Evolution - An Appreciation

[cameron]

It's been a bit quiet on here this week, how about another album appreciation post? This time, my second favourite Hollies LP, 'Evolution'. 

Everything you ever wanted to know about Evolution.... 

Recording sessions started on 11th January 1967 with 'When Your Light's Turned On' and 'Have You Ever Loved Somebody' being recorded at Abbey Road studios. The latter was the debut of Tony's new 'fuzzbox' for his guitar. It was also the third and final attempt at the song which had been started as far back as the 'Would You Believe' album in 1966. Curiously, 'All The World Is Love' is also started in the same session, pre-dating the recording of the Beatles' 'All You Need Is Love' by a whole six months! Two days later on 13th January, 'Lullaby To Tim' and 'On A Carousel' are completed. The former was an ode to Allan's eldest son and he expected to sing it himself. Alas, Graham had other ideas and decided to try a "special technique" with his voice and run his microphone through the vibrato effect on Tony's guitar amp to get that 'warbling' sound. 

A brief European tour ensued, mainly consisting of promotional TV work to promote the new single 'On A Carousel' when during rehearsals for a TV show, Bobby collapsed and was immediately hospitalised with an inflamed appendix. Graham stayed with him while the others were flown home until Bobby's parents made it out to Germany to be with him. He was later flown home but would need his appendix removing, rendering him bed-bound for the foreseeable future, leaving the Hollies in limbo over completing the album.... 

An executive decision was made and the Hollies LTD employed session players to fullfill Bobby's shoes (temporarily) but respectfully, the Hollies cancelled any further commitments until Bobby was recovered. Towards the end of February, the Hollies returned to Abbey Road to resume recording sessions. Firstly, on 21st February, a debated session took place where two tracks 'Green Eyes' and 'You Know Me Babe' were recorded. Bobby, Tony and Allan all dispute that this is the Hollies and believe that it could be a mis-labeled master tape in the EMI vaults. EMI were keen to expose new talent for the new wave of sound emerging already in 1967 and many artists were sending in demo tapes. Perhaps one was a Hollies soundalike. But neither Bobby, Tony or Allan have any recollection of their song or the session. The following day though, the Hollies are back at Abbey Road to record two tracks for an Italian only single 'We're Alive' and 'Kill me Quick'. 'The Games We Play' and Graham Gouldman's 'Schoolgirl' are started. This first session featured Mitch Mitchell (later of Jimi Hendrix Experience fame) on drums. 

A couple of weeks later, on 3rd March, 'Leave Me' is completed and the basic tracks for 'Rain On The Window', 'Then The Heartaches Begin', 'Ye Olde Toffee Shoppe', 'You Need Love', 'Stop Right There' and an early unused take of 'Step Inside' are all laid down. This time legendary session drummer Clem Cattinin features on drums. A few days later on the 8th March, 'The Games We Play' is completed (minus the orchestral overdubs) and 'Water On The Brain' and 'Heading For A Fall' are started. Two session players are employed this time: Dougie Wright on drums and a young Elton John on keyboards for 'Heading For A Fall'. 

Sessions were wrapped up quickly and the Hollies headed off on a short package tour of the UK with Paul Jones, The Spencer Davies Group, The Tremeloes, Richard Kent Style, The Young Idea (who would go on to cover the Hollies 'Peculiar Situation' on their debut LP) and Dave Butler. Tony Newman was drafted in to cover for Bobby. Part way through the tour, the Hollies return to Abbey Road on 17th March to finish the final overdubs for 'Rain On The Window', 'The The Heartaches Begin', 'Ye Olde Toffee Shoppe', 'You Need Love', 'Stop Right There', 'Water On The Brain' and 'Heading For A Fall'. The Beatles were next door recording 'She's Leaving Home' to which the Hollies were invited to have a listen. It's generally accepted that the influence of the Beatles recording Sgt. Pepper affected the Hollies' consciousness to "push the envelope" with their next LP. 

That was a wrap as far as the Evolution tracks were concerned. Although curiously, the Hollies returned to Abbey Road on 3rd April to finish the first take of 'Step Inside', which would remain unissued. Bobby was okay to return to drumming by this point, and he was present for the sessions for 'Carrie Anne' and 'Signs That Will Never Change' on 1st and 2nd May respectively. 

It's not known when or where the album cover was shot. But the clothes were designed by the Dutch collective, "The Fool" - who would later go on to release a psyche/folk album produced by Graham Nash! The photo itself and concept was taken by Carl Ferris. He was then an unknown ex-army photographer. Jimi Hendrix was said to be so taken aback by the cover that he personally employed Ferris to photograph the Jimi Hendrix Experience. It's said that the Hollies' album cover was the first true psychedelic album cover photo! 

Sadly it was greatly over-shadowed upon release as the Hollies being label-mates with the Beatles, their two LPs were released on the same day - June 1st, 1967. Evolution did manage to cause enough of a stir despite Sgt. Pepper as it reached a respectable number 13 on the UK album chart. It also featured as Kenny Everett's Record of the Week. 

