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Post by baz on Jun 11, 2020 20:55:39 GMT
I always found that a cursory examination of the host's LP collection, told me all I needed to know about him or her. Most collections were generally all the same records: best-selling hard and heavy groups, plus a few media worshipped, dope-smoking singer-songwriters albums. Every party, every house, every basement, virtually the few same 'coolness approved' records ad nauseum! Once in a blue moon, you'd find some brave free-thinker who actually bought the records they liked, not the ones they were 'supposed to have'! I always carried a lot more respect for those 'free-thinking' types, who didn't follow the herd. They weren't obviously the most popular people to stage a party, I suppose, but their record collection told me a lot about their character. Ah, those were the days. Whenever I'd go to somebody's house for the first time, I'd be looking at two things - their record collection and their book collection. I'd learn all I needed to know from those about that person. Very rare one would encounter a "cool" collection of albums one wanted to hear but never took the risk buying!
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Post by cameron on Jun 11, 2020 22:55:02 GMT
The Dude used to go crazy at work when they insisted on playing this Dutch station called Q Radio (slogan: "Q is good for you!"). And that was pretty much the playlist -- if you include "Bohemian Rhapsody" and the obligatory Andre Hazes or other crap Dutch pop artist. But his colleagues INSISTED that they keep it on. They LOVED it. Lol, one of my best friends married a Dutch man (she's English) and she recalled going to a Dutch "oldies" music festival with him where they had a multitude of different acts playing all the same songs over and over! Some of them were English songs sung in Dutch and the translation bore no resemblance to the English lyric! And they all loved it! It seems the Dutch prefer music that everyone knows so that everyone can join in and have a good time. She said she was going out of her mind listening to it all. She had a full circle moment several years later when we were away with her in the Netherlands (sadly her husband died several years before) but she'd always told us this story of the mad Dutch with their music tastes and we thought she was being over the top, low and behold, the event we were at wheeled out "Clubsinger Daniel" who sang a set of about 15 songs twice! It was bizarre. I very seldom listen to the radio, but in the East Midlands we get Gold on the AM network (with that authentic slightly muffled mono sound!) and I enjoy that. They obviously have a pool of 500 or so songs that they rotate, because you hear the same things day in, day out, but it's all good and varied oldies from the 1950s to the 1980s, but cherry picking the popular rock/pop, keeping away from the new wave/synth sound of the 1980s. Unfortunately they do have Phil Collins on their playlists, which is a downside. But otherwise, it caters just to my taste really, though I've rarely heard anything new to me on there, but a lot of songs that I forgot all about. I used to loyally tune into 'Sounds of the 60s' with Brian Matthew on a Saturday, in fact, he turned me onto 'Butterfly' by the Hollies when I'd first discovered them and hadn't made it past 'Hollies Greatest' and he played 'Try It' and I was floored. There were so many artists that I discovered through Brian Matthew. I find it funny how generally the older folks on the forum have all gone to playing computerised files and the younger ones like me are still digging vinyl. Surely it should be the other way around! It's not about convenience for me, it's about the experience. Amplifier and cartridge technology has come a long way suddenly since the vinyl revival and my setup now is out of this world compared to what it was ten years ago. Pouring over the 12" artwork while listening to it is quite magical, as is having to listen to both sides of the LP in full. We're in the middle of moving house now and I've had to pack up my collection and I feel like I've packed my right arm away, the heart of the house has gone!
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Post by Mevrouw Bee on Jun 11, 2020 23:54:04 GMT
Rest assured there are Dutch fans of real music! But in general they fall into two camps: Those that love "smartlappen" and the Toppers and Andre Hazes and go to the concerts to wave their hands in the air and sing all the songs (my sister-in-law, for one, also a Queen stan, and I don't think that's a coincidence)...and those like The Dude and his friends who started a covers band back in the 1980s to parody that music!
