It was like a medley of best bits from standards that had somehow eluded our ears prior to this point

Even without seeing what they looked like, it seemed immediately shocking to me that, in 1982, you could have a hit as big as that with a record that sounded like that, with violins and mandolins at its centre. But then, how could it have been anything other than a hit? Everything on ‘Come On Eileen’ was a hook. It was like a medley of best bits from standards that had somehow eluded our ears prior to this point. Even the intro gave you twice as much as you were expecting, with one hook, played mostly on violins, in the first twenty seconds, giving way to a second more urgent earworm which introduced the piano and mandolins. 

P. Paphides, Broken Greek (2020), kindle loc. 7,323