 14 |
Sometimes, you just know a song is legendary from the very first note. “Spirit in the Sky” commands your attention as soon as you hear the iconic guitar riff that starts the song.
Released in late 1969, this psychedelic rock anthem hit the Top 40 in March 1970, reaching #3 on the Billboard Hot 100 in April. The song stayed in the Top 40 for 14 weeks and sold over two million copies.
The song’s mix of fuzzy, distorted guitar riffs, handclaps, and gospel-inspired lyrics made it an instant classic. Despite the many references to Jesus, Greenbaum was a Jewish musician from Massachusetts who wrote this foot-stomping ode after watching Porter Waggoner perform a gospel song on TV and deciding, “I can write one of those.”
What happened to Norman Greenbaum after his one massive hit? After none of his subsequent songs charted, Greenbaum found himself broke and needing money. He stepped away from the music industry and began working as a cook.
To Greenbaum’s surprise, “Spirit in the Sky” unexpectedly resurrected as a moneymaker in 1987 when it was included on the soundtrack of the movie “Maid to Order.” That led to more appearances on movie soundtracks (32 according to the New York Times) and commercials for brands like Nike.
Songs as iconic as “Spirit in the Sky” live forever.
4. “All Right Now,” Free, 1970
| Debut | Peak | Total Weeks | ||
| 8/15/1970 | 96 | 10/17/1970 | 4 | 16 |
After a disastrous performance, Free’s Andy Fraser and Paul Rodgers wrote “All Right Now” to liven up a setlist they felt was too low-energy. The song gave the band a real rocker to close the set with and get the audience up on their feet.
“All Right Now” more than delivered the energy the band needed, with a raw, bluesy guitar riff from lead guitarist Paul Kossoff and rollicking vocals by Paul Rogers.
Released in May 1970, the song steadily climbed the Billboard Top 100, finally peaking at #4 in October 1970. Unfortunately, tensions within the band reached a boiling point and they broke up in 1973; they never had another big hit.
Guitarist Paul Kossoff tragically died of a heart attack in 1976, just 25 years old. Meanwhile, Paul Rodgers went on to even greater fame, fronting Bad Company and later working with Queen as their lead singer.
While Free’s time in the spotlight was short, “All Right Now” remains a staple of classic rock radio and one of the most enduring rock anthems.
5. “Signs,” Five Man Electrical Band, 1971
| Debut | Peak | Total Weeks | ||
| 5/29/1971 | 96 | 8/28/1971 | 3 | 16 |
This one is technically not a one-hit wonder. The Five Man Electrical Band charted in the Billboard Top 40 with a second single, “Absolutely Right,” which peaked at #26 in 1971. However, “Absolutely Right” remains mostly forgotten, while “Signs” is still remembered today as an iconic counterculture anthem.
Originally released as a B-Side in 1970, “Signs” started gaining attention when DJs began flipping the record over and playing it instead of the intended single, “Hello Melinda Goodbye.”
It’s not hard to see why DJs gravitated toward “Signs” instead of its original A-side. Written by lead singer Les Emmerson after a trip through the southern U.S., the song pairs sharp, rebellious lyrics with a laid-back folk-rock melody, the perfect blend of folk idealism and rock swagger.
“Signs” climbed the charts quickly, debuting at #96 on May 29, 1971, and surging to #3 by August 28. The song became a counterculture anthem. Decades later, you can still hear it on classic rock stations.
6. “Smiling Faces Sometimes,” The Undisputed Truth, 1971
| Debut | Peak | Total Weeks | ||
| 6/26/1971 | 80 | 9/4/1971 | 3 | 18 |
They just don’t make band names (or song titles!) like they did in the 1970s. Created by Motown producer Norman Whitfield, The Undisputed Truth performed psychedelic soul, a largely forgotten 70s music genre pioneered by Whitfield.
“Smiling Faces Sometimes” was initially recorded by The Temptations in 1971 for their album Sky’s the Limit. The Temptations’ version is a 12-minute dirge with long instrumental breaks. Whitfield rerecorded a faster-paced but still eerie version of the song with The Undisputed Truth and released it as a single in the summer of 1971.