Gawd I miss Brian Matthew. Even if Tim Rice took over I could have handled it (I gently fact-checked him on Twitter once re: something he said during one of the shows he subbed for Brian in and he was so sweet about it!). But Tony Bloody "Enough about me what do you think about me?" Blackburn who thinks the bigger the hit is, the better it is? Yecch.
We still have vinyl! Lots of it! And a turntable...My peers bought into the whole CD hype back in the day, junked their vinyl and equipment. I guess they've gone too far to start over again now. Meanwhile The Dude and I still scope out 2nd hand record stores...Gawd don't remind me of how many times we've had to pack up and move all that!
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Post by eric on Jun 12, 2020 0:30:26 GMT
These days I use digital files as my main source of music mainly for convenience and also because this format enables me to prepare playlists and to create albums that I don’t possess, e.g, Hollies Greatest Hits (Hansa) from 1968. Having said that, I would never dispose of my vinyl collection. It holds so many memories for me from my youth. LPs were very expensive in those days. Therefore, recently, it came as a surprise to me to find an old hand written note of mine from the early 70’s that recorded that I had acquired 29 LP’s during my High School (secondary school) days (30 LPs if one counts The White Album as 2 LPs). My parents were obviously very kind to me and they financed my love of music by paying for my LPs by the Hollies, Beatles, Stones, Kinks, Yardbirds, Who, Small Faces, Easybeats, Twilights and Billy Thorpe & The Aztecs. It still gives me pleasure to pull out an LP from time to time and look at the cover art and read the sleeve notes. I used to love the fact that the Hollies, Beatles, Easybeats and Billy Thorpe were all on the Parlophone label in the 60’s. Those were the days of simple pleasures!
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Post by Mevrouw Bee on Jun 12, 2020 1:09:08 GMT
These days I use digital files as my main source of music mainly for convenience and also because this format enables me to prepare playlists and to create albums that I don’t possess, e.g, Hollies Greatest Hits (Hansa) from 1968. Having said that, I would never dispose of my vinyl collection. It holds so many memories for me from my youth. LPs were very expensive in those days. Therefore, recently, it came as a surprise to me to find an old hand written note of mine from the early 70’s that recorded that I had acquired 29 LP’s during my High School (secondary school) days (30 LPs if one counts The White Album as 2 LPs). My parents were obviously very kind to me and they financed my love of music by paying for my LPs by the Hollies, Beatles, Stones, Kinks, Yardbirds, Who, Small Faces, Easybeats, Twilights and Billy Thorpe & The Aztecs. It still gives me pleasure to pull out an LP from time to time and look at the cover art and read the sleeve notes. I used to love the fact that the Hollies, Beatles, Easybeats and Billy Thorpe were all on the Parlophone label in the 60’s. Those were the days of simple pleasures! Oh Billy Thorpe and the Aztecs...recorded the best cover of "Over The Rainbow" ever...actually was a #3 Canadian hit in 1965! Just discovered it last year... We'd keep our all vinyl too if we were staying in the Netherlands. But shipping it all to Canada, ugh. That being said, I'm insisting we keep some LPs of sentimental value and all our 45s. The Dude has manually recorded it all into his computer and saved it in multiple places...
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Post by eric on Jun 12, 2020 3:53:46 GMT
Oh Billy Thorpe and the Aztecs...recorded the best cover of "Over The Rainbow" ever...actually was a #3 Canadian hit in 1965! Just discovered it last year... Wow! I didn’t know that they had success with their record in Canada. It was a No. 1 hit here in Australia and it deserved to be a world-wide hit. The band also had another No. 1 hit in Australia at the height of Beatlemania in 1964 with “Poison Ivy”, which IMHO is the definitive beat version of the song. The lack of international success was a common scenario with Australian based artists in the 60’s. I’ve often felt that music lovers of the 60’s living in places other than Australia and New Zealand have probably not heard many of our high quality local hits, comprising original tunes and superb covers of overseas acts. Some tracks have found their way onto overseas compilations but there is much more to discover!
