One-Hit-Wonder

One-Hit -Wonder ( German literally "one- hit wonder " ) is a native of the Anglo-Saxon music industry term for performers who were able to place only a musical work in the hit parade. The German -language term " ephemera " has a broader meaning beyond the realm of music also, especially in the media coverage, and is therefore only partially synonymous with the English term.

General

In the early days of rock ' n ' roll from 1955, the American record industry tried to duplicate the success of Elvis Presley with other artists. It was right when spontaneous ideas brought forth a single hit, but failed to a sequel to the same artist. The concept of one- hit wonders arose in those days and performers should identify those who could show a big hit and have either not published any other song more or more music did not achieve hit status. The question arises, what distinguishes a hit. Hit is a song that has reached one of the top rankings of a hit parade. According to the extent of placement success is colloquially then also speak of a " number -one hit ", " top hit " or " super hit ".

Demarcation

In the strict definition a performer or group has only produced one hit and nachgeschoben neither a successor nor a single LP. All definitions have in common that a high ranking in a national hit parade is achieved, but this success can not thereafter be repeated. Then the number of one- hit wonders is manageable. Ideally, the one- hit wonder is a number -one hit, which followeth not another single of the same artist more. The usual definition goes but from artists who have achieved only with a music track the top 40 of the national charts. Wayne Jancik limits its one- hit wonders in the United States on the Billboard Top 40 pop charts with a " rest period" of five years within which no other hit the same artist can get into the top 40. In addition, it does not consider those artists who carried out a name change and had another hit with a new name. Moreover, his analysis starts from 1955 and ends in 1992. Strictly speaking singles may only be included in the evaluation, so that LPs can not be considered. If you want to include this, the placement would be here in the Top 40 on the LP charts a requirement. From this material and temporal demarcation problem can be seen that statistical difficulties can not be excluded when measuring a one-hit Wonders. Accordingly, careful evaluations or assessments with one- hit wonders are to be assessed. Even more difficult is the classification when it comes to an international comparison of performers. So Petite fleur by Chris Barber's Jazz Band (1959 ) in the United States a one- hit wonder, but not from a British perspective; for in his home country Barber had another Top 40 hit and three LPs in the LP charts. Hank Locklin in turn was a one- hit wonder only from the perspective of the U.S. pop charts with Please Help Me I'm Falling (1960 ); for the country charts this is not true with 13 Top 40 hits successor.

First one- hit wonder after Jancik evaluation was Joan Weber Let Me Go Lover, which was in January 1955 for four weeks rank one and 500,000 copies were sold. Weber still had released more singles, but none of them could reach the charts. First real one- hit wonder of rock ' n ' roll is thus Blue Suede Shoes by Carl Perkins, who was able to advance hereby in May 1956 the first rank in both the pop, rhythm & blues and the country hit parade.

Sampler

The evaluation of one- hit wonders is the subject of numerous CD sampler in the context of secondary use. " A hit - and back away from the window ," defined loosely Ulli Wenger musical ephemera which stood in the limelight once. The songs presented in the broadcast of radio DJ are published on several compilation CDs. Also a number of other CD sampler are published on the topic.

Examples

San Francisco (Be Sure to Wear Flowers in Your Hair) OMC (Band)
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