|
Post by Gralto on Nov 29, 2016 11:34:10 GMT
Excellent thread here all, with some excellent points on both sides of the argument. I don't think there is any doubt that the Rickfors Hollies rocked way harder than with Clarke because the band had an extra guitarist who could really play unlike Clarke or Nash who, as axe handlers, could get by but add nothing from a virtuoso perspective - LCW the exception.
The curious thing with The H +Swede was that in a year and a half together, they never played one UK concert. Not one. What chance did they have to get him known with the locals if they hid him away? Magic Woman Touch is simply an outstanding song, mix and performance yet it was their first ever 45 to miss the charts. My take is that Hicks made the call to get him, got it wrong, realised it early then proceeded to slowly withdraw the band locally - they also did almost no UK tv appearances while with Mikael - until the time was right to bring AC back. Rickfors was left to his own devices in central London while the others returned to their wives/partners and families elsewhere. He quickly became homesick and lonely. He complained the others were completely money focussed while he was interested in his craft. He was younger and the rest of The H were at a different phase of their lives having already climbed the pop Everest years earlier.
Er, this thread has gone a little off course from the original Terry Twitter start! Not that I have helped!
|
|
|
Post by stuball on Nov 29, 2016 14:59:43 GMT
This brought to mind a remark Tony Hicks made at the end of the U.S. Tour to promote Romany, that really said it all. I'll have to paraphrase here, but it went something like this: 'We went over with the thought to promote the LP Romany, and included several tracks in our set. But it was the same old story: the crowd would sit quiet and polite through these numbers, but at the end of the day, it was the 'Carrie-Annes' that they really wanted to hear.' Hey we are all the same really, many years ago I went to see Cliff Richard and he spoke about the new album at the time and then sang every song from the album, not what I really wanted to hear. Yes, and let's be honest, who doesn't like to hear the hits? Allan Clarke gave an early '70's interview in which he stated that Hollies audiences like to be 'reminded'. And I think that's very true, especially when a group has a long pedigree of hits like The Hollies. Who doesn't recall the the hair-raising thrill in the hall when the crowd hears the first banjo chords of 'Stop! Stop! Stop!' or the opening riff of 'Long Cool Woman'? Pure magic!! Now compare that to opening with, oh I dunno, say 'My Island'. No comparison, is there? I suppose you could say, concert-wise at least, the Hollies were the victims of their own success. When you can fill an entire performance with nothing but hit after hit, it's pretty hard to interest anyone, other than the strictly hardcore fans, in listening to unknown tracks from largely unheard-of albums.
|
|
|
Post by cameron on Nov 30, 2016 0:16:22 GMT
Who doesn't recall the the hair-raising thrill in the hall when the crowd hears the first banjo chords of 'Stop! Stop! Stop!' or the opening riff of 'Long Cool Woman'? Pure magic!! Now compare that to opening with, oh I dunno, say 'My Island'. No comparison, is there? I suppose you could say, concert-wise at least, the Hollies were the victims of their own success. When you can fill an entire performance with nothing but hit after hit, it's pretty hard to interest anyone, other than the strictly hardcore fans, in listening to unknown tracks from largely unheard-of albums. I beg to differ on this point, though I understand that I could be on my own here, but hear me out: In the old live bootlegs that survive, the thrill was always in the energised versions of the pop hits that were often more exciting than the original (think how great 'Carrie Anne' and 'Jennifer Eccles' sound on the Lewisham Odeon set - or even 'Just One Look' and 'I Can't Let Go' from Hollies Live Hits) but the thrill is also not knowing what was coming next: At any moment, they'd throw in a random cover that had the full Hollies treatment, and these would vary from as logical sounding as 'Reach Out, I'll Be There' (live in 1966, hear on the Long Road Home boxset) to completely left field, like an acapella cover of 'Amazing Grace' (live in 1970, hear over the closing credits of the Look Through Any Window DVD). They were also rumoured to have played songs like 'Puff The Magic Dragon', 'Angel of The Morning', 'Woodstock', 'Like A Rolling Stone', 'Only Love Can Break Your Heart' and 'Let It Be' although no official recordings of these survive. They've had the same set list now more or less for at least ten years, and apart from the songs from their recent two studio albums with Peter Howarth plus a couple of iconic tracks like 'The Baby' and 'Very Last Day', the setlist before that was pretty much unchanged for another ten years before that. But even by 1993, the Hollies were still putting together strange but wonderful