But there's the history behind the album anyway. I'd be grateful if anyone could add to it or expand on bits of it. Or just share your opinions and stories of this amazing album! 

[johnt]

"Sessions were wrapped up quickly and the Hollies headed off on a short package tour of the UK with Paul Jones, The Spencer Davies Group, The Tremeloes, Richard Kent Style, The Young Idea (who would go on to cover the Hollies 'Peculiar Situation' on their debut LP) and Dave Butler. Tony Newman was drafted in to cover for Bobby."


Was it Tony Newman or Tony Mansfield (ex-Dakotas)? This was the first time I had seen the Hollies live back in March 1967 and I was always under the impression that it was Tony Mansfield who stood in for Bobby.

[Deleted]

I believe both Tony's stood in for Bobby in early 1967. Here they are with Tony Mansfield:

www.alamy.com/stock-photo-manchester-pop-group-the-hollies-pictured-with-their-stand-in-drummer-84070602.html

[irelandcalling4]

Excellent album; I've only come to appreciate how wonderful it is over the past few months. Possibly my favourite of all of the Hollies albums alongside 'Butterfly', 'Distant Light' and the essential 'For Certain Because'.

'We're Alive' & 'Kill Me Quick' are two of my absolute favourite non album sides; these were Hollies originals right? Mitch Mitchell on drums, I hadn't known that.

'Evolution' to me is an almost perfect album; no matter how many times I've heard it over the last few months particularly, I look forward to my next hearing, it's simply chock-full of great songs. Difficult to choose highlights as I genuinely feel every track is worthy of being there and as a listening experience, the album is one of their very best, if not THE best. Catchy, well written hooks, wonderful harmonies and melodies, instrumental melodies; I'd take this over Sgt. Pepper.

'Butterfly' equals it in my opinion, as did 'For Certain Because'. A trilogy of British 60s pop at it's best.

[Stranger]

Evolution and Sgt. Pepper came out on the same day? Mind blown.

[gee]

re Bobby's illness - he has said they were in a German TV studio all gathered around a radio listening to 'Strawberry Fields Forever' when Bobby suddenly keeled over....his swollen appendix had to calm down before they could operate, it developed into peritonitis (the same illness that killed 'Dad's Army' star James Beck, who played Private Walker, in his forties)

Bobby was later told by the Doctor it was 'touch and go' for a while....

Graham remaining behind with Bobby after the rest of the band went home was a nice gesture - Graham also lost his father William around that time & was flying home from a Scandinavian tour to be with him when his dad passed away...

Bobby came back too quickly against Doctor's advice playing two shows (at Blackpool I think) before having to complete his recuperation & they recalled Tony Mansfield (of The Dakotas & Elkie Brooks brother)

Tony Newman (of Sounds Incorporated & The Jeff Beck Group in 1969) also deputised - I think TN did 'Doddy's Cracker Box' (or something) TV show & maybe a few others while TM did the UK tour until Bobby completed his recovery.
Bobby's forthcoming book should set all this out properly

re the deputy drummers;

Clem Cattini was earlier in Johnny Kidd's Pirates, The Tornados,  and later drummed for many including Marvin, Welch & Farrar and The Hank Marvin Guitar Syndicate etc...

Dougie Wright was previously in The John Barry Seven

Interesting they were experimenting re the vocal tracks ('Lullaby To Tim') and adding a psychedelic angle to their music while 'Sgt Pepper' was being recorded alongside 'Evolution' - Paul & Tony seem to value each other's opinions (Paul later played 'Abbey Road' very early on to Tony to get his reaction)

Did Elton John actually play on 'Heading For A Fall' does anyone know for sure ? (the 'tinkling keyboard' sound was a banjo put through an amp I was told & Bobby once denied Elton played on 'Evolution' saying they did not work with him until 1969 and 'He Ain't Heavy' - wasn't he still 'Reg Dwight' in 1967 working in a record shop in Watford ?)

Pity the mix on 'Evolution' was so poor - sounded like a rushed job (as with The Beatles 'Help !' album earlier) a very 'muddy' mix lacking any great depth or stronger sonic clarity, while the primitive stereo mix was lousy !!!

if EVER an album deserved a 'proper' sonic overhaul of mono & stereo versions....(eh Hollies Limited ??) Tony could ask his son, just do it properly (a 'demo' of Clarkie singing his song Tim & maybe Graham singing minus the 'warble' might make good 'bonus' tracks too...plus an early 'Have You Ever Loved Somebody') this album cries out for a DELUXE Edition set...!

