#garrett gets killed a few months later in this version of the story

[rainintheevening]

🍁🍁Comfy-vember 🍁🍁

Day 7: Sleeping on shoulder

Grant Ward & Phil Coulson, Agents of SHIELD, AU

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Skye can't sleep. She tosses and turns for an hour, worries about Coulson, anxiety over Ward, questions about herself all churning through her mind.

Finally she sits up, throws off her blanket in frustration. Maybe she should try a hot drink—some warm milk or even tea.

Her socked feet are quiet on the stairs, as she climbs from the dorms up to the main level. In the hallway, almost to the kitchen, she pauses, cocks her head.

Someone is watching TV. On low.

She turns right, pads to the door of the common room, peers in.

She can see both the television screen and the people on the couch clearly. It's an episode of BBC's Sherlock, and Coulson sits quietly, snacking on something from a bag in his lap. Grant Ward is asleep on his shoulder.

Ward has cleaned up, shaved, he's wearing SHIELD sweats and an old school hoodie Skye thought was Coulson's. It shocks her how thin his face is, typically sharp cheekbones on the verge of cutting through skin. Gaunt, she thinks. He’s slit his right pant leg around the cast that sticks out at what looks like an awkward angle. His left arm is not in its sleeve, and Skye remembers Simmons saying he would need more than one surgery on that shoulder to fix all the accumulated damage.

She thinks for the first time of the pain he must have been, and still is in, taking that bullet for Coulson, months ago. She's been trying so hard not to be sympathetic, but now, seeing him asleep like this on the shoulder of the man he calls 'dad'...

Something hard inside her loosens, something clenched relaxes.

Ward sleeps deep, not stirring even at the sound of gunshots from the television. He's curled in close to Coulson's side, head on top of his dad's shoulder.

Even as Skye watches, expecting Coulson to glance over at her any moment, he turns his head the other way, presses what she'd swear to be a kiss into the shaggy black hair at his cheek.

Skye eases back hastily, almost out of sight, but then Grant stirs and she freezes.

A murmur from Coulson, and there is some shifting; a slurred mumble from Ward indicating the presence of painkillers in his system as he pulls his uneven weight of legs up onto the couch. Coulson eases Ward's head down his lap, reaches for the throw on the back of the couch, pulls it over Ward's body.

When did Ward last sit near someone he could trust? When did he last get touched kindly, or hear his own name spoken the way Coulson said it? How has she been hating this man with the wounds of a true shield (I had to keep you safe), who now sleeps like a child safe with his father?

Skye turns away, hurries to the kitchen. She works quickly, but she tastes salt before warm milk hits her tongue.

It tastes like hope.

[damien-ward]

Original Dardillien vs Current RP Dardillien

This is a fun little thing I decided to do for Dardillien where I compare his current RP self to his “original version” that I made back in 2017 when I just thought up his general story. Granted back then I knew nothing about RP and had never done it before.

Original Dardillien

Not the nicest, somewhat selfish, but does good things for people sometimes. Think like Damon Salvatore from Vampire Diaries, pictured above. I won’t lie a friend of mine suggested I watch the show and he might. Might! Have influenced Dardillien...

He is shady. Dardillien did what he could to make a living and make money. He was your typical rogue like character, and was just trying to survive and make sure he and his mother could live without starving.

In-game he would be a Subtlety spec Rogue.

He lived with his mother in Gilneas City, and his father lived in Stormwind so once Greymane Wall went up he didn’t see his father for a decade.

He did not have any siblings.

He meets Andrea Belmont for the first time during the Worgen assault on the city and they work together to survive, eventually being bitten and both turn into worgen and never see each other again in Gilneas.

His mother does not die during the Battle for Gilneas, and in fact reunites with his father once Dardillien and her go to Stormwind after the Gilneans rejoin the Alliance.

Before going to Stormwind Dardillien goes to Darkshore and helps out some in Lor’danel with a few other Gilneans as a gesture of repayment for the Night Elves giving them a new home. After a month or so he returns to Darnassus and he and his mother go to Stormwind to find his father.

Upon going to Stormwind he meets and befriends a Draenei Paladin named Tolaan who has not seen his sister for some time since she joined the Argent Crusade, and it reminds Dardillien of not having seen his father for so long so they end up relating and becoming friends. Well as good a friends as a Rogue and Paladin can be haha.

Hearing the news that some Gilneans have gone to Duskwood to help worgen regain their humanity he goes there to help.

During his time in Duskwood he meets Andrea Belmont again, they remember each other from when they worked together in Gilneas, and from there their relationship begins as they work to help the worgen of Duskwood.

The two eventually join the Gilneas Brigade and help fight the Forsaken during the time of Legion.

Current RP Dardillien

He is kind, caring, and more gentlemanly. He enjoys helping people and doing what he can for them. Overall he is fairly selfless.

Dardillien worked as a bartender, started once he turned 16 and did so up until the night the worgen attacked the city.

In-game he is an Outlaw spec rogue. He fights more with his gun (when he isn’t in Worgen form)

He has a younger sister, Alyssa Ward.

He lived with his mother and sister in Gilneas City while his father lived in Stormwind. Like his original version he did not see his father for a decade once Greymane Wall was built.

He met Andrea Belmont not long after Greymane Wall is built, he was 15, they become friends and two years later begin to dating. They were together for 7 years.

During the events of Gilneas’s fall he meets Garrett, one of his best friends, his mother is killed by a Forsaken, and then he losses Andrea when she falls from the Kaldorei ships while in transit to Darnassus.

After Gilneas he stays in Darnassus for a month or so training with Garrett, he also meets Kyra Silverglade a Priestess of the Moon who helps teach him ways of controlling his anger.

Dardillien leaves Darnassus to go to Stormwind where he reunites with his father and currently lives with him.

For five years he worked as an apprentice leatherworker. He also spent a lot of his time learning to control his transformations so that he was able to transform at will.

Near the end of Legion is when he decides to become a vigilante and begins hunting down bandits in Elwynn Forest.

His vigilante lifestyle eventually gets him fired from his apprenticeship and this is when he becomes a private investigator.