renditions of their hits like acoustic versions of 'Listen To Me' and a gorgeous acoustic cover of 'Just One Look' complete with Allan playing harmonica over it and the same crazy left field covers like 'Purple Rain' and even a ballad version of 'Whiter Shade Of Pale'. Now they're officially out-numbered by newer members, who joined long after their hit making heyday, but people go and see them year in, year out and come back with rave reviews. And people do go time and time again, to hear the same set list time and time again. I see it written here how Mikael Rickfors fronted Hollies weren't anything like the real Hollies and the sound wasn't the same, but they still had Terry's soaring high harmony, Tony at the fore too, Bobby playing in his famous outlandish style (although I can understand it him toning it down a bit at his age, it takes a lot of energy to play the drums for two and a half hours every night, let alone when you're 70!) and Bernie was always really loud in the mix with his bass. I'm not slating the current line up, I just find it interesting how fans think ill of the Rickfors fronted Hollies but love the current line up when they now sound a lot less like the Hollies than they did in 1972-1973 without Allan Clarke, but they're now even more so in the same scenario. Does that make sense? I know we can't ever have Allan Clarke or Graham Nash back - or even Terry or Bernie for that matter too, but to me, their sound now is just nothing like the band were in the 1960's - 1980's. The key ingredient of that really confident and loud high harmony is missing. Tony was the "third voice", the one that completed the lead and high harmony to give it a unified sound. Peter is a very confident singer and very talented, but the focus now seems to be between him and Tony - that dynamic isn't ever how the Hollies worked. Tony was a reluctant singer who always prioritised playing guitar. Plus, as people have said before, some of the really early pop hits like 'Stay', 'Jennifer Eccles' and 'We're Through' should be put to bed. They dip into their two recent studio albums, but what about the rest? There's too many great songs buried away on albums to mention, that are more popular than ever. Even rarities like 'Schoolgirl' and 'Man With No Expression' that weren't released until the 1990's turn up on the usual greatest hits packages now. As time goes on, and the more casual fans have heard the hits time and time again, surely it's time that the Hollies, who seem to still draw in an audience of "regulars" gave us something different? I think some of the fans of the Allan Clarke fronted Hollies would be far less likely to give Peter Howarth such a hard time if he was up there singing some songs that Allan never sang more than once in the studio, giving them their live debut. That to me, would be thrilling. They're already trying to keep things fresh with some new arrangements of their classic hits, plus keeping some of the performances of said hits authentic like adding the original steel drum bit of 'Carrie Anne' in or the original orchestrations from 'King Midas In Reverse' instead of just a synthesiser. It might prompt the newer generation of fans to start seeking out their studio albums too - more album sales, more royalties, more recognition, more concert sales... it's all one big upward trend. Or do you think that Bobby and Tony are just happy with how things are and there's a conscious notion to not change anything? I don't know, just food for thought.
|
|
|
Post by eric on Nov 30, 2016 1:06:40 GMT
In 1970 (with Allan Clarke) they also performed “Just Like A Woman”, “You Ain’t Going Nowhere”, “I’ll Be Your Baby Tonight” and “A Taste of Honey”. The following interview with Terry Sylvester from 16 January 1975 (source: The Advertiser, Adelaide, Australia) presents his view on Allan Clarke v Mikael Rickfors. He also comments on the reason for their setlists and the merits of their “Another Night” LP.
|
|
|
Post by stuball on Nov 30, 2016 19:04:23 GMT
I'm not slating the current line up, I just find it interesting how fans think ill of the Rickfors fronted Hollies but love the current line up when they now sound a lot less like the Hollies than they did in 1972-1973 It may be down to the fact that today, it's the only game in town. As in 'I know they don't sound anything like the hit-making Hollies of old, but any Hollies are better than no Hollies!'
|
|
|
Post by cameron on Nov 30, 2016 22:19:02 GMT
I guess so; Allan was seemingly only a phone call away and all their options were still available at that time. Plus, Allan sort of went out on a high in 1971 at their peak, whereas we all understood his reasons in 1999 and he'd been noticeably on the decline vocally for ten years or so. I've never thought of it from that prospective before, it all makes sense now.
|
|
|
Post by gee on Dec 2, 2016 15:43:24 GMT
"Michael was a great singer but he didn't really fit in with The Hollies sound..." - Terry Sylvester (in that article above)
interesting to read what they were saying in the music press back then...