Ex-Manfred Mike Vickers did the arrangements with a superb violin solo on 'Stop Right There' (written by & about Graham's failing first marriage)

- tho' maybe - and arguably - they rather overdid the additional accompaniment a bit as only four songs feature just the group ('Then The Heartaches Begin, 'Leave Me', 'When You're Lights Turned On' & 'Have You Ever Loved Somebody') and perhaps  a couple of times they too often put in an "accompaniment" featured  solo instead of a guitar solo ('Water on The Brain', 'Rain on The Window', 'You Need Love' etc) - as later they would do on 'Daddy Don't Mind' etc - when a guitar solo might have been more appropriate in 1967 ( year of Cream, Hendrix, Jeff Beck Group, John Mayall's Bluesbreakers, Ten Years After, etc), of course they were being imaginative but  it seemed they sometimes appeared a bit 'reluctant to rock' when more guitar led numbers would possibly have widened their appeal beyond the 'pop dartboard' image they found themselves rather 'pigeon holed' in by the wider public ?  (note 'Carrie Anne' featured a  steel drum solo and later 'King Midas' had a brass accompaniment solo too as would a number of tracks on 'Butterfly' later that year)

- it's an arguable point as on the one hand they WERE being imaginative of course, but then  they were not appealing to the emerging 'rock' culture thus were perhaps cementing a wider public view of them being a 'safe' pop group....??

'You Need Love' notably featured Tony's Rickenbacker giving a 'Byrds-ish' sound


note several of the songs are (for 1967) very openly sexually orientated 'adult' themed items ('Rain on The Window', 'Have You Ever Loved Somebody', 'When You're Light's Turned On', 'The Games We Play' etc) with a counterpoint song taken from a child's world view  full of nostalgia with a touch of social comment;'Ye Olde Toffee Shoppe', the almost visually imaginative song 'Water on The Brain' (where the brasswork echoes Paul Duklas 'Sorcerers Apprentice'suite and percussion simulates cascading rainfall ), the ode to Allan's son young Tim, and personalised songs re love or lost love ('Then The Heartaches Begin', 'Leave Me', 'Heading For A Fall', 'You Need Love') plus Graham's haunting  lament re his stormy marital relationship

Kenny Everett had it as his Radio 'album of the week' (Kenny Loved 'Lullaby To Tim' even with the 'warble')

I think it was via doing the cover for The Hollies album here that 'Simon & Marjike' aka 'The Fool' got to work with Peter Blake on 'Sgt Pepper' cover (Parlophone's PMC/PCS 7022 & 7027 respectively)

I once heard Terry Sylvester really praise up this album in a seventies radio interview

an MFP re-issue of the stereo mix titled; 'The Hollies' (MFP 5252) turns up in UK charity shops still

[cameron]

The MFP reissue of 'Evolution' (simply titled "The Hollies" with their five faces on the cover from a photo shoot circa 1968) is worth finding if you haven't got the original stereo mix or can't afford the prices it commands as it uses the same -1/-2 matrix as the original so is from the same stamper and being an EMI pressing, it's still a good quality pressing.

I doubt Elton's involvement in the album too. i got the information from the 'Long Road Home' sessionography. I can't hear a keyboard on the track - though maybe they cut a version with him and decided against it later on? That wasn't an unusual practice.

The album does desperately need a sonic overhaul. It's the only Hollies album that I've not been able to 'tidy up' much as it's just too muddy to extract any of the sonic qualities from it. I believe it was just recorded on a four track as King Midas was the first Hollies song to really push the boat out with two synced up four tracks (would you believe that the Hollies were capable of doing this but the Beatles weren't?! They tried it with 'Only A Northern Song' but couldn't re-sync the two tape machines after so no proper stereo mix was created until 1993) so some instruments may be "locked in" as they bounced them down to free up more tracks, but a new stereo mix could be created. I agree with Gee's comments about the over the top instrumentation too. The problem there is mainly that it's mixed in far too loud. 'Step Right There' nearly blows up my speakers on the violin solo! Definitely room for improvement.

In terms of bonus tracks, something akin to the recent Kinks reissues would be nice with brand new really sonically pleasing stereo mixes showing the songs in a new way with "lost" instrument parts. 'Have You Ever Loved Somebody' exists in an unreleased earlier version and also an early mix of the 'Evolution' version lacking Tony's fuzzbox guitar part. This snook out on a French TV show in the very early months of 1967, before sessions for the album were completed. A new mix of 'Lullaby To Tim' could be created playing with Graham's double tracking to remove the "warble" effect although personally I like it. You can pick out two voices in it though - one with the effect and one without so they could take the one without and artificially double track it to create a finished alternative version. Also some tracks could be presented without the orchestral bits. I've always hated the effect on 'You Need Love', I don't even know what it is but it sounds too comical, IMO. As for other tracks, who knows what still lingers on the session tapes. There could be a hidden keyboard part on 'Heading For A Fall' played by Elton John - who knows!

[Stranger]

Has anyone got a clearer version of the cover shot without the "membrane"? I'd like to make out what they are actually wearing.

Thanks.

[knut]

I have seen that. Will check my albums.

[dirtyfaz]

The French LP has an alternate picture on it without the membrane. I have the Magic Records CD of Evolution and it uses that alternate photo. They are wearing different cloths in it although maybe they just changes clothing between themselves.