The song quickly gained radio airplay that summer, steadily climbing the charts and finally peaking at #3 on the Billboard Top 40. Listeners couldn’t get enough of its hypnotic groove and unsettling vocals.
Despite the popularity of “Smiling Faces Sometimes,” The Undisputed Truth never enjoyed the success of other Motown acts. Norman Whitfield continued working with the band, but they served more as a platform for his experimental soul productions than as a breakout act. None of their other recordings ever cracked the Top 40.
7. “Dead Skunk,” Loudon Wainwright III, 1972
| Debut | Peak | Total Weeks | ||
| 1/27/1973 | 88 | 3/31/1973 | 16 | 13 |
Like many of the decade’s best-selling novelty songs, “Dead Skunk (in the Middle of the Road)” was destined to be Wainwright’s only Top 40 hit. Inspired by a real-life roadkill encounter, this quirky song became a crowd favorite and a slow-burning chart climber after its release in November 1972, eventually reaching #16 on the Billboard Top 40 in March 1973.
“Dead Skunk,” like many of Wainwright’s songs, showcases his strong story-telling ability, but Wainwright was always more than just a novelty act. Although “Dead Skunk” was his only Top 40 hit, Wainwright has had a long career as an acclaimed singer-songwriter, with over 20 albums and three Grammy nominations.
He also enjoyed a successful career as an actor, appearing as Captain Calvin Spalding on the TV show M*A*S*H, as well as appearances in several popular movies.
8. “Brandy (You’re a Fine Girl),” Looking Glass, 1972
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 6/17/1972 | 68 | 8/26/1972 | 1 | 1 | 16 |
Written by Looking Glass lead singer and guitarist Elliot Lurie, “Brandy (You’re a Fine Girl)” tells the song tells the story of Brandy, a barmaid in a busy port town, adored by sailors but ultimately left behind by the man she loves.
The song is a gloriously cheesy and over-the-top charmer, but Brandy was originally the B-side of Looking Glass’ first single, the harder rocking Don’t it Make You Feel Good. A DJ at DC radio station WPGC fell in love with “Brandy,” and put the song in heavy rotation. “Brandy” became a huge local hit, and the band’s record company released it as a single.
That decision turned the band into an overnight success. “Brandy” became the song of the summer, reaching #1 on the Billboard Top 40 on August 26, 1972. Even the name “Brandy” spiked in popularity after the song’s release.
Unfortunately, the band’s success vanished almost as quickly. Lurie was never comfortable with the softer sound of songs like “Brandy” and left the band for a solo career in 1973, ultimately becoming a music supervisor on movies and TV shows.
“Brandy” remains popular even now. It’s considered a yacht rock classic and is currently having a mildly viral moment on TikTok. Even Lurie found respect for the song after it was featured in Guardians of the Galaxy 2. For many of us, the song “Brandy” will always be our life, our love, and our lady.
9. “The Night the Lights Went Out in Georgia,” Vicki Lawrence, 1973
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 2/10/1973 | 68 | 4/7/1973 | 1 | 2 | 20 |
Nope, Reba McEntire wasn’t the first person to record this song! “The Night the Lights Went Out in Georgia” was a massive hit for Vikki Lawrence in 1973, you could hardly turn on the radio without hearing it.
Bobby Russell, Lawrence’s then-husband, wrote the song and offered it to several popular recording artists of the time, who all turned it down. Lawrence, who was best known as a cast member on The Carol Burnett Show, believed the song was a hit, so she recorded it herself.
Lawrence had good instincts. The song was initially released as a single in February 1973 and hit the Billboard Hot 100 right away, entering at #100. Listeners couldn’t get enough of the song, a classic Southern Gothic Murder Ballad, which climbed up the charts, hitting #1 on April 7, 1973.