As you can see I did some changes to Dardillien once I decided to RP him. The biggest was his personality, I believe that was because I didn’t feel comfortable RPing a selfish asshole. The other big change was him having a sister, I think that really changed his character too as he had to responsible growing up and taking care of her. 

[lovebooksgroup]

Action and Adventure

Crime Fiction

Thriller

Mystery

Fiction

| Synopsis |

Early on a cold Somerset morning, ten year old Alesha Daniels is reported missing by her father, a violent alcoholic. Her mother, a known drug addict, is found unconscious, but it’s her mother’s boyfriend the police are keen to trace.

As the hunt for Alesha gathers pace, a second local girl is taken, plunging another family into the depths of despair.

Cutting short his holiday, DI Nick Dixon races home to join the Major Investigation Team, but no sooner has he identified a network of local suspects than they begin to show up dead.

At odds with his superiors, Dixon is convinced the child abductions are anything but random, but nobody is prepared for the investigation to lead quite so close to home.

Can Dixon and his team crack the case before all the suspects are silenced? And will he find the missing girls before it’s too late?

| Interview |

Damien Boyd is a bestselling crime novelist.  His series featuring DI Nick Dixon has sold over a million copies worldwide and have been translated into five different languages. Damien produces stories based on his own experience from twenty-five years in the legal profession, including a spell at the Crown Prosecution Service. His debut novel, As the Crow Flies, was published in April 2013 becoming an international Kindle #1 bestseller. The sequels, Head in The Sand, followed by Kickback, Swansong, Dead Level and Death Sentence were all critically acclaimed, and his latest novel Heads or Tails achieved great success in the UK and Australia.

Damien takes part in many literary festivals including the Chudleigh and Ilminster Festivals, the Weston-super-Mare Literary Festival, World Book Day with BBC Radio Devon, and is also soon to appear at Bridgwater Library on 24th May and Burnham-on-Sea Library on 30th May to coincide with the release of Dead Lock.

What book from your childhood still has a place in your heart today?

There are two. Black Beauty (which may be why I keep my overdraft at Lloyds). Swallows and Amazons too. I even went as far as paddling out to Peel Island on Coniston in a canoe. That was a sort of pilgrimage!

Which fictional character stayed with you long after you finished the book?

Inspector Morse.

Can you tell us a little about your journey with your new release?

Oddly enough, it was one of the first plots I came up with for the Nick Dixon Crime Series and I’m not entirely sure why it ended up being book 8. Much of it is based on personal experience, and it took me a while to figure out how best to use that experience, I think. The lightbulb moment came when I decided to make something of a departure from the murder mystery and set Nick the task of finding two kidnapped children. Then it all seemed to drop into place.

The journey began in 1999, ending 18 months later, and it’s been fermenting in my head ever since, until it appears on the pages of a crime novel in 2018.  I really can’t say much more without it being a monumental spoiler!

Do you get an emotional connection to your character’s?

Certainly the recurring characters, but then most of them are real people, some of them I’ve known since I was 7 years old. They know who they are…

Whenever I sit down to write it’s like spending time with old friends!

Can you please, share a photo with us that tells a story.

  This is me on the summit of Mont Blanc in August 1990. You’ll have to take my word for it, I’m afraid, because I forgot to take off my balaclava. The picture tells so many stories for me, as well as bringing back memories, and it still hangs on the wall in my office (spare bedroom) above my desk (camping table).

 A few weeks after the photograph was taken I was waiting to climb Left Unconquerable, a route at Stanage Edge in the Peak District, when a climber fell, landing on the boulders right next to me. He broke his back. I never climbed again.

What was your favourite read of 2017?

Cause of Death, Memoirs of a Home Office Pathologist by Dr Geoffrey Garrett.

If your book came with a theme song what would it be?

Mad World, the Michael Andrews version (with apologies to Tears For Fears!).

Is the genre you write your favourite to read?

It’s certainly my favourite fiction genre, although I do read a lot of non-fiction, in particular, true crime and military history.

If you could ask your readers anything, what would you want to know?

Would you mind terribly if I killed off one of the main characters?

What are you working on now?

 Dixon 9!

  | Buy Link |

https://www.amazon.co.uk/Dead-Lock-Nick-Dixon-Crime-ebook/dp/B0786GB2TS/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1527766015&sr=1-1&keywords=deadlock+damien+boyd

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Dead Lock by Damien Boyd @DamienBoydBooks @Amazonpub @MidasPr #Author #Interview Action and Adventure Crime Fiction Thriller Mystery Fiction | Synopsis | Early on a cold Somerset morning, ten year old Alesha Daniels is reported missing by her father, a violent alcoholic.

[obtusemedia]

In Ascending Order: Top 35 One Hit Wonders

For the most part, giant megastars seem to rule the pop universe, from Michael Jackson and Madonna in the 80s to Beyoncé and Taylor Swift today. There’s always been a B-List group too, full of semi-big names that cranked out hits, yet never had the longevity or the stand-out personality to become towering icons (modern-day equivalents of this group would be Alessia Cara, Demi Lovato, or Big Sean). 

Every era of pop has had its transcendent figures and workmanlike hitmakers, even the weaker time periods. What really makes a certain era of pop great is the fluke hits from fringe acts that faded away or suddenly disappeared. One-hit-wonders often get a bad rap, but some of our favorite all-time songs have been from no-name acts. There are even some one-hit-wonders that have had longer staying power than hit songs from A-listers.

For example: R&B legend Mariah Carey has notched 18 number-one songs on the Billboard Hot 100, and one of them was “Love Takes Time,” which topped the charts for three weeks in 1990. I’ve never heard it in my life (I’m just going to make an assumption that unless you or someone you know is a big Mariah fan, you probably haven’t either), yet some goofy early 90s novelty song by a band who never had another U.S. hit, is still instantly recognizable, quotable and...well, beloved might not be the word, but it’s certainly had a long shelf life. (Ed. note: I wrote this before Taylor Swift semi-sampled it, but now this is doubly true)

To honor these brief flashes of brilliance, I’m counting down my 35 personal favorite one-hit-wonders of all time. Fair warning: it’s heavily weighted towards the mid-80s, early-90s, and late-90s, all great times for silly bubblegum, which lend themselves well to one-hit-wonders.

