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Post by cameron on Jan 5, 2015 16:55:18 GMT
Happy New Year Hollies fans. Is 2015 going to be a big year for the Hollies? I know their tour is on the way and a new album is rumoured... Also talks of a book from Bobby (although I doubt it will emerge this year as it's not written yet!), a general Hollies biography is also near completion so I'm told, Graham and Allan have hinted at creating a compilation of their favourite Hollies tracks and there's always the boxset/reissue possibility... I thought their 50th anniversary year in 2014 was a bit quiet compared to other artists. Whatever happens, we'll always have their music to enjoy and can celebrate the 50th anniversary of "Hollies" LP. Elsewhere in the world, "Hear! Here!" in the US turns 50 and the Swedish only "The Hollies" (PMCS309) was issued in late 1965 too. It's also 50 years since the Hollies released: Yes I Will, I'm Alive, Look Through Any Window and If I Needed Someone. Arguably one of their best years for chart singles, with "I'm Alive" being their first UK number one. 2015 is also the 50th anniversary of their first trip to America to be part of the Soupy Sales Springtime Show. Perhaps it was also the start of Graham's love affair with America?! Either way, plenty to celebrate!  |
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Post by JamesT on Jan 6, 2015 18:14:29 GMT
Was 2013 not their 50th anniversary?
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Post by cameron on Jan 6, 2015 23:20:20 GMT
It'll be the 50th anniversary of something for the next 50 years...
Technically it was 2013, but the current Hollies adopted 2014 as their 50th anniversary, since their first chart success was in early 1964.
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Post by JamesT on Jan 7, 2015 7:15:55 GMT
It'll be the 50th anniversary of something for the next 50 years... Technically it was 2013, but the current Hollies adopted 2014 as their 50th anniversary, since their first chart success was in early 1964. The current version were doing the 50th anniversary tour in early 2012 through to early 2013. I seem to recall mentioning this is a previous post somewhere. Hicks and Elliott were together in the band in late '63 (and the band had already had their first two singles in the charts with Don Rathbone as drummer). 2013 should have been the anniversary year, and really, much more should have been made of it. Opportunity missed #6749. |
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Post by Stranger on Jan 7, 2015 10:57:47 GMT
To be fair they had 3 hit singles in 1963.
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Post by cameron on Jan 7, 2015 14:23:28 GMT
Well whatever is their 50th anniversary year, we do know for certain that it's 50 years since 1965!
We got the "50 at 50" boxset in 2014, so I took that as being their 50th anniversary release. The Beatles got the "Beatles In Mono" vinyl set, and the USA Capitol Albums set (which was a bit of a waste of time to be honest), The Rolling Stones got their career spanning set and the official release of "Charlie Is My Darling" documentary from 1965, The Kinks got their 50th anniversary boxset with unreleased tracks and all new remastering, the Small Faces got "Here Comes The Nice" (even though it's not yet officially their 50th anniversary) which all but disc one was new material, the list could go on....
It just seems a shame to waste an occasion by insulting long-time fans with yet *another* greatest hits compilation thinking they'll run out and buy it because "Skylarks" was added at the end. If you bought "Hollies Greatest" (in mono, of course!) and "Vol. 2" and something like "20 Golden Greats" or "Definitive Collection", then you don't need any others! I'm hoping in vein that Graham Nash or Allan Clarke might step in and sort something out. I know it's a bit rude to demand a boxset or something, but it's just frustrating that there's so much to the Hollies' career that's yet to be explored and still so much still left in the vaults that Tony and Bobby are firmly of the opinion that it's "not worth releasing" and it just seems a shame to let it all lie there. Bobby and Tony gave an interview in 1988 and 2010 condemning the release of the Lewisham Odeon 1968 tape. I was shocked a year later when it was issued without fanfare on the "Clarke Hicks & Nash Years" boxset. I must listen to that recording a few times a week, it's brilliant!
It's not like any of the previous Hollies studio albums are easy to obtain either; I've had to go through the eye of a needle to get them in the official EMI CD form, and I'm still missing gems such as "Hollies Sing Hollies" and "Confessions Of The Mind" because they're out of print! And I don't think any of my money went to the Hollies as they were all bought through second-hand outlets with the exception of a couple from HMV. It's easier and cheaper just to buy the original vinyl...
