This song sounds exactly like you'd imagine it would sound. Smooth as a kitten's eyelash and full of emotion, you can either let this play softly in the background or you can pay attention to what Ray is singing and it becomes a totally different experience.

This was the second of three hits this year, following up a number 1 in June (see below) with a number 9 in September.

Immediate Buddy Holly vibes with this one so I was surprised to read that it wasn't written by Buddy or his Crickets... Tommy came up with this all on his own with a significant amount of inspiration taken from Buddy's back catalogue, imitating the 'Lubbock Sound'. The strumming pattern, tempo, drumming, and chords are viciously similar to that of 'Peggy Sue'. Both songs are also in A Major.

As imitations go though, this is quite enjoyable and a genuinely good single.

One thing that makes it difficult to be objective about the 1962 chart is that no less than twelve hits this year were covered by other artists in the 80s and became hits all over again. Which means, my first encounter with them was an entirely different experience than those who lived through the 60s.

'Love Letters' was a hit for Alison Moyet, who had a voice that was well capable of giving a song like this the gravitas it demanded but I always thought she should have stuck to the pop music she did best. Hearing Ketty Lester belt this out is quite the privelege however. It's a voice that could sing an IKEA instruction manual and you'd be engaged right through to the bit with the missing screws.

This was Ketty's one and only hit, reaching number 4 in April.

Surely if you were going to write a song about your favourite drink, it would be Tizer or Drambuie? There have been many successful falsetto artists over the years (Bee Gees, The Stylistics, Jimmy Sommerville) but Frankie Valli seems to be the first to use it 'aggressively' in the charts. The Tokens had used it in 'The Lion Sleeps Tonight' but its unlikely they influenced The Four Seasons to any degree.

This is one of those songs that lives on through the ages. It just has that something that makes it so unique and memorable.This was the group's first hit, reaching number 8 in late '62.

Probably better known for 'Da Doo Ron Ron' and 'Then he Kissed me', this has more energy and pop power than either of those. It didn't do as well however being their first hit, reaching number 19.

The Crystals were one of the first acts signed to Phil Spector's newly formed Philles Records and his first act was to remove La La Brooks from lead singing duties (the group had hired her as a lead singer after losing founding member Myrna Gerrard) and hand them to Barbara Alston. This didn't go down well with the group and after a brief disagreement, Spector decided to release 'He's a Rebel' under the Crystal's name but without using any of the actual Crystals on the record (using Darlene Love instead). It wasn't until 1963 that Spector gave in, handed the lead vocals back to La La Brooks and allowed them to perform on 'Da Doo Ron Ron'.

This comes around every year and is always welcome. Chirpy and bouncy, it endures as much as any other Christmas classic and even got an update by Mel and Kim (Smith and Wilde, not Appleby).

It was originally recorded in 1958 when Brenda was 13, and became a hit in America but it didn't find its way to the UK shores until '62. It's probable that its popularity rose again in the early 90s when it was used in the movie 'Home Alone' and has floated around every year since downloads were counted towards chart positions - but don't get me started on that topic...

Instrumentals were ten a penny in the early 60s what with Duane Eddy, Russ Conway and the Shadows littering the chart. Theme tunes from films and TV were also popular, the Theme from 'The Magnificent 7', 'Z-Cars', 'Mission Impossible', 'Bonanza' and 'Hawaii Five-O' were all chart hits.

The first James Bond movie 'Dr. No' was released in 1962 and with it, one of the absolutely most famous theme tunes of all time. As a piece of music, it's intriguing, full of well thought out rhythms (oddly, it's based on a swing beat), instrumentation, chord structures and the right amount of tension. It's still a work of genius today - orchestral pieces never age I suppose. It reached number 13.

This was a tune you'd expect to feature in one of those early 80s lunch time Children's TV shows like Rainbow or Chucklevision. Bernard was of course one of the most likeable personalities of his time. This song actually puts me in mind of Paul McCartney's part in the song 'A Day in the Life'. It was probably an influence on him at least.