A few base rules, because defining a “one-hit-wonder” can be tricky:

1) The Mike Posner Rule: No songs on this list released in the 2010s. Sure, ILoveMakonnen and Gotye are looking like one-hit-wonders now, but who would’ve thought that dork who released “Cooler Than Me” back in 2010 would have an even bigger hit (about being a one-hit-wonder, of course) in 2016? You gotta give these artists some time to potentially get another hit. Also, I refuse to acknowledge that my queen, Carly Rae Jepsen, is technically still a one-hit-wonder, because she is a pop genius. Listen to EMOTION.

2) The Jimi Hendrix Rule: Technically, some legendary acts, like Jimi Hendrix, Modest Mouse or Talking Heads have only had one major hit on the charts. Still, their impact stretches beyond the Hot 100, so they can’t count, as well as other legends who had bad luck getting radio airplay. 

3) The Britpop Rule: If they’re considered music gods in England, but only got one American hit, they don’t count. I refuse to penalize Blur or Oasis because Americans had bad taste in the mid-90s and didn’t give them more hits over here. FYI: This rule doesn’t count with non-UK countries, so being only big in Australia or Canada or the Vatican City is fair game. Sorry folks, England’s music scene, at least for the English-speaking world, is on a higher level.

4) The Macarena Rule: This list is based on quality, not how big the song was. If there’s a massive one-hit-wonder missing (like the Macarena), that’s because it’s probably tacky and I hate it (or it’s just okay).

5) The Justice Stewart Rule: When categorization gets tricky — does an artist’s second single that reaches 19 on the charts but is now forgotten count as a “hit?” — I’ll just resort to this: I know a one-hit-wonder when I see it. 

Let’s dig in.

Honorable Mentions:

“Maniac” by Michael Sembello (1983): Flashdance is wonderful. This song is wonderful. 80s soundtracks were wonderful. 

“MMMBop” by Hanson (1997): Those harmonies are weirdly gorgeous for a band that wound up being America’s warm-up for the Jonas Brothers.

“Unbelievable” by EMF (1990): Top-five jock jam ever. 

“It Takes Two” by Rob Base & DJ EZ Rock (1988): It probably should’ve been 3 instead of 5 minutes long, but that production is golden age hip-hop at its finest.

“Stuck In The Middle With You” by Stealers Wheel (1973): Catchy Bob Dylan ripoff with a nice little groove. Although I’m sure most of you non-Boomers probably just recognize it from Reservoir Dogs.

#35: “What’s Up?” by 4 Non Blondes (1993)

One of the more ridiculous songs on this list (and that’s saying something), and probably the most shameless song of the grunge era, “What’s Up?” is thought of as a bit of a joke. Huffington Post even called it the “worst song of the 90s,” which is insane to me considering what else came out that decade.

Besides, how bad can “What’s Up?” really be? Maybe it’s my awful taste speaking, but this kind of bangs in a super, super cheesy power-ballad sort of way. It’s like if Bon Jovi was told to write a bohemian version of one of their monster 80s hits. It’s also a perfect choice for karaoke: showy, theatrical, and emotional as hell. 

I get how 4 Non Blondes’ pseudo-granola vibe could make some people want to claw their ears off, but I can’t help it. It’s a guilty pleasure, and most of the best one-hit-wonders are.

And don’t forget: without “What’s Up?” we wouldn’t have this wonderfully silly early-YouTube gem.

#34: “Tubthumping” by Chumbawamba (1997)

DO NOT CLICK ON THE LINK UNLESS YOU WANT THIS STUCK IN YOUR HEAD FOR THE NEXT EIGHT MONTHS. 

“Tubthumping” basically serves as the last hurrah for Britpop: Pint-pounding English bluster with a snarky undertone, all rolled into one perfect little pop-rock nugget. Of course, Chumbawamba were actually radical anarchists, so they’d probably hate being compared to Supergrass and Suede, but still: This sounds like a dancier, simplified Oasis tune.

I’m a bit shocked at how something this nakedly British became a deathless classic in the U.S., but then I hear it, and I start yelling along to the chorus, and it all makes sense. There was no way something this maddeningly catchy and fun wouldn’t be massive, especially in the very-random late 90s. It’s a bit more subversive than your average jock jam, but in a way, that makes it even better. 

#33: “Word Up!” by Cameo (1986)

I’m not sure there’s a more criminally underrated 80s funk jam. Prince himself would’ve killed to write something with this slick of a robot groove. 

Of course, the super-catchy production and hook don’t carry the song alone: I absolutely adore singer Larry Blackmon’s nasally voice here. It sounds like he’s singing with his nose plugged, and it totally matches the ridiculous party vibe “Word Up!” is going for. Also, in the video, he wears a massive bright red codpiece. I can’t not give props for that. 

Don’t forget: LeVar Burton, star of Reading Rainbow, Roots, and that really great Community episode (“YOU CAN’T DISAPPOINT A PICTURE!!”) has a...wait for it...cameo.

I’m just saying, at your next wedding reception, maybe pass over the super-basic picks like the Cha-Cha Slide and throw on “Word Up!” instead. Trust me, it’ll get people moving.

#32: “My Sharona” by The Knack (1979)

When you look up “power pop” in the dictionary, there’s a 70 percent chance “My Sharona” will be the definition (30 percent chance it’s Cheap Trick). “My Sharona” is one of the most primal, timeless pop-rock tunes in history, with it’s super-simple riff and catchy-as-hell hook. Just maybe don’t listen to closely to the lyrics; they’re definitely about jailbait. 

Still, even with a semi-creepy story behind it, “My Sharona” has maintained as a 70s classic rock staple for a very good reason: It seems like it’s existed since the beginning of time. Also, points for a kick-ass guitar solo.

#31: “Return of the Mack” by Mark Morrison (1996)

The pinnacle of smooth-as-hell 90s R&B. Somehow, English singer Mark Morrison makes getting dumped and subsequently moping around sound like the coolest thing ever. The lyrics are straight out of an emo song, but Morrison’s Kermit the Frog-as-mafia-don vocals sound as assured as ever, and the production is made for slo-mo cruising down the street. Are we sure this guy is from the UK, and not New York?