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Post by Deleted on Jun 12, 2020 7:02:23 GMT
I still insist that the CD was a great invention, and I see no reason to go back to the inconvenience of vinyl. I also (like many of us) have tons of digital files: a few years back someone sent me DVD discs with complete collections of Bowie, Led Zep, The Bee Gees and dozens more, but the problem is they were so overwhelming that I never played 'em! So, over the past couple of years, I've really got back into buying CDs again. I mentioned elsewhere how I've bought many CDs of BBC recordings by various 60s acts; this was partly to help with my research for 'Let's Stomp!', but also this has renewed my enthusiasm for albums with pre-set track listings.
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Post by Mevrouw Bee on Jun 12, 2020 14:30:16 GMT
Oh Billy Thorpe and the Aztecs...recorded the best cover of "Over The Rainbow" ever...actually was a #3 Canadian hit in 1965! Just discovered it last year... Wow! I didn’t know that they had success with their record in Canada. It was a No. 1 hit here in Australia and it deserved to be a world-wide hit. The band also had another No. 1 hit in Australia at the height of Beatlemania in 1964 with “Poison Ivy”, which IMHO is the definitive beat version of the song. The lack of international success was a common scenario with Australian based artists in the 60’s. I’ve often felt that music lovers of the 60’s living in places other than Australia and New Zealand have probably not heard many of our high quality local hits, comprising original tunes and superb covers of overseas acts. Some tracks have found their way onto overseas compilations but there is much more to discover! I didn't know either and I'm sure most of Canada doesn't remember. "Oldies" shows rarely go back to the 60s anymore and in the past 20 years or so have only been based on Billboard. Because Canada = America, right? Pffft. Nevermind that "I'm Alive went to #11 in Canada (don't ask me why I never heard it though) and #103 on Billboard...We're exactly the same country! In Canada during the 60s it was even worse than Australia; even Canadian DJs thought Canadian bands sucked and wouldn't play the records. Our early Guess Who hits, among others, were often in spite of DJs, not because of them. Most of our best went south: Neil (and Buffalo Springfield colleague Bruce Palmer), Joni, Paul Anka, Zal Yanofsky of the Lovin' Spoonful, Denny Doherty of the Mamas & The Papas, Steppenwolf, David Clayton-Thomas, The Band... It took the Canadian Content law of 1971 to ensure that 60% of music played on Canadian radio was Canadian. Most people complained, but looking back at the stuff we thought was shoved down our throat then, most of it was better than we thought at the time. Or at least no worse than the radio crap from America. And I think we kind of proved we have a few talented people up here (sorry about Justin Bieber though, lol). I will check out "Poison Ivy!" In turn, go to YouTube and look for The Staccatos (careful, there's also a South African band by the same name)...I call them the "Canadian Hollies" in part because of their harmonies. Les Emmerson wrote most of their stuff, including the international hits they eventually had after they changed their name to the Five Man Electrical Band around 1970 (and, like the Hollies, are more than their one song that everybody knows: "Signs")...
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Post by Mevrouw Bee on Jun 12, 2020 14:31:35 GMT
I still insist that the CD was a great invention, and I see no reason to go back to the inconvenience of vinyl. Aye, but my ever worsening eyesight can think of one inconvenience of CDs...
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Post by Mevrouw Bee on Jun 12, 2020 16:48:07 GMT
Ah just read that Billy Thorpe was born in Manchester. Colour me surprised?
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Post by cameron on Jun 12, 2020 17:47:56 GMT
I think CDs are a bit underrated too, but you're always going to be limited to 44,100hz frequency response, of which vinyl is virtually limitless (at least 96,000hz) so you're able to get a much more vibrant and realistic sound from vinyl on a good set up. But CDs are convenient and there's a lot of stuff that's come out on CD since the 1960s that's never been pressed to vinyl, and CD is a better format than digital because it's yours forever! The amount of digital files I've lost over the years due to computer issues is ridiculous.
