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Post by sandy on May 29, 2020 18:05:53 GMT
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Post by Mevrouw Bee on May 29, 2020 18:43:11 GMT
Never heard of this song until last night when I finally finished Bobby's book so weird coincidence! Referred to as the "no-hoper of a song" that Bruce Welch produced. Terry was gone before it was finished and Labi Siffre provided the top harmony.
On my way out so only got 10 minutes in...yeah, I like Colin Blunstone but that song is a tad bland in that late-70s kind of way...
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Post by Tony Wilkinson on May 29, 2020 18:48:39 GMT
I have heard that track before, now desperately trying to find it....!! |
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Post by sandy on May 29, 2020 18:56:54 GMT
I have heard that track before, now desperately trying to find it....!! Me too! I have it somewhere 😊 |
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Post by Tony Wilkinson on May 29, 2020 19:10:48 GMT
I have heard that track before, now desperately trying to find it....!! Me too! I have it somewhere 😊 Gee refers to it here.... Posts: 567Male Jul 5, 2015 at 12:33pm QuotelikePost OptionsPost by gee on Jul 5, 2015 at 12:33pm I agree Cameron each perfectly fine Hollies compilations with a valid 'theme' to them and all far stronger than those random Magic sets with daft titles ! Another such idea might be a 'Missing' Clarke-Hicks-Sylvester album compiled from various 'non album' songs 1971 to 1981: Hey Willy - Sign of The Times - Row The Boat Together - Tip of The Iceberg - Mexico Gold - Son of A Rotten Gambler - Layin' To The Music - Corrine - Come Down To The Shore - Samuel - Soldier's Song - 'C'mon - Can't Lie No More - No More Riders - Oh Granny (Clarke version) - Hello Lady Goodbye - Here in My Dreams - If The Lights Go Out (Sylvester version) - Lovin' You Ain't Easy - I Don't Understand You (Anymore) (Sylvester version)- Crossfire - Sanctuary (22 tracks) While you could add both 'Layin' To The Music' and 'Lonely Hobo Lullaby' - both feature Hicks country style banjo - as bonus tracks to your 'Hollies Sing Country' idea if you wanted to conclude it with a couple of later songs - yes ? (there's also the bootleg 'Live' version of 'Amazing Grace' & Emmylou Harris song 'Boulder To Birmingham') |
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Post by Tony Wilkinson on May 29, 2020 19:42:26 GMT
Got it...........................
What goes around cd ........bonus track...phew, you nearly got me there....
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Post by sandy on May 29, 2020 19:44:25 GMT
Got it........................... What goes around cd ........bonus track...phew, you nearly got me there.... 😅😅😅Had it on a tape...once upon a time in the distant past...😳 |
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Post by sandy on May 29, 2020 19:44:43 GMT
Got it........................... What goes around cd ........bonus track...phew, you nearly got me there.... 😅😅😅Had it on a tape...once upon a time in the distant past...😳 |
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Post by gee on May 29, 2020 20:35:43 GMT
I believe it's the second Terry Sylvester version recorded on 19 May 1981 at Shadows drummer Brian Bennett's home studio featuring Shadows sidemen Alan Jones on bass guitar and Cliff Hall on keyboards - after producer Bruce Welch dumped Bernie Calvert after the first very unsuccessful attempt at the song - that briefly 'escaped' onto the German Rock in Beat CD of 'What Goes Around...'RB 203 as bonus track 15 before The Hollies Limited moved to force withdrawral of the unofficial CD
It certainly sounds like Terry Sylvester doing the high harmony vocal on this Steve Thompson song - which Terry apparently loathed !
unfortunately as Bobby relates in his book it was the 'straw that broke the camel's back' for Terry's career with The Hollies
Labi Siffre is credited as doing vocal on the third attempt at the song cut on 18 June 1981 after Terry had 'walked' from the band, again at Brian Bennett's studio however Bruce Welch has since stated he does not recall Labi Siffre even being present at that session and Bruce has even added; 'there would have been no reason for him (Labi) to be there...'
which is logical as Allan Clarke could of course have quite easily then sung the high harmony vocal as he did on those early 1 January 1969 tracks 'Angel of The Morning', 'Dang Me' (version one) cut just before Terry officially joined the band after they had very briefly considered going on as a four piece outfit but then knew they would need the third singer for live dates, presumably Terry was not yet officially appointed or yet available when they cut those two songs
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Post by dirtyfaz on May 30, 2020 1:36:49 GMT
I happen to have one of those Rock n Beat CD and the track is in reasonably decent audio quality. Song is average though.
