Hearing in particular the Shindig tracks, away from viewing the video of the performances, really proves that The Hollies, once they had laid down a song and released the record, played the song even better live, with an added power and drive. The Hollies were definitely a band that could outshine its own recordings in live performance. This was as true in 1972 as it was in 1965.
I absolutely could not agree more! I wish they'd make a live CD of one of their early live performances like Stockholm 1966, Lewisham Odeon 1968 or even Australia 1971 because all of those performances feature tracks that sound so much better than the studio recording. My favourite has to be their live rendition of "Gasoline Alley Bred" from 1971 which is at the correct pitch and tempo (the single was significantly slowed down) and Bobby's incredible drum pattern right at the fore and it just makes the studio version seem sedate and boring in comparison. The Hollies were such a tight live band and Bobby especially always let go when it came to playing live and really just did what he wanted to do.
It will not be released digitally or on CD as it was a bootleg release for Record Store Day. It had a limited run (I think 2000 copies worldwide if memory serves me correctly) by Big Beat Records, who are known for creating bootleg releases without the artist's permission. I think some attempt was made by the Hollies to stop it, as 'Shake With The Hollies' was removed from the RSD list for a while. Thankfully for us, it was still released. I don't think any of the BBC tracks on there were from 'Radio Fun' and the sound quality was better than 'Radio Fun' for the most part too.
I could have done had you asked me about a year ago - I've got a new laptop "conveniently" without a 3.5mm input, so that's put an end to my vinyl transfers for now until I can work out how to connect my turntable to my laptop!
I think some attempt was made by the Hollies to stop it, as 'Shake With The Hollies' was removed from the RSD list for a while. Thankfully for us, it was still released.
I assume this is because of the 50 year copyright thing which is causing artists like the Beach Boys, Beatles and Dylan to do dumps of archival material for sale so they can renew the copyright. By this reckoning all previously unreleased Nash era material will be out of copyright by the end of 2018?
Sort of yes and a whole lot no. Recently, Cliff Richard and a few others successfully extended the 50 year copyright rule to something like 70 years (I could be wrong on the exact year). However, if it's an unclaimed recording - ie, live bootlegs, radio recordings, TV Shows etc... then the copyright remains at 50 years. Hence the number of bootlegs from the early 1960s creeping out onto the market now. I've lost count of how many times I've seen the Beatles' Decca tapes or live shows in recent years!
However, I believe if the recording is re-released in the interim, the 50 year limit starts again. So most of the Hollies' back catalogue would fall under 1999, 2003 and 2007. Hence their inclusion of both mono and stereo mixes where applicable to cover all bases. Copyright has expired on unreleased material not in the public domain, hence the Dylan Bootlegs to stop other bootlegs. Again though, the Hollies are two moves ahead and own all their own session and master tapes, which are kept under lock and key. If we managed to pool together a set of pre-release acetates from 1963-1968, then it could form a legitimate stand alone release and in court would probably be upheld if the Hollies contested it, as they never released these tracks before the 50 year limit ran out for them to enter the realms of copyright under the Hollies' own name. But that will never happen, so they needn't worry. I don't know if the Hollies LTD. have reclaimed their pre-1966 tapes from EMI. I know several were erased in 1972 when EMI had a vault purge. Their legendary leasing back deal came into effect in mid 1966, so all of their post-1966 recorded material is owned physically by the Hollies. In theory, any session tapes leaked pre-1966 would be free from copyright too if anyone has access to them via EMI.
