An unwitting example of how quickly things change, the cod-country yokelry of “Diane” would have blended perfectly into 1962’s list of No.1s, but now seems quaint and entirely out of place. Innocuous enough, though, even charming if[…]

That slight increase in tempo on “she will see just how to say please – and get down on her knees” – the sudden enthusiasm in “hurtin’ her! hurtin’ her!” – in this song there’s a hint of whi[…]

London answers back. A quick search for info on the Five draws out this gem – “Contemporaries criticised them for lacking finesse” – well, who’d have thought it? Frenetic, lairy, noisy – there’s hardly anythi[…]

What would you have given the No.1 hits of 1963? Tick all those you’d have handed a mark of 6 or more to (on whatever criteria you fancy!)

Which of the Number 1 Hits Of 1963 Would You Have Given 6 Or More To?
Cliff Richard – “T[…]

One reason I’m happy I started Popular is the entry it’s given me into enjoying the early Beatles. I can’t ever remember Beatles records playing in the house but I can’t ever remember not knowing these songs, either – ce[…]

Of course, “You’ll Never Walk Alone” has a life well beyond its recorded history – it was odd for me to come to it as a record at all, more so when I realised that its history as a kind of secular hymn dates from this single: […]

“Do you love me – now that I can dance?” The way the band ask the question, you feel the answer had better be yes.
Two-and-a-half sore throat minutes of hollering, pounding and screaming, this is unadulterated club music. A desultor[…]

Not that the Beatles’ lyrics are always irrelevant. The first piece of ‘rock criticism’ I can remember being really impressed by was in a Beatles book I’d taken out of the library. I didn’t like the band much back then, […]

When pop critics go to the amusement park we tend not to wander further than the rollercoasters. “Rollercoaster ride” became a cliche because it’s such a good way of summing up the rattling three-minute thrill of a great single. But[…]

There’s a weird discrepancy in this song between the verses, which Tony Jackson sings as if he’s keen to get them over with, and the chorus, which the group attack with a lot more enthusiasm. I suppose the band knew a hook when they heard[…]