No matter where it originated, “Return of the Mack” remains effortlessly suave over 20 years later, something that most songs on this list can’t claim. 

(Also, it inspired this really goofy Burger King ad, another thing most songs on this list can’t claim.)

#30: “Missing You” by John Waite (1984)

You know how there’s always that scene in 80s high school movies where the protagonist mopes around after he/she’s been in a fight with their crush? There’s always a super dramatic song playing in the background playing? I’m not sure “Missing You” has been used in that context, but it’s somehow the archetype anyways.

John Waite, who was also the lead singer of semi-successful bands The Babys and Bad English (so this is semi-cheating, but nobody in my generation remembers those bands, so I’m counting it), really sells this song about denial. Waite claims “he’s not missing you,” but you can tell that’s a bold-faced lie. In fact, he even admits this: “I can lie to myself” is repeated multiple times throughout the song. It’s fairly heartbreaking.

Sure, “Missing You” is a bit less silly than most one-hit-wonders, but sometimes, a serious artist only gets one hit, and Waite made the most of it.

#29: “Beds Are Burning” by Midnight Oil (1987)

In the middle of a list filled with a lot of supremely goofy songs, “Beds are Burning” is as deadly serious as lead singer Paul Garrett’s super-intimidating The Hills Have Eyes face.

“Beds Are Burning” is bluntly about Australia’s horrific mistreatment of Aborigines. The song repeatedly tells the listener, “It belongs to them/let’s give it back,” in reference to the land that the indigenous Australians were forced off of their land in the 1930s, 50s, and 60s. In other words, white Australians’ beds are burning because of severe guilt due to their mistreatment of aborigines. Heavy stuff for a catchy 80s pop-rock tune.

Still, “Beds Are Burning” features more than just an important message: It has a slinky cowboy groove, haunting vocals from Garrett, and a U2-esque anthemic chorus. Even if you don’t know what the song is about (which I didn’t at first), it’s still a masterful 80s alt-rock tune through and through. The lyrics just add another layer of brilliance.

Frankly, Midnight Oil might not deserve to be on this list, as they’re legends in their native Australia, but since the rest of the world knows very little of their music, we might as well celebrate their one worldwide smash.

#28: “I’m Gonna Be (500 Miles)” by The Proclaimers (1988)

How about something a little lighter? Well, you can’t get much more light-hearted than this proudly cheesy love song from the two most Scottish men alive. 

“500 Miles” is incredibly simple, but that’s a huge part of its power. This is the perfect song to lead the bar in a sing-along after a few drinks. Like “My Sharona,” it feels weirdly timeless. Can you imagine a world without this song? Without “I WOULD WHALK FIVE-HUNDRED MYLES AND I WOULD WHALK FIVE-HUNDRED MORE” blaring in your eardrums, super-thick Edinburgh accents and all? No, you can’t. “500 Miles” is an adorably innocent love song that’s absolutely deserving of its long shelf life and How I Met Your Mother references.

#27: “Tenderness” by General Public (1984)

This is a textbook one-hit-wonder: 80s new wave? Check! British? Check! Lead singer with a unique voice? Check! Way quirkier than your average Madonna single? Absolutely!

“Tenderness” wasn’t a massive hit at the time (27 on the Billboard Hot 100), but it’s achieved longevity through the same avenue that a lot of songs on this list have remained relevant: Being in beloved movies! In this case, Weird Science and especially Clueless, everyone’s favorite movie where step-siblings fall in love (yes, it’s still weird, I don’t care how hot Paul Rudd was).

Semi-incest aside, “Tenderness” is certainly one of the weirder 80s pop tunes around, which is saying something. The jangly-guitar and synth groove is almost reminiscent of New Order, or R.E.M. in the early 80s, but what really makes the song memorable is lead singer Dave Wakeling’s intense desire to find tenderness. He sounds legitimately panicked during the chorus: “WHERE IS IT?!?” That goofball weirdo charm is likely what’s helped “Tenderness” stick in people’s brains over 30 years later.

#26: “St. Elmo’s Fire (Man in Motion)” by John Parr (1985)

Alright, the competition is over. We’ve found it: the most 80s song ever recorded. 

“St. Elmo’s Fire” has a bit of everything: Massive hair-metal guitars! Drum machines! Overproduced synth lines! A fake keyboard brass section! And to top it all off, John Parr himself, who sings the cheesiest possible faux-inspirational lines with utmost sincerity and in all-caps. “You broke the boy in me/BUT YOU WON’T BREAK THE MAN!!” “Take me where the eagles fly/HIGHER AND HIGHER!!”

I’m dumbfounded how this super-intense pump-up jam wound up on the Brat Pack, talk-heavy drama of the same name. If anything, it sounds super-similar to most of the Rocky IV soundtrack, particularly John Cafferty’s runner-up entry in the “Most 80s song ever” sweepstakes, “Hearts On Fire.” It also bears more than a passing resemblance to fellow 80s-montage classic “You’re the Best Around.”

You know what all three of those songs have in common? They’re all supremely corny, dated, and absolutely perfect. “St. Elmo’s Fire” might be the best of the bunch, with Parr’s thunderous vocals perfectly complimenting the skyscraper-sized production. Sylvester Stallone must be kicking himself for not hiring Parr for Rocky V.

#25: “Jump” by Kris Kross (1992)

Generally, in the music world, prepubescent artists are bad news, but there are two major exceptions. One of those is (duh) the Jackson 5. The other? 14- and 13-year-old Atlanta rap duo Kris Kross and their timeless classic, “Jump.”

Sure, it’s a little awkward that two kids who are barely old enough to start staying up past 9 p.m. repeatedly call themselves pimps (what did you think a “mack daddy” was?), but the awkwardness is endearing. It also helps that Jermaine Dupri’s beat goes HARD. This is arguably better production than anything that other pop-rap stars of the time like MC Hammer or Will Smith got, and these two kids have enough charisma and decent flow to make it work. 