Live BBC tracks are an extremely grey area. Technically they were publicly funded and publicly broadcast initially, the BBC never kept a record of any of them and have relied on the fans to submit home recordings and bootlegs to compile the various BBC compilations out there officially. The artists weren't paid for the recordings and shared no royalties in the process, so I guess the 50 year statute of limitations has run out on many of them, hence "Shake With The Hollies" legitimately getting though the net. Who knows, maybe this year we might get their various 1967 and 1968 radio performances! From my records, here's what could be issued:
1. The Games We Play - Top Gear, 13/10/1967 2. Charlie And Fred - Top Gear, 13/10/1967 3. Graham & Bobby Interview - Top Gear, 13/10/1967 4. King Midas In Reverse - Top Gear, 13/10/1967 5. Step Inside - Top Gear, 13/10/1967 6. Postcard - Top Gear, 13/10/1967 7. Jennifer Eccles, Symonds On Sunday, 23/03/1968 8. Wings - Symonds On Sunday, 23/03/1968 9. King Midas In Reverse - Symonds On Sunday, 23/03/1968 10. Bobby, Graham & Allan Interview - Top Of The Pops, 24/05/1968 11. Jennifer Eccles - Top Of The Pops, 24/05/1968 12. Pegasus - Top Of The Pops, 24/05/1968 13. Wishyouawish - Top Of The Pops, 24/05/1968 14. Stewball - Bobbie Gentry Show, 30/05/1968 15. Blowin' In The Wind - Bobbie Gentry Show, 30/05/1968 16. Louisiana Man (duet with Bobbie Gentry) - Bobbie Gentry Show, 30/05/1968 17. Stop! Stop! Stop! - Colour Me Pop, 07/09/1968 18. Very Last Day - Colour Me Pop, 07/09/1968 19. Carrie Anne - Colour Me Pop, 07/09/1968 20. Listen To Me - Colour Me Pop, 07/09/1968 21. A Taste Of Honey - Colour Me Pop, 07/09/1968 22. Blowin' In The Wind - Colour Me Pop, 07/09/1968 23. Just One Look - Top Of The Pops, 16/11/1968 24. Bernie & Bobby Interview - Top Of The Pops, 16/11/1968 25. Listen To Me - Top Of The Pops, 16/11/1968 26. Stay - Top Of The Pops, 16/11/1968
That's interesting. They must have mistaken it for 'For Certain Because...' which I believe the new cover was based on. Tony and Bobby don't seem massively clued up on their own back catalogue when they're presented with it. Recently, they did an interview on a Norwegian radio station where they were played a few 'rarities' and neither Bobby or Tony seemed to have any recollection of the tracks! I guess a lot of them were played in the studio once and then forgotten, so it can be expected really.
that is not uncommon - I guess for them even tho' artistic and creative in the end it's just 'work' and they have lives to live !
re the hits even The Hollies had a reputation for 'nailing' a take very quickly...then moving on, so they were fast workers in the studio - something that George Harrison may have misunderstood back in the earlier sixties as he watched them heading off to the local pub
The Shadows members Hank and Bruce also had no recollection of the four EP tracks they recorded in Japan in 1967 either
Allan Clarke once said he never listened to his own records preferring to hear others (which might explain why Allan had them doing all those covers in concerts in the 80's and 90's and that 'Buddy Holly' album idea of his)
I chatted with Bobby in 2007 and he had no recollection of them ever doing 'Ride Your Pony' in september 1965 - which is track 10 on the later 'Radio Fun' CD
so their back catalogue may well not be as familiar to them as it is to many of us, tho' it looks poor when an artist can't recall ever doing songs that were recorded
I guess the Hollies are rarely asked about their past too. There's been no books with their input, only one documentary and very few interviews that delve much further than the usual "how did you like 'He Ain't Heavy' and wasn't 'Long Cool Woman' a surprise hit..." etc, etc... So the Hollies aren't used to this. I wish someone could sit down with them individually and get their thoughts on every track that they recorded. I think it would be fascinating. When an interviewer does (rarely) wonder off-piste into the depths of the band's past, you usually end up with some fantastic anecdotes and an interesting story into a completely unknown/forgotten point in their career. I'd have loved to have compiled a 'Hollies In Their Own Words' style book and get all this down on paper before it's too late... but I wouldn't have a clue how to go about it really.
I think the best we've ever had so far is the book that accompanies 'Long Road Home' and the two hour special that BBC Radio 2 did with Brian Matthew called 'They Ain't Heavy, They're The Hollies' with new interviews with Graham, Allan, Tony, Bobby, Bernie and Terry. And of course the LTAW documentary. But that's not a lot considering that they were a major 1960s band. Look how many thousands of books there are about the Rolling Stones, Kinks, Who etc...