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Post by JamesT on Jan 7, 2015 20:28:58 GMT
Entirely logical re: 50 at 50...obviously someone is missing something at EMI or elsewhere!
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Post by dirtyfaz on Jan 9, 2015 4:00:16 GMT
"It'll be the 50th anniversary of something for the next 50 years... "
I love this response from Cameron.
How closer to the truth can this statement be.
Now if EMI or the Hollies were serious about releases then they should work out special releases for each album with period singles added and go back and release alternate takes of tracks eg Hollies attempted Searchin' many time over several days. Surely session tapes exist of the different takes they attempted. Weren't the Hollies and the Beatles highly regarded at EMI and hense their tapes mostly were kept and not erased and recorded over.
Look what the Kinks have done with all their albums. A classic example of how to keep fans happy and also to keep out in the market place all their albums. They are not alone with examples of how to market a band.
If they are waiting for one of the Hollies to die then just maybe we will all be dead first and there will be no market available.
My other thought is maybe the relevant guys in the band are so rich they don't give a damm.
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Post by Gralto on Jan 9, 2015 4:56:23 GMT
I agree DF - good post Cameron. You barely need an excuse to release another hits package these days so why not a 50 years of Hollies Number Ones! Not as stupid as it might sound given you have the following chart toppers (country listed in brackets):
I'm Alive (UK, Ireland)
He Ain't Heavy, He's My Brother (UK, South Africa, Zimbabwe, Australia, Malaysia)
Bus Stop (Sweden, Malaysia)
The Day That Curly Billy... (Netherlands)
Carrie Anne (Sweden, Zimbabwe, Malaysia, Singapore)
Dear Eloise (Sweden)
Jennifer Eccles (Sweden)
Very Last Day (Sweden)
On A Carousel (Sweden)
Sorry Suzanne (Switzerland, Poland, South Africa, Zimbabwe)
That's My Desire (South Africa, Zimbabwe)
Long Cool Woman (South Africa, Canada)
Air That I Breathe (South Africa, New Zealand)
Look Through Any Window (Zimbabwe)
Too Young To Be Married (Australia, New Zealand, Malaysia)
Stop Stop Stop (New Zealand)
That's a 16 track CD right there (not that we need ANOTHER *****ing hits package...!) unless you add a second disc of rarities...and there are plenty still out there. If anyone in a position of Hollies power re: new projects is reading this, you could do a lot worse than to put this compile together officially. At the very least, it would promote to the public that The Hollies cracked the top in many, many places worldwide. I'm sure there will be other countries with charts revealing a few other surprises yet to be fully researched. I presently have no chart info for places like Japan, Greece, Italy and The Philippines, countries all with extensive Hollies locally pressed discographies.
By the way, I must thank Hollies chart supremo Tony Marsden who supplied much of the info above to me some years ago. Though I have undertaken a LOT of research in many areas of The Hollies' career, one facet I've not delved as heavily is their worldwide chart placements. Thanks Tony.
cheers
Simon
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Post by cameron on Jan 11, 2015 20:05:51 GMT
I'd welcome something like the Beatles Anthology for the Hollies. If Tony and Bobby are to be believed, there's not much else left in the vaults. But there must be lots of alternative takes. Some tracks were attempted earlier such as: Step Inside (in the Evolution sessions) and Like Every Time Before (THREE times in 1966, 1967 and 1968!) which must herald some different sounding takes. Then there's songs that took shape in the session and aren't noted for being alternate takes such as Try It in 1967. Only one recording session is listed but it produced the final take we all know and the rare alternate take that somehow ended up as the B-side of Jennifer Eccles in some places. Searchin' has already been mentioned, and Poison Ivy from what I can see could have up to 15 alternative takes! There's also tracks that could be remixed and presented in a new way such as King Midas In Reverse or Too Young To Be Married without the orchestra etc...
As hardcore fans will know, there's still a lot of unissued recordings. I can't remember them all off the top of my head (Cry now (1965), Ashes To Ashes (1967), You Were A Pretty Little Girl (1967), Bobby's Prologue (1970), Born To Run (1972) etc...) but a quick Google search should show them all in a previous forum post.
