Through the first four episodes of this Top 50 Biggest Alt-Rock One-Hit Wonders of All Time series, we’ve gone through songs 50 to 11, so that means we are ready for the top 10 songs.

If you’ve been following along, there may have been a few surprises along the way…and you may have been trying to guess what songs will finish in the upper regions of this list…now we’re going to find out.

These are the final 10 songs in our countdown.

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How does an artist become famous forever with just one song and never come close again?

We continue the countdown of the "50 Biggest Alt‑Rock One‑Hit Wonders of All Time", using five decades of radio charts, Spotify streams, YouTube views, and a specially designed one‑hit‑wonder power ranking.

In part 4, we come across...

• A one‑hit wonder that’s also a cover of another one‑hit wonder
• Gregorian chants that unexpectedly dominated global charts
• A "Major Tom" sequel
• A song built on a 1932 trumpet sample and an Atari computer
• An anarchist collective that somehow conquered the world

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This is Part 3 of the 50 Biggest Alt‑Rock One‑Hit Wonders of all time...numbers 30 to 21 featuring Dishwalla, EMF, Spacehog, Harvey Danger, and more. And of course, the stories behind these one-hit wonders.

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Our countdown of the biggest alt‑rock one‑hit wonders of all time continues as we break down numbers 40 to 31.

From K’s Choice and Liam Lynch to Animotion, Fun Lovin’ Criminals, The Vapours, and more, these are the songs that ruled alternative radio, slipped into pop culture, and forever defined the artists behind them.

Using chart history, streaming numbers, and a custom One‑Hit Wonder Power Ranking from our friend Walter the mathematician, we investigate how these songs became massive...and why one moment was all they needed.

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Something occurred to me the other day: did the person who came up with the term “one-hit wonder” ever come up with anything else that good?

I looked it up… the Oxford English Dictionary traces its origin to about 1914, when baseball was starting to become America’s pastime… it was given to pitchers who held the opposing team to just one hit.

We do know that when Ramon Monzant was pitching for the San Francisco Giants in 1956, he was given that nickname…to be called a “one-hit wonder” was very high praise.

But around the same time, “one-hit wonder” migrated over to the music world and acquired a pejorative ring…in musical terms, a one-hit wonder was an artist who could manage one and only one big song…everything else they might have done was a flop, a stiff, a failure, and was ignored.

Billboard magazine began to incorporate the phenomenon of the one-hit wonder when it came to its charts…their definition was an artist who released just one song to reach the top 40, the realm of “hits” on the singles charts.

But that’s pretty narrow and really only considers songs and artists for that one chart…what about all the other non-top 40 artists who achieved fame for one and just one song?

The more I went down this rabbit hole, the more intrigued I became…was there a way to look at the history of alternative music to determine the biggest one-hit wonders of all time?

There just might be…and after going through a lot of numbers and statistics, I may have cracked it…But I’m going to let you be the judge…This is part one of the 50 biggest all-time alt-rock one-hit wonders of the last 50 years.

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There’s just something fun about learning to play one of your favourite songs for yourself…you know, learning the lyrics, figuring out the chords and the rhythm and deconstructing all the constituent parts…

Then you get deeper…you begin to appreciate how everything fits together, the artistic decisions made by songwriter made, what kind of musical skill is required, the sort of production that was employed all that…and by the time you’ve learned the song, you’ve learned a whole lot of other things, too…and you’re probably a better musician as a result…this is why learning to play other people’s music is so important…

Now let’s look at it from the other side…if a song can be interpreted multiple times by many different people and it still sounds good, then that is a great song…

The best compositions not only sound great when played by a full band, but also sound great when performed by one person around a campfire…

And finally, there’s the fan aspect of all this…people love to hear songs done in different ways by different artists…sometimes the cover is even better than the original—or, at the very least, is revealed to be something more in the hands of someone else…

With all this in mind, I’ve assembled a list of cover songs…and we’re going to go through with them to determine what makes them (and the original) great…

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This week, we're going deep into the Ongoing History of New Music vault to talk about "Definitions".

Often in the music world, we hear terms discussed...but where did they come from, and what do they mean?

What do "New Rock" and "Alternative" mean?

What's a "Major Label" or "Indie"?

"Boutique" and "Vanity"? Got that covered too.

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Blink‑182’s story has always been chaotic, inspirational, and a little unbelievable...and the last decade has been no exception.

We thought this would be a good time to revisit the band’s evolving saga since our original 2017 trilogy on their rise, fall, and rise again. A lot has happened: lineup changes, personal crises, UFO hunting, bestselling side projects, a Grammy nomination, a global pandemic, and even a life‑threatening illness that ultimately brought them back together.

We pick up the trail with the Matt Skiba era and the unexpected resurgence brought on by the "California" album. From there, we follow the band through creative experiments, personal struggles...including Mark Hoppus’s battle with stage‑4 lymphoma...and the emotional reunion that brought Tom DeLonge back into the fold.

The result? A renewed Blink‑182, a triumphant Coachella comeback, and their 2023 album "One More Time".

It’s a story of fractures, forgiveness, survival, and one of the most resilient bands in modern punk history.

Blink‑182 is well into their fourth decade...so how much longer can they run? If history is any clue, never count them out.

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The music video didn’t just shape pop culture…it defined it. 

From the glam‑soaked excess of the ’80s and ’90s to the gritty authenticity of the alt‑rock era, and finally to the algorithm‑driven, globally connected internet age, the music video has lived many lives. In part two of this deep dive, we trace the rise, collapse, and surprising rebirth of the music video that once ruled MTV and MuchMusic.

We look at the groundbreaking work of directors like Spike Jonze, the multimillion‑dollar spectacles of superstars like Madonna and Michael Jackson, and the moment YouTube and smartphones permanently rewired how we watch, and make, music videos. From Pearl Jam’s refusal to play the game, to viral sensations like OK Go, to the billion‑view world of K‑pop and global micro‑scenes, we discover that the music video isn’t dead. It escaped television. And it’s thriving.

This is Part 2 of the Rise and Fall and Future of the Music Video.

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For decades, music videos weren’t just promotional add‑ons…they were the beating heart of global pop culture. 

The music video affected the art of movie-making...it affected the way we look at tv, not to mention fashion, language, politics, gender fluidity, LGBTQ issues, and so much more…videos may have altered our attention spans–which kind of concerns me because this program is an hour long and I need you to hang in there with me...

Music videos exported soft power from the West, especially the United States, to the rest of the world. At one point, MTV was one of the most influential creators and disseminators of culture….and by “culture” I mean America.

That was then…music videos are still an art form and still necessary (well, mostly necessary) for promoting music…but things just aren’t what they used to be…

How did we get to this point?...this is the rise and fall and future of the music video…part 1

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Music is not only a powerful motivating tool, but it’s also a way to get a message out to a vast number of people…and when things hit the fan, music can be used to let the powers-that-be know that we see what you’re doing, and we are not happy about it…We wish to protest.

Protest songs help coalesce thoughts and feelings about things like social, political, and labour injustice…they help rally people to a cause and sometimes inspire action against oppressors or those who seek to abrogate rights, keep people down, and try to gain power by spreading lies and propaganda. 

Sometimes they call out specific people, organizations, and issues…in other cases, they’re couched in metaphors and stories…but make no mistake: this music is “us” and “them” and the “them” needs to be addressed. 

This kind of music has never gone away and is still very much with us…despite that, a lot of people ask, “Whatever happened to protest songs?”

Nothing…they’re right here…and they’ve always been right in front of us…let me explain…this is a brief history of protest music, part 2.

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