I think a major point re the non wider public acceptance of The Rickfors version of The Hollies in the UK was the sheer LACK of either TV show or concert appearances here - Mike was never really given the chance to properly and fully establish himself as a new member of The Hollies band in the eyes of the UK wider public, even many in the group's fanbase probably grew to know far more about 'The Rickfors Hollies' via their studio recordings in retrospect AFTER Mike had departed...
BUT do Remember 'The Baby' DID duly chart in the UK making no.26 so people at home WERE prepared to accept a very different Hollies with Mike - BUT we never saw them in concert or on TV shows - the footage of 'The Baby' and 'Magic Woman Touch' comes from European TV shows and the 'Midnight Special' show was a USA TV show of course
next thing we knew after a gap was Allan Clarke was suddenly back, they did 'Curly Billy' on BBC 'Top of The Pops'...and it charted !
so alot was the sheer LACK of proper public presentation of 'The Rickfors Hollies' in the UK, while the very negative UK Music press reviews of 'Romany' made things worse
in the USA the 'Long Cool Woman' / 'Long Dark Road' Clarke sung chart hits only confused the wider American public - yet 'Romany' still charted there on the strength of the recent Clarke sung hits - tho' 'The Baby' flopped
the proposed USA Epic Records release of 'Courage of Your Convictions' as a single never happened....while also nor did the release of 'If it Wasn't For The Reason'
Europe seemed more open to The Hollies minus Clarke hence 'Out on The Road' got a German release - tho' most in the UK and USA back then probably never even knew their was a second Rickfors Hollies studio album from 1973....
'Magic Woman Touch' got scant if any major UK promotion at the time, unlike 'The Baby' (which had been plugged by adverts in the UK music press - with a smiling Baby face !)
the USA tour was bittersweet for them, they clearly were not planning on doing a tour when the oppertunity suddenly was thrown at them - and it soured Clarke and Hicks relationship quite deeply forevermore I suspect...
Mike was also getting homesick stuck in his flat in Chelsea despite his girlfriend joining him - remember this was pre-Abba success when few European artists were readily accepted in the UK (I can recall a few 'Anti-Rickfors' letters from the public in the UK music press that today would never be printed on grounds of borderline racism !)
the fact Mike Rickfors then departed quietly with no second UK / USA album (then )...and Clarke returned parallels Australian George Lazenby's brief 1969 stint as James Bond in 'O.H.M.S.S.' - now accepted as a terrific influential Bond film - but with his sudden exit at the time it was seen as a failure...more so when Sean Connery then came back for the next Bond film - a curious similarity !
I think the fact Mike was then a quieter unassuming tho' highly talented guy who wanted to be a frontline band member as opposed to a featured frontman (like say John Farrar in The Shadows/ Marvin Welch & Farrar around that period) plus then Mike spoke little English and they had the accent problems in the studio bumping up time and costs all told against him - a few years later as a more confident solo artist with no accent or language problems he'd probably have been accepted much more readily by the wider public
The Hollies never quite fully made the jump to more album orientated rock music artists in the eyes of the wider public, duly keeping their one foot firmly in their nostalgic sixties/early seventies hits era - hence Rickfors had to sing 'Bus Stop' and even in the mid seventies they were still doing early pop hits of the 60's such as 'Just One Look' etc....
once 'Twenty Golden Greats' came out and sold so well they - Shadows, Beach Boys, Kinks etc - were forever obliged to give their public the expected hits
Elton John famously once did a 'no hits' show...and The Beach Boys stole the show out from him !
The Beach Boys themselves once did a 'no hits' tour...and never repeated it !
for Carl Wayne and now Peter Howarth versions of the band the famous sixties / early seventies hits are obligatory...
However I do feel by now they could slip in say three more of their later tracks plus some more Clarke and Rickfors era album tracks and rest a few of the pre-1966 era very poppish hit songs like 'Yes I Will', 'We're Through' and also maybe 'Jennifer Eccles' and 'Sorry Suzanne'- which the mid seventies Clarke/Sylvester Hollies had already dropped from their 'Hollies Live Hits' concert show, in order to keep things a bit fresher and show a little more self belief in their classic album back catalogue songs - particularly from 1971 onwards....
