1. “Disco Duck” by Rick Dees
Only in the ’70s could a song about a talking disco-loving duck climb all the way to No. 1. Rick Dees, a Memphis DJ, struck novelty gold in 1976 with “Disco Duck,” a quirky blend of dance beats and cartoonish quacking that somehow dominated the airwaves. It was meant as a parody of disco, but listeners took it as a party anthem. Imagine driving around in a Pontiac Firebird with the windows down, proudly blasting quacks on the radio.
What makes it feel out of place today is how seriously it was taken back then. A novelty tune like this would barely scrape novelty charts now, let alone mainstream radio. Yet, for a few glorious weeks, people were getting down to duck noises in clubs across America. It was ridiculous, joyful, and totally unforgettable.
2. “Seasons in the Sun” by Terry Jacks
This 1974 ballad about dying and saying goodbye to loved ones was unexpectedly massive. Terry Jacks adapted it from a Jacques Brel song, and his mournful voice gave it an almost childlike simplicity. The lyrics are haunting, with lines like “Goodbye to you, my trusted friend,” which left listeners both tearful and baffled. Despite its somber theme, it hit No. 1 in multiple countries.
Looking back, it’s hard to believe this melancholy track was blasting on car radios alongside upbeat disco numbers. Today, it feels more suited for a sad indie soundtrack than Top 40 radio. Its popularity shows how the ’70s embraced emotional extremes. One week you had goofy novelty songs, and the next, an ode to death at the top of the charts.
3. “Muskrat Love” by Captain & Tennille
Captain & Tennille were known for catchy love songs, but in 1976 they made waves with one of the strangest hits of the decade. “Muskrat Love” is exactly what it sounds like, a love ballad about two muskrats named Susie and Sam. It features soft harmonies and even synth effects mimicking muskrats squeaking. The fact that it charted is a testament to just how unpredictable the ’70s were.
Hearing it now, it feels more like a parody than a legitimate love song. The idea of turning rodents into romantic mascots is baffling in hindsight. Yet, the sincerity in their performance makes it even more surreal. Only in the ’70s could such a concept earn radio play without a wink.
4. “Love Grows (Where My Rosemary Goes)” by Edison Lighthouse
This 1970 bubblegum pop hit seemed to come out of nowhere. Sung by session singer Tony Burrows, who was famously the voice behind several one-hit wonders, the song has an instantly catchy melody and lyrics about a mysterious girl named Rosemary. It climbed to the top of the charts in the U.S. and the U.K., even though the “band” itself barely existed outside the studio.
Hearing it now, it feels a little too sugary and lightweight to have been such a big hit. Its cheerful simplicity makes it sound more like a commercial jingle than a radio anthem. Still, it captures that early ’70s pop innocence perfectly, and it’s one of those songs you can’t help but hum once you’ve heard it. It’s bizarre mostly because of how big it became, despite being a studio creation.
5. “Playground in My Mind” by Clint Holmes
This 1973 single is sugary to the core, with Holmes singing alongside a child about playground games and future dreams. Its chorus of “My name is Michael, I got a nickel” became instantly recognizable. It’s whimsical and innocent, but also oddly cloying.
Hearing it now feels almost eerie, with its sing-song tone and overly sweet lyrics. It sounds more like a jingle for a toy commercial than a legitimate hit. Yet it lingered on the charts, reminding us that sentimentality often sells. It’s hard not to feel transported straight back to the ’70s playground listening to it.
6. “Afternoon Delight” by Starland Vocal Band
When Starland Vocal Band released “Afternoon Delight” in 1976, its harmonies were beautiful but its subject matter was, well, eyebrow-raising. The entire song is about sneaking away for a midday romantic rendezvous. Sung with squeaky-clean cheerfulness, it fooled many radio listeners at first.
Looking back, it’s hilariously bold that this track became a mainstream radio staple. Its coyness doesn’t disguise its meaning, yet it played everywhere from supermarkets to family barbecues. Today, it feels oddly innocent compared to more explicit songs, but in the ’70s it was shocking in its own subtle way.
7. “Brand New Key” by Melanie
Melanie’s “Brand New Key” from 1971 is one of the most delightfully odd songs to ever hit No. 1. With its roller-skating imagery and suggestive metaphors about “keys” and “locks,” it’s playful, quirky, and just a little risqué. Delivered in her folksy voice, it became instantly memorable.
Now it feels like a cheeky novelty tune that snuck its way into serious radio play. Its innocent tone belies its innuendo, leaving modern listeners both charmed and puzzled. Few songs capture the quirky experimentation of the early ’70s better. It’s both sweet and sly, a perfect time capsule.
