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Get ready for a musical time capsule of glorious cheesiness! Join us as we count down the most melodramatic and ridiculous one-hit wonders from the 1990s. From dance floor anthems to quirky novelty tracks, these songs achieved massive popularity despite their artists never quite reaching those heights again.
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00:00Welcome to WatchMojo, and today we're counting down our picks for the most ridiculous or melodramatic songs from artists that are primarily associated with one recognized song.
00:16We're not necessarily saying that cheesy is bad, mind you, but rather discussing how these songs are more remembered in the wake of other potential successes.
00:24Number 50, Lemon Tree, Fool's Garden.
00:36There's a certain uniqueness to the song Lemon Tree by Fool's Garden, a resistance to commonly used arrangements that helped earn this German band a surprise international hit.
00:45The tune is difficult to pin down, both genre-wise and with regards to its time period.
00:50Lemon Tree's Baroque pop approach feels indebted to the 60s, a sentiment bolstered by its commitment to Beatles-esque vocal harmonies.
00:58Elsewhere, the stark strangeness of the verses is juxtaposed against this big melodic chorus, with the end results sounding quite unlike anything on the rock or pop charts back in the 90s.
01:09Did this help or hurt Fool's Garden in the end?
01:11It's difficult to say, but they certainly struggled to strike again with another definitive hit in North America.
01:17And all that I can see is just a yellow lemon tree.
01:23Number 49, Your Woman, Whitetown.
01:33It's not out of the ordinary for producers to write, record, and release songs under an alias.
01:38Jyoti Prakash Mishra released Your Woman under the moniker of Whitetown back in 1991,
01:43and almost immediately earned one-hit wonder status.
01:45Mishra also ensured that the song's catchy main hook is the first thing that listeners hear right out of the gate.
01:51That hook was actually decades old, though.
01:53A trumpet melody that was sampled from a 1932 recording by British jazz musician Lou Stone,
01:59and laid atop a very 90s electronic drum beat.
02:02But we're not sure what Stone would have thought about this use of his big band music,
02:06but we do know that Your Woman seemed to be a case of right place and right time.
02:10A lot of songs take their sweet time in finding their proper forever home.
02:28Tunes like Torn, which was originally written by Phil Thornally, Scott Cutler, and Ann Previn,
02:33the latter two of which formed Edna Swap in 1993.
02:37Torn was then recorded and released by that group,
02:40as well as other singers like Trina Ryan and Lee Sorensen,
02:43before eventually finding its way over to Australia and Natalie Imbruglia.
02:47The tune proved to be Imbruglia's biggest international hit,
02:50bolstered by a popular video that made the most of the actress's natural beauty and charisma.
02:54Torn felt like lightning in a bottle for Imbruglia, however,
02:57And to this day, it's probably the only song most casual fans can name from her discography.
03:12Whoever said that the celebrity musical Vanity Project fad died out after the 1970s and 80s?
03:25Baz Luhrmann is justifiably more known for his directorial career
03:29than anything remotely resembling pop music stardom.
03:32That said, Luhrmann seemed to get lucky back in 1997 when his song,
03:37Everybody's Free to Wear Sunscreen, became an unlikely chart success.
03:40And yes, we realize that the word song can be applied loosely here,
03:44since most 90s kids probably remember more about how strange it was
03:47that a long-spoken word piece was on the radio.
03:50Luhrmann's recitation of this Chicago Tribune article by Mary Schmeek
03:53includes an added sung chorus.
03:55But it's the advice given within the song that's remained evergreen
03:58through all of these years.
04:04This hit from Scotland's The Proclaimers may have first resonated with audiences
04:19back in 1988 during its initial release,
04:22but it blew up even more internationally after it appeared
04:25on the soundtrack to the 1993 film Benny and June.
04:28This essentially breathed new life into The Proclaimers' stateside,
04:32although time would eventually label the group
04:34as a one-hit wonder within the United States charts.
04:37The Proclaimers continued their musical career elsewhere, of course,
04:39but for many American fans,
04:41this was their only experience with the group's uniquely melodic and folk-driven sound.
04:46Number 45, Crush, Jennifer Page
04:55A catchy song is a catchy song,
05:03and we probably shouldn't snub anybody out there
05:06that was lucky enough to notch a charting hit,
05:08even if it was only once.
05:10Jennifer Page did release a couple of singles
05:12in the wake of her 1998 hit Crush,
05:14but none of them seemed to strike
05:15with the same lightning-bolt focus
05:17as this unassuming pop tune.
05:19The concept of having a romantic crush on another person
05:22has been the subject of songs since the dawn of time,
05:25while Page's song contains a production style
05:27that almost immediately dates it to the late 90s.
05:30It's not quite boy-girl band pop,
05:32nor singer-songwriter intensity.
05:34It's just an innocuous radio hit with cute melodies.
05:53It's somewhat of a myth that every winner of the Best New Artist Grammy
05:57goes the way of Milli Vanilli, or even Mark Cohn,
05:59whose success with Walking in Memphis helped him win the award.
06:02Plenty of music legends have taken away this honor
06:05from the Grammy Awards,
06:06although all but the most diehard Cohnheads,
06:09we're going with this one,
06:10would probably be hard-pressed in naming
06:12another one of the man's tunes.
06:14Walking in Memphis was certainly a heartfelt exercise
06:16in writing what you know, however,
06:18since it was inspired by Cohn's real-life struggle
06:20with writer's block.
06:21The song feels totally authentic as a result,
06:24which likely helped earn Walking in Memphis
06:26the fanbase it did back in 1991.
06:29Walking in Memphis
06:30It's a story that's been endlessly repeated,
06:48that of a boy or girl group that eventually splinters,
06:51leaving behind the wreckage of failed solo careers in its wake.
06:54Sometimes an artist the likes of Justin Timberlake
06:56can buck this trend, while other times
06:58it all leads back to that eventual nostalgic reunion.
07:02Jordan Knight arguably had the most successful
07:04solo musical career out of all of his bandmates
07:06from the new kids on the block.
07:08This was thanks to the success of his 1999 single
07:11Give It To You,
07:11which made the most out of Knight's
07:13high-reaching falsetto vocals.
07:15It's a slice of R&B pop that did well
07:17for the NKOTB boy back in the day,
07:19but didn't ultimately lead to a lot of follow-up hits.
07:21Number 42
07:29I'll Be There For You
07:30The Rembrandts
07:31We will fully admit that the Rembrandts
07:41do have another song that some of you out there may remember,
07:44but at the same time, who are we kidding?
07:46Most casual fans will associate this group
07:48primarily with their theme to the hit TV show Friends,
07:51more than their 1990 tune
07:53Just The Way It Is Baby.