Despite having a number-one hit, Vicki Lawrence never became a full-time recording artist. She did release more music, but her real passion remained comedy, eventually starring in the long-running sitcom Mama’s Family. The next time someone calls “The Night the Lights Went Out in Georgia” a Reba song, you set them straight.
10. “Seasons in the Sun,” Terry Jacks, 1974
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 1/12/1974 | 99 | 3/2/1974 | 1 | 3 | 21 |
Time on the Billboard Top 40: 15 weeks; Highest Chart Position: #1
We might think “Seasons in the Sun” is one of the worst songs of the 1970s here at Things Boomers Like, but even we can’t deny that the song was a massive hit.
“Seasons in the Sun” began its life as a 1961 hit by French singer Jacques Brel, titled “Le Moribond (The Dying Man).” Pop poet Rod McKeuen translated the song into English and added new lyrics in 1963. Terry Jacks recorded the song in 1973, rewriting the lyrics one more time, turning the song into the reminiscings of a dying man.
Jacks’ recording entered the Billboard Hot 100 at #99 in January 1974 and rose to #1 just two months later. It held on to the #1 spot for three weeks and remained in the Top 40 until the summer.
Jacks continued to release music, but “Seasons in the Sun” was his only Top 40 hit, and it eventually fell out of favor, earning its place on multiple “worst of” song lists.
11. “TSOP (The Sound of Philadelphia),” MFSB ft. The Degrees, 1974
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 3/2/1974 | 65 | 4/20/1974 | 1 | 2 | 18 |
If you’re like me, you recognize this song immediately when you hear it, but you may have thought of it as simply Soul Train since it was the theme song for the iconic Saturday afternoon dance show.
Written by legendary producers Kenny Gamble and Leon Huff, the song was recorded by MFSB (Mother, Father, Sister, Brother), the in-house studio band for Philadelphia International Records. The song featured backing vocals from The Three Degrees, although their contribution is minimal since the song is mostly instrumental.
Released as a single in February 1974, the song hit the Billboard Top 100 on March 9, 1974, quickly climbing to the top position on April 20 where it stayed for two weeks.
“TSOP” was the first instrumental to reach the Number One spot in the 1970s and the first TV theme song to do so. It also cemented the Philadelphia Sound as a dominant force in soul and disco, influencing artists for decades. And, of course, as the Soul Train theme, it became the soundtrack to an entire movement.
12. “Kung Fu Fighting,” Carl Douglas, 1974
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 10/12/1974 | 94 | 12/7/1974 | 1 | 2 | 18 |
“Kung Fu Fighting” was initially meant to be a throwaway B-side, recorded in just ten minutes at the end of a studio session. Since it was just a B-side track that probably wouldn’t get much attention, producer Biddu really went all out with the karate sounds and added an Oriental Riff as part of the instrumentation. However, after hearing both songs, the record company insisted that “Kung Fu Fighting” be released as the A-side.
“Kung Fu Fighting” was initially released in 1974 in Great Britain with initially disappointing record sales. However, it began to gain popularity in discos and eventually reached the #1 spot on the UK Charts. After that success, it was released in the U.S. and shot up the charts, hitting number one on September 21, where it stayed for three weeks. The song went on to sell eleven million records worldwide.
Carl Douglas included the song on his delightfully titled album Kung Fu Fighting and Other Love Songs. He leaned into the song’s martial arts vibe, performing in a Karate uniform and punctuating the song with dramatic chops and kicks.
Douglas tried to recreate the magic and create a viral dance a year later with the very similar sounding “Dance the Kung Fu,” but its highest chart position was #48 on the Billboard Top 100.
“Kung Fu Fighting,” however, lives on. It was covered by CeeLo Green for the movie Kung Fu Panda, remixed by T-Pain in 2008 for a fun Pepsi commercial, and has been featured in countless other movies and commercials.
