The 1979 radio airwaves were crowded. Arena-rock ruled the charts, punk had already done its damage, new wave was moving in and power pop was quietly turning out some of the decade’s best hooks. With that much going on, plenty of strong songs got buried.

Some got lost behind bigger hits from the same artists. Others built loyal followings but never crossed over. Others have simply been forgotten. Here are 12 tracks from 1979 worth another listen.

Herb Alpert—“Rise” (Rise)

This sleek instrumental groove proved completely irresistible, defying the era’s pop trends to climb to #1 on the Hot 100. It secured a Grammy for Best Pop Instrumental Performance and later gained a second life as the iconic, foundational sample for a legendary 1990s hip-hop anthem from the Notorious B.I.G. Yet, despite its significant bona fides, it’s long been overshadowed by the star’s early output.

Bee Gees—“Tragedy” (Spirits Having Flown)

Though it topped the Billboard Hot 100 in March 1979, this explosive anthem is frequently overshadowed today by the trio’s staggering film soundtrack juggernauts from the late ’70s. Packed with soaring vocal harmonies and a dramatic production style, it stands as a masterclass in late-70s pop-rock architecture.

The Clash—“Death or Glory” (London Calling)

Anchored by an unforgettable melodic hook, this standout track features a biting vocal performance that aims at aging rebels who sold out their original ideals. Nearly half a century later, its raw, cynical lyrical message still lands with immense rock and roll force.

Graham Parker—“Discovering Japan” (Squeezing Out Sparks)

Driven by a fiercely tight backing band, this urgent album opener brilliantly fuses highly literate songwriting with a surge of aggressive pub-rock energy. It quickly established itself as a definitive favorite among critics, even while mainstream American pop success eluded it.

Related: What were the chart-topping albums of 1979?

Steve Forbert—“Romeo’s Tune” (Jackrabbit Slim)

This track introduced the Mississippi singer-songwriter to a national audience, riding a wave of warm acoustic guitars and bright piano work to peak at #11 on the Billboard Hot 100. Despite its conversational charm making it a signature hit, it rarely receives the same historical radio rotation as its contemporary classic-rock peers.

McGuinn, Clark & Hillman—“Don’t You Write Her Off” (McGuinn, Clark & Hillman)

Three former core members of the Byrds reunited to deliver a polished, sun-drenched country-rock gem that successfully climbed to #33 on the Hot 100. The track proved that the unmistakable vocal chemistry and chiming guitar interplay pioneered in the 1960s remained completely intact a decade later.

Bram Tchaikovsky—“Girl of My Dreams” (Strange Man, Changed Man)

This power-pop masterpiece pairs giant, multi-tracked guitar riffs with a relentless melodic hook that refuses to leave your head. The solo venture reached #37 on the Hot 100, yet it remains one of the era’s most under-appreciated, radio-ready rock anthems.

Rickie Lee Jones—“Danny’s All-Star Joint” (Rickie Lee Jones)

Tucked onto the second side of an acclaimed debut album, this finger-snapping piece of street poetry firmly established a completely singular musical storyteller. Fueled by a smoky jazz-rock groove and bohemian character sketches, it stands as one of the most vibrant album cuts of the year, though overshadowed by the hit single, “Chuck E.’s in Love.”

Moon Martin—“Rolene” (Escape from Domination)

A remarkable gift for crafting lean, stripped-down rock songs is on full display from the very opening chords of this driving track. While the single eventually reached #30 to become his most popular recording, he achieved greater acclaim for penning “Bad Case of Loving You (Doctor, Doctor),” a hit Robert Palmer this same year.

The Records—“Starry Eyes” (Shades in Bed/The Records)

Widely celebrated by power-pop purists, this track defines the genre with its shimmering 12-string guitars and a flawless, hook-filled chorus. The British band managed to scrape onto the U.S. chart at #56, leaving fans to wonder how such an effortless pop-rock single missed becoming a massive mainstream smash.

Nick Lowe—“Switchboard Susan” (Labour of Lust)

This joyous, tongue-in-cheek blast of pub-rock and clever pop craftsmanship breathes vibrant energy into another songwriter’s composition. Backed by a driving rhythm, its minor “run” to #107 on the Bubbling Under chart cemented its status as a hidden pleasure in a smart catalog.

The Knack—“Good Girls Don’t” (Get the Knack)

Tasked with following up a massive, era-defining cultural phenomenon, this energetic single proved the Los Angeles band was far more than a one-hit wonder. It became a #1 smash in Canada and hit #11 on the U.S. Hot 100, easily earning its place out of its predecessor’s historic shadow.