07:54So, yeah, maybe it's more accurate
07:56to label the Rembrandts as a two-hit wonder
07:58since Just The Way It Is Baby peaked at number 14,
08:01while I'll Be There For You
08:02was released as a non-album single
08:04to capitalize upon the meteoric success of Friends.
08:07Regardless, their public profile
08:09in the aftermath of these tunes
08:10was notably diminished.
08:12The world of one-hit wonderdom
08:29isn't solely relegated to the pop or rock music worlds.
08:32Hip-hop possesses more than its fair share
08:34of one-and-done chart successes,
08:36as evidenced by the brief flirtation Rex and Effect
08:38had with radio back in 1992.
08:40Their tune, Rumpshaker, reached number two
08:42on the Billboard Hot 100 chart,
08:44which was no mean feat, to be sure.
08:46This was, after all, still early
08:48within hip-hop's cultural dominance.
08:50And it was Rumpshaker's reliance upon sampling
08:52that helped make it so catchy
08:53and immediately palatable to radio.
08:56Specifically, there's that melodic saxophone line
08:58from the Lafayette Afro rock band
09:00combined with an insistent beat lifted
09:02from Manziel's Midnight theme.
09:03Oh, and Rumpshaker also featured
09:06early lyrical contributions
09:07from future Neptunes member Pharrell Williams.
09:25Practically every musical genre,
09:27no matter how niche,
09:28eventually debuts its version of a one-hit wonder.
09:31This includes the alternative indie
09:33and post-grunge landscapes of the 90s.
09:35Artists like Dishwala,
09:37which weren't exactly cut from the same cloth
09:39as Nirvana or Soundgarden,
09:40nevertheless found an audience during this era.
09:42Granted, Dishwala's musical contribution to the 90s
09:45remains the love-it-or-hate-it earworm
09:47Counting Blue Cars,
09:48but hey, nobody ever said
09:49these one-hit wonders all needed to be winners, right?
09:51We're still singing along with that chorus
09:53right now, however.
09:54So maybe Dishwala was right all along.
09:56Where's my memory fall now?
09:58Where's my memory fall now?
10:04Number 39.
10:05Mm-mm-mm-mm.
10:06Crash Test Dummies.
10:14There are just some artists out there
10:16that you know are not gonna have another major hit.
10:19Canada's Crash Test Dummies
10:20were absolutely one of those groups.
10:22A cult band with a strange video
10:24for an even stranger song.
10:26Mm-mm-mm-mm-mm
10:26simply felt too idiosyncratic
10:28to be part of some overarching musical legacy.
10:31No, one song like this
10:32just felt like more than enough,
10:34regardless of how interesting
10:35or inspired the desire to go this hard
10:37was for the group back in 1993.
10:39That is, except in Canada,
10:41where the Crash Test Dummies
10:42struck again with Superman's song,
10:43which proved to be another success
10:45for the still-active rock band.
10:46The world will never see another man
10:50like him.
10:52Number 38.
10:54You get what you give.
10:55New Radicals.
10:58You just gotta admire the audacity
11:04and fire of New Radicals' main man
11:06Greg Alexander
11:07back when he called out major artists
11:08like Courtney Love and Marilyn Manson
11:10on the group's debut single
11:11You Get What You Give.
11:12This third time seemed to be
11:14the charm for Alexander,
11:15who had two failed solo efforts
11:17under his belt prior to pairing
11:18with former Archie Bunker's Place
11:20actress Danielle Brisebois
11:21in the New Radicals.
11:22You Get What You Give feels authentic
11:24at the peril of sounding off-putting,
11:26a pop song without the saccharine
11:27that had a strong chorus
11:28and memorable video clip.
11:30Sure, it's very,
11:31let's go with late 90s visually,
11:33but hey,
11:34we're still talking about it, right?
11:41Number 37.
11:43Unbelievable.
11:43To discuss Unbelievable
11:53by British alt-dance act EMF
11:55is to discuss the impact
11:56of sampling culture
11:57and how it affects
11:58how we absorb music.
11:59There's no denying
12:00that the most memorable aspect
12:02of Unbelievable
12:02doesn't actually have anything
12:04to do with EMF.
12:05Instead,
12:06it was their decision
12:07to sample comedian
12:08Andrew Dice Clay
12:09that proved to be
12:09the inspired bit,
12:10since it's Clay's exclamation
12:12of O that sucks us in
12:13every time.
12:17Granted,
12:17that melodic hook
12:18that follows this sample
12:19is great too,
12:20as is James Atkins'
12:22smooth vocal on the chorus.
12:23But Unbelievable,
12:24like it or not,
12:25remains the Diceman's show
12:26through and through.
12:27Number 36.
12:32Closing Time.
12:33Semisonic.
12:39This is another good example
12:41of a post-grunge alt-rock band
12:42that had enough success
12:44with their debut single
12:45Closing Time
12:45to notch another,
12:46albeit less impactful,
12:48follow-up.
12:48Yet,
12:49although there remains
12:50some love to
12:51Semisonic's second single
12:52Singing in My Sleep,
12:53it's that aforementioned
12:54Closing Time
12:55that remains the group's
12:56musical calling card.
12:56It's not only
12:57how it opens up
12:58with that jangling guitar chord,
13:00but also the catchy
13:01vocal melodies
13:01that embody both
13:02the verses and the chorus.
13:04There was just no
13:04escaping Closing Time
13:05back as the 90s
13:06were coming to an end,
13:07as Semisonic reached
13:08the heights of their
13:09pop chart success.
13:10Every new beginning
13:12comes from
13:13some other
13:14beginning's end.
13:17Number 35.
13:18Cumbersome.
13:19Seven Mary Three.
13:20I have become
13:23cumbersome
13:26Hey,
13:27did you know
13:28that Seven Mary Three
13:28actually released
13:29seven studio albums
13:30during their heyday?
13:32Nope,
13:32neither did we,
13:33but good for them,
13:34we say,
13:34since this Virginia-born band
13:36is probably best remembered
13:37for their 1996 radio hit
13:39Cumbersome.
13:39The tune was taken
13:40from their debut album,
13:42which is admittedly
13:43a pretty high bar
13:43to bet against
13:44for future follow-ups,
13:45but at least
13:46Cumbersome found
13:47an audience large enough
13:48to keep Seven Mary Three
13:49gainfully employed,
13:50right?
13:50The song is riffy
13:51and aggro,
13:52the sort of post-grunge
13:53that isn't burning
13:54with any political fire
13:55or angst,
13:56but feels at home
13:57within that genre's
13:57general sphere of influence.
13:59The band kept it rolling
14:00until about 2012,
14:02when they finally
14:02called it a day.
14:10Number 34.
14:11What's Up?
14:12For Non Blondes.