Sure, “Jump” is the Kidz Bop version of The Chronic, but let’s not pretend it isn’t a total banger.

#24: “867-5309/Jenny” by Tommy Tutone (1982)

This is a pitch-perfect bar-rock song. The lead singer isn’t that great, the chords are simple, but damnit, it works. Lead singer Tommy Heath’s limited vocals add to the pathetic everyman angle of the lyrics. 

I’m sure you know the story by now: A lonely guy finds the mythical phone number scribbled on the wall of a bar bathroom, and contemplates whether to call. It’s kinda sleazy, but also kind of creepy, considering how the singer sounds in love with a woman he’s never met (luckily, it’s a fairly self-aware song). 

“867-5309″ is just a no-bull, timeless power pop jam that should never go out of style as long as there’s shy guys who don’t know how to pick up the phone. 

P.S.: You haven’t truly lived unless you’ve tried calling the famous number. Unfortunately, the number doesn’t exist anymore in my area code, but you might get lucky.

#23: “In the Meantime” by Spacehog (1996)

I don’t know if this is embarrassing or not, but I only know this song because of Rock Band. To be fair, I’m willing to bet a lot of late Millennials like me discovered some of the forgotten hits of the 70s, 80s, and 90s through that game and Guitar Hero, so it’s probably not a huge faux pas.

Regardless, I’m so very happy Rock Band introduced me to the glam rock majesty of “In the Meantime.” In the mid-90s, where most rock music was either super-angsty, super-rootsy, or super-British, Superhog opted for a fourth route. Although the group’s members were all from the UK, their sound skewed less towards Britpop’s mod-era worship and landed closer to Ziggy Stardust-era Bowie. And they pulled it off big time: The Thin White Duke would be proud of a bonkers space opera like this.

It’s too bad Spacehog weren’t able to pull another cosmically stellar track like “In The Meantime,” with its crunchy guitars, soaring chorus, and sci-fi lyrics. 1996 America was more interested in Matchbox 20, I guess.

#22: “Video Killed The Radio Star” by The Buggles (1979)

This song both predicted and created the idea of the 1980s. As the very first song ever played on MTV, it was never a massive hit, only reaching 40 on the Hot 100, but it still is an iconic snapshot of when new wave reached the mainstream. It’s still well-known and referenced nearly four decades years later. It even was the main sample in a Will.i.am song (which was sort of a disaster, but also sort of wonderful).

Of course, it helps that the song is a perfect tune. The clash of the processed, robotic male vocals and the valley-girl female singers really created a unique sound that sounded both of the future and somehow retro at the same time. Although it does sound very dated, it’s the best kind of dated that sound continue to be a staple at 80s-parties as long as Gen X is around and kicking.

#21: “Closing Time” by Semisonic (1998)

There are few 90s anthems as perfect as “Closing Time.” It’s the best-possible version of the late 90s’ watered-down alt-rock. Yeah, it has zero edge, but that’s kind of expected: Semisonic were already all in their 30s before they finally notched a hit. Also, the song is about becoming a parent (the metaphor being that the womb is like a bar, and closing time would be...labor? Something like that), so it was never going sound like Nine Inch Nails.

That clever metaphor, coupled with singer/songwriter Dan Wilson’s arena-ready chorus and everyman vocals, makes “Closing Time” a perfect representation of alt-rock’s graceful aging into dad-rock (literally, in this case). It only makes sense that Semisonic released other fantastic pop-rock nuggets in the late 90s, none of which reached the heights of “Closing Time,” unfortunately.

Don’t feel too bad for Wilson, though: As a songwriter, he’s co-penned some tunes you might have heard of (okay, not the last one). He’s doing just fine.

#20: “Tainted Love” by Soft Cell (1981)

“Tainted Love” joins the ranks of “All Along The Watchtower” or “Hurt” as a song where the cover is the more famous version. Gloria Jones actually song the original version of the song back in 1964, and it featured a much fuller soul sound. It’s not bad, but think about this: The lyrics paint the picture of a person being tortured by an emotionally abusive partner. Wouldn’t cold, robotic synths match the mood a bit better than a sunny Motown vibe? 

Besides, Soft Cell’s new wave sound would work well with nearly any song they put their minds to. It’s tense, paranoid, and catchy as hell. “Tainted Love” is one of those songs ubiquitous with the early 80s for a good reason, and it doesn’t even need to resort to weird antics like so many other new wave hits of that era to grab your attention. The timelessly angsty melody and lyrics were already there, Soft Cell just provided a more appropriate and memorable framing. 

#19: “American Boy” by Estelle feat. Kanye West (2008)

“American Boy” is the audio equivalent of a first-class cross-Atlantic flight. It’s a perfectly smooth trip, from the mechanical, sleek electropop production (from will.i.am, of all people) to Estelle’s assured vocals. 

Honestly, this song was a genius idea: There was already an “American Girl,” why not flip the gender and turn the story into an international romance? Estelle perfectly slides into the role as the curious British outsider, while Kanye...well, if being American is to be brash, you don’t more brash than Yeezy. The Louis Vuitton Don’s verse tiptoes the line between corny and funny perfectly, as per usual for Kanye. 

Estelle, with her smooth vocals, is who really makes “American Boy” shine, however. The superstar guest verse is just extra whipped cream on the already-fantastic cake. 

#18: “The Impression That I Get” by The Mighty Mighty Bosstones (1997)

The late 90s really seemed like a happy-go-lucky time. It was pre-9/11, the economy was healthy, and the SuperSonics were one of the best teams in basketball (and still, you know, still existed). Another factor might be the silly, super-positive pop music of the era. After six or seven years of this, it made sense that pop radio would eventually flip to Sugar Ray and Smashmouth by the end of the decade. It’s hard to stay angsty forever.

“The Impression That I Get” fuses the time period’s carelessly cheerful attitude — the lyrics are all about how lucky the lead singer is — with another late 90s hallmark: ska! Yeah, the genre is sort of a joke now, but looking back, those songs were fun and fairly harmless. “Impression” might be the best of the bunch, thanks to lead singer Dicky Barrett’s nearly-metal growl, adding a bit of an edge to the otherwise-bouncy song. And speaking of bouncy: “Impression” is just a lot of fun. The chorus is built for group sing-alongs, the horn section and ska guitars are lively and danceable. 