I'm hoping the Hollies might get a vinyl boxset one day, like every other major 1960s artist has had. If they could reissue the Nash years in mono + 'Hollies Greatest' to tie it off with the non-album A-sides, all with authentic replica sleeves (like the Beatles in mono set) with today's pressing technology, I think they'd find a big seller on their hands. The 180g reissues they did of 'Evolution' and 'Butterfly' back in 2017 have the edge over the original pressings sonically, but the packaging let them down a bit, squeezing both mono and stereo pressings into one thin sleeve.
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Post by baz on Jun 12, 2020 18:09:36 GMT
I'm hoping the Hollies might get a vinyl boxset one day, like every other major 1960s artist has had. If they could reissue the Nash years in mono + 'Hollies Greatest' to tie it off with the non-album A-sides, all with authentic replica sleeves (like the Beatles in mono set) with today's pressing technology, I think they'd find a big seller on their hands. The 180g reissues they did of 'Evolution' and 'Butterfly' back in 2017 have the edge over the original pressings sonically, but the packaging let them down a bit, squeezing both mono and stereo pressings into one thin sleeve. I get the distinct feeling that won't happen as I reckon Bobby and Tony wouldn't see there being much interest in further vinyl reissues. Also I doubt it would sell much as like it or not, The Hollies are still not regarded highly in the same breath as the Stones, Beatles etc. There does need to be some reissue campaign where they go back to square one - sort out the mono and stereo mixes (as various tracks supposedly in mono were narrowed stereo on some reissues), remix those albums that need it to banish those awful twin track mixes ("Evolution" I'm looking directly at you and could we please have "Elevated Observation?" minus the lopsided stereo and that annoying glitch after the middle section?) and clear away the mess that's been created over the years so we end up with definitive versions of their works minus any noise reduction nonsense... just upgrade the lot and treat it with the time and care it deserves. Sadly again, I doubt this will ever happen as I don't think Tony or Bobby care enough. Still hoping Ron Furmanek's rarities project comes to fruition and release!
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Post by cameron on Jun 12, 2020 18:39:39 GMT
I don't think Tony or Bobby have much say in what gets reissued and what doesn't. Over the years during interviews, they usually say "the record company approached us with this idea..." and Tony has never contributed to any liner notes, to my knowledge. The fact that on a radio interview to promote 'Changin Times', Tony and Bobby were played three "deep cut" tracks and had virtually no recollection of them whatsoever shows how interested they are in their back catalogue!
Even the two 2017 vinyl reissues were just slipped out, I think the official announcement came on the day they first went up on sale. We'd sussed out the releases weeks before on this forum! Like most things lol. Zero promotion and not even a mention in any of the music press, but AFAIK, 'Evolution' sold out and I don't think 'Butterfly' was even stocked by HMV. I'm almost certain that these were some kind of copyright control release due to the number of bootleg reissues of those two albums on vinyl in recent years. I asked in HMV and 'Butterfly' was a special order only and 'Evolution' showed on their system as sold out within a couple of months. What kind of absolutely rubbish distribution is that?!
The 1999 remasters are really weak sounding and the Ron Furmanek mixes too overcooked (admittedly not his fault). The new remasters on the 2011 'Clarke Hicks & Nash Years' were absolutely terrible, even more overcooked than the 1993 remixes. They seem happy to dig out a vinyl drop too if no one can be bothered to look for the tapes (re: 'Running Through The Night' and 'Crossfire'). They got things right in 2007 with the EMI reissue campaign of the early Polydor years, the sound on all those was noticeably better than even the 2003 remasters on 'The Long Road Home', much more vibrant and a little more noise filtering was welcome, IMO. I'd rather them follow the line of the Beatles (and most other artists, to be fair) of banishing the mono mixes to special limited edition sets, and make stereo the default, even if it means going back in and remixing some things. Of course, that's all time and money and we know it won't happen... But you're right, it all wants tidying up and sorting out properly. Put the albums out again in stereo with bonus tracks and a few bonus items.