14:13Don't worry too much
14:22about where the members
14:23of For Non Blondes
14:24wound up
14:24after the brief success
14:25of their 1993 hit
14:26What's Up.
14:27Band leader Linda Perry
14:28is doing just fine,
14:29thank you very much,
14:30since abandoning
14:31the spotlight
14:32to settle into a less
14:33commercially focused
14:34solo career.
14:35Perry also boasts
14:36one of the music industry's
14:37most impressive resumes
14:38as a songwriter,
14:39having composed hits
14:40for clientele as diverse
14:41as Pink and Christina Aguilera.
14:42What's Up may have been
14:44the For Non Blondes'
14:45only quirky flirtation
14:46with mainstream success,
14:47but the tune already
14:48displayed Perry's prowess
14:49as a composer
14:50even that early in the game.
14:56Number 33.
14:57Here Comes the Hot Stepper,
14:58Aini Kamosi.
15:04It doesn't really matter
15:06whether or not
15:06you remember the 1994
15:08Robert Altman film
15:09Pret a Porte
15:09to recall Here Comes the Hot Stepper
15:11by Aini Kamosi.
15:12This song was included
15:13on that film's soundtrack
15:14and featured clips from it
15:16within Kamosi's
15:16official video for the tune.
15:18It was a kismet
15:19sort of moment
15:19where chart success
15:20arrived at the feet
15:21of Aini Kamosi's
15:22respected career
15:22within the reggae
15:23and dancehall genres.
15:24The song's interpolation
15:25of Cannibal
15:26and the Headhunter's cover
15:27of Land of a Thousand Dances
15:28served as a major hook
15:29to lure in the pop audience,
15:31while Kamosi's vocal performance
15:33on the tune
15:33served as the fresh icing
15:34on top of this musical cake.
15:36I know what both
15:37don't know
15:38touch them up and go
15:40You know the song
15:51right from the jump.
15:52The second that
15:52mariachi guitar hits,
15:54those trumpets blare
15:55and OMC's
15:55How Bizarre
15:56hits your ears.
15:57It's a song
15:57that probably shouldn't
15:58have worked on paper,
15:59yet in practice,
16:00this New Zealand group
16:01struck upon
16:02big-time radio gold.
16:03OMC's main focal point,
16:05Polly Fuimana,
16:06basically achieved his dream
16:07after growing up
16:08in dire financial straits,
16:09since How Bizarre
16:10became a surprise smash hit.
16:12It became so big
16:13that OMC basically
16:14found it impossible to top,
16:16so they didn't.
16:17But at least
16:18How Bizarre was there
16:19at the right time
16:20to find an international audience.
16:22Every time I look around
16:25it's in my face
16:27Number 31
16:28The Bad Touch
16:29The Bloodhound Gang
16:30Viewers of an older generation
16:40can probably remember
16:41Dr. Demento,
16:42whose love and championing
16:44of the novelty song
16:44was well-documented
16:45over a career
16:46that lasted over 50 years.
16:48Novelty songs like
16:49The Bad Touch
16:49from The Bloodhound Gang,
16:51a tune so ridiculous
16:52that it basically
16:53couldn't dwell
16:53within any other
16:54creative space
16:55than that of The Absurd.
16:56The Bloodhound Gang
16:57seemed to know this
16:58and went all in
16:59on the accompanying video clip.
17:01The Bad Touch
17:01became something
17:02of a cult classic
17:03as a result,
17:04to the point
17:04where you can probably
17:05already picture
17:06the members
17:07of The Bloodhound Gang
17:08wearing those monkey suits,
17:09right?
17:09Number 30
17:17The Impression That I Get
17:18The Mighty Mighty Bostones
17:20During a period
17:25of ska fever,
17:27The Mighty Mighty Bostones
17:28took a brief detour
17:29into the mainstream.
17:30Their hit
17:30The Impression That I Get
17:32doesn't skimp on
17:32all the joys
17:33of the genre either,
17:34or the gimmicks.
17:35You get loads
17:36of thumping bass
17:37and a hopping horn section,
17:38with the band unafraid
17:39of their sometimes
17:40cheesy sound.
17:46Their endearing lyrics
17:47nonetheless send you
17:48on a journey
17:49about empathy
17:49and support.
17:50With the inner message
17:51sneaking up on you,
17:53the song helps
17:53to boost your mood.
17:54It's also a good excuse
17:55to get up and dance
17:56regardless of your opinions
17:57about the music.
18:03Number 29
18:04Breakfast at Tiffany's
18:05Deep Blue Something
18:06Testing people's love
18:14for Truman Capote adaptations,
18:16Deep Blue Something
18:17takes a bold step
18:18into 1990s rock history.
18:20Breakfast at Tiffany's
18:20is less about the movie
18:22and more about relationships.
18:23The effect
18:24is a catchy
18:25and somewhat sappy
18:26love story
18:27with a few surprises.
18:28So what now?
18:30It's plain to see
18:32we're over
18:33Using some conversational lyrics,
18:35the track guides listeners
18:36through a whirlwind
18:37of melodramatic romance.
18:39It's a reference
18:39that might be lost
18:40on younger fans,
18:41but that doesn't mean
18:42it's not a bubbly single.
18:43The band presents
18:44the juiciest elements
18:45of a rom-com,
18:46with audiences left
18:47to embrace the music
18:48at their own risk.
18:49And I said
18:51what about
18:52Breakfast at Tiffany's
18:54number 28
18:55Nothing My Love Can't Fix
18:57Joey Lawrence
18:58While he's best known
19:04for acting in projects
19:05like Blossom,
19:06Joey Lawrence also
19:07tries out the occasional song.
19:08His most notable hit
19:09is the bubbly
19:10and overly optimistic
19:11Nothing My Love Can't Fix.
19:13Right from the jump,
19:14you'll hear all the
19:15trademark sounds
19:16of the cheesier
19:16pop numbers
19:17from that time.
19:23Why is my baby blue?
19:26Lawrence tries
19:26to play the heartthrob,
19:28promising his partner
19:28that his love
19:29will wash away
19:30all of their worries.
19:31It's all whipped up
19:32like cotton candy
19:33with about the same amount
19:34of nutritional value.
19:36Cracking the top 20
19:37on the Billboard Hot 100,
19:38the hit reminded people
19:39that the pop gimmicks
19:40worked well.
19:41He wasn't able
19:42to find that musical success
19:43again,
19:44and largely focused
19:45on acting going forward.
19:51Number 27,
19:52I Wish,
19:53Ski-Lo
19:53While this track
19:59might qualify as cheesy,
20:01it's also a relatable song
20:03for many people.
20:03We can't all be the tallest,
20:05fastest,
20:05or best-looking person.