13. “The Night Chicago Died,” Paper Lace, 1975
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 6/15/1974 | 98 | 8/17/1974 | 1 | 1 | 17 |
British band Paper Lace expected their single “Billy Don’t Be a Hero,” which topped the charts in the UK, would catapult them to stardom in the U.S. Unfortunately for the band, Bo Donaldson and the Heywoods got there first with their version (one of our Worst Songs of the 1970s). The Bo Donaldson and the Heywoods single reached #1 on the Billboard Top 40, while Paper Lace languished, peaking at #96.
Their follow-up single, “The Night Chicago Died,” finally broke the band into the Top 40. Like “Billy Don’t Be a Hero,” “The Night Chicago Died,” written by the songwriters Mitch Murray and Peter Callander, was a classic 1970s story song.
The song tells the story of a deadly shootout between Al Capone’s gang and the Chicago police. Although historically inaccurate (no such battle between Capone and the police ever took place), the song was catchy and had a chorus made for singing along. It quickly moved up the Billboard Hot 100, reaching #1 on August 17, 1974.
Paper Lace split up less than a year after the song’s release, caught in a legal battle that ultimately ended their run. Hoping for a better deal, they broke their contract with Murray and Callander’s Bus Stop Records, but the move backfired. A series of lawsuits and countersuits followed, and in the end, the band came out on the losing side, leading to their breakup.
14. “Love Hurts,” Nazareth, 1975
| Debut | Peak | Total Weeks | ||
| 11/22/1975 | 95 | 3/13/1976 | 8 | 23 |
It feels odd to refer to Nazareth as a one-hit wonder since the band has recorded several albums, toured for over 50 years, and has a devoted fan base. Nonetheless, only their iconic cover of “Love Hurts” broke into the U.S. Top 40.
“Love Hurts,” one of the most iconic power ballads, had previously been covered by The Everly Brothers and Roy Orbison, among others, but it was the raw emotion of Dan McCafferty’s gritty, anguished delivery of the song’s painfully honest lyrics that made the song an instant classic.
Nazareth’s single was a slow burner, entering the Top 100 at #81 on November 8, 1975, and finally peaking at #8 on February 14, 1976 (how appropriate!)
Nazareth continued recording and touring but never again achieved Top 40 success. However, their version of “Love Hurts” has influenced countless covers of the song, and it remains (according to me) the definitive version.
15. “Play That Funky Music,” Wild Cherry, 1976
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 6/19/1976 | 96 | 8/18/1976 | 1 | 3 | 25 |
Back in the late ’70s, I went to a festival in rural Florida. The band that closed out the street dance only knew one song—”Play That Funky Music.” They ended up playing that song on repeat for a solid hour and a half.
If you were going to know only one song back then, though, “Play That Funky Music” was the one to know. Written by Wild Cherry’s lead singer, Rob Parissi, the song mixes rock energy with a funky groove. It’s impossible to listen to without dancing.
Wild Cherry was originally a hard rock cover band, struggling to get gigs at the height of the disco era. Parissi wrote the song five minutes after a clubgoer asked, “Are you going to play some funky music, white boys?” The song’s lyrics are a tongue-in-cheek description of how the band finally realizes the value of giving the people a song that gets the crowd “dancing and singing // And moving to the grooving.”
Wild Cherry disbanded in 1979 without recording another hit. Ironically, Parissi, the man who vowed to “lay down the boogie and play that funky music ’til you die,” turned to writing and recording smooth jazz.
16. “Torn Between Two Lovers,” Mary MacGregor, 1976
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 11/20/1976 | 87 | 2/5/1977 | 1 | 2 | 22 |
Even though both songs dropped in 1976, “Play That Funky Music” and “Torn Between Two Lovers” couldn’t be more different, illustrating just how diverse radio hits could be in the 1970s.
Written by Peter Yarrow (of Peter, Paul, and Mary) and Phillip Jarrell as a classic soft-rock ballad, “Torn Between Two Lovers” tells the story of a woman unable to choose between her longtime partner and a new love.
The song reflects the shift toward sexual liberation and non-traditional relationships in the 1970s and shows how complicated these changes could be by delivering an emotionally heavy message with a soft and delicate melody.