Gralto - remember that Tony Hicks sang his song 'Pegasus' on BBC Radio, so while he only sang a few 'featured' verses on songs such as 'Too Much Monkey Business' - performed at the NME Poll Winners concert and on USA TV show 'Shindig' etc, also 'Carrie Anne' on 'Smothers Brother Show' and live in Yugoslavia, Lewisham Odeon, etc plus his solo vocal feature on the 1965 hit 'Look Through Any Window' (sung onstage at The London Palladium show in 1965 and on that DVD plus this recent 'Holliedaze' DVD) he was featured in the band as at least a co-lead vocalist plus soloist on BBC Radio in the sixties
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 2, 2016 16:40:42 GMT
...BUT we never saw them in concert or on TV shows - the footage of 'The Baby' and 'Magic Woman Touch' comes from European TV shows and the 'Midnight Special' show was a USA TV show of course next thing we knew after a gap was Allan Clarke was suddenly back, they did 'Curly Billy' on BBC 'Top of The Pops'...and it charted ! They performed 'The Baby' TWICE on TOTP: 17/2/72 + 9/3/72. The reason we don't see these now is because they no longer survive in the BBC archives, just like the vast majority of pre-1976 TOTP shows.
|
|
|
Post by gee on Dec 2, 2016 17:10:49 GMT
yes, no doubt that would be due to the single charting following some promotion in the UK music press while it was played quite a bit on the Radio too - I remember Jimmy Savile praising it (not sure if that's very appropriate now given it's title !) - did they perform it on any other shows here as I don't remember seeing them do it...
the surviving footage of 'The Baby' now is from a European TV show of course
here is a youtube link to an alternate TV performance of 'The Baby';
I can't recall 'Magic Woman Touch' single being promoted in the UK music press - does anyone have any info on that ?
|
|
|
Post by JamesT on Dec 3, 2016 14:11:43 GMT
...BUT we never saw them in concert or on TV shows - the footage of 'The Baby' and 'Magic Woman Touch' comes from European TV shows and the 'Midnight Special' show was a USA TV show of course next thing we knew after a gap was Allan Clarke was suddenly back, they did 'Curly Billy' on BBC 'Top of The Pops'...and it charted ! They performed 'The Baby' TWICE on TOTP: 17/2/72 + 9/3/72. The reason we don't see these now is because they no longer survive in the BBC archives, just like the vast majority of pre-1976 TOTP shows. I've seen photographs, which I think are from TOTP, presumably performing 'The Baby', used in a couple of places - think one was in the box set of 2003. Here's one I've just found:
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 3, 2016 14:54:38 GMT
Here's another one:
|
|
|
Post by gee on Dec 3, 2016 15:38:33 GMT
that looks like 'Top of The Pops' both from the crowd and as you can make out 'BBC TV Colour' on the camera in the bottom right corner of the second pic
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 3, 2016 18:09:25 GMT
that looks like 'Top of The Pops' both from the crowd and as you can make out 'BBC TV Colour' on the camera in the bottom right corner of the second pic And also bands usually had their drummers at the front on TOTP during this period. Does anyone know whether these pics come from their 1st or 2nd appearance performing 'The Baby'?
|
|
|
Post by cameron on Dec 3, 2016 22:09:57 GMT
Hasn't the "Live" audio survived? I'm sure someone mentioned it recently
|
|
|
Post by JamesT on Dec 4, 2016 21:03:34 GMT
I've always thought The Baby was an incredibly classy song and performance - a real epic which should have done better in the charts.
|
|
|
Post by cameron on Dec 5, 2016 0:00:01 GMT
It's a great song but I don't think the title or the lyrics helped it. It's got a beautiful melody though and Mikael's vocals are superb. I've always thought it to be one of Bobby's last extravagant single tracks before he toned it down for ballad after ballad for the singles that would see them out in the 1970's. He's got loads of exciting drum fills and big rolls around the kit throughout, much like all of their early stuff. Again, I think the Hollies were extra careful with 'The Baby' because it was their first release since losing Allan. You can tell it's well crafted in the studio. The backing track is just gorgeous with the luscious swirling orchestral accompaniment at the end. I always thought the follow up, 'Magic Woman Touch' was the obvious single hit, so I don't think it was the song's fault for missing the top of the charts. I think the Hollies were struggling anyway to adapt to the changing scene in the 1970's. Music carried on with the same rapid pace as it had in the 1960's and the Hollies weren't "cool" any more. 'Distant Light' bombed out completely at the time but it's arguably their best album, or at least in the top three. I'm amazed that 'Romany' did as well as it did, with this considered.