20:07This makes Ski-Lo's single
20:08I Wish both fun
20:09and relatable.
20:10It came at a time
20:11when many iconic rappers
20:12were taking over,
20:14with many listeners
20:14going for Biggie Smalls
20:16and Tupac Shakur instead.
20:17I wish I was a little bit taller,
20:19I wish I was a baller,
20:20I wish I had a girl
20:21who looked good,
20:22I would call her.
20:22The less confrontational style
20:24might be more old school,
20:26but there's nothing wrong
20:27with some vintage sounds
20:28to get you moving.
20:29With an underdog quality to him,
20:30the performer presents
20:31an honest portrayal
20:32of his shortcomings.
20:33It's maybe too sincere
20:35for its own good,
20:36but that's what we all
20:37need sometimes.
20:37I wish I had
20:38a brand new car,
20:39so far I got this hatchback,
20:41and everywhere I go
20:42your eye gets laughed at.
20:43Number 26,
20:44Return of the Mac,
20:45Mark Morrison.
20:46But I tried to tell you
20:47who,
20:48but I guess you didn't know.
20:50This British singer
20:51struck gold
20:52with a very personal
20:53sequel single.
20:54The title track
20:55of the album,
20:55Return of the Mac,
20:56is an R&B ballad
20:57about a bad breakup.
20:58It's a soulful confession
21:00from the troubled
21:00Mark Morrison,
21:01even if the story
21:02is a bit overdramatic.
21:03But you don't need
21:04to even pay attention
21:05to the lyrics
21:06to love the song.
21:12Over the top
21:13of a cool production,
21:14Morrison takes center stage
21:15with compelling vocals.
21:17For all its own shortcomings,
21:18Morrison's signature tune
21:19is a cool song
21:21with a funky beat,
21:22continuing to entertain
21:23listeners for several decades.
21:33Number 25,
21:36Good Vibrations,
21:37Marky Mark and the Funky Bunch
21:39featuring Lolita Holloway.
21:46Before he switched to movies,
21:48Mark Wahlberg was a musician
21:50working with this
21:50aptly named group.
21:52Good Vibrations
21:53is a bombastic party track,
21:54but it never lets up.
21:56With Marky Mark's attitude,
21:57this single soars
21:58into early 1990s glory.
22:01You might feel
22:01the sweet sensations yourself
22:03as this high-energy production
22:04flies off the handle.
22:13While the Funky Bunch
22:14might not have reached
22:15these heights again,
22:16they did create a time capsule
22:18for the big sounds of the era.
22:20This and their debut album,
22:21Music for the People,
22:22made a splash on the charts.
22:23But the group only put out
22:24one more record
22:25before breaking up.
22:26Number 24,
22:33In the Meantime,
22:34Space Hog.
22:41Fans of 70s glam rock
22:42might dig this track
22:43from Space Hog,
22:44but they're no David Bowie.
22:46In the Meantime,
22:47still feature some
22:48engaging sounds,
22:49a sweet hook,
22:49and the high-intensity voice
22:51of Royston Langdon.
22:52His soaring high notes
22:53will have you wishing
22:54you could sing
22:54half as well as him.
23:01In a throwback tune,
23:02the rockers set a course
23:03for extraplanetary expeditions
23:05of rock self-indulgence.
23:07The band channels
23:07the catalogue
23:08of the finest glam artists,
23:10making you wish
23:10they had more hits
23:11to match this one.
23:12This one-hit wonder status
23:14and general camp
23:15don't make the highlights
23:16of this piece
23:16any less awesome.
23:18Number 23,
23:28Achy Breaky Heart,
23:29Billy Ray Cyrus.
23:37During his first wave
23:38of popularity,
23:39Billy Ray Cyrus
23:40took the world by storm
23:41with Achy Breaky Heart.
23:43It's one of those tracks
23:43that ends up being
23:44devilishly catchy.
23:45Even if you don't like
23:47this kind of pop influence
23:48in country music,
23:49you have to admit
23:50that Cyrus has all the elements
23:51of a big hit.
23:52Don't tell my heart
23:54Achy Breaky Heart
23:56I just don't think
23:58it understand.
23:59Fans seem to eat up
24:00the goofy lyrics
24:01and the memorable melodies.
24:02The critics,
24:03not so much.
24:04But sometimes,
24:05all you need
24:06is a love story
24:06and a fun hook
24:07to catch the listeners.
24:08Cyrus brings together
24:09fans of multiple genres,
24:11taking them on an adventure
24:12that ruled the early 1990s.
24:15And if you tell my heart
24:16My aunt can break you hard
24:18He might blow up
24:20and kill this man
24:21Number 22
24:22Summer Girls
24:23LFO
24:24Hip-hop marmalade
24:25stick and span
24:27Met you on summer
24:28and it all began
24:29Maybe it's not
24:30the most poetic song
24:31ever written,
24:32but this late 90s single
24:33feels like a perfect glimpse
24:34into the decade's
24:35peaks and valleys.
24:36It almost sounds
24:37like a few frat boys
24:38wandered into a studio
24:39and free-associated
24:40some strange lyrics.
24:41Like the color
24:42purple macaroni and cheese
24:44Ruby red slippers
24:45in a bunch of trees
24:46We're not sure
24:47if LFO should be
24:48rapping at all
24:49to be honest,
24:49but that gives the track
24:50another entertaining wrinkle.
24:52The hook gets stuck
24:53in your head
24:53whether or not
24:54you agree with
24:55their questionable
24:55food opinions.
24:56It's a colorful mix
24:57of that boy band flair
24:58and a laid back flow
24:59that adds to the summer vibe.
25:01I like girls
25:01that wear
25:02at my crime
25:03being fitch
25:03I'd take her
25:05if I had what I wish
25:06Number 21
25:07Wiggle It
25:07Two in a Room
25:08Starting in the late 80s
25:15this hip-hop group
25:16didn't hit it big
25:17until the start
25:18of the next decade.
25:19Their single
25:19Wiggle It
25:20is part of the
25:20hip-house genre
25:21that blends rap
25:22and dance music.
25:23You can see why
25:23this mixture
25:24excited audiences
25:25back in the day
25:25featuring a bouncy rhythm
25:27that'll get you moving.
25:28It sounds dated
25:36by today's standards
25:37with a hokey chorus
25:38but all that
25:39adds to the charm.
25:40The song reached
25:41Number 15
25:42on the Billboard Hot 100
25:43and topped
25:44the U.S. Dance Club
25:45play chart.
25:46Two in a Room
25:46was unable to capture
25:47that same success again
25:49calling it quits
25:49in the mid-1990s.