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Post by baz on Jun 12, 2020 19:42:29 GMT
The 1999 remasters are really weak sounding and the Ron Furmanek mixes too overcooked (admittedly not his fault). The new remasters on the 2011 'Clarke Hicks & Nash Years' were absolutely terrible, even more overcooked than the 1993 remixes. They seem happy to dig out a vinyl drop too if no one can be bothered to look for the tapes (re: 'Running Through The Night' and 'Crossfire'). They got things right in 2007 with the EMI reissue campaign of the early Polydor years, the sound on all those was noticeably better than even the 2003 remasters on 'The Long Road Home', much more vibrant and a little more noise filtering was welcome, IMO. I'd rather them follow the line of the Beatles (and most other artists, to be fair) of banishing the mono mixes to special limited edition sets, and make stereo the default, even if it means going back in and remixing some things. Of course, that's all time and money and we know it won't happen... But you're right, it all wants tidying up and sorting out properly. Put the albums out again in stereo with bonus tracks and a few bonus items. The 1999 remasters were a mess as well - the clipped intros of every track on "Butterfly" meant I had to rip it to my PC and remake all the cue points to make it listenable. The 2007 early Polydor stuff was done right and I hoped the rest of the catalogue would follow with likewise treatment but... The 2011 set had no sense of logic to it as it slips from stereo to mono almost randomly and some seemed to be Furmanek mixes, some originals, some narrowed down stereo... a real hodgepodge of different masterings from over the years. A shame as the chronological approach was welcome. I must admit, I have the monos purely for reference but stereo is always my "go to" even the horrid hard split stuff. As far as I'm aware, the majority of multitracks do exist though some are definitely long gone but a pity the chances of getting the catalogue tidied up and treated like The Beatles is remote.
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Post by cameron on Jun 12, 2020 20:55:40 GMT
The 1999 transfers are okay-ish, quite a bit of noise reduction. But they feel very lifeless. I think the best remasters were the ones done for the 2003 'Long Road Home' set and then the 2007 masters. That's what their catalogue needs; decent mastering. Ron Richards' mixes are generally quite dull and "safe". It's not until Alan Parsons really takes the helm in 1972/3 that their mixes start to hot up. Then Ron's return for '5317704' is noticeable because the muddy mix returns. Even something as great sounding as 'Distant Light' can take a real boost on my setup to get more life out of it. There was a Dutch hits collection (maybe '15 Classics'?) that had been re-mastered and sounded really great. It was on Spotify for a long time but like most things digital, disappeared one day!
I don't know who was responsible for the actual mix, perhaps it was Ron, but a few alternative mixes have cropped up over the years, which are almost always better; 'Look Through Any Window' (more balanced stereo with the "ooohs" in the final verse) and 'I Can't Tell The Bottom From The Top' (appeared in 2003 with no out of sync guitar and really prominent orchestra instead, apparently a mix that appeared somewhere in Australia at some point in the 1970s). Presumably someone had a final say in which mix was chosen. The Hollies were quoted in the music press at the time slagging off the sound on 'I Can't Tell The Bottom From The Top' and especially 'Gasoline Alley Bred', both of which put Bobby right at the back of the mix and for some inexplicable reason, 'Gasoline Alley Bred' was slowed down for release. The Hollies seem to be unhappy about singing along with it on their Top of the Pops appearance, but contemporary live performances of it from 1970/71 are out of this world.
Of all the albums, 'Butterfly' does suffer the most on the 1999 remasters. My "go-to" on CD is the French Magic Records version, which is much hotter in the mastering department, though does clip off Bobby's snare at the start of 'Away Away Away', but I can forgive that because they don't feature the AWFUL version of 'Dear Eloise' that drops out as the band come in, only for the bass to return after a few seconds. And this mix made it onto 2011's 'Clarke Hicks & Nash Years'! All the power of the song is in that jump into the verse, and that mastering just kills it. I think it's because on the original mix/pressing, there's a bass tone on the stereo mix throughout Graham's intro, I'm assuming they pulled the bass EQ to readdress this, then forgot to re-boost it when the intro starts.