The song is about three removal men trying to move a large piece of furniture, giving up after dismantling it, wrecking part of the building and having several tea breaks. It doesn't sound like much but it's a lot of fun. So much so, the 90s group 'Right Said Fred' immortalised the song in their name. I don't get the connection myself.

Bernard followed up another fun ditty 'Hole in the Ground' (which reached number 9) with this number 10 which was recorded at Abbey Road Studios with George Martin on sliders.

1962 was the Everly Brothers' last golden year, as far as the UK singles chart is concerned. They only cracked the top 20 twice in subsquent years, 'The Price of Love' reaching number 2 and 'Love is Strange' hitting number 11, both in 1965.

This has shades of 'Wake up Little Susie' but it's wonderfully bluesy with it's snappy rhythms and soulful harmonica, a lovely glossy pop record. It was the second of three hits that year, reaching number 12 in May.

Elvis waltzes into the list here (literally, the song is in 3/4) with this, one of the most famous standards of them all. Controversially, I don't think Elvis does the song any favours. It's better than his delivery I think - better are the versions by Doris Day and Engelbert Humperdinck (even with the up-tempo Disco segment).

Based on the French tune 'Plaisir D'amour' and used to close out most of Elvis' shows in the 60s and 70s, this was his sixth number 1 single from his last seven releases.

Jaunty as they come this. It's got a similar vibe to 'Right Said Fred' or even 'My Old Man's a Dustman' but becomes its own thing because of Joe's perfect delivery. There's lots of family shenanigans, focussing on the generation gap and setting up future pop hits such as Madness' 'Our House' et al.

His previous hit 'Shine', which is great by the way, only got to 33 and this only reached 37 before falling out of the chart. His next record was a corker however, and the single buying public agreed (see below).

To back up a previous point, hearing the original song after your first experience with it was hearing it butchered by some idiot in a glittery suit and massive glasses is difficult. I had this experience with 'Puppy Love' - the 1960 version happily erasing all of my memories of the awful 1972 version. And so it is with Bruce Channel (who I had previously never heard of and thought was the sister station to Challenge TV that just showed 'Play Your Cards Right' all day). Thankfully, when he sings 'Hey Baby', I don't want to do the awful 'Ooh! Aah!' that DJ Otzi encouraged droves of drunk football fans to do in 2002.Even worse, (and there are several different examples of this) is when football fans sing something like 'Hey Shearer (Ooh! Ahh!) I wanna know, when you'll score a goal'. Moronic in the extreme.

The best bit of the original is probably Delbert McClinton's Harmonica riff. It's rumoured that Delbert met John Lennon on tour and gave him some mouth organ tips which he put into practice immediately on their hits 'Love Me Do' and 'Please Please Me'. Whilst I'm on the subject, The Beatles had their first hit in 1962 but don't feature in my run down. 'Love Me Do' only reached number 17 and wasn't 'all that' if I'm honest. I couldn't really say what I would have thought of their debut hit at the time, not knowing who they were (imagine a time when nobody knew who the Beatles were??) or what they would go on to do. 'Love me do' is a very table-chair kind of pop song and there's literally no hint of what they were going to be capable of come 1963.

Hey! Baby got to number 2 behind The Shadows' 'Wonderful Land'.

I like this because it reminds me of those hippy songs in the seventies by Steeleye Span, Renaissance and Jethro Tull. Once you've heard this, you'll not be surprised to learn it was covered by The Seekers and Mary Hopkin.

It was the chart's first glimpse of Dusty Springfield and her distinctive vocal carries the entire thing. The song was written by Dusty's brother Tom (who was also a Springfield despite the family name being O'Brien and his real name being Dion and her real name being Mary).