Then there's lots of amazing live recordings. Most fans still haven't heard the complete 1966 Stockholm tape, there's more to come from the 1968 Lewisham Odeon gig, Australia 1970/1 was also officially recorded, there's a few surviving bootlegs from a little after that from 1972-1976. Bobby also mentions recording a show at the Playhouse in 1964 in poor quality.
And then there's the Hollies' songwriting demos which are the stuff of legend! Graham, Allan and Tony have all said how they wrote songs using a reel to reel tape recorder when on tour. They must have produced lots of demos akin to the great one of "Go Away" that was given to the Mirage and released on an album reissue a few years ago. Not sure about Graham, but I bet Tony and Allan still have all their demos!
Then there's also the aforementioned talk of a "deluxe" album reissue series akin to the recent Kinks or Small Faces sets with new analogue remastering, unreleased tracks, stereo and mono mixes and a nice booklet to go with it.
There's lots that could be done to please the fans. The BBC set was a brilliant gesture, but whoever decided to lop off the start and end of the tracks to cut off the talking and arrange it in such an erratic order (ie, singing Too Young To Be Married before launching into Look Through Any Window is a bit weird) was a bit out of line. Something like the Beatles' BBC sets or even the Dave Dee Dozy Beaky Mick & Tich set (I just got it for Christmas, well worth a listen if you can find a copy!) would have been much better. It just seems that whenever something happens for the fans, there's always someone in the process to put a dampener on it - like the BBC set, the remixed tracks that were culled from the 30th Anniversary Collection, the budget Clarke hicks Nash Years set with dodgy CDs and even dodgier mastering.... the only no expense spared "for the fans" set we've ever had I think would be the Long Road Home set which is fantastic! Shame it's out of print - although eBay did this fan proud! Haha.
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Post by JamesT on Jan 11, 2015 20:34:01 GMT
The unreleased Father Machine would be one I'd love to hear - the title alone makes it sound interesting!
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Post by Gralto on Jan 12, 2015 2:26:41 GMT
The unreleased Father Machine would be one I'd love to hear - the title alone makes it sound interesting! As would I James. Father Machine was recorded during the Distant Light album sessions, which to me is the band's most interesting period with Clarke, in terms of the Hollies' Sound and lyrical preoccupations becoming waaaaaay more mature and interesting. I was listening to the album yesterday for the first time in ages and I can see why people were getting in Clarke's ear and saying that it sounds like the solo album he had (then) yet to record! The harmonies are less frequent, the songs are lyrically diverse and sometimes actually tell a story or have a message!!! I would argue it's easily their finest Clarke-sung/Nash-less album. You Know The Score is possibly the band's greatest artistic achievement across their entire career. Entirely composed (or co-composed) by the band, Distant Light sounds like a properly thought through and sequenced album. It just sounds like a very un-Holliesish album and is all the better for it. Recording at AIR Studios and partially self-producing it made a world of difference to the sound. There's more echo put on the vocals than maybe on any other Hollies album and the songs have more aural 'space' - more quiet, reflective, contemplative moments - than on any other Hollies (w Clarke) album. Calvert's multi-skilled piano and keyboard work really came into play on this LP. Hicks' acoustic guitar work is crisp and diverse and Sylvester's songs are arguably the best of his songwriter career. And then there's the anthemic Long Dark Road - my vote for the band's most underrated A-Side. I wonder what path the band would have gone down if Clarke had been allowed to stay in The H and then touring the US on the strength of Long Cool Woman. A big coast to coast tour (which admittedly they would not have been THAT keen on given they didn't like being away from home for long periods) would have brought them a legion of new American fans, more frequent US trips through the decade and probably have necessitated feature articles in Rolling Stones and Cream magazine, books then being written and the band's worldwide reputation significantly enhanced. Sorry, discussing Distant Light probably warrants its own thread! The point of all this (!) is yes, with a title like that and given the variety of songs being produced, I'd love to hear Father Time (and Salvation Band recorded the year before too, for that matter)! |
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Post by JamesT on Jan 12, 2015 20:05:26 GMT
The album is bloody brilliant - I never tire of listening to it.