I think just about all the Hollies' multi-tracks exist, only a few pre-1966 ones got culled in the famous 1972/3 clear out of EMI's tape vault. It was my understanding that engineers were allowed to play with the tapes before they were wiped, hence some of these alternative mixes coming to pass. Someone told me 'Look Through Any Window' was gone as a multi, but it can't be if Ron Furmanek remixed it for the 1993 set. I think the fact that the Hollies were still selling well in 72/3 saved their tapes. Artists like Freddie & The Dreamers and Gerry and the Pacemakers lost just about everything of their session tapes.
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Post by baz on Jun 12, 2020 21:28:29 GMT
Of all the albums, 'Butterfly' does suffer the most on the 1999 remasters. My "go-to" on CD is the French Magic Records version, which is much hotter in the mastering department, though does clip off Bobby's snare at the start of 'Away Away Away', but I can forgive that because they don't feature the AWFUL version of 'Dear Eloise' that drops out as the band come in, only for the bass to return after a few seconds. And this mix made it onto 2011's 'Clarke Hicks & Nash Years'! All the power of the song is in that jump into the verse, and that mastering just kills it. I think it's because on the original mix/pressing, there's a bass tone on the stereo mix throughout Graham's intro, I'm assuming they pulled the bass EQ to readdress this, then forgot to re-boost it when the intro starts. I think just about all the Hollies' multi-tracks exist, only a few pre-1966 ones got culled in the famous 1972/3 clear out of EMI's tape vault. It was my understanding that engineers were allowed to play with the tapes before they were wiped, hence some of these alternative mixes coming to pass. Someone told me 'Look Through Any Window' was gone as a multi, but it can't be if Ron Furmanek remixed it for the 1993 set. I think the fact that the Hollies were still selling well in 72/3 saved their tapes. Artists like Freddie & The Dreamers and Gerry and the Pacemakers lost just about everything of their session tapes. Thanks for reminding me of that "Dear Eloise" mastering screw up... that was horrible - sounds like it's playing through a small transistor radio then the engineer suddenly remembers to whack up the bass. Dire quality control! Surely when one screws up like that, you stop the mastering and start again as after all it's the first track on the album! Shocking how sloppy EMI could be. Did anyone also notice that the mix of "Open Up Your Eyes" on the 2011 set is different from the 1993 mix Ron Furmanek did? It's balanced differently and very noticeable at the end as Graham's harmonies are centered in the 2011 mix. As far as I know, Ron's mix was the first time that song ever appeared in stereo, so was that another bit of revisionism or a "lost" vintage mix? I get the feeling that "Look Through Any Window" could well have been one of those EMI engineer mixes done before the multi was wiped which Ron found and used as unlike most others, his level of detail and research would have him listening carefully to every tape he could find as opposed to pulling a tape out with the title and using that, such was what happened in 1968 with the wrong version of "Yes I Will" being used on "Hollies Greatest". That was the big thing about Ron - he is a fan of The Hollies so knew exactly what to listen for and replicate in stereo.
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Post by Mevrouw Bee on Jun 12, 2020 22:07:12 GMT
The Hollies were quoted in the music press at the time slagging off the sound on 'I Can't Tell The Bottom From The Top' and especially 'Gasoline Alley Bred', both of which put Bobby right at the back of the mix and for some inexplicable reason, 'Gasoline Alley Bred' was slowed down for release. The Hollies seem to be unhappy about singing along with it on their Top of the Pops appearance, but contemporary live performances of it from 1970/71 are out of this world. "Gasoline Alley Bred" is the most *kaCHING* frustrating *kaCHING* single of them all *kaCHING*. The mix is just all wrong, especially in the *kaCHING* chorus...and it is such a pretty song.