|
|
|
Post by gee on Dec 5, 2016 9:37:02 GMT
I think Allan Clarke's shock departure from The Hollies in late 1971 really killed Distant Light's chances - funny but that sort of thing has a very negative effect on the wider public (similarly George Lazenby's shock exit - announced on 'The Johnny Carson Tonight Show' - from the James Bond role destroyed 'O.H.M.S.S.' box office chances in the USA where they bumped up 'Avenger girl' Diana Rigg and Telly Savalas to co-stars in the promotion to try to save it...!!)
minus Clarke 'Distant Light' bombed in the UK - tho' The Hollies had never been properly promoted as an albums band by EMI anyway and even before Allan left the album was not getting any real promotion
LCW was first put out in the USA by the guy at Epic Records, only then belatedly did EMI UK quietly issue it on Parlophone (twice I think) notably in spring 1972 without any great promotion knowing the lead singer/guitarist had departed the band thus just trying to clean up any monetary residues they could (as with the Paul Jones sung 'You Gave Me Somebody To Love' minor hit single and 'As Was' EP in 1966 and even the 1967 compiled instrumental 'Soul of Mann' LP releases by Manfred Mann all issued by EMI after Jones departure from the group, and the band's exit over to Fontana records).
the fact The Hollies EMI contract was shortly due to expire...and EMI had never really forgiven them re that 1966 'leasing back' deal was probably significant too, they then rushed out 'Hollies Greatest Vol 2 ' in March 1972 presumably assuming The Hollies were a spent force...
For me Tony's guitar/sitar really makes 'The Baby' stand out, it's so distinctive like the banjo on 'Stop Stop Stop' and a sure sign they were 'pushing the envelope' still
Bobby's drumming is superb too and the vocals are great - it rather sounds like Scott Walker and The Hollies ! ('Down River' even more so)
the promotion in the UK music press of a Baby's face while obvious was a not really very helpful - plus the lyric about the 'child bride' and 'inside her the real truth' etc was for 1972 a little taboo (even today probably)
they sounded as if they were determined NOT to resemble the Clarke Hollies which was fair enough
the pauses in the song's tempo probably disrupted it a little as a dance number - so essential for most uptempo big hits - so possibly it rather fell between stools (like that trombone solo after a pause later disrupted the 'flow' of Daddy Don't Mind , another song with inappropriate lyrics for the wider public maybe...)
I felt 'The Baby' certainly deserved to be a much bigger hit
'Magic Woman Touch' while great for me seems to end too quickly - if another solo verse or brief solo vocal by Mike (as on the acoustic version) had gone in towards the end while it would have extended the song it would have made it a bit more substantial as a single - I always feel it concludes too fast just as you are enjoying it...! (I recall thinking that the very first time I heard the song, that the fadeout was too soon...)
Terry Sylvester singing the bridge section - echoes of Nash years ago on 'So Lonely' etc - was a great counter vocal to Mike's lead vocal
if only 'If it Wasn't for The Reason' and their great cover of 'Witchy Woman' had been used as singles...
|
|
|
Post by eric on Dec 5, 2016 11:45:59 GMT
Although “Magic Woman Touch” only reached no. 33 on the Australian national chart, I am proud to say that it was a no. 12 hit in my home town of Adelaide, Australia, a Hollies “stronghold”.
MWT entered the local charts at the beginning of the 1972 summer and stayed on the radio for most of that summer. It was a perfect “summer song”, being bright and breezy, with beautiful harmonies and high energy. It sounded great on the transistor radio in the car and at the beach.
With regard to the Terry Sylvester bridge section in the song, I love it. It’s a shame that Terry had less solo vocal opportunities as the years passed.
It is difficult to understand why “If It Wasn’t For The Reason” and “Witchy Woman” were not released at that time. Both are very strong performances and the songs are very appealing.
The Mikael Rickfors version of The Hollies played Adelaide on 9th May 1973. My notes at that time do not record “The Baby” and “Magic Woman Touch” as being performed, which is probably due to their general lack of chart success in Australia.
They did, however, perform “ Slow Down, Go Down”, which entered the Adelaide charts 9 days later (for a very brief time). I also noted that Mikael sang “Romany”, “ He Ain’t Heavy” and, I believe, the lead vocal on “Amazing Grace”. Other lead vocals were shared by Tony Hicks and Terry Sylvester.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 5, 2016 21:26:44 GMT
An interesting aside to this debate is that the band were reluctant to record Graham's 'sleep song' apparently they thought it was too suggestive but a couple of years later recorded 'the baby' which must have raised a few eyebrows for regular fans at the time.
