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Post by Gralto on Oct 4, 2018 13:49:03 GMT
In the course of tracking down Hollies friends and associates for interviews to aid my long term Hollies project, I've made a few inroads into corresponding with a handful of recording engineers with Hollies involvement. I thankfully got to Ron Richards several years before he passed away, and have had conversations with engineers Richard Langham and Richard Lush, neither of whom remember much about their (limited) time on Hollies sessions. Sadly, Ron's main engineer Peter Bown - responsible for SO much wonderful Hollies recording work - died in the 1990s before I had commenced my interviews. The EMI Archive HAD started to commence an Oral History project with many of their past engineers but I don't believe Bown ever laid one down. This makes a really in-depth future analysis of The Hollies' studio recorded output most difficult in terms of gaining an insider's perspective with a total absence of Bown's recollections. A tragedy really.
However, there was still one man alive who had been tape operator or engineers on some KEY 1960s Hollies sessions that I was planning to organise later this year to contact when I had some time. A friend had conducted an interview with him regarding his Beatles work in the past year and I was going to latch on through him. Time for this has sadly run out as Geoff Emerick passed away suddenly in the past 48 hours, aged 72.
Here are just some (not all) of the Hollies sessions of which Emerick was in attendance:
4/4/63 - Commercial Test (Ain't That Just Like Me, Whole World Over, Hey What's Wrong With Me) - Tape operator (PBown was main engineer)
15/7/63 - Searchin'/I Understand - ditto
18/9/63 - Baby Don't Cry/What Kind of Love/Memphis/Do You Love Me
20/12/65 - French vocal versions of Stewball and Look Through Any Window - ditto
25/3/66 - Sweet Little 16 - ditto
Aug 67 - 2 mixing sessions for King Midas - (main engineer)
5/10/67 - recording of orchestra supers onto 5 Butterfly tracks - (main engineer - Hollies not present)
2/4/68 - You Were A Pretty Little Girl - (main engineer)
18/6/68 - Do The Best You Can - (main engineer)
10/1/69 - This Wheel's On Fire (remake) - (main engineer)
and more!
Emerick's memoir 'Here, There and Everywhere : My Life Recording The Music of The Beatles', published in 2006 was considered controversial due to his fairly strong favouritism towards Paul McCartney over the others. Some challenged his poor recollection of events as being factually incorrect. Whether he would have remembered much about his time on Hollies sessions is now a moot point but it would have been fascinating to hear his opinions regardless. I recall reading somewhere that he felt Nash would walk down into Beatles sessions just to steal a few ideas but this tale may be apocryphal. (or it may have been taken from his book, which I don't presently own).
Another piece in the puzzle of Hollies recording sessions tales unfortunately never to be captured.
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Post by allanangel on Oct 4, 2018 16:19:28 GMT
Very sad. He was so much a part of amazing music history. What a life!
He was also an engineer for Allan on his self-titled album, Allan Clarke, dated August 1974.
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Post by cameron on Oct 5, 2018 9:36:36 GMT
It does seem rather puzzling how all the Hollies' past main members are still alive (a completely unique situation of ANY main 1960s band), yet they don't somehow come together for either a book or some kind of reissue project. They've done it in the past for the "Long Road Home" boxset book and that brilliant 2-hour BBC Radio special "They Ain't Heavy, They're The Hollies". It seems a shame that they're lucky to all be with us but don't seem interested in cementing their profile as one of the top five consistent enduring groups of the 1960s.
I'd love a book in the style of "Beatles In Their Own Words" where they just rattle through their entire back catalogue and give thoughts and anecdotes on each track, usually branching off into general titbits about the history of the group. It needn't be political or bitchy towards other members, just straight up talking about the music that they made together. Sharing stories how they wrote the songs, the instruments they played, the recording techniques they did, memories of performing the song, opinions on the song etc...
I fully sympathise with Simon's efforts to curate a lasting legacy for the Hollies. I know how much hard work it is to get such a project off the ground and I know when he does finish his book, it absolutely will not disappoint!
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Post by gee on Oct 5, 2018 17:54:13 GMT
Sorry to learn of Geoff Emerick's passing - his work with Beatles, Hollies and Badfinger make him a legendary 'unsung hero' figure (like Peter Bown was)....who was SO important in helping create the classic music that has soundtracked our lives....
re sixties band's personnel - Aren't all of Manfred Mann both Paul Jones and Mike d'Abo versions still alive ?
one thing I have always noticed is that while appearing to 'come together' on projects in fact The Hollies main group members always seem to be interviewed separately !
- on that LTAW DVD Clarke, Nash, Hicks, Elliott were each filmed alone - on differing days even - and it was all edited together to create the impression of band unity
in addition to those Bernie Calvert was also interviewed alone in the Radio Hollies story two part show 'They Ain't Heavy...They're The Hollies'
in neither was Terry Sylvester involved - perhaps no surprise but a pity as he was a main member overall
Eric Haydock doesn't get much attention for his input either...
and Mike Rickfors is only ever very briefly mentioned but never included for his angle on his stint in the band over 1972-73
while the notable absence of Tony and Bobby from that Hall of Fame induction fiasco again suggests maybe all is not well relationship wise between ALL of the 'main' classic era Hollies members ?