25:56Number 20
25:57Womp There It Is
25:58Tag Team
25:59There are
26:01countless 90s hip-hop songs
26:03examining complex topics
26:04like socio-economic struggles
26:06and relationship difficulties.
26:08Then there's this song
26:09which is pretty much
26:10just about being
26:10the best
26:11at having a good time.
26:17Womp There It Is
26:18by Atlanta duo
26:19Tag Team
26:20is a classic
26:21of Miami bass
26:22but it's far more
26:23family-friendly
26:24than your average
26:25two live crew song.
26:26Even nearly
26:27thirty years later
26:28we cannot resist
26:29the thick rhythms
26:30of this song
26:30nor screaming
26:31the hook
26:32at the top
26:32of our lungs.
26:33There it is
26:34let me hear you say
26:35Womp There It Is
26:36Come on y'all
26:37Womp There It Is
26:38I'm gonna hotter
26:38Womp There It Is
26:40Womp There It Is
26:40Womp There It Is
26:41and we hope
26:42it never goes away.
26:44Number 19
26:45Mbop
26:46Hanson
26:47Okay so
26:48maybe it was
26:49kind of annoying
26:50when it was
26:50on the radio
26:51seemingly
26:51every hour
26:52of every day
26:53but many years
26:54later
26:55Mbop still holds
26:56up amazingly well.
26:58Band of Brothers
27:03Hanson's
27:04pop rock classic
27:05went number one
27:06in multiple countries
27:07no doubt
27:07helped by a chorus
27:09that's catchy
27:09no matter
27:10what language
27:10you speak.
27:15However
27:16despite the song's
27:17sunny demeanor
27:18the lyrics are
27:19actually pretty deep
27:20if you pay attention.
27:21Isaac, Taylor
27:22and Zach
27:22sing about
27:23how important
27:24it is
27:24to cherish
27:25our relationships.
27:30They might have
27:31been young
27:31but these brothers
27:32were definitely wise.
27:34Number 18
27:35Sex and Candy
27:36Marcy Playground
27:37Hanging around
27:39downtown
27:40by myself
27:42and I had
27:43so much time
27:44After the grunge
27:46explosion of the
27:47early 90s
27:48came the dawn
27:49of post-grunge
27:50bands that
27:51emulated Nirvana
27:52and Pearl Jam
27:52but who tended
27:53to lean in a more
27:54melodic direction.
27:56While Sex and Candy
27:57is no Smells Like
27:58Teen Spirit
27:59it still stands
28:00as a 90s
28:01alt-rock classic.
28:07Sure
28:07it might be hard
28:08to take a song
28:09called Sex and Candy
28:10seriously
28:11but Minneapolis's
28:12Marcy Playground
28:13keeps things chill.
28:19Lead singer
28:20John Wozniak
28:21sounds like
28:22Kurt Cobain
28:23without quite
28:24as much angst
28:25and every strum
28:26of the guitar
28:27and hit
28:27of the drums
28:28feels cleansing.
28:30This song
28:30it surely
28:31is a dream.
28:39Number 17
28:41Rico Suave
28:42Gerardo
28:43You can probably
28:44name a dozen
28:45rappers each
28:46from New York
28:47Los Angeles
28:48or Atlanta
28:49but how many
28:50do you know
28:50of that are
28:51from Ecuador?
28:58Gerardo
28:58helped bring
28:59Latin hip-hop
29:00to prominence
29:00with this jam
29:01about a man
29:02who's not shy
29:02about his success
29:03with the ladies.
29:04Although he might
29:05be bragging
29:06he's so charismatic
29:07about it
29:07we don't mind.
29:09Gerardo
29:09became so
29:10associated
29:11with this song
29:12we sometimes
29:13forget his stage name
29:14isn't actually
29:15Rico Suave.
29:16Latin rappers
29:22have done
29:23some amazing
29:24things over
29:24the decades
29:25and Gerardo
29:26deserves our
29:27respect for
29:27helping bring
29:28more diversity
29:29to the genre.
29:30Number 16
29:31Jump
29:32Crisscross
29:33There are
29:34two things
29:35we will forever
29:36remember Crisscross
29:37for.
29:38Their fondness
29:39for backwards
29:39clothes
29:40and their
29:40chart-topping
29:41hit Jump.
29:42Despite both
29:43being 13
29:44when the single
29:45dropped rappers
29:46Mack Daddy
29:46and Daddy
29:47Mack
29:47were not
29:48kidding around
29:48and neither
29:53was Jermaine
29:54Dupri
29:54who provided
29:55the song's
29:56hard-hitting
29:56but still
29:57danceable beat.
29:58Sampling
29:59classic artists
30:00like the Jackson
30:005 and James
30:01Brown
30:02Jump kept
30:02things fresh
30:03even by
30:04looking to
30:04the past
30:05and while
30:10it might
30:10be old
30:11school
30:11it's still
30:12as enjoyable
30:12now as
30:13it was
30:13then.
30:13If there's
30:14any song
30:15that demands
30:16you get
30:16moving
30:17it's Jump.
30:18Number 15
30:19One of Us
30:20Joan Osborne
30:21Usually songs
30:23about God
30:23are heard
30:24in church
30:24not on
30:25Top 40
30:26radio
30:26but American
30:27singer
30:28Joan Osborne
30:29brought the
30:29charts to
30:30the light
30:30with One
30:31of Us.
30:32In this
30:32top 5
30:33hit
30:33Osborne
30:33speculates
30:34about a
30:34world
30:35in which
30:35God
30:35was
30:36indistinguishable
30:37from
30:37any
30:37average
30:38mortal.
30:38Some might
30:48take offense
30:48to God
30:49being likened
30:49to a
30:49slob
30:50like
30:50One
30:50of Us
30:51and the
30:51message
30:52is
30:52completely
30:53unsubtle
30:53but this
30:54song still
30:55gave us
30:55something to
30:55think about
30:56which we
30:57can't say
30:57for all
30:58the songs
30:58on this
30:59list.
30:59Heaven help
31:09us
31:09we still
31:10love this
31:10song.
31:11Number 14
31:12Informer
31:13Snow
31:14We got
31:15Snow in
31:15August.
31:16That was
31:16the month
31:17Canadian
31:17reggae
31:18artist Snow
31:18dropped
31:19Informer
31:20a hit
31:20bigger than
31:21his glasses
31:22in the
31:22song's
31:23video.
31:23Mixing
31:24reggae
31:24and hip-hop
31:25Informer
31:25is a song
31:26decrying
31:27snitches.
31:29But we
31:33had to
31:33hear it
31:34a few
31:34dozen
31:34times
31:35before we
31:35could
31:35start
31:36to
31:36parse
31:36what
31:36Snow
31:36was
31:37saying.