“Torn Between Two Lovers” struck a chord with listeners, entering the Billboard Hot 100 on November 6, 1976, at #74 and peaking at #1 on February 5, 1977. As a mirror of the times, the song resonated deeply, inspiring multiple covers and a 1979 TV movie. Dolly Parton even mentions the song in her 1984 song “God Won’t Get You” (Torn between two lovers on the jukebox // I’m thinkin’ how I could have wrote that song.)
Mary MacGregor continued to release music after “Torn Between Two Lovers” but never had another hit. By the 1980s, she stepped away from the mainstream spotlight, though she continued performing and recording occasionally.
17. “Don’t Leave Me This Way,” Thelma Houston, 1976
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 12/18/1976 | 85 | 4/23/1977 | 1 | 1 | 24 |
Released in 1976, “Don’t Leave Me This Way” by Thelma Houston is one of the most powerful and heartbreaking disco anthems of all time. Originally recorded in 1975 by Harold Melvin & the Blue Notes, featuring the legendary Teddy Pendergrass. Houston’s version transformed the song from a mid-tempo dance track into a soaring, emotional tour de force.
Houston included the song on her fourth album, Any Way You Like It, and it was released as a single after club DJs reported how the song had become a dance floor favorite. The song entered the Billboard Hot 100 on January 29, 1977, at #81 and climbed all the way to #1 on April 23.
Houston’s version of the song packed sheer emotional intensity into a gospel-infused disco explosion. Her raw vulnerability, along with the song’s sweeping strings and pounding disco beat, felt larger than life and earned Houston a Grammy for Best Female R&B Vocal Performance, making her the first female solo artist to win the award.
By now, the rest of Houston’s story should feel familiar: Despite the massive success of “Don’t Leave Me This Way,” Thelma Houston never hit the Billboard Top 40 again. Her music career suffered in the wake of the disco backlash of the late 70s and early 80s, and she began focusing on acting.
However, “Don’t Leave Me This Way” cemented her legacy as one of the greats when the song became a gay anthem during the HIV/AIDS crisis of the 80s and 90s. Houston was a beloved figure in the LGBTQ+ community, regularly performing at Pride events and celebrations.
Houston’s version of “Don’t Leave Me This Way” was inducted into the Dance Music Hall of Fame in 2004 and can still pack the floor at dance clubs even now.
18. “Smoke from a Distant Fire,” The Sanford/Townsend Band, 1977
| Debut | Peak | Total Weeks | ||
| 6/18/1977 | 82 | 9/17/1977 | 9 | 18 |
Recorded at the Muscle Shoals Sound Studio, the legendary recording studio known for its raw, soulful sound, “Smoke from a Distant Fire” originally began as a joke between friends about how “anybody can write that crap.”
Propelled by Townsend’s passionate vocals, “Smoke from a Distant Fire” captures the raw anger of a lover realizing he’s being cheated on. His lyrics serve as a master class in bitterness. (I’m especially partial to “Don’t let the screen door hit you,” followed by Townsend’s high-pitched wail of “On the way out.)
Backed by the Muscle Shoals Studio musicians and a handful of friends of the band, “Smoke from a Distant Fire” captured lightning in a bottle by serving up Townsend’s blue-eyed soul with a side of funky guitar riffs and a steady bass line to create a masterpiece of 70s pop rock.
Unfortunately, lightning rarely strikes twice. Sandford and Townsend released a few more singles, but none gained much traction. Both artists continued working as songwriters and session musicians, but their time in the spotlight was over in a flash.
19. “Ariel,” Dean Friedman, 1977
| Debut | Peak | Total Weeks | ||
| 4/16/1977 | 86 | 6/25/1977 | 26 | 22 |
You won’t find this quirky little song on many other lists of 1970s one-hit wonders, and that’s because it barely qualifies. “Ariel” never charted any higher than #27. However, it stayed in the Top 40 for an impressive ten weeks and, more importantly, remains one of my favorite songs to this day.