They are not alone re books - only now are The Moody Blues having two volume books devoted to them (as they are being inducted this year)
Sadly and quite absurdly neither Hollies or Moodies have been taken seriously by the music press before the last few years
while the fact is many groups who had NOWHERE NEAR the success of these two bands in terms of records sold, concert halls filled etc have had tree forests devoted to them in print...!
a big part of it was that neither Hollies or Moodies ever had any useable 'bad boy' image for the press to squee over at length , they never threw TV sets off balconies, urinated up garage walls, had an apparent dig at Jesus Christ, drove expensive cars into swimming pools, generally acted like total plonkers, swore four letter words on TV, or any of them got busted for drinking tea etc (even re the exit of Nash from The Hollies in December 1968 it was all annoyingly amicable no doubt much to the music press irritation !)
...nor did either band ever bother much with a public profile (besides Graham Nash)
- likewise Traffic, Family, Procol Harum etc and other classic bands some of whom have latterly been almost 'airbrushed out' of mainstream Rock history ....(tho' some bands have had devoted guys with some influence who DID bother to research their histories and pen books on them)
Bobby's book may improve the situation re The Hollies in print hopefully but really as Cameron says we need one of these proper music authors (no disrespect to the guy who wrote 'Long Road Home' which was a fair if rather brief book on their story) to look at The Hollies story overall in more depth with hopefully input from ALL the key members (besides Carl of course) including Mike Rickfors who always seems to be overlooked !
BUT sadly being realistic I can't see it as I don't believe there is enough wider public interest in the band to justify costs - just hope I'm wrong there !
The Moodies still mainly tour the USA (which still and always have loved them) and other parts of the world with a big loyal international following (even tho' back in their prime they had far worse critical detractors than The Hollies ever had - but despite that their albums still made the top of the charts no problem in the late sixties / early seventies...and in 1981 !)
- so with their long overdue induction into that Hall of Fame renewed wider public interest in them - along with their new live CD / DVD of the 50th anniversary of 'Days of Future Passed'- they are set for a revival of public interest so that guy's new books on them look likely to sell
but would any new more in depth book on The Hollies sell that well now besides us all snapping it up ?
we can only wait and see, the resulting sales of Bobby's book will probably dictate much re the future of The Hollies in print etc...
wasn't Terry also supposed to be writing his book on it all....?
While I don't recall Terry being involved at all in that Radio One Hollies show Brian Matthew narrated - sadly !
Gee is quite right, the press want a scandal to sell news. The Hollies famously never gave that. Apparently the editor of NME was quoted as saying that the issue in 1971 where he reluctantly gave the front page to a story of Allan leaving the Hollies was one of the poorest selling copies of the magazine ever! Whether there was any truth to that or he was having a dig at the group, I don't know.
I do, however, think the Hollies are interesting due to the number of encounters they had with other famous artists and their high stance at EMI at the label's most interesting period circa 1966-1971. They were one of the few groups that would have had free access to the Beatles' sessions at this time - in 1967 only they and David Crosby saw 'Sgt. Pepper' take shape. A young up-and-coming Pink Floyd were promptly told to go away when they tried to get a peek! The Hollies were the "group's group" and I think a book angled on their musical output would go down a treat with dedicated musicians who perhaps look up to the band for their tight sound and well rehearsed clockwork like performances.
If it was me, I'd sit each member down individually with a box of their LPs and singles and just go through them all in chronological order, see what anecdotes the members could offer about everything and perhaps refresh their memories about a few gems they'd forgotten. The book would remain free from any narration, letting the group tell their own story without deliberately trying to put a dramatic spin on things. Think along the style of "Beatles In Their Own Words". I strongly agree that something needs to be done before it's too late. The Hollies are incredibly lucky to have all but one of their past members still with us, which is why I don't understand why they don't push their history more. What an incredible and unique position to be in with so many surviving members for a major 1960s band