Interestingly Gee says The Hollies Ltd moved to force withdrawal of the CD. I had a look at their site and they are still offering it.
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Post by gee on May 30, 2020 12:56:06 GMT
Don't let the offical Hollies website know about that !!
quickly grab any copies you can - assuming I Don't Understand You is still bonus track 15 on it
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Post by cameron on May 30, 2020 14:03:36 GMT
I don't really care for any of the Hollies' 1980s output, no matter how rare it is. I thought they can't make you remove material that isn't commercially available elsewhere? Even more so if it's been changed in some way. They attempted to block my remix of 'Marrakesh Express' and the backing track does regularly get taken down from YouTube when it's uploaded on its own. But because I added Graham's vocals, they can't touch it.
Funnily enough, they've succeeded in claiming copyright on the BBC version of 'King Midas' despite it not being available on any BBC set (even the bootlegs) and has never been re-released since the day it was broadcast in October 1967 by either the Hollies or the BBC. It was my understanding that you can't claim copyright on something that's not available, hence why the Rolling Stones/ABCKO leak those rarities on YouTube quietly now and then and due to some legal loophole, so long as they've been up for a certain (short) period of time, they can have the new copyright on them. Either way, the Hollies now earn money on my videos every time someone watches them, which I am 100% happy with. The fans get to hear these rarities and the Hollies get paid for them - what's wrong with that? If the record company doesn't want to put them into a CD or vinyl package and release it commercially, let the fans sort it out amongst themselves. Maybe this is the future of the music industry...?
I wonder where the Hollies Ltd stands with those awful Japanese OBI releases from a few years back that now seem to be representing their official catalogue on streaming services, which use some very questionable mono needle drops of 'We're Alive' and 'Kill Me Quick', the mono mix of 'Jennifer Eccles' and the alternative early version of 'Try It', NONE of which have ever been re-released officially by the Hollies. Don't even get me started on the bonus tracks being paired with the wrong era albums... what an absolute mess.
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Post by baz on May 30, 2020 15:03:56 GMT
I don't really care for any of the Hollies' 1980s output, no matter how rare it is. I thought they can't make you remove material that isn't commercially available elsewhere? Even more so if it's been changed in some way. They attempted to block my remix of 'Marrakesh Express' and the backing track does regularly get taken down from YouTube when it's uploaded on its own. But because I added Graham's vocals, they can't touch it. Funnily enough, they've succeeded in claiming copyright on the BBC version of 'King Midas' despite it not being available on any BBC set (even the bootlegs) and has never been re-released since the day it was broadcast in October 1967 by either the Hollies or the BBC. It was my understanding that you can't claim copyright on something that's not available, hence why the Rolling Stones/ABCKO leak those rarities on YouTube quietly now and then and due to some legal loophole, so long as they've been up for a certain (short) period of time, they can have the new copyright on them. Either way, the Hollies now earn money on my videos every time someone watches them, which I am 100% happy with. The fans get to hear these rarities and the Hollies get paid for them - what's wrong with that? If the record company doesn't want to put them into a CD or vinyl package and release it commercially, let the fans sort it out amongst themselves. Maybe this is the future of the music industry...? Their 80's output? No, I don't care for it either as I find most of it extremely bland and I despise that 80's sound... I hated that sound back in the day when it was current which was why I began listening to older music as I preferred the way 1960's and 1970's stuff sounded. Don't get me started on synths or gated snares! As for "King Midas"... I dunno. They seem to have some weird stance on that song. Sure, it's good the current band actually play it but think back to late 1967 when it "flopped" and the band ditched Nash's direction to get back to being commercial again eventually disowning that song. Then Ron Furmanek's remix being vetoed by the band in spite of Nash liking it... and then finally that abominable remix they pushed out on hits collection number 97 in 2010 with the pointless overdubbed drum part which was done without Nash's knowledge and approval (as far as I'm aware). Insane they now want to withold the BBC radio version. The Rolling Stones/ABKCO stunt was despicable - they offloaded over a hundred tracks which including some complete concerts from 1969, plastered on top an irritating high pitched tone then withdrew them after less than 12 hours. Of course, I found out just minutes after they were all swiped away from us. That's one nasty legal mess that has never been resolved as we had that pointless and over-expensive "Let It Bleed" anniversary package which had no unreleased material at all. And to think for many years The Beatles were accused of being possessive and stingy with their unreleased tapes! |
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Post by dirtyfaz on May 30, 2020 22:56:27 GMT
Somewhere sometime a long time ago someone made available the 2 Furmanek mixes (Partial) that were vetoed on that 30th anniversary set. I missed the Carrie Anne but got the intro to the King Midas. Ron used the mono version of King Midas as the basis for his mix. That was the single tracked Graham vocal. Have a listen to both the mono & stereo intros to MK. A stark difference.