Ironic but most of them seem to be fine re Nash - even Sylvester's online rants re Nash I bet would suddenly fade IF Nash wanted him to collaborate on a project...!
I don't think Clarke and Hicks are that great pals....and maybe Clarke, Hicks, Elliott have lingering 'issues' re both Haydock and Sylvester (??) - and them vice versa
while Bernie (who appeared to be fine with both Terry and Allan) claims he co-wrote 'Burn Fire Burn' with Bobby...but later they 'forgot' to credit him as a co-songwriter when the song was finally released - a case of 'out of sight out of mind' it would appear...
for years it's been assumed that it was ALL down to Nash's dismissive attitude towards his first band that kept The Hollies mega 'low profile' and thus from getting greater critical appreciation...
but I suspect it goes somewhat deeper
- I get the impression Allan Clarke had and still has a rather low key attitude (possibly still embittered towards Tony being band manager of the group Clarke co-founded, plus of course re LCW, that early seventies USA tour, and his two stabs at a solo career always being rather a sideshow to the band's story) and Tony Hicks (never keen to meet his fans and normally the first to depart quickly after a concert show) are both just as ambivilent as Nash ever was re the Hollies sixties/seventies most important eras....
Had both Clarke and Hicks had at least some of the DRIVE that Nash had to take the band to the public things might have been very different, instead both wanted fame on THEIR terms - do the job then go home ! - and that probably is why the band largely slipped from wider public profile later in the 'post Nash' era after the UK hits dried up...
plus those 'business issues' ranging from their earlier manager and the 'non disclosure' thing in the sixties up to the exit of Robin Britten and the 'power play' that appears to have taken place 'post Nash' era...of which we know NO real details but likely played a key part in Terry Sylvester's walking out in 1981...then later the legal actions against Eric Haydock that thankfully now appear to be history...
it seems unlikely they will ever ALL get together to talk about the band's history and that, plus their well known (to fans) determination to keep some things FIRMLY OUT of public view and maintain the 'squeaky clean' rather faceless image (or general lack of any great image which was always very fully intentional I'm sure) together will probably ensure The Hollies band history will not be explored much deeper or their career given the critical attention the music deserves...
instead they will just periodically put out yet another compilation of hits !
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Post by eric on Oct 6, 2018 5:03:25 GMT
The Geoff Emerick book, referred to by Gralto above, makes a couple of passing references to The Hollies that comprise half a page of the 370 page memoir. He was present with Ron Richards and Pete Bown during the band’s commercial test (as noted by Gralto) and was impressed by their vocal harmonies and instrumental sound, but was less enthusiastic about the band’s name. It was noted that Pete Bown engineered most of The Hollies recordings (again, noted by Gralto).
Apparently Emerick knew Graham Nash quite well (with the two sharing a love of photography) and Nash was invited to The Beatles recording sessions on occasions (again, indicated by Gralto). Whilst it is disappointing that, with one exception, Emerick does not provide details of The Beatles sessions attended by Nash, this is understandable given the book’s being and focus is on his relationship with The Beatles.
The Beatles session that Emerick makes reference to is the one where Nash and other celebrities attend Abbey Road studios for an orchestral backing recording. From other authoritative sources, this would in fact be the “Our World” international television broadcast when The Beatles performed “All You Need Is Love” at Abbey Road on 25 June 1967.
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Post by stuball on Oct 6, 2018 21:06:02 GMT
Excellent piece by Gee re The Hollies lack of 'togetherness'.
I keep thinking about The Hollies 'factory analogy' which Gee raised a few years back. It rings true to me and might account for the cool relations, or closer to the truth, no relations between former band mates. If you were not happy with your 'position' in the Hollies hierarchy, your were either fired or quit. There seemed to be no upward movement from your starting position, no accommodation for grievances. So frustrated, Nash quit, and years later Calvert and Sylvester. Haydock of course, was fired, and Rickfors too was hastily shown the door.
Also after leaving, ex-members contributions are gradually downgraded and eventually all but written out of the group history. It reminds of the old Soviet Union, where former major players were 'erased' from the records and history books because of some indiscretion which displeased the state.
Today, the contributions and even the presence of Eric Haydock, Terry Sylvester, and Bernie Calvert and Mikael Rickfors have been minimized and their names and pictures rarely pop up. Not so much Graham Nash of course, since his presence with mega stars Crosby, Stills and Nash and Young, makes it a tall order to dismiss his presence. But to my mind, this attitude from 'Hollies Limited' goes a long way to creating this poisonous atmosphere where once you turn your back on The Hollies, you''re gone for good, and all doors are closed to you. What a sad affair! For the fans as well as the former 'Hollies'.
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Post by Deleted on Oct 6, 2018 22:06:05 GMT
re sixties band's personnel - Aren't all of Manfred Mann both Paul Jones and Mike d'Abo versions still alive ?