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Post by cameron on Feb 4, 2015 12:49:19 GMT
I was listening to the audio for the "On A Carousel" session earlier and hit upon another possible idea for a Hollies set if they're not wanting to issue any more unreleased studio tracks: the Hollies Recording Sessions. I'll explain...
In interviews, they frequently discuss how tracks were laid down bit by bit. Unlike any other band who used the studio for a bit of practice and to arrange their songs, the Hollies went in with a clear idea of what they were doing. Most songs were completed in few takes and laid down with precision. The recordings are a lot more adventurous and contain more than anyone gives them credit for. Take "Carrie Anne" for example:
They start with a false start of the rhythm track. Take two is the final take for instrumental track to which all overdubs are added. It's just Bobby on drums, Bernie on bass and you can faintly hear a rhythm guitar part played by Tony. Perhaps this is an acoustic guitar or a close mic'd electric guitar unplugged. It's very faint in the mix, so is hard to tell.
Then Allan and Graham lay down the vocals with Tony joining at the start and very end. Allan and Graham get them in one go, but Tony needs to re-do his solo verse (the tape edits and over-spill from the backing track are faintly audible in the stereo mix).
Graham then multi-tracks himself for the chorus - only Graham sings the chorus.
Then the "finishing touches" are added. These consist of a clearer rhythm guitar from Tony and percussion which was actually added by Bernie. It's called a guiro and plays the scratchy/scrape sound over the into.
The track is complete, but the steel drums are added the following day. It's actually two parts done as an overdub. The first one plays like a rhythm guitar playing the "chord" in the solo. This comes back in very faintly for Graham's final verse and possibly the final chorus (from memory). Then the identifiable lead solo is laid down.
I'm sure you'll agree, that's a lot for a three minute pop song! But all done confidently, bit by bit. My idea was to issue a set that takes recordings from the session tapes showing how the Hollies created their music: from backing track to finished unedited piece with all the studio chatter inbetween. Just a selection of hits and choice LP tracks that have interesting sessions which demonstrate my point. I'm sure it will offer brilliant insight to how the boys worked and interest fans and musicians who respect the Hollies alike. Come on EMI, chop! chop! lol.
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Post by moorlock2003 on Feb 18, 2015 16:47:49 GMT
I agree DF - good post Cameron. You barely need an excuse to release another hits package these days so why not a 50 years of Hollies Number Ones! Not as stupid as it might sound given you have the following chart toppers (country listed in brackets): I'm Alive (UK, Ireland) He Ain't Heavy, He's My Brother (UK, South Africa, Zimbabwe, Australia, Malaysia) Bus Stop (Sweden, Malaysia) The Day That Curly Billy... (Netherlands) Carrie Anne (Sweden, Zimbabwe, Malaysia, Singapore) Dear Eloise (Sweden) Jennifer Eccles (Sweden) Very Last Day (Sweden) On A Carousel (Sweden) Sorry Suzanne (Switzerland, Poland, South Africa, Zimbabwe) That's My Desire (South Africa, Zimbabwe) Long Cool Woman (South Africa, Canada) Air That I Breathe (South Africa, New Zealand) Look Through Any Window (Zimbabwe) Too Young To Be Married (Australia, New Zealand, Malaysia) Stop Stop Stop (New Zealand) That's a 16 track CD right there (not that we need ANOTHER *****ing hits package...!) unless you add a second disc of rarities...and there are plenty still out there. If anyone in a position of Hollies power re: new projects is reading this, you could do a lot worse than to put this compile together officially. At the very least, it would promote to the public that The Hollies cracked the top in many, many places worldwide. I'm sure there will be other countries with charts revealing a few other surprises yet to be fully researched. I presently have no chart info for places like Japan, Greece, Italy and The Philippines, countries all with extensive Hollies locally pressed discographies. By the way, I must thank Hollies chart supremo Tony Marsden who supplied much of the info above to me some years ago. Though I have undertaken a LOT of research in many areas of The Hollies' career, one facet I've not delved as heavily is their worldwide chart placements. Thanks Tony. cheers Simon "Long Cool Woman (in a Black Dress)" by The Hollies was a No. 1 in the USA in 2 of the 3 music trade magazines. #1 for one week in CashBox magazine, and #1 for two weeks in Record World Magazine. |