Sure, it REEKS of its time period, but who said being dated is a bad thing when it comes to pop?

#17: “You Spin Me Round (Like a Record)” by Dead or Alive (1984)

Is this song even real? Is this band even real?! Dead or Alive, and especially their Boy George-on-ecstasy lead singer Pete Burns, almost felt like a caricature of an 80s one-hit-wonder. They’re essentially a more tasteless version of the fake band from that one Hugh Grant rom-com.

But yes, “You Spin Me Round” is very, very real, and thank god for that. Even with how insane the 80s were, there weren’t many hits that dared to be as in-your-face and aggressive as this one. It’s like Flock of Seagulls or Duran Duran cranked up to 11. Burns’ vocals are unbelievably vampy and fun, while the pulsing hi-NRG production leaves the listener with no room to breathe. It even sounds like a rotating record! 

“You Spin Me Round” will always be fondly remembered as one of the great 80s pop hits, because Dead or Alive didn’t half-ass anything. They took what would be a boilerplate synthpop tune and took it balls-to-the-wall. Kudos. 

And shame on Flo Rida for neutering it.

#16: “Play That Funky Music” by Wild Cherry (1976)

Ah yes, everybody’s favorite song about selling out (either that, or Reel Big Fish’s more overt 90s ska classic).

A song about a rock band making *gasp* a disco song and somehow combining the two genres had to live up to its premise, and man, “Play That Funky Music” more than meets that standard. It’s got a funky, Nile Rodgers-worthy groove and a catchy pop chorus, all without without sacrificing that sweet rock edge (peep the electrifying guitar solo). 

Sure, other classic rock acts tried their hands at disco later in the 70s, and some even turned out pretty great. But the original will always be special.

#15: “Shake It” by Metro Station (2008)

Alright, alright, you got me. This one is in the top half because of pure nostalgia (in 8th grade, this song was the coolest, trust me). “Shake It” might be the most late-00s song ever written, but who said that’s a bad thing?

This song is great for really simple reasons — monster guitar groove + synth riffs + vaguely emo vocals + mindlessly fun lyrics = late-aughts perfection — so here’s a fun fact for y’all. The lead singer, the one with 80 bajillion tattoos? Yeah, that’s Miley Cyrus’ older brother. I’m not kidding. Wonder how it must feel to only have one hit while your sister becomes a massive international superstar...

Anyways, “Shake It” is one of the best songs 2008 had to offer, and even if you don’t have fond memories of dancing to it at junior high summer camps, it still kills.

#14: “Flagpole Sitta” by Harvey Danger (1997)

As I mentioned earlier, by 1997, edgier alt-rock was quickly being replaced by sunnier, goofier pop. Still, just like how The Verve gave Britpop one last hit that same year with “Bittersweet Symphony,” (that song won’t be on the list, by the way...the Britpop rule applies), Seattle gave the world one last blast of angst with “Flagpole Sitta.”

Harvey Danger’s single hit is a sarcastic and paranoid condemnation of late 90s cheeriness. Lead singer Sean Nelson (that’s the guy who looks like Seth Rogen) rails against trends, mindless pop and the death of the punk scene. What really makes “Flagpole Sitta” work, however, isn’t its righteous indignation, but rather its passionate, yell-y chorus. You can now fight the man at the karaoke bar or on road trips as easily as you can sing along to 80s soundtrack hits!

“Flagpole Sitta” might have shown open contempt for the late 90s pop scene, but its spiked bubblegum chorus helped Harvey Danger’s bitter attitude go down a bit easier.

#13: “99 Luftballons” by Nena (1983)

Everybody loves a wacky foreign-language hit! “Rock Me Amadeus” and “Gangnam Style” are firmly planted in our consciousness, and “99 Luftballons” occupies a similar space.

Of course, there’s one big difference between “Luftballons” and the other major German-sung hit of the 80s, “Amadeus”: Nena’s subject matter is as far from wacky as you can get. It’s about everybody’s favorite topic, nuclear war! Yeah, the song tells a story about East Germans mistaking 99 balloons for enemy aircrafts, so they blow them up, triggering a 99-year war and a nuclear winter. Good times!

Still, even if you don’t know the song’s meaning (which most Americans don’t), “Luftballons” still has plenty to offer. Mainly that it’s a total JAM. That synth riff is so beautifully 80s I could cry. Nena definitely has some rock swagger in her vocals, and each snare drum hit sounds like a firecracker. It was destined to be a hit regardless of subject matter or language barrier.

#12: “Voices Carry” by ‘Til Tuesday (1985)

Aimee Mann has become something of a Gen X cult favorite since her debut as the lead singer and bassist for 80s one-hit-wonder ‘Til Tuesday. In fact, she even notched an Oscar nomination! Still, in my opinion, she’s never topped “Voices Carry,” the song that put her on the map.

First, the lyrics. Mann paints a vivid picture (helped by the excellent music video) of a woman who’s forced to hold back her personality because of her controlling yuppie boyfriend. The edgy artist vs. bougie WASP isn’t a new battle, but rarely do you see those two stereotypes in a relationship, working out their differences (except in Pretty in Pink, I guess). The story is heartbreaking regardless, even if it’s cliché by now.

Musically, “Voices Carry” works just as well. The tight new wave guitar rhythm is complimented well by the piercing synth stabs. Mann’s vocals switch on a dime from timid whispers during most of the song to full-on belting during the emotional third act.

I’m a little worried that this classic might not get as much attention as other, wackier 80s-one-hit wonders, but “Voices Carry” absolutely deserves the same love that Flock of Seagulls or a-ha gets.

#11: “Come On Eileen” by Dexy’s Midnight Runners (1982)

If you don’t like this song, you’re a monster. Or you’re named Eileen and have gotten plenty of jokes because of it. You can get a pass if that’s the case.

Anyways, how could anyone hate “Come On Eileen?” It’s about keeping your chin up in the face of a bleak Thatcher-era UK economy and it has a timeless quality that helps it stick out among its early-80s counterparts. No synths to be found here, folks. Instead, you get Celtic fiddles and Kevin Rowland’s yelping, nearly unintelligible vocals.