In fact if you look closely they went from 'Carrie Anne/Jennifer Eccles' which were fairly innocuous in their content to songs like the awful 'rubber lucy' which although only an album track should never have seen the light of day in my opinion.
|
|
|
Post by Gralto on Dec 6, 2016 13:25:19 GMT
They performed 'The Baby' TWICE on TOTP: 17/2/72 + 9/3/72. The reason we don't see these now is because they no longer survive in the BBC archives, just like the vast majority of pre-1976 TOTP shows. I've seen photographs, which I think are from TOTP, presumably performing 'The Baby', used in a couple of places - think one was in the box set of 2003. Here's one I've just found: Hi Gee - good point about Hicks singing Pegasus on BBC radio - forgot about that one - played once on Saturday Club (4 May 1968) as part of The H's 4 song contribution to the show's 500th edition. As for Magic Woman Touch, to the best of my knowledge, aside from possible screenings of the promotional film clip put together by Rod Shields, the only time MWT was exclusively performed on British TV was on 'The Succeeders', a documentary series on those who had 'made it', The H being that week's focus. This was screened on BBC1 on 15 August 1972 and even then, I think it was only seen in the north of England, not in London or elsewhere. The band performed 'Won't We Feel Good That Morning' on this show as well and I'm not 100% convinced MWT seen on The Succeeders was not just the promo clip getting a run. I'd love to check out the tape of the show...if only I had it! Naturally, another lost Hollies TV appearance no longer held at the BBC. In terms of radio, the only confirmed airing of MWT I have in my notes at present heard on British radio was on the BBC (Radio One) on the show 'Saturday Afternoon Pop' hosted by Steve Jones on 25 Nov 1972. (No doubt there would have been many other occasions). Peter C - yes you are spot on - this shot is of The Rickfors-Hollies doing The Baby on TOTP. I, like you, have wondered if this is the first or second of the two times they went on to do it - I have this listed as the 2nd but this is not confirmed. cheers Simon
|
|
|
Post by Gralto on Dec 6, 2016 13:35:23 GMT
Hasn't the "Live" audio survived? I'm sure someone mentioned it recently Hi Cameron - yes you may be referring to the audio of The Baby that survives on several BBC 'Top Of The Pops' transcription discs that may or may not be the same as was used on the TV show of the same name. cheers S
|
|
|
Post by gee on Dec 6, 2016 18:32:36 GMT
Another point re 'controversial' Hollies - BBC's 'Top of The Pops' briefly had an 'Album spot' around 1970
- I recall The Moody Blues did the full length album version of 'Question' and The Beach Boys (I think) did Bruce Johnston's 'Tears in The Morning' from 'Sunflower' album on it (a poster shot of that performance was on the flat wall in the first series of the ITV sitcom 'Man About The House'- Mike Love holding a sqeeze box - later a Queen poster replaced it in another series of the show...)
The Hollies appeared in that album spot once and sang 'Too Young To Be Married' - at the line; 'they were gonna have a baby...'quite a number of girls STOPPED dancing and just stared at them in sheer disbelief !!
I know author Alan Clayson also remembers that edition of 'TOTP' and he refers to it in his section on The Hollies in his book 'Call up The Groups'
anybody else recall it...?
|
|
|
Post by cameron on Dec 6, 2016 20:01:43 GMT
Didn't they also perform 'Survival Of The Fittest' but it wasn't really a live performance? Apparently the audience lay silent in shock after they finished 'Too Young To Be Married' as it was so unexpected and probably considered "progressive" due to Tony's extended guitar solo. Nice version though without the brass section that's on the record I believe?
|
|
|
Post by knut on Dec 19, 2016 19:11:19 GMT
Hasn't the "Live" audio survived? I'm sure someone mentioned it recently I got hold of the TOTP live vinyl disc with The Baby.
|
|
|
Post by JamesT on Feb 21, 2017 16:31:04 GMT
The Mikael Rickfors version of The Hollies played Adelaide on 9th May 1973. My notes at that time do not record “The Baby” and “Magic Woman Touch” as being performed, which is probably due to their general lack of chart success in Australia. I may be wrong here, but was 'The Baby' not first performed live with Carl Wayne (at his suggestion) nearly 20 years later and has been retained ever since? For me, it remains one of the highlights of the set.
|
|