31:37Despite
31:38the
31:38song's
31:38party-ready
31:39and fairly
31:40ridiculous
31:40sound,
31:41it actually
31:41has some
31:42pretty
31:42serious
31:43origins.
31:49Snow
31:49wrote the
31:49song while
31:50incarcerated
31:51before he
31:51had any
31:52kind of
31:52musical
31:53career.
31:54Who
31:54knew
31:54a
31:54looky
31:55boom
31:55boom
31:55down
31:55had
31:56such
31:56personal
31:57meaning.
31:59If you
32:06attended
32:06a dance
32:07party
32:07in the
32:0790s,
32:08the question
32:09wasn't if
32:09they would
32:10play
32:10Mr.
32:10Vane,
32:11but when.
32:17This hit
32:18from German
32:19group
32:19Culture
32:19Beat
32:19had
32:20everything
32:20for a
32:21house
32:21anthem.
32:22A
32:22steady
32:22kick
32:23drum
32:23pulse,
32:23an
32:23energetic
32:24synth
32:24melody,
32:25and
32:25gorgeous
32:26vocals,
32:26courtesy
32:27of
32:27vocalist
32:28Tanya
32:28Evans.
32:29And if
32:29things
32:30weren't
32:30already
32:30popping,
32:31member
32:31J Supreme
32:32comes
32:32through
32:32with a
32:33great
32:33rap
32:33verse.
32:39Mr.
32:39Vane
32:40has no
32:40time to
32:41slow
32:41down,
32:42throwing
32:42everything
32:43at you
32:43at once
32:44and then
32:44some.
32:45Even
32:45if we're
32:45not at
32:46the
32:46club,
32:46we feel
32:47obligated
32:48to
32:48dance
32:48whenever
32:49it's
32:49on.
32:50Number
32:5012.
32:51Steal
32:51My
32:51Sunshine
32:52Len.
32:53There
32:53are
32:54plenty
32:55of
32:55reasons
32:55to look
32:56forward
32:56to
32:56summer,
32:56including
32:57an
32:57excuse
32:57to
32:58listen
32:58to
32:58Steal
32:58My
32:59Sunshine.
33:04While
33:04this
33:04hit
33:05from
33:05Canadian
33:05band
33:06Len
33:06is
33:06great
33:07any
33:07time
33:07of
33:07year,
33:08it's
33:08perfect
33:09for
33:09a
33:09hot
33:09day.
33:10With
33:10its
33:10sunny
33:11lyrics
33:11and
33:11beat,
33:12it's
33:12as
33:12infectious
33:13as
33:13a
33:1390s
33:13song
33:14can
33:14get,
33:15especially
33:15with
33:16its
33:16sampling
33:16of
33:16Andrea
33:17True
33:17Connection's
33:17disco
33:18classic
33:18More
33:19More
33:19More.
33:20The
33:20vocal
33:20contrast
33:21between
33:21raspy
33:22Mark
33:22Costanzo
33:23and
33:23his
33:23sister
33:24Sharon's
33:24sweeter
33:24vocals
33:25is
33:25another
33:26highlight.
33:34We're
33:35gonna
33:35put
33:35this
33:35song
33:36on
33:36L-A-T-E-R
33:37this
33:37week,
33:38or
33:38just
33:38right
33:38now.
33:39Number
33:4011.
33:40Cotton
33:41Eye
33:41Joe
33:41Rednecks
33:42Need
33:43any
33:43further
33:43proof
33:44that
33:44the
33:4490s
33:44was
33:45one
33:45of
33:45the
33:45weirdest
33:45decades
33:46of
33:46all
33:46time?
33:47Rednecks,
33:48a
33:48Swedish
33:49dance
33:49group,
33:50released
33:50a
33:50techno
33:50version
33:51of
33:51a
33:51pre-Civil
33:52War
33:52American
33:53folk
33:53song
33:54and it
33:54became
33:54an
33:55international
33:55sensation.
34:00We wouldn't
34:01think to
34:01mix
34:01fiddles
34:02and
34:02banjos
34:02with
34:03pulsating
34:03club
34:03beats,
34:04but
34:04Redneck's
34:05approach
34:05somehow
34:05proved
34:06irresistible,
34:07even if
34:07we might
34:08be embarrassed
34:08to admit
34:09it now.
34:13Where
34:13did this
34:14song
34:14come
34:14from?
34:15Clearly
34:15some
34:16very
34:16creative
34:17minds.
34:18Where
34:18did
34:18it
34:18go?
34:19If
34:19we're
34:20being
34:20honest,
34:21it'll
34:21probably
34:21always
34:22be a
34:22part
34:22of
34:23us.
34:24Number
34:3110.
34:32We
34:32like
34:32to
34:32party.
34:33The
34:33Vengabus.
34:34Venga
34:34Boys.
34:35Another
34:36Euro
34:36dance
34:36group that
34:37took the
34:37world by
34:37storm,
34:38at least
34:38for a
34:39moment,
34:39was
34:39Venga
34:40Boys.
34:40The
34:41Dutch
34:41group had
34:41a few
34:42hits to
34:42their
34:42name,
34:43but
34:43none
34:43permeated
34:44our
34:44collective
34:45consciousness
34:45quite like
34:46we like
34:47to
34:47party.
34:54It's
34:55pro
34:55celebration
34:56message
34:56is
34:56timeless,
34:58but
34:58the
34:58most
34:58enduring
34:59aspect
34:59of
34:59this
34:59song
35:00is
35:00its
35:00over
35:00the
35:00top
35:01synth
35:01melody.
35:02You
35:02know the
35:02one.
35:03Trying to
35:03get this
35:03song out of
35:04your head
35:04is like
35:05trying to
35:05get sand
35:06out of
35:06your shoes
35:06after a
35:07day at
35:07the beach.
35:08The Venga
35:15bus was
35:16coming,
35:17and we
35:17just had
35:18to get
35:18on.
35:19Number
35:199.
35:20Blue
35:20Dabba Dee
35:21Eiffel
35:2165
35:22Yo,
35:23listen
35:24up,
35:24here's
35:25the
35:25story
35:25about
35:26an
35:26Italian
35:27dance
35:27song
35:27that
35:28was
35:28everywhere
35:29in the
35:29late
35:2990s.
35:30Blue
35:30is about
35:31a guy
35:31in a
35:31world
35:31where
35:32everything
35:32is
35:32blue,
35:33including
35:33himself.
35:38That's
35:42not exactly
35:42what you
35:43would expect
35:43to be the
35:44subject of
35:44a club
35:44banger,
35:45but
35:45Eiffel
35:4565's
35:46knack for
35:47catchy hooks
35:47and melodies
35:48made us
35:49all think
35:49blue,
35:50in a
35:50good way.