A smooth and slightly uneventful song, given the nature of the Brother's previous energetic efforts. Co-written by Gerry Goffin who was responsible for 'Take Good Care of My Baby', 'The Loco-Motion' and 'Will You Love Me Tomorrow', 'Sunshine Smile' is about a woman who hasn't been able to find the same happiness with someone else since leaving the narrator. What is now known as being hoisted upon one's own petard.

This reached number 11 and was the Everly's last top 20 hit for three years.

Whoever gave Jason Donovan a microphone should really still be doing community service. It was probably those pesky Stock, Aitken and Waterman fellas. The memory of his auto-tuned attempt at trying to inject the required level of emotion into this melancholy tune is the same as that feeling you get sitting in the dentists waiting room and you hear the drill going upstairs.

The bloke who sang 'Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini' (which also mysteriously found its way into the chart in the late 80s being sung by someone equally as irritating as Mr Donovan) managed to switch from bubblegum pop to something with this much emotional weight. It's one of those songs that carries more weight for those who have lived the lyrics - being separated from one they love for a period of time. The twinkles, harmonica and haunting piano set the mood perfectly.

This was Brian Hyland's biggest hit, reaching number 3 in August. It was re-released in 1975 and cracked the top ten once more, this time reaching number 7.

This might be more than a little controversial but I didn't opt to pop Mr. Acker Bilk's 'Stranger on the Shore' in my top 40 of 1961. It was the UKs biggest selling single of that year but I just didn't see the fuss personally. Yet, add Robert Mellin's lyrics and Andy Williams' voice and it's turned into something quite extraordinary.

I imagine there are less than 1% of those reading this that agree with me but I urge you to give this a listen without prejudice whilst simultaneously pretending this is the only version that exists. It's still got an Oboe in it, sort of.

After hitting number 1 with his first release in 1957 ('Butterfly'), Andy didn't reach the top 10 again until 1963's 'Can't Get Used To Losing You'. 'Stranger on the Shore' only made it to number 30. Pah!

Those who only know Ken as the clown who waved feather dusters in the air and did three hour encores would be in denial about the possibility of him having a million selling number 1 single in 1965. 'Tears' did just that because Ken had quite the voice when it came to gentle crooning.

'Pianissimo' only reached number 21 but its gentle relaxing vibes are just lovely. You wouldn't have a clue it was the bloke from Knotty Ash.

This has similar vibes to The Backstreet Boys' 'Quit Playin' Games With my Heart'. Not in construction you understand, but the sentiment endures throughout the years, crossing eras and genres. If only tomorrow could be like today. We've all felt it and Ronnie felt it so strongly, he sang about it in a manner which pulls your heartstrings clean out.

Debuting in the 50s with 'Walk Hand in Hand' and 'The Wisdom of a Fool', 'If Only Tomorrow' was the disappointing (commercially) follow up to the number 3 smash hit 'Roses are Red', only reaching number 33.

Written by the Sad Poet, Don Gibson, 'I Can't Stop Loving You' has been covered by over 700 artists since 1958, most notable of which, Ray Charles. It deservedly scored him his only number 1 hit.

Other artists who had a crack are Roy Orbison, Jim Reeves, Ike & Tina Turner, Elvis, Dolly Parton and Bryan Adams. None so wonderfully as Ray however.

Burl Ives looked like a Children's TV presenter - he wasn't though.. He started his career with his own radio show, The Wayfaring Stranger, on which he sang traditional folk songs. I'm fairly sure he's the first person I heard singing 'I Know an Old Woman who Swallowed a Fly'.

He crossed over to Country in the 1960s after having had a successful film career in the 40s and 50s (Cat on a Hot Tin Roof being one of his most famous movies).

His songs were a lot of fun and this one made it to number 3 in the US adult contemporary chart, number 9 in the country chart, number 10 in the normal US chart and 29 in the UK. It reminds me, in a way, of The Corrs' song 'I Never Loved You Anyway', Burl saying he's actually 'laughing' when he sees his ex, not crying hysterically. Definitely not crying hysterically.