“Ariel” tells the story of a free-spirited, vegetarian Jewish girl from Paramus, New Jersey, who captures the heart of our narrator. In an era when love songs were either grand, sweeping romances or melodramatic breakup anthems, “Ariel” was a rarity: a fun, playful song about a carefree date.
“Ariel” debuted on the Billboard Hot 100 in April 1977 and climbed steadily until its peak at #26 on July 16. The song reminds me of Summer 1977 in all the best ways: it’s packed with nostalgic cultural references and is filled with sweet details that make the song feel like a story being told by an old friend. Almost 50 years later, the song itself feels like an old friend.
Though “Ariel” was Dean Friedman’s only Top 40 hit in the U.S., he remained active in the music industry as a songwriter, producer, and independent artist, finding a particularly strong fanbase in the UK, where several of his later songs charted.
20. “I Love the Nightlife,” Alicia Bridges, 1978
| Debut | Peak | Total Weeks | ||
| 7/8/1978 | 86 | 12/23/1978 | 5 | 31 |
Released in 1978, the height of the disco era, Bridges originally wrote “I Love the Nightlife” as a standard R&B track for her first solo album. After Bridges and producer Steve Buckingham realized how dance-oriented songs were in the Billboard Top Ten, the song was retooled with a disco beat.
With an irresistible hook in the chorus—”I love the nightlife, I got to boogie on the disco ‘round, oh yeah!”—and the best pronunciation of the word “ac-shun” ever recorded, “I Love the Nightlife” was a massive hit on the Billboard National Disco Action Top 30 and peaked at #5 on the Billboard Top 40. It was featured in several movies and remains a cultural touchpoint.
Bridges considered herself an R&B singer, and “I Love the Nightlife” remained a one-off for the singer. She eventually stopped recording but remained active in the music scene by producing and writing.
21. “I Can’t Stand the Rain” Eruption, 1978
| Debut | Peak | Total Weeks | ||
| 3/11/1978 | 96 | 7/8/1978 | 18 | 22 |
Originally a modest hit for Ann Peebles in 1973, Eruption took “I Can’t Stand the Rain” and gave it a funky, disco-fueled makeover.
Peebles’ version was a slow, almost mournful blues track, peaking at #38 on the Billboard Top 40. Eruption turned up the energy of the song, adding a disco beat, dramatic strings, and a powerhouse performance by Precious Wilson. The changes paid off: the song spent six weeks on the Billboard Top 40, finally peaking at #18. It was an even bigger hit in Europe, reaching the Top 10 on several European charts.
Eruption’s version of the song was bold and dramatic, transforming the heartbreak of the original version into a song that feels dramatic and cinematic and meant for the dance floor.
Sadly, Eruption became a victim of the 1979 disco backlash. Precious Wilson left the group for a solo career, and Eruption never had another hit, eventually fading from the spotlight.
22. “Hot Child in the City,” Nick Gilder, 1978
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 6/10/1978 | 88 | 10/28/1978 | 1 | 1 | 31 |
Written by glam rocker Nick Gilder and inspired by the teen prostitutes on the streets of Los Angeles, “Hot Child in the City” manages to be both polished and creepy, a mix of slick hooks and dark storytelling, with just a dash of inappropriate lechery thrown in for good measure.
“Hot Child in the City” was produced by Mike Chapman, the man behind a string of polished, pop-rock 70s hits who would go on to produce breakout albums for New Wave artists like Blondie and The Knack. In a way, the song echoes that evolution—on the surface, it feels like a light, radio-friendly hit, but the lyrics give the song an edge with more depth than your typical late-’70s pop song.
Released in May 1978, “Hot Child in the City” entered the Billboard Hot 100 at #88 in June and slowly climbed the charts, finally hitting No. 1 on October 28. It spent 20 weeks in the Top 40—a rare feat at the time.
Nick Gilder released a follow-up single, “Here Comes the Night,” which peaked at #44. He never hit the Top 40 again; instead, he became a successful songwriter, contributing songs to movie soundtracks and writing songs for other artists. He wrote “The Warrior” for Scandal, which became a massive hit in 1984. He continued recording and performing, particularly in Canada, where he maintained a loyal following.