8. “The Night the Lights Went Out in Georgia” by Vicki Lawrence
In 1973, Vicki Lawrence—yes, from The Carol Burnett Show—released a dark Southern Gothic murder ballad that became a No. 1 hit. The lyrics involve betrayal, murder, and wrongful execution, all delivered in her straightforward voice. It’s a grim story packaged as a catchy country-pop tune.
Hearing it on mainstream radio back then must have been a trip. The juxtaposition of grisly storytelling with a hummable chorus feels strange even now. Today, it stands out as one of the most unlikely hits of its era, showcasing just how unpredictable the charts once were.
9. “Escape (The Piña Colada Song)” by Rupert Holmes
In 1979, Rupert Holmes gave the world a tale of a couple rekindling their romance through, of all things, a personal ad. The playful story of two lovers unknowingly meeting each other after responding to a classified ad about piña coladas and getting caught in the rain became a huge radio hit. Its breezy tropical vibe masked the fact that it’s really about infidelity, making it one of the quirkiest chart-toppers of the decade.
Listening today, it’s hard not to laugh at how specific and odd the lyrics are for a mainstream pop hit. It sounds like it should have been a novelty tune but instead became a timeless karaoke staple. The storytelling makes it memorable, but it still feels a little bizarre that such a strange plotline dominated airwaves in the late ’70s.
10. “Hooked on a Feeling” by Blue Swede
Most people know “Hooked on a Feeling” now because of its use in Guardians of the Galaxy, but when Swedish band Blue Swede covered it in 1974, it was already an oddball radio hit. The track is instantly recognizable thanks to the goofy “ooga-chaka” chant that runs throughout. That chant wasn’t in the original version by B.J. Thomas, but it became the song’s defining feature.
Hearing it on the radio back then must have been a trip. It’s one of those songs that’s both undeniably catchy and completely ridiculous at the same time. Today, it’s loved as a camp classic, but in the ’70s it was just another example of how quirky the charts could get.
11. “Radar Love” by Golden Earring
This Dutch band made a massive splash in 1973 with “Radar Love,” a driving rock anthem about a man who can feel his lover’s presence even on the road. The song is hypnotic, with its steady bassline and extended jam sections. It became a staple of FM radio and an unexpected international hit.
Now, it feels both epic and strangely out of place compared to other radio staples of the time. Its structure is long and meandering, more suited to a live jam session than Top 40 radio. Yet it proved audiences were willing to embrace something experimental, making it one of the most distinctive hits of the decade.
12. “Me and Mrs. Jones” by Billy Paul
Billy Paul’s smooth 1972 ballad about an extramarital affair was both sultry and controversial. With its jazzy vibe and heartfelt delivery, it soared to No. 1 and won him a Grammy. The lyrics, however, openly described a couple meeting in secret, which raised eyebrows among more conservative listeners.
Looking back, it’s surprising that a song with such subject matter became such a mainstream success. Its smoothness made it radio-friendly, but the theme was undeniably scandalous for the early ’70s. Today, it’s remembered as a soul classic, but it also stands out as a bold choice for mass airplay.
13. “Long Cool Woman (In a Black Dress)” by The Hollies
The Hollies were already well-known in the ’60s, but their 1972 hit “Long Cool Woman (In a Black Dress)” sounded completely different from their usual style. With its swampy guitar riff and vocals reminiscent of Creedence Clearwater Revival, it was a rawer, grittier track than fans expected. Still, it shot up the charts and became one of their signature songs.
Listening now, it feels like a curious detour for a band known for clean harmonies and pop polish. The change in style made it feel like a song that belonged to another group entirely. That contrast is what makes it so memorable, and also so unusual in their catalog. It’s a fan favorite, but also one of the strangest hits in context.
14. “Boogie Woogie Bugle Boy” by Bette Midler
In 1973, Bette Midler revived this 1940s Andrews Sisters hit and turned it into a chart success. It was swing, jazz, and big-band nostalgia during an era of disco and rock. Her powerhouse vocals made it stand out, but it was a surprising choice for the radio landscape of the time.
Hearing it now, it feels like a deliberate throwback rather than a contemporary hit. Its popularity proved that nostalgia was alive even then, but stylistically it sounded decades older than anything else on the charts. It was unusual, charming, and a little bizarre for its moment.
15. “Midnight at the Oasis” by Maria Muldaur
Maria Muldaur’s 1974 single was a sultry, jazzy tune about a romantic desert rendezvous. With lyrics about camels and sending camels to bed, it was whimsical and sensual at the same time. It didn’t sound like anything else on the radio at the time.
Today, it stands out as oddly exotic for mainstream pop. The desert imagery and jazzy feel don’t fit neatly into any radio category, which makes its success even more surprising. It’s smooth and unusual, making it one of the most distinct and bizarre hits of the ’70s.