35:54The chorus
35:54might have
35:55been mostly
35:55nonsensical,
35:57but who
35:57says things
35:58need to
35:58make sense
35:58to be
35:59good?
35:59We do
36:00have to
36:00say that
36:01the music
36:01video still
36:02creeps us
36:03out a
36:03little,
36:04though.
36:08There are
36:14some
36:14questions
36:14that will
36:15likely
36:15never be
36:16answered,
36:17including
36:17the one
36:18at the
36:18center
36:18of this
36:19dance
36:19hit
36:19by
36:20Hathaway.
36:28It's
36:28not clear
36:29if
36:29Hathaway
36:29is actually
36:30asking
36:31what
36:31love
36:31is,
36:32or
36:32if
36:32he's
36:33just
36:33speaking
36:33rhetorically.
36:34But
36:35what
36:35is
36:35clear
36:36is
36:36how
36:36this
36:36song
36:37became
36:37such
36:38a
36:38big
36:38hit,
36:39with
36:39its
36:39thick
36:39grooves,
36:40classic
36:41hook,
36:41and
36:41backing
36:44vocals.
36:45Its
36:45music
36:46video
36:46featuring
36:47Hathaway
36:47being
36:47pursued
36:48by a
36:48trio
36:48of
36:49women,
36:49including
36:50a
36:50vampire,
36:50is
36:51also
36:51classic.
36:52We
36:52don't
36:52know
36:53what
36:53love
36:53is,
36:54but
36:54we
36:54know
36:55we
36:55love
36:55this
36:55song.
37:03Number
37:037.
37:04Tub
37:04Thumping
37:04Chumbawamba
37:05While
37:06English
37:06band
37:07Chumbawamba
37:08started out
37:08as a
37:08politically
37:09minded
37:09punk
37:10band,
37:10their
37:10biggest
37:11hit
37:11was
37:11more
37:12suited
37:12for
37:12dancing
37:13than
37:13moshing.
37:13In
37:14its
37:14own
37:14more
37:15accessible
37:15way,
37:16tub
37:16thumping
37:16can be
37:17seen
37:17as a
37:18political
37:18song.
37:22The
37:23lyrics
37:24are about
37:24standing up
37:25in the face
37:25of adversity
37:26after all,
37:27and
37:27we are
37:27always in
37:28the mood
37:28to sing
37:29along
37:29to the
37:29chorus,
37:30especially
37:30if we've
37:31had a
37:31bad
37:31day.
37:38Chumbawamba's
37:38message
37:39resonated
37:39with many
37:40as
37:40tub
37:41thumping
37:41topped
37:42the charts
37:42in
37:42multiple
37:43countries.
37:44This
37:44is a
37:44song
37:45that
37:45reminds
37:45us
37:45of
37:45both
37:46the
37:46good
37:46times
37:46and
37:47the
37:47better
37:47times.
37:57Number
37:576.
37:58Barbie
37:58girl
37:59Aqua.
38:05Many
38:05sweet
38:06childhood
38:06memories
38:06involve
38:07Barbie
38:07dolls,
38:08but
38:08this
38:08song
38:08from
38:09Danish
38:09pop
38:09group
38:10Aqua
38:10isn't
38:11quite
38:11so
38:11innocent.
38:12In
38:12Barbie
38:13Girl,
38:13member
38:13Lene
38:14Nyström
38:14likens
38:15herself
38:15to
38:15the
38:15famous
38:15doll,
38:16with
38:16fellow
38:17member
38:17Renée
38:17Ziff
38:17as
38:18her
38:18kin.
38:26And
38:26what
38:26they
38:26talk
38:27about
38:27isn't
38:27exactly
38:28G-rated.
38:29Mattel
38:30sued
38:30label
38:31MCA
38:31Records
38:32for
38:32trademark
38:32violation
38:33and
38:33alleged
38:34negative
38:35effects
38:35on
38:35Barbie's
38:36image.
38:40This
38:40case
38:40was
38:41thrown
38:41out
38:41and
38:42Mattel
38:42later
38:42ended
38:43up
38:43making
38:43a
38:43music
38:43video
38:44with
38:44a
38:44new
38:44version
38:45of
38:45the
38:45song.
38:46Of
38:46course
38:46certain
38:47lines
38:47like
38:48the
38:48one
38:48about
38:48Hanky
38:49Panky
38:49were
38:50taken
38:50out.
38:58Number
38:585
38:59Mambo
39:00Number
39:00Five
39:00A Little
39:01Bit
39:01Of
39:02Lou
39:02Bega
39:02If
39:03your name
39:03is
39:04Monica
39:04Erica
39:05or
39:05any
39:05of
39:06the
39:06other
39:06names
39:06mentioned
39:07in
39:07Mambo
39:07Number
39:07Five
39:08we
39:08understand
39:09you
39:09might
39:09have
39:09mixed
39:10feelings
39:10about
39:10this
39:10song.