23. “Knock on Wood,” Amii Stewart, 1979
| Debut | Peak | #1 Weeks | Total Weeks | ||
| 1/27/1979 | 85 | 4/21/1979 | 1 | 1 | 20 |
One of the last disco hits of the 1970s, “Knock on Wood” is a high-energy, disco-fueled reimagining of Eddie Floyd’s 1966 soul classic. While Floyd’s version had a smooth, bluesy groove, Stewart’s take cranked up the tempo and added dramatic orchestration. The driving beat and dramatic pause right before the chorus explodes into a disco frenzy turned the song into a powerful dancefloor anthem.
“Knock on Wood” entered the Billboard Hot 100 at #85 on January 27, 1979, climbing the charts and peaking at #1 on April 21, where it stayed for one week. With its infectious beat and Stewart’s powerhouse vocals, the song became one of the defining disco hits of the era.
Stewart followed up “Knock on Wood” with a disco-infused version of The Doors’ “Light My Fire,” but she wasn’t able to replicate the success of “Knock on Wood.” She had a few hits in Europe, where she continued to find success throughout the 1980s. Over time, she transitioned into theater and television, eventually settling in Italy, where she built a second career as a stage performer and entertainer.
24. “Cruel to Be Kind,” Nick Lowe, 1979
| Debut | Peak | Total Weeks | ||
| 7/28/1979 | 82 | 9/29/1979 | 12 | 15 |
Originally written during Lowe’s time with the band Brinsley Schwarz, the song was reworked for his solo career with help from producer (and fellow Rockpile member) Dave Edmunds. With its bouncy rhythm, jangly guitars, and classic pop melody, it stood out from the edgier new wave hits of the time. The song’s video features footage from his real-life marriage to Carlene Carter.
Musically, “Cruel to Be Kind” is sunny, singalong pop, but the lyrics tell the story of a man “at his wit’s end” because “I pick myself up off the ground, To have you knock me back down, Again and again.” Meanwhile, his lover responds with, “Cruel to be kind means that I love you.”
“Cruel to Be Kind” entered the Billboard Hot 100 at #82 in July 1979, finally climbing to No. 12 on October 13. As a longtime fan, it pains me to report that “Cruel to Be Kind” remains Lowe’s only Top 40 hit.
However, Nick Lowe never chased mainstream success. Instead, he carved out a long career as a respected songwriter, producer, and musician, influencing countless artists in the power pop and new wave scenes. He wrote “(What’s So Funny) About Peace, Love, and Understanding,” which has been covered numerous times, mostly famously by Elvis Costello and The Attractions on the album Armed Forces. He also produced Costello’s first five albums and remains an influence for countless songwriters.
25. “Makin’ It,” David Naughton, 1979
| Debut | Peak | Total Weeks | ||
| 3/31/1979 | 89 | 7/21/1979 | 5 | 24 |
David Naughton was already a familiar face before scoring a hit with “Makin’ It.” He was best known as the star of a popular Dr Pepper ad campaign in the late ‘70s, where he danced and sang the famous “I’m a Pepper, You’re a Pepper” jingle.
Everyone believed that Naughton was on his way to becoming a massive star, and the first step on the ladder would be his new TV show, Makin’ It. Unfortunately, Makin’ It, inspired by the movie Saturday Night Fever, premiered on February 1st, 1979, just as the backlash to disco was gaining momentum.
Noughton’s recording of the show’s theme song was a far bigger hit than the actual show. Makin’ It (the TV show) only lasted for eight episodes, while “Makin’ It” (the song) spent 16 weeks in the Top 40, peaking at #5 in July 1979.
Naughton never recorded again, instead focusing on his acting career. In 1981, he landed the lead role in the cult classic horror film An American Werewolf in London, which became his most famous performance. Though he never achieved superstardom, he continued acting in TV shows and movies over the years, maintaining a steady career in Hollywood.