This was the prequel to 'Sealed With a Kiss' - not thematically you understand, just chronologically. It scored him a number 5 hit in May. It's quite a gentle inoffensive sort of song but it no doubt appealed to both the teenage record buyers and those more used to buying the Johnnie Ray singles of the 50s.

'Ginny' was covered by Adam Faith in 1963, The Tremeloes, also in 1963 and Freddie Starr in 1974 before his penchant for rodents emerged.

One of Roy's most recognisable songs, which should really have been called 'Sweet Dream Baby', hovered around the top end of the chart for ages without actually getting to number 1. It climbed to number 9 in its third week of release then went... 4 - 3 - 2 - 2 - 3 - 5 - 7 - 15. It was the second song with the word 'Baby' in the title that was kept off the top spot by The Shadows' 'Wonderful Land' (the first being the aforementioned 'Hey! Baby!'.) There's a moment right at the end where Roy tries to improvise and sings entirely the wrong note and tries to correct it before it fades out but doesn't quite manage it.

'Dream Baby' was written by Cindy Walker who also wrote 'You Don't Know Me' (recorded by luminaries such as Elvis and Ray Charles), and Jim Reeves' 'Distant Drums'.

I first heard this when I was probably four or five years old. I'd never heard the phrase 'Return to Sender' before but, because we had a coal fire in our flat, I had heard the word 'cinder'. Therefore, my first misheard lyric was 'Return to Cinder' - I assumed whoever Elvis was writing to was burning all his letters.

Not only did the song hit number 1, it sat proudly at the top of the chart over Christmas too which afforded it a degree of immortality. It was written by frequent collaborator Otis Blackwell who'd also written the Presley hits 'Don't be Cruel' and 'All Shook Up'. The song was actually out of date when it was released - the US Mail service were using 'zones' at the time of writing but had changed to ZIP codes by the time of release. These days of course, nobody bats an eyelid at the use of the line 'no such zone'.

Whoever gave Kylie Minogue a microphone should be etc. etc. etc.

Actually, I quite like a lot of Kylie's songs - one I can't stand however is this ditty. It completely misses the point because it's the production and stylings that make the song, otherwise it's just a piece of trite pop. It's one of those 'dance songs' where they explain the dance in the lyrics (much like 'Do the Hucklebuck', 'The Timewarp' and the 'Cha-Cha Slide').

One thing that always bothered me is the lyric 'It's easier than learning your ABCs'. I should hope so! The alphabet takes between three and five years to master and I haven't got that kind of time to dedicate to learning to 'swing my hips now' whilst remembering to 'jump up' and 'jump back'.

Little Eva was four foot ten, in case you were wondering.

I have to admit, I didn't get what all the fuss was about when I first heard this. Probably because I'd heard it all before and I thought it was the theme tune to a TV show about Cowboys. What I have to factor in to this retrospective list of singles however is that the people of 1962 hadn't actually heard anything even remotely like this ever before.

It's a bit of a stretch to call this the first synth-based pop song but it's not far off. It featured a Univox (or possibly a Clavioline, which is pretty much the same thing). A Univox is a Tube/Valve synthesiser (or 'electronic keyboard') from the 1950s. It has decay circuits, a repeat function and Vibrato tabs like those big wooden two-tier keyboard organs you used to get in Working Men's Clubs. It's got a very unusual sound for the time which had become quite commonplace by the late 70s (think 'Stylophone').

'Telstar' was named after the Telstar communications satellite, which was launched into orbit on the 10th July 1962. It was recorded in writer Joe Meek's studio in a small flat above a shop in Holloway Road, North London. It won an Ivor Novello Award and is estimated to have sold at least five million copies worldwide. It went to number 1 both here in the UK and in the US.

If you ever forget how to spell 'Vacation', just pop this on and you'll be back up to speed straight away. It was Connie's final top 10 hit in the UK. It was her only hit on which she had a song writing credit too. It was originally going to be a B-side but was more radio friendly than the mooted 'The Biggest Sin of All'.

