I V vi IV is everywhere, man... EVERYWHERE. Yes, it started with Blink, but has metastasized. Tune in to any poop (oops, pop) station, and count how many songs IN A ROW use it... You'll be horrified. Maybe they'll substitute the ii for the vi, but the intent is the same.

The reason for its popularity and (hopefully) imminent demise, is that you can sing any repetitive doggerel over it in major pentatonic, and it still sounds OK. This gambit has worked enough times now, that when record labels and radio programmers hear it, they automatically think "HITSVILLE" without regarding the actual content. Sadly, most of the public follow in their train. It engenders what can only be described as a knee-jerk reaction. And since it sounds like "success", more songwriters are tempted to resort to it immediately instead of using their brains, further perpetuating the vicious circle.

Granted that a chord progression is only a box, and you can put whatever you want in it. This was a good one. It has a kind of languid ease, a sense of inevitability, of everything falling perfectly into place. I've used it myself. Great things have been done with it, and in the right hands it is capable of unquestionable grandeur. It can provide the underpinning of a magnificent, soaring melody, and a cracking good story... Two examples that come readily to mind are "Let it Be", and more recently, "All Kinds of Time" by Fountains of Wayne.

But it's over. It's been whored out too many times by lazy hacks. Now it's like a virus. When I hear it on the radio, I quickly stab the "SEEK" button to escape it, only to find it all over the dial. I've lost count of the number of times this has happened.

This is The One That Must Die.

Honourable mention must be given to IV V iii vi... as the recent legal skirmish between Joe Satriani and Coldplay has pointed up. They should both be sued for using such an obvious Euro-cliche.