Good point. Others that (I think) still survive, include Wayne Fontana and The Mindbenders, The Merseybeats, The Applejacks, and the Winwoods-era The Spencer Davis Group.
Changing the subject completely, I've long felt that if it wasn't for his volatile personality, Wayne Fontana would've made a far more suitable replacement for Allan Clarke than Carl Wayne / Peter Howarth. Here he is in 2004, and still in great voice (he doesn't start singing until around 2:45):
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Post by Tony Wilkinson on Oct 7, 2018 19:22:06 GMT
Johnny Gustafson of the Merseybeats died Sept 2014...
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Post by Deleted on Oct 8, 2018 7:35:29 GMT
Johnny Gustafson of the Merseybeats died Sept 2014... Thanks Tony, I forgot about him (my excuse is that The Merseybeats went through several line-up changes, even during their hit-making period). |
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Post by Gralto on Oct 8, 2018 12:37:27 GMT
The Geoff Emerick book, referred to by Gralto above, makes a couple of passing references to The Hollies that comprise half a page of the 370 page memoir. He was present with Ron Richards and Pete Bown during the band’s commercial test (as noted by Gralto) and was impressed by their vocal harmonies and instrumental sound, but was less enthusiastic about the band’s name. It was noted that Pete Bown engineered most of The Hollies recordings (again, noted by Gralto). Apparently Emerick knew Graham Nash quite well (with the two sharing a love of photography) and Nash was invited to The Beatles recording sessions on occasions (again, indicated by Gralto). Whilst it is disappointing that, with one exception, Emerick does not provide details of The Beatles sessions attended by Nash, this is understandable given the book’s being and focus is on his relationship with The Beatles. The Beatles session that Emerick makes reference to is the one where Nash and other celebrities attend Abbey Road studios for an orchestral backing recording. From other authoritative sources, this would in fact be the “Our World” international television broadcast when The Beatles performed “All You Need Is Love” at Abbey Road on 25 June 1967. Thanks for checking out the Emerick book and sharing Eric. Thanks also for your kind words Cam - I too share your interest in a book or release on the members talking about all the songs and how they came about. Amongst my many documents and spread sheets I have compiled on Hollies info, I have started one on this very subject as I eke out words from the band or specific songwriters about the background to a song from a myriad of sources. I should add I have asked several of the past members about certain tracks but quite often, 30-50 years on, they frequently remember very little. Bobby of course remembers the most but in terms of songwriting he wrote the least! I have several references in local English newspapers from c.64-66 where a reviewer interviews them backstage pre-show and hears them banging out the bones of a song. I suspect that, being so busy and so booked up, they had little time to sit down to contemplate creating their latest slice of self-written pop greatness, and thus, much is forgotten today. Memories are a bit better from 1967 onwards when the songs said more, they had travelled and experienced much, and the touring schedule started to relax, in part due to Bobby's serious ailment curtailing some of their bookings that year. They were older and had more time to create. But I suspect, being such practical men, The Hollies didn't necessarily consider what they were creating was especially artistically noteworthy and worth mythologising - it was simply work. As we all know, one of the greatest weaknesses of The Hollies has been their ongoing inability or lack of interest (or both) to actually sell their career highs and lows; to create rock folklore and myths around the group through stories and tales. They were there through all the times - they frequented the clubs, attended things like Hendrix's breakthrough London gig, they were writing songs for other artists and all through it, kept creating monster hits which was THE music currency of the day. In the charts, on the telly - always. They were at the centre of a scene, even if they weren't directly dictating its trajectory. The Hollies were a big deal...but as Gee has pointed out on many occasions, conventional wisdom from the rock press in the decades following would suggest them as merely a footnote. I suspect this will shift in the coming years. I've been reading a fascinating book about Johann Sebastian Bach - it took two centuries for him and his work to become widely known and loved, unlike Beethoven, Mozart and Handel who were all known and admired in their own lifetimes. Perhaps re-evaluations of 'The Sixties Music Scene' from dispassionate researchers not blinded by the headline stealing antics of The Stones or The Who will reposition The Hollies in the decades to come. |
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Post by moorlock2003 on Oct 11, 2018 1:17:10 GMT
re sixties band's personnel - Aren't all of Manfred Mann both Paul Jones and Mike d'Abo versions still alive ?
Good point. Others that (I think) still survive, include Wayne Fontana and The Mindbenders, The Merseybeats, The Applejacks, and the Winwoods-era The Spencer Davis Group.
Changing the subject completely, I've long felt that if it wasn't for his volatile personality, Wayne Fontana would've made a far more suitable replacement for Allan Clarke than Carl Wayne / Peter Howarth. Here he is in 2004, and still in great voice (he doesn't start singing until around 2:45):
I'm a huge Wayne Fontana fan. It's a pity he didn't have more hits. To think he turned down both "I'm Alive" and "There's a kind of hush"! He shouldn't have been doing the picking. |
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