Her delivery here is so jolly, it actually sounds like she's in that 'this will be me tomorrow' phase of her annual leave. In the song she lists some of the things she hopes to do whilst 'on leave' and they include 'grabbing a bite at the pizza stand', 'writing love letters in the sand', 'take their jalopy to a drive-in movie' and 'mash potato to a juke box tune' which I assume is a dance and they're not actually going to mash some potatoes whilst listening to a juke box - having said that, I'd rather be mashing any kind of vegetable than spending the day at work so, crack on I say.

Interestingly (if you're interested in this kind of thing) there's an example of what we call 'double-tonguing' in the saxophone solo. I wouldn't Google it though if I were you.

A lot of Sedaka songs included nonsense lyrics and this is no exception. It begins with a phrase nobody had ever uttered before : 'Down, dooby-doo, down-down, comma-comma' which sounds like someone dictating a letter as you type it into Microsoft Word.

This is the original version, the fun upbeat one; Neil re-recorded it in 1975 with a much changed style and sentiment (brilliantly re-imagined). So popular was the 1962 version, it was adapted into different languages. Neil himself recording the Italian version. This was his eighth hit and was widely considered his signature song.

This was Neil's last foray into the top 10; it rose to number 7, his next single 'Next Door to an Angel' only reached number 29 and then it took eleven years for him to re-emerge with new music, 1973's 'That's When the Music Takes Me'.

Another from the Carole King/Gerry Goffin stable, this has some brilliant melodic moments. It was written with the Everly Brothers in mind but their management rejected it. It was subsequently recorded by the Crickets who had a number 5 hit with it before The Beatles did a version on their radio show 'Pop Go the Beatles' in 1963.

It was the last top ten hit for the Crickets and they only charted three more times, the last time in 1964.

After storming the charts with his first release in 1957 (a number 1 hit with 'Diana'), Paul Anka's chart career was coming to a close with the release of 'Love me Warm and Tender'. His only subsequent release was with Odia Coates in 1974, as song called '(You're) Having my Baby'.

Paul continues to be overly dramatic in his delivery here but to the point you believe he means every single thing he's saying and sounds like he's trying to convince you to subscribe to his Newsletter.. This song found its peak at number 19.

Anthony Newley sounds like a character out of Wind in the Willows doesn't he? Well, cheeky Cockney Anthony was widely considered to be a latter-day Al Jolson, becoming one of Broadway's leading artists in the late 50s. He was just one more 50s artist to suffer from the imminent explosion of new pop genres which was just around the corner in 1962.

'D-Darling' wasn't a song about someone with a stutter, it was one of those songs that spells out a word whilst describing someone or something using the same inital. Some of you might remember a song by Ottowan called 'D.I.S.C.O.' (She is 'D' - Delirious, she is 'I' - Incontinent etc.) - well, that was probably informed by this song. D - Darling, A - Angel, R - Rare (you get the idea.)

It reached number 25, only a very slightly better chart performance than his ultimate release a few months later, 'That Noise' (which would have suited Bernard Cribbins actually) which got to number 34.

Jimmy Dorsey originally recorded this song in 1941 and after Frank Ifield covered it in 1962, Glen Campbell had a go and even Bjork decided to give it a whirl. Frank spun this with his signature yodelling style which helped it no end up to the number 1 spot for seven weeks dropping to number 2 for two weeks, dislodged by Elvis' 'She's Not You'.

This is the kind of track that informs my opening comment in this post. Whilst it's jolly and gentle, the chart was really in need of a shot in the arm. Something exciting and new was desperately needed. Something that was hinted at in 1962 and emerged with flashing lights and trumpets in 1963.

Touted as a 'Heartbreaker', this is another song which was covered by many luminaries of the time such as Elvis, Doris Day and Frank Sinatra. Matt Monroe was known as the 'Man with the Golden Voice', which sounds like the least effective Bond Villain of all time. Frank Sinatra listed Matt as one of his top three singers ever; not bad for someone who started his career driving a London bus. It's the sort of song you wouldn't mind being played in the background as you enjoyed a candle-light meal at your local Nandos.