It was a pity that the 30th Anniversary set got a lot of put downs. My belief is they were totally undeserved. It is a set Hollies fan/collector should have. It has many many 1st time stereo tracks as well as all the other stuff Cameron mentions.
I don't have a major issue with those Japanese issues from a few years back. Sure some tracks should be on maybe a different album and I don't have a major issue with needle drops either if the version is hard to come by and are well done. The other benefit of them is that they picked up just about all the available material in mono and stereo and some rarer tracks like Try It.
If the streaming services use these then the issue should be with them not the Japanese company that put them out.
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Post by cameron on May 30, 2020 23:00:03 GMT
You're right about 'Midas', that was one of only two vetoed remixes on the '30th Anniversary Collection', which apparently did NOT come from the Hollies themselves. I absolutely cannot stand that remix they did, which actually found its way into the LTAW DVD. I know around that time, the Hollies (well, Tony and Bobby) actually paid to go into their session tapes and extract certain parts for their live performances. Around 2010, they started dropping in the real steel drums on 'Carrie Anne' (FINALLY putting decades of dodgy keyboard solos to bed there) and the real orchestra on 'Midas'. It's quite impressive how they do that live, they don't appear to be playing along to a track, unless they made a new track in the studio and fused the original with it, hence the remix... I don't know.
I managed to grab the 1968 Stones rarities. The tone is easy to get rid of if you're a bit of an audio buff like me. No concerts from 1968, but a fantastic alternative live version of 'Jumping Jack Flash' which is WAY better than the original and ABCKO keeps removing from YouTube but there's a guy who famously re-uploads it out of spite! Here it is:
I wish, 50+ years on from the bitter court case and with Alan Klein long gone, they'd be able to come to some agreement with ABCKO. The 50th anniversary editions of 'Satanic Majesties' through to 'Let It Bleed' have been absolutely disgusting. The ONLY good thing I can say about them is 'Beggars Banquet' has never sounded so good, neither has 'Rock And Roll Circus'. But to create a lavish package with absolutely no new material? That's just ripping the fans off.
I think the Beatles were far from stingy. Allegedly you could write to EMI in the very early 1970s and they'd gladly send you some of this stuff until they cottoned on to what was happening. Someone tells a great tale of the Bob Dylan 1966 live album that was aborted; someone wrote to CBS in the mid-1970s to ask about it and they gladly ran him off a copy from the master and posted it! There were so many bootlegs flying around in the 1970s, especially of the Beatles. Not to mention official things like the stereo remixes on the red and blue albums in 1973 and the issue of the Hollywood Bowl concert in whatever year that was issued, and George Martin himself worked on that. Then there was the remixes of 'Help' and 'Rubber Soul' in 1987 and then of course 'Anthology'. If anyone was stingy, it was the Hollies! And they still are... Even 'Rarities' used a lot of masters that already existed to save time/money. For years, "unreleasable" was thought to have meant that the song wasn't good enough, it turned out, a session tape needed mixing down to make a stereo master. Suddenly, several of these songs that fans were told were "unreleasable" in the 1980s saw the light of day in the 1990s. I think the only things that crept out otherwise were mostly pre-Hollies Ltd recordings owned by EMI (anything pre mid-1966), such as the wrong take of 'Poison Ivy' that ended up on a mid-1980s Australian compilation and an obscure self-titled EMI compilation that put a few 1963/4 unreleased tracks out in 1985. It wouldn't be until the 1997 'At Abbey Road' series that the Hollies themselves seriously invested in their archives and dug some new material out, then again in 2003 with 'Long Road Home'. I believe the remixes Ron Furmanek did in the late 1980s and early 1990s were done in his own time or funded by EMI directly, without the involvement of the Hollies, hence several of them being remixed again in 1997 for their first official UK release. I think the Hollies got their back catalogue reissue project at a strange time in the music business because back in 1999, the reissue game wasn't well understood and it was standard to reissue an album on CD as it was originally. By the time of the 2007 continuation of that series, they'd added some bonus tracks and 'Romany' through to 'Another Night' plus 'Buddy Holly' are superb releases. Crystal clear sound (even the 2003 to 2007 remasters of the 'Romany' tracks used on 'Long Road Home' are noticeably better), great liner notes and a fantastic selection of bonus tracks with a few new gems slipped in for good measure. I wish they could extend that to the whole catalogue!
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