“Eileen” just oozes with optimism. Rowland truly believes he and his titular girlfriend will break out of their dead-end industrial town and be happy someday, and his backing band is more than happy to provide some extra energy. What more could you want?

(Hot take: This wasn’t even Dexy’s best song. This was.)

#10: “You Get What You Give” by New Radicals (1998)

What would you get if a Smashing Pumpkins sound-alike made a heartland rock song about the evils of American consumerism? Well, you don’t have to wonder, that song exists. And it’s perfect.

On the surface, “You Get What You Give” is another sunny late 90s pop-rock song, with its bouncy pianos and uplifting chorus. A closer look at the lyrics dispels that notion: Lead singer Gregg Alexander is royally pissed-off at the one percent. He’s gonna smash a Mercedes. He condemns the corrupt health insurance and banking industries. Alexander even infamously took pot shots at 90s celebrities like Marilyn Manson and Hanson (probably the only time those two were grouped together). It’s pretty funny, honestly, to see a scrawny guy in a bucket hat tell a bunch of people he’ll “kick their ass(es) in.”

Hubris aside, “You Get What You Give” is a beautiful contradiction between furious lyrics and a sunny melody. Late 90s pop-rock was (almost) never better than this.

#9: “I Believe In A Thing Called Love” by The Darkness (2003)

Although the 2000s weren’t an amazing decade for one-hit-wonders (remember Mims or Jibbs? Yikes), there were a few exceptions. One of the big ones was The Darkness, who actually sounded much closer to 1978 than 2003. 

“I Believe In A Thing Called Love” is cock-rock at its most over-the-top and self-deprecating, and it’s a glory to behold. Lead singer Justin Hawkins’ falsetto could probably knock over a building. 

And those lyrics...I’d call them so-bad-they’re-good if it wasn’t obvious that they were intentionally ridiculous. Tie it all together with not one, not two, but THREE face-melting guitar solos (Hawkins even squeals “GUITAR!” before the second one...god this song is so wonderful), and you’ve got a recipe for the 21st century’s greatest 70s rock song. 

Also, in the video, the band fights off a giant space octopus by shooting lightning bolts out of their guitars. WHY WAS THIS BAND NOT BIGGER?!

#8: “Groove Is in the Heart” by Deee-Lite (feat. Q-Tip) (1990)

By 1990, the good part of the 80s was over, but the gangsta rap and grunge we associate today with the early 90s hadn’t really taken off yet. Most of the hits were nondescript, bland 80s leftovers. Of course, even a year this bad had some classics that snuck in, and one of those was the unstoppable “Groove Is in the Heart.”

Deee-Lite’s image might have screamed psychedelic 60s, and singer Lady Miss Kier’s old-school suave vocals certainly helped bring them a Mad Men-era vibe. But that beat? Early 90s techno at its finest. It’s both chaotic and controlled; tight yet loose. Funkadelic bassist Bootsy Collins lays down a smooth-as-hell bass line and some silly adlibs ( “dig!”), while Q-Tip, who would normally be the best part of any other song, is relegated to an okay guest verse. It’s not that the legendary MC is bad, it’s just that the rest of “Groove” is so perfect. 

Unlike other early 90s dance classics like “Pump Up The Jam” or “Gonna Make You Sweat,” “Groove” actually feels like a real song. Yeah, it kills on the dancefloor, but it doesn’t sound awkward and repetitive on the radio, thanks to actual verses, a top-notch rap feature and the myriad of wacky sound effects throughout (slide whistles! popping noises! that weird noise you make when you stick out your tongue!).

“Groove Is in the Heart” proved to be too pristine to top for Deee-Lite, but at least they taught us where the groove comes from.

#7: “Stacy’s Mom” by Fountains of Wayne (2003) 

I have no clue how these guys managed to make lusting after your girlfriend’s relative somehow sound cutesy and not super weird, but “Stacy’s Mom” is a classic for a reason.

The reason? Well, first of all, Fountains of Wayne were nakedly trying to copy The Cars here, and they NAIL IT. There’s that new-wave guitar chug, the squiggly synths, the dorky-yet-somehow-cool vocal delivery, and it all culminates in a killer chorus that’ll be stuck in your head for days.

And although the plotline of the song sounds a little awkward on paper, it somehow works in the song. It probably helps that the protagonist is supposed to be a kid. At the end of the day, it’s more adorable than anything else. 

A cute concept, coupled with stellar production are what have kept “Stacy’s Mom” a classic even as Fountains of Wayne faded away.

#6: “Your Love” by The Outfield (1986)

Some songs just sound like they’ve existed since the beginning of time. “Your Love” is one of those songs.

How do I even describe what makes this song a classic? It should be apparent from the first listen: The frequently repeated chorus is soaring and instantly recognizable. The melody is both melancholic and romantic at the same time. 

The lyrics don’t even matter. It’s all about that hook. That perfect, untouchable hook. It should be displayed in museums. Hell, the whole song is a hook, let’s be real.

Maybe that’s what made “Your Love” stick around: There’s no bull, no gimmicks, just naked emotion and one of the catchiest choruses you’ll ever hear. 

#5: “I Melt With You” by Modern English (1982)

This might be the most nakedly romantic song on this list. There’s a reason this song has been overplayed to death in rom-coms and TV shows: it’s a beautifully flawed depiction of love.

Lead singer Robbie Grey’s vocals are almost monotone, which contrast perfectly with the lovelorn, almost Cure-esque lyrics. “I’ll stop the world and melt with you” might sound weird, but given to a trembling, awkward vocalist like Grey, it’s downright swoon-worthy. 

“I Melt With You” is prom slow dance 101, and it will live forever as long as there’s gawky teens to ask their crushes out.

#4: “California” by Phantom Planet (2002)

All apologies to 2Pac, The Mamas and the Papas, and Katy Perry (no apologies to the Red Hot Chili Peppers, because I hate them), but Phantom Planet’s “California” is the best song ever written about the Golden State.