'Softly' gave Matt a number 10 hit and talking of Bond, he sang the theme tune to 'From Russia with Love' in 1963.

This was written by two of Joe's backing band, John Beverage and Peter Oakman and has a lovely strumming rhythm as well as an unusual chordal progression (one which I've heard used a few times, most notably in The Beatles' 'The Night Before'). It almost sounds out of time and I'm surprised it wasn't covered in the 80s by someone like The Stray Cats or The Housemartins.

It naturally went straight to number 1 in the summer. It made its sister album, also called 'A Picture of You', worth paying the princely sum of one pound and one shilling (or 'A Guinea') as it also contained the brilliant 'What A Crazy World We're Livin' in' and 'Shine'. This was another instance where DJs flipped the disc to play the more radio friendly side; 'Picture' was actually the designated B-Side to 'A Lay-about's Lament'.

"Dance On!" just squeezed into 1962, being released in December. It went to number 1 via a strange route, after reaching number 3, it fell back down to number 7 and then went back up to 3, then to number 2 and then number 1.

A vocal version was recorded by Kathy Kirby, and her version reached number 11 in September 1963.

"Dance On!" was written by vocal group, The Avons. It was released with the B-side 'All Day', written by Bruce Welch and Hank Marvin (hence the connection). A review in the 'Record Mirror' suggested that The Shadows had reached the end of their shelf-life with this tune, saying it lacked originality and they were beginning to release very similar sounding songs. They had a little bit left in them yet though as they followed this up with a Number 1, a Number 2 and a Number 6 in 1963.

This was written by Jim Lee, who produced and released the song on his own Monogram Records. It wasn't a bad debut for Chris Montez, climbing all the way up to number 2 in the UK Singles Chart and staying there for four weeks behind The Tornado's 'Telstar' and Frank Ifield's 'Lovesick Blues'. Catchy isn't the word really.

To my ears at least, Chris is the most unusual sounding singer I've heard so far in my journey through the 60s. It's one of my 'rules' for having a hit single - 'sound different to everything else'. His voice has character and its recognisable amongst the other hundred artists floating about the chart at the time. There were a lot of singers in the early 60s who, despite being great vocalists, you'd have to check the record sleeve to see whether it was Karl Denver or Frank Ifield, Jim Reeves or Pat Boone. Chris isn't the best singer but as the 80s and 90s proved, singing didn't have to be your first language to have a number 1 hit single.

In 1972 'Let's Dance' was coupled with the Shirelles' 'Will You Love Me Tomorrow' and re-released in Europe. Based on radio play, the record company, London Records, quickly removed the Shirelles track and replaced it with the original flip side "You're the One". As a consequence, the single reached number 9 in the UK despite people having long abandoned the 'Twist', the 'Stomp' and the 'Mashed Potato' in favour of the 'Hustle', the 'Bump' and the 'Funky Chicken'.

Status Quo included 'Let's Dance' in their 1990 medley 'The Anniversary Waltz (Part One)', which reached number 2 in the UK.

Written by Carole King and Gerry Goffin (again... and intended for Bobby Vee), it turned into an accidental number 22 hit for Carole in the US in 1961. The final released version was only ever intended to be a demo for Bobby to copy off. Vee did eventually record it but his version only ended up as an album track on The Night Has a Thousand Eyes. I actually prefer Bobby's version - Carole isn't the best singer and a song like this needs something she doesn't have. Listen to Helen Shapiro's version and you'll see what I mean.

It managed to reach number 3 in the UK but, as Carole had never intended on being a 'pop star' (she had two small children at the time) or promoting the track with personal performances, she didn't release another record as a singer until 1971's 'It's Too Late'.

