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Gotye – “Somebody That I Used to Know” (feat. Kimbra)
Sometimes a song comes along that doesn’t just stick in your head—it moves in, redecorates, and refuses to leave. Gotye’s “Somebody That I Used to Know” is that rare haunting masterpiece. The xylophone-driven melody and the raw, almost uncomfortable honesty of the lyrics hit a nerve with listeners worldwide. When it debuted in 2011, the song skyrocketed to number one in over 20 countries and even snagged three Grammy nominations, winning Record of the Year in 2013. The collaboration with Kimbra added a back-and-forth dynamic that felt more like a conversation than a duet, making heartbreak feel universal. The rest of Gotye’s catalog is undeniably creative, often experimental and unpredictable, but none of it lands with the same emotional punch or mainstream accessibility. “Somebody That I Used to Know” stands as a singular achievement—striking, relatable, and just a little bit haunting.
A-ha – “Take On Me”
If you’ve ever heard that ascending, spiraling synth riff, you know you’re in for a treat. “Take On Me” isn’t just a song; it’s an era-defining moment packed into three and a half minutes. Released in 1985, its music video—famous for its sketch-animation and live-action blend—changed the way people thought about music on TV. The song hit number one in 36 countries, reshaping the global pop landscape. While A-ha continued to release records, especially finding loyal fans back home in Norway, none of their other tracks could match the heady mix of nostalgia, innovation, and pure catchiness that made “Take On Me” a cultural phenomenon. Even today, decades later, it still gets folks of all ages singing along and attempting that impossible high note.
Dexys Midnight Runners – “Come On Eileen”
There’s a kind of joyful chaos in “Come On Eileen” that’s hard to bottle. Released in 1982, this song exploded with a fiddle-driven energy that swept the UK and US charts, quickly becoming a staple at weddings, parties, and pubs. Its unpredictable tempo changes and the sense of wild celebration in the chorus make it practically impossible to listen to without tapping your foot. Dexys Midnight Runners experimented with soul and Celtic folk in their other albums, but nothing else they released offered the same sense of raucous fun. “Come On Eileen” captured lightning in a bottle, making it a high-water mark the band never quite reached again.
Soft Cell – “Tainted Love”
Few covers ever eclipse the original, but Soft Cell’s “Tainted Love” takes a forgotten 1960s soul tune and turns it into a synth-pop juggernaut. The song’s sparse, almost cold production is oddly hypnotic, while Marc Almond’s pleading vocals make heartbreak sound strangely glamorous. Released in 1981, “Tainted Love” hit number one in 17 countries and spent a record-breaking 43 weeks on the US Billboard Hot 100. Soft Cell’s other work leaned experimental, often venturing into darker, artier territory, but none had the same mainstream impact or immediate, unforgettable hook. This single remains their shining achievement—a dark, danceable anthem for the lovesick.
Chumbawamba – “Tubthumping”
Who knew a song about getting knocked down could turn into a stadium anthem? “Tubthumping,” released in 1997, brilliantly mashes up anarcho-punk roots with a singalong chorus that feels universal. Its catchy, repetitive lyrics about resilience turned it into an international hit, reaching the top ten in more than a dozen countries. Chumbawamba’s other songs delved into political and folk territory—passionate, sure, but rarely as fun or widely embraced. “Tubthumping” united pub-goers, soccer fans, and misfits alike, creating a sense of community and defiance that none of their other tracks ever matched.
Norman Greenbaum – “Spirit in the Sky”
Sometimes a song feels like it arrived from another planet. “Spirit in the Sky,” released in 1969, is a heady mix of fuzzy, distorted guitar and gospel-inspired backing vocals. Its spiritual ambiguity—neither fully religious nor completely secular—gave it a universal appeal, helping it reach number three on the US Billboard Hot 100 and topping charts in the UK. Greenbaum’s other attempts at country rock and Christian-themed music never found the same audience, and most are forgotten outside of music trivia nights. This one song, however, became a staple in film, commercials, and sporting events, cementing its place in pop culture.
The Buggles – “Video Killed the Radio Star”
It’s impossible to talk about the dawn of MTV without mentioning “Video Killed the Radio Star.” Released in 1979, its catchy melody and clever lyrics about the shifting media landscape made it an instant classic. It holds the distinction of being the very first music video aired on MTV in 1981—a moment that changed the music industry forever. The Buggles’ other work, while filled with inventive studio trickery, never found the same resonance or cultural significance. This one song became a self-fulfilling prophecy: memorable, forward-thinking, and forever etched in music history.
Blind Melon – “No Rain”
Few songs can make melancholy feel so sunny. “No Rain,” released in 1992, pairs a breezy acoustic melody with lyrics about isolation and longing, topped off with the unforgettable “Bee Girl” music video. It became a top 20 hit in the US and dominated MTV rotation, making Blind Melon briefly a household name. The band’s other work leaned heavier into grunge and jam-band influences, lacking the pop clarity that made “No Rain” so approachable and memorable. For many, it’s the only Blind Melon song they know—and for good reason.
Big Country – “In a Big Country”
“In a Big Country” is the sound of hope amplified. Released in 1983, the song features guitar sounds mimicking bagpipes, creating a soaring, anthemic feel that’s instantly recognizable. It reached the top 20 in the US and cracked the top ten in the UK. While Big Country’s later work remained earnest and heartfelt, none of it recaptured the same larger-than-life optimism or melodic punch. This single is their legacy—a rousing call to arms that remains uplifting decades later.
The Verve – “Bitter Sweet Symphony”
Strings, swagger, and existential angst blend together in “Bitter Sweet Symphony,” one of the 1990s’ most iconic tracks. Released in 1997, it soared up the charts worldwide and was nominated for a Grammy, instantly recognizable from the first orchestral note. The Verve’s other albums were steeped in shoegaze and alternative rock—respected by critics but lacking the same immediate, dramatic impact. “Bitter Sweet Symphony” became so culturally significant that it’s been sampled, covered, and quoted countless times, overshadowing the rest of the band’s output.
Semisonic – “Closing Time”
There’s something quietly profound about “Closing Time,” a song that’s both an end-of-the-night anthem and a reflection on life’s transitions. Released in 1998, it peaked at number 11 on the Billboard Hot 100 and became a staple in bars, graduations, and TV shows. Semisonic’s other music is solid ‘90s alt-rock, but nothing else they wrote penetrated the public consciousness like “Closing Time.” Its singalong quality and underlying philosophical message make it a rare gem—simple, but somehow timeless.
Besides founding Festivaltopia, Luca is the co founder of trib, an art and fashion collectiv you find on several regional events and online. Also he is part of the management board at HORiZONTE, a group travel provider in Germany.