Personal anecdote time: I lived in Southern California for four years. Most of the negative stereotypes of the L.A. area — the lack of seasons (Christmastime is especially weird), oppressive heat, plastic people, and that infamous traffic — are all spot on. Just a few months ago, I ditched the sunshine to return to the comforting Northwest drizzle, so believe me when I say that this song isn’t this high on the list because I think California is the happiest place on earth (that would be Disneyland, which is its own thing).

But for three minutes, “California” suddenly makes me miss the palm trees and sunburns. It makes L.A. sound like the goddamn promised land, where all your problems and stresses will go away. Everything will be okay once you reach California.

The chorus doesn’t just arrive, it EXPLODES with excitement and anticipation. The guitars and drum beat pound like a truck speeding down a mountain, and lead singer Alex Greenwald sounds like a man driven to insanity by his quest to return home. It’s one of the most cathartic choruses you’ll ever hear in pop.

So yes, the song most known for being the theme to The O.C. (which I’ve never seen, so there’s no bias from that standpoint) is one of the greatest one-hit-wonders of all time, and possibly the best song ever written about a state. Now I just want to visit Santa Monica again.

(Also, yes, that is comedian Jason Schwartzman on the drums. Obviously, he’s doing just fine.)

#3: “Baby Got Back” by Sir Mix-a-Lot (1992)

No, this is not a joke. Yes, “Baby Got Back,” one of the silliest rap hits of all time, is a legitimate classic. Don’t fight me on this.

I bet you can rap a decent portion of this song whether you know it or not. Hell, you probably even know the iconic intro by heart ( “Oh...my...gawd Becky. Look at her butt.”). That infamous opening line is a perfect thesis statement: Yes, Sir Mix-a-Lot does like big butts, and he cannot lie. And then he spends four minutes proving his devotion to women with big booties and how they don’t get enough respect. It’s something to behold.

Most hip-hop heads will dismiss “Baby Got Back” as being corny and not serious enough, but that’s the charm of the whole thing! Sure, Mix could probably have written a more serious tune about how black standards of beauty were being ignored by the fashion industry and how domestic violence is a despicable act (yes, he actually covers both topics in the big butts song), but why not sneak that message into a super catchy, funny song? 

I guarantee you, no backpack rapper ever came up with a line as wonderfully stupid as “My anaconda don’t want none/unless you got buns hon.” That line was so perfect that Nicki Minaj built an entire song around it (and its song’s stellar bassline) 22 years later. It was one of Nicki’s biggest hits. Coincidence? Hell no. And I haven’t even mentioned the super-energized Rick Rubin beat!

"Baby Got Back” isn’t the greatest rap song ever, but it’s easily the greatest hip-hop one-hit-wonder. Even white boys (like myself) have to shout that.

#2: “Take On Me” by a-ha (1984)

First off, take a few minutes to watch the music video. I know you’ve probably already seen it, but it’s the greatest non-Michael Jackson/Lady Gaga video of all time. Just watch it again. I’ll wait.

Honestly, it is hard to talk about “Take On Me” without bringing up its iconic video, but let’s give it a try. a-ha’s magnum opus doesn’t make a whole lot of sense lyrically, since the Norwegians didn’t know a ton of English — what on earth is “take on me” even supposed to mean? — but in a way, the language barrier makes it even more cute. It’s like the awkward French guy fumbling through an English conversation to try and impress his new American girlfriend.

Even with the odd lyrics, “Take On Me” has primo new wave production, with synths on top of synths on top of synths, all creating an infectious, danceable beat. And of course, when lead singer Morten Harket reaches that dog-whistle final note on the chorus, it’s a magical moment. God knows how many unfortunate karaoke singers tried and failed to hit that note. 

It might be a bit cliche to put “Take On Me” this high, seeing as it is one of the most, if not the most, famous one-hit-wonder of all time. But it deserves its enduring legacy. Even without the classic video, “Take On Me” would have stood the test of time based on quality alone. What could possibly top it? Well...

#1: “She Loves You” by The Beatles (1963)

You know, it’s really a shame that these four lads from Liverpool couldn’t string together another hit, because their primal, simple rock-n-roll certainly had potential. One wonders what could’ve been...

Kidding, of course. Here’s the real number one:

#1: “Steal My Sunshine” by Len (1999)

It was the end of the millennium. People began to worry about the end of the world. The pop music machine knew it might be their last year to crank out super-cheesy late 90s hits, so they gave us an embarrassment of riches. “Livin’ La Vida Loca.” “I Want It That Way.” “All Star.” The only prominent meme featuring Rob Thomas of Matchbox 20. The only good Christina Aguilera song. It was a smorgasbord of songs that would all age badly, but they still remain wonderful nearly 20 years later.

One of the biggest hits of that year, however, didn’t come from giants like *NSYNC or Britney. It was by a crew of sleazy Canadians dressed like New Jersey guidos. That song was “Steal My Sunshine,” and it is the greatest one-hit-wonder of all time.

In fact, it’s more than the greatest one-hit-wonder ever: “Steal My Sunshine” is the greatest summer song ever. The juxtaposing guy-girl vocals, the bouncy production perfect for either the beach or cruising with your bros with the windows down, the lyrics literally describing a crazy summer afternoon...This song was tailor-made for sweltering July and August days.

Every year, Billboard tracks what the song of the summer is for those three months. It’s a pointless exercise: “Steal My Sunshine” is the song of the summer every year. Are you honestly going to tell me that 2016′s winner, “One Dance,” or 2000′s champion “Bent,” or god forbid, 1993′s “(I Can’t Help) Falling In Love With You” is more summery than Len’s ode to goofing off in the sun? Nope.

Sure, “Steal My Sunshine” is stupid, extremely dated (it might be the most 1999 thing ever recorded) and honestly kind of trashy. But aren’t those all qualities we love in our one-hit-wonders? Most beloved one-hit-wonders (with some exceptions, like “Beds Are Burning”) are silly, ridiculous time capsules, and that’s exactly how we like it. And few songs are are as ridiculous, silly or as much of a time capsule of a better place than Len’s “Steal My Sunshine.” Summer’s almost over, better listen to it while you can.