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Post by christocello on Feb 19, 2015 19:50:26 GMT
Interesting chart list! I find it especially interesting that there is information about the charts in Poland. Of course Hollies fans know very well that the Hollies were touring Poland, or better: giving some concerts in Warsaw in the mid-60's (surrounded by heavy-armed police). But as a devoted record collector I wonder if there were any Hollies records for sale in Poland? I only know about the "Postcards" from "Tonpress" with one song on their picture-surface. But I don't think those "postcards" were officially sold as records. So how can we say that "Sorry Suzanne" topped the charts in Poland? The only "postcard"-record I have in my collection, is "He ain't heavy". But this on was a chart topper only in the UK in 1988. Possibly there is a Hollies fan from Poland in this group, who can provide us with some more information? Greetings, Christocello
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Post by stuball on Feb 20, 2015 18:45:59 GMT
"Long Cool Woman (in a Black Dress)" by The Hollies was a No. 1 in the USA in 2 of the 3 music trade magazines. #1 for one week in CashBox magazine, and #1 for two weeks in Record World Magazine. Typical Hollies bad luck that 'Long Cool Woman' will go down stateside as a #2 hit, when 2 of the 3 major chart mags had that number pegged at #1. It appears that since Billboard outlasted their main competitors, it has now become the uncontested Bible of U.S. chart hits. If memory serves, Record World ceased publication in the early '80's and CashBox mid-'90's. I seem to recall they both sank mired in rumours of cash-for-chart-position controversy. I also believe back in early '73, both 'Long Dark Road' (Billboard #26) and 'Magic Woman Touch' (Billboard #60) fared significantly better on the CashBox and Record World charts than on Billboard. (Can anyone confirm this?) Not sure that means anything in itself, but strange that The Hollies placed consistently lower in Billboard, at least in the '72-73 era. |
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Post by moorlock2003 on Feb 23, 2015 1:42:34 GMT
"Long Cool Woman" was a USA No. 1. Two out of three music industry trade papers said so. So be it.
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Post by moorlock2003 on Feb 23, 2015 1:42:54 GMT
"Long Cool Woman" was a USA No. 1. Two out of three music industry trade papers said so. So be it.
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Post by knut on Mar 5, 2015 4:01:45 GMT
I can't let go was no 1 on the most authorative sales chart in Norway. Jennifer Eccles was no 1 on the radio poll chart.
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Post by Gralto on Mar 16, 2015 13:49:49 GMT
Interesting chart list! I find it especially interesting that there is information about the charts in Poland. Of course Hollies fans know very well that the Hollies were touring Poland, or better: giving some concerts in Warsaw in the mid-60's (surrounded by heavy-armed police). But as a devoted record collector I wonder if there were any Hollies records for sale in Poland? I only know about the "Postcards" from "Tonpress" with one song on their picture-surface. But I don't think those "postcards" were officially sold as records. So how can we say that "Sorry Suzanne" topped the charts in Poland? The only "postcard"-record I have in my collection, is "He ain't heavy". But this on was a chart topper only in the UK in 1988. Possibly there is a Hollies fan from Poland in this group, who can provide us with some more information? Greetings, Christocello Hi Christocello - that's a very good point about Poland and yes it does make you wonder about the veracity of Polish charts. Perhaps it was based on radio requests rather than actual sales. Or perhaps it was from a mention in Cashbox, Billboard or something where you'll read a comment that states xyz is currently number one in Panama, Malta, Malaysia and Chile and you think to yourself, "really?" I'll have to follow this up with Tony Marsden. cheers Simon |
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Post by Gralto on Mar 16, 2015 13:51:44 GMT
"Long Cool Woman" was a USA No. 1. Two out of three music industry trade papers said so. So be it. Yeah I think I Can't Let Go was number one in some charts too but unfortunately not the one that is officially used these days.Pity. Thanks Moorlock and great to have you back cheers Simon |
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Post by knut on Mar 18, 2015 7:47:03 GMT
I can't let go was a shared no 1 on the New Musical Express UK chart which was the authorative one at the time.
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