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Post by sandy on Jun 15, 2020 17:31:08 GMT
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Post by sandy on Jun 18, 2020 14:33:17 GMT
Probably old news to lots of you, but, just in case it hasn't been mentioned for a while..... Here's a link to Bandcamp, which has ex Hollies' pianist Pete Arnesen on. The album Tony worked on with his friend Colin Horton Jennings is on here- Taggett. I have the vinyl in storage somewhere. I seem to remember me talking about it with Pete after a concert once, and blurting out that Colin had a ' weird voice'!!!! ( Which probably wasn't the most diplomatic thing to say, although he did agree!!) So there's the original Delaware Taggett😊 Colin also had a band called ' The greatest show on earth' and in 1970, did the original Magic woman touch 😊 peterarnesen.bandcamp.com/album/taggettPete is also selling on this site, the Hollies live in Mainz concert, which I was a little surprised about😉 ( So two links above)
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Post by JamesT on Jun 18, 2020 17:07:40 GMT
I've had that Taggett vinyl rip for ages - can't remember where I got it but certainly didn't pay for it. Sounds like he's in for trouble if Hollies Ltd hear about him selling a bootleg.
I really like the original 'Delaware' but haven't listened to the rest in a long time. Jennings' voice definitely an acquired taste.
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Post by sandy on Jun 19, 2020 8:15:08 GMT
I've had that Taggett vinyl rip for ages - can't remember where I got it but certainly didn't pay for it. Sounds like he's in for trouble if Hollies Ltd hear about him selling a bootleg. I really like the original 'Delaware' but haven't listened to the rest in a long time. Jennings' voice definitely an acquired taste. Sshhh, best not say anything 😵
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Post by thejanitor on Dec 21, 2020 12:23:38 GMT
Not a Hollies related post, but going back to the Bee Gees discussion on the last page - so the biopic thing seems to have not gone through, but instead there was a new official documentary aired (I think) last week called How Can You Mend A Broken Heart. Did anyone here catch it?
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Post by Mevrouw Bee on Dec 21, 2020 13:25:30 GMT
Not a Hollies related post, but going back to the Bee Gees discussion on the last page - so the biopic thing seems to have not gone through, but instead there was a new official documentary aired (I think) last week called How Can You Mend A Broken Heart. Did anyone here catch it? Heard about it on Twitter. On one of the streaming services I don't have, I believe.
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Post by Malc on Dec 21, 2020 16:01:12 GMT
Not a Hollies related post, but going back to the Bee Gees discussion on the last page - so the biopic thing seems to have not gone through, but instead there was a new official documentary aired (I think) last week called How Can You Mend A Broken Heart. Did anyone here catch it? It was good, but too many unanswered questions for me. Lots of interesting footage, but scant mention of the early albums, why Vince and Colin were let go, and anything after the disco backlash (which had too much airtime considering how much there was to cover) was condensed down into a brief summary at the end. Not one of the latter day hits was given any mention which I also found frustrating considering they still came up with the goods right up until the end...
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Post by baz on Dec 21, 2020 17:25:26 GMT
Not a Hollies related post, but going back to the Bee Gees discussion on the last page - so the biopic thing seems to have not gone through, but instead there was a new official documentary aired (I think) last week called How Can You Mend A Broken Heart. Did anyone here catch it? It was good, but too many unanswered questions for me. Lots of interesting footage, but scant mention of the early albums, why Vince and Colin were let go, and anything after the disco backlash (which had too much airtime considering how much there was to cover) was condensed down into a brief summary at the end. Not one of the latter day hits was given any mention which I also found frustrating considering they still came up with the goods right up until the end... It was OK but pretty much a recycling of earlier and better documentaries. A surprise to see Vince Melouney and some new emotional comments from Barry but did we really need Noel Gallagher and Chris Martin? It did focus more deeply on the 1974 to 1979 period which was fine by me given that was their biggest era but to more or less ignore all that came after in any detail left a lot to be desired. Too much time wasted on that disco burning nonsense and yet no mention of the moment the tide turned in their favour when they took everyone by surprise in 1987 with a well deserved number one in the UK with "You Win Again" - a great song which wasn't even featured or acknowledged which made no sense at all. I did like Barry's closing summary that the Gibbs will be remembered chiefly as songwriters but there was very little about their methods and inspirations behind writing their songs. So, in all rather uneven but another timely reminder of how good they were.
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