Written by Ernie Maresca (who also wrote 'Runaround Sue') 'The Wanderer' is a fresh take on 12-bar blues. It's another song misappropriated by Status Quo in the 80s.

Maresca originally intended the song to be recorded by Nino and the Ebb Tides but they passed on it so Dion recorded it and stuck it on the B-side of his single, 'The Majestic'. Again, DJs flipped the single and played 'The Wanderer' instead which caused it to rocket to number 2 in the US chart behind Gene Chandler's 'Duke of Earl'. It got to number 10 in the UK.

Dion likened the song to those of Bo Diddley and Muddy Waters - a desperately sad song which, despite the 'happy as a clown' vibe, hides the fact that as a 'wanderer' the narrator is actually going nowhere. The song was inducted into the Grammy Hall of Fame in 2017.

A song of this magnitude could only have been given the correct amount of gravitas through the delivery of a vocalist who understood the weight of the song and had the ability to convey that to whoever was listening. Regardless of your musical taste, this song transcends that and makes you wonder what Gene has been through and why he sounds like he needs a hug.

'Town Without Pity' was written for the film of the same name. Gene begins the song quite straight but then starts to 'break' in the second verse and use his 'emotional' voice by the middle bridge. He then starts to make the listener 'live' the lyrics just before the instrumental break. It's genius really. Just listen to that last 20 seconds, cinematic to the end.

It recieved a Golden Globe Award for Best Song and was nominated for an Oscar but lost out to 'Moon River' from Breakfast at Tiffany's.

Eddi Reader of 'Fairground Attraction' recorded a version in 1996 for her 'Candyfloss and Medicine' album and whilst she does a fine job, it's done more in a 'lounge jazz' way than given the dramatic orchestral treatment it demands.

This is just beautiful - again, awash with that signature Shadows' guitar sound. It was written by Jerry Lordan (who also wrote 'Apache') and this February 1962 release stayed at number one for eight weeks (something only Elvis (1960), the Shadows and the Archies (1969) managed in the whole of the 1960s.)

Lordan said of the song 'I got the first phrase and it took me six months to get to the middle. I knew it had to have a second part and I couldn't think of anything'. It was recorded in 1961 but sat unreleased as the Shadows felt there was something missing. At the beginning of 1962, producer Norrie Paramor got his hands on the track and added French Horns and Strings. Hank Marvin came up with the title, 'Wonderful Land', but Lordan didn't like it, not that he could come up with a better title himself...

It was the last single on which Tony Meehan appeared before being replaced by Brian Bennett. Jet Harris also left the group whilst this song was at number 1!

It's that pesky Carole King again... What a songwriter she is though. Howard Greenfield wrote the lyrics and you'll struggle to find more direct yet poetic metaphors in a pop song. I do think the song is slightly too quick, if it had just been eased up like, five bpm, it would have been perfect. It's the stops that make this song so dramatic - where the music drops out and leaves the Everlys voices all alone before the band comes back in.

Whilst it doesn't have the same emotional effect, there's a song in the film 'Earnest Goes to Camp' with the same sentiment called 'Gee I'm Glad its Raining'. It's lovely and with a different vocalist and commercial release, could have charted (in my opinion).

Have a listen : https://www.youtube.com/watch?v=pQloJH1FFlg&t=128s

Whilst you'll find a lot of people telling you that the 80s was the best decade for music (myself included) it's important to note that the 80s chart was littered with 60s music, whether original recordings or covers. 'Cryin' in the Rain' was a hit again in 1990 for A-ha (recorded in 1989, so it's a valid point) because there are so many songs that 'sound old' to the heathens which, when given a spin using the instruments of the time, are given a whole new lease of life. Disco versions of classic songs notwithstanding. A-ha became close with the Everlys after 'Cryin' in the Rain' became a hit and they were given a set of guitars by them which they still use today.

Although not related in any way, this song always brings to mind the scene in Bladerunner in which Rutger Hauer's Replicant character utters : 'All those moments will be lost in time, like tears in rain.'