The Hollies had spent much of 1967 trying to get hipper and more complex, with only modest commercial and artistic success. "Jennifer Eccles," their first 1968 single, was in a sense a retreat to the safe havens of what the Hollies did best: cheerful love songs with excellent melodies and infectiously well-thought-out vocal harmonies. And, of course, quite commercial, which "Jennifer Eccles" was, making the Top Ten in the U.K. (though it only made number 40 in the U.S.). The verse had the kind of sing-song melody and la-de-dah schoolyard crush lyric that made it instantly accessible to teen, and perhaps just as much, pre-teen, buyers. The big hook of the chorus, other than the line with the title, was a whistle that simulated the kind of wolf whistles guys in old movies would give foxy women as they passed them on the street in the days when that was considered complimentary rather than sexist. A nice bridge with a melody somewhat more wistful than the verses led into the final run-through of the verse with another device that was to pass out of fashion after the '60s ended, the change to a higher key. Was it lightweight in the context of 1968 singles like, say, "Hey Jude" and "Street Fighting Man"? Yes. But it was still good, enduring as one of the Hollies' better hits, though the last one they did in their classic British Invasion pop style. The title, by the way, was a combination of the first name of Allan Clarke's wife and the maiden name of Graham Nash's first wife.