39:11One
39:11two
39:12three
39:12four
39:13five
39:13everybody
39:14in
39:14the
39:14car
39:15so
39:15come
39:15on
39:15let's
39:16ride
39:16But
39:16in
39:17terms
39:17of
39:17delightful
39:1890s
39:18cheese
39:19Mambo
39:20Number
39:20Five
39:20is
39:21a
39:2110
39:22Building
39:22off
39:22an
39:23instrumental
39:23from
39:23Cuban
39:24artist
39:24Damaso
39:25Perez
39:25Prado
39:25first
39:26released
39:26in
39:261950
39:27Mambo
39:28Number
39:28Five
39:29is
39:29shamelessly
39:30corny
39:30and
39:31endlessly
39:31fun
39:32A
39:32little
39:32bit
39:32of
39:32Monica
39:33in
39:33my
39:34life
39:34A
39:35little
39:35bit
39:35of
39:35Erica
39:36by
39:36my
39:36side
39:37Bega
39:37sounds
39:38like
39:38he's
39:38having
39:38the time
39:39of
39:39his
39:39life
39:39even
39:40breaking
39:40out
39:40into
39:41laughter
39:41We
39:42don't
39:42need
39:42to
39:42listen
39:42to
39:43this
39:43song
39:43often
39:43but
39:44a
39:44little
39:44bit
39:44always
39:45does
39:45the
39:46trick
39:46Number
39:52Four
39:52Baby
39:53Got
39:53Back
39:53Sir
39:54Mix-a-Lot
39:55There
39:55have
39:55been
39:56plenty
39:56of
39:57popular
39:57songs
39:57about
39:58butts
39:58over
39:58the
39:58years
39:58but
39:59none
39:59have
39:59proved
40:00quite
40:00as
40:00enduring
40:01as
40:01this
40:01classic
40:02from
40:02Sir
40:02Mix-a-Lot
40:03Pretty
40:08much
40:08every
40:08part
40:08of
40:08this
40:09song
40:09is
40:09legendary
40:09by
40:10now
40:10from
40:10its
40:10opening
40:11dialogue
40:11between
40:12two
40:12valley
40:12girls
40:13to
40:13the
40:13bass
40:14boosted
40:14beat
40:14to
40:15the
40:15song's
40:15iconic
40:16opening
40:16lines
40:17as
40:17well
40:17as
40:18other
40:18lyrics
40:19And
40:26even
40:26though
40:26it's
40:27fairly
40:27raunchy
40:28how
40:28can
40:28you
40:28not
40:29love
40:29a
40:29song
40:29that
40:29promotes
40:30body
40:30positivity
40:30the
40:31way
40:31this
40:31one
40:31does
40:32Baby
40:32Got
40:33Back
40:33is
40:33still
40:33a
40:34classic
40:34and
40:35there's
40:35no
40:35ifs
40:36ands
40:36or
40:36buts
40:36about
40:37it
40:38number
40:42three
40:42Ice
40:43Ice
40:43Baby
40:44Vanilla
40:44Ice
40:45as
40:46embarrassing
40:46as it
40:47might be
40:47to admit
40:48now
40:48Ice
40:49Ice
40:49Baby
40:49was
40:50how
40:50many
40:50of
40:51us
40:51were
40:51first
40:51introduced
40:52to
40:52hip-hop
40:53but
40:58as
40:58cheesy
40:58as
40:58this
40:59song
40:59is
40:59it's
41:00also
41:00part
41:00of
41:01history
41:01as
41:01it
41:01was
41:02the
41:02first
41:02hip-hop
41:03song
41:03to
41:03hit
41:03number
41:04one
41:04in
41:04the
41:04US
41:05the
41:05under
41:06pressure
41:06sampling
41:07beat
41:07is
41:07obviously
41:08iconic
41:09but
41:16credit
41:17must
41:17also
41:18be
41:18given
41:18to
41:18Mr.
41:19Ice
41:19himself
41:19who's
41:20so
41:20confident
41:21in
41:21his
41:21delivery
41:22we
41:22can't
41:23help
41:23but
41:23like
41:23him
41:23he
41:24might
41:24not
41:24have
41:25the
41:25cred
41:25of
41:25Tupac
41:26or
41:26Eminem
41:27but
41:27for
41:27a
41:28minute
41:28this
41:28self-described
41:29lyrical
41:30poet
41:30was
41:30our
41:31favorite
41:31rapper
41:32at first
41:41I'm
41:41too
41:42sexy
41:42seems
41:42rather
41:43arrogant
41:43after
41:44all
41:45isn't
41:45it
41:45a
41:45song
41:46about
41:46a
41:46guy
41:46bragging
41:47about
41:47how
41:47physically
41:48attractive
41:48he
41:48is
41:49while
41:56technically
41:57that
41:57is
41:57true
41:58the
41:58song
41:58is
41:59more
41:59about
41:59mocking
42:00vanity
42:00especially
42:01in
42:01the
42:01fashion
42:02industry
42:02it's
42:03also
42:03an
42:03absurdly
42:04fun
42:05song
42:05with
42:05its
42:05groovy
42:06beat
42:06and
42:06deep
42:07vocals
42:07which
42:07one
42:08reviewer
42:08likened
42:09to
42:09Elmer
42:09Fudd
42:10on
42:10steroids
42:11I'm
42:12Too
42:12Sexy
42:12topped
42:13the charts
42:13in
42:13various
42:14countries
42:14and
42:21its
42:21influence
42:22continues
42:22to
42:23this
42:23day
42:23in
42:242021
42:25Drake
42:26scored
42:26another
42:27number
42:27one
42:27with
42:27the
42:27right
42:28said
42:28Fred
42:28sampling
42:29way
42:29too
42:29sexy
42:29the
42:3690s
42:37will
42:37always
42:38be
42:38with
42:38us
42:39before
42:39we
42:40continue
42:40be
42:40sure
42:41to
42:41subscribe
42:41to
42:41our
42:41channel
42:42and
42:42ring
42:42the
42:42bell
42:43to
42:43get
42:43notified
42:43about
42:44our
42:44latest
42:44videos
42:45you
42:45have
42:45the
42:45option
42:46to
42:46be
42:46notified
42:46for
42:47occasional
42:47videos
42:48or
42:48all
42:48of
42:48them
42:48if
42:49you're
42:49on
42:49your
42:49phone
42:50make
42:50sure
42:50you
42:50go
42:50into
42:51your
42:51settings
42:51and
42:51switch
42:52on
42:52notifications
42:53number
42:55one
42:56Macarena
42:56Bayside
42:57Boys
42:57Mix
42:58Los
42:58Del
42:59Rio
42:59if
43:04you
43:04were
43:05around
43:05in
43:05the
43:0590s
43:06it
43:06might
43:06have
43:06seemed
43:07like
43:07Macarena
43:07and
43:07its
43:08accompanying
43:08dance
43:09came
43:09out
43:09of
43:09nowhere
43:09but
43:10it
43:10actually
43:10took
43:11a
43:11few
43:11years
43:11for
43:11it
43:11to
43:11become
43:12a
43:12sensation
43:12Latin
43:13Latin
43:13pop
43:13duo
43:14Los
43:14Del
43:14Rio
43:14first
43:15released
43:15the
43:15song
43:16in
43:161993
43:16then
43:22in
43:221995
43:23the
43:23Bayside
43:24Boys
43:24remixed
43:25the
43:25song
43:25making
43:26it
43:26both
43:26more
43:27danceable
43:27and
43:27bilingual
43:28with
43:28the
43:28addition
43:29of
43:29English
43:30lyrics
43:30a
43:31year
43:31later
43:31it
43:32became
43:32the
43:32hit
43:32we
43:33all
43:33know
43:34and
43:34yes
43:35love
43:35topping
43:42the
43:42US
43:43charts
43:43for
43:4314
43:44consecutive
43:45weeks
43:45Macarena
43:46was a
43:46song
43:46you
43:46couldn't
43:47avoid
43:47unless
43:48you
43:48lived
43:48in
43:48a
43:48cave
43:49in
43:49Antarctica
43:49and
43:50even
43:50then
43:51it
43:51wasn't
43:51guaranteed
43:51but
43:52we
43:52love
43:53it
43:53and
43:53the
43:53dance
43:54all
43:54the
43:54same
43:55hooray
43:55Macarena
44:05what
44:05do
44:06you
44:06love
44:06most
44:06about
44:07unapologetic
44:07pop
44:08let
44:08us
44:08know
44:08in
44:08the
44:08comments
Recommended
12:15
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