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Post by JamesT on Jan 12, 2015 20:35:34 GMT
Good, innit?  |
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Post by JamesT on Jan 12, 2015 20:47:35 GMT
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Post by distantlight on Jan 13, 2015 14:49:29 GMT
Time for me to give my two cents I guess, although Simon pretty much said it all in the other thread.
Distant Light is one of those albums I never dig out for background music. I only listen to it when I can give it my full attention. It was the first real Hollies album I have ever heard and it's still my favourite. Only recently I gave it two listens and it's exactly as good as I remembered.
I always loved "A Little Thing Like Love" but only now understood exactly how much. It's my favourite track on the record. Does everybody know the version by "River" (is that the band name?)? Stranger gave a promotional copy of the song to me some time ago. This version somehow sounds a bit more serious and while it's very good it exactly shows why the Hollies are as great as they are.
Cable Car is clearly one of Terry's best songs and Tony was also in his best songwriting form around that time. Even a more basic and simple track like Allan's "Hold On" is so well sung and played (those drum fills!) that it doesn't sound like filler at all.
Romany was a pretty good successor, although with far less self written songs. But still it would have been really interesting to hear what a Clarke follow up would have sounded like as none of his solo albums touch Distant Light (or Romany/Out On The Road) in any way.
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Post by dirtyfaz on Jan 13, 2015 21:59:46 GMT
Firstly I do have that Japanese CD with the bonus cuts and Cable Car sounds the same both on the LP and the single versions. Lengths are the same. Don't think they would have remixed it as it was a bside.
Bobby's drumming in the extended fade of that track is pretty amazing. The other bonus cuts are the singles from the period with a mono and a stereo I Can't Tell The Bottom From The Top.
The discussion about DL over those couple of post got me to go back and have a listen and check out my thoughts about the LP. Don't know if it was intentional but this LP sounds more American and was most likely aimed at the American market. Epic got it right with Long Cool Woman. It does make you wonder what the next LP would have been like with Clarkey. Definately would have contained more originals if not all. I really love Romany but that LP would not exist if Clarke hadn't left. Romany and whatever would have been like chalk and cheese especially after LCW hit it big.
The early to mid 70s produced a strong collection of five albums right up to Another Night. Distant Light had several tracks where Bernie was ill and didn't play bass but it seems that Tony played the bass parts to those tracks. Some of the tracks were produced by The Hollies and some by Ron Richards.
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Post by JamesT on Jan 14, 2015 6:56:27 GMT
Distant Light had several tracks where Bernie was ill and didn't play bass but it seems that Tony played the bass parts to those tracks. Some of the tracks were produced by The Hollies and some by Ron Richards. Herbie Flowers was on bass (apparently uncredited) on Long Dark Road and from memory, might have been on the opener too. Fully agree about Cable Car, the piano is also a highlight for me - presumably played by Bernie. |
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Post by cameron on Jan 16, 2015 21:29:24 GMT
It'd be interesting to use this post to pool knowledge about the album. It's a very pivotal Hollies album being their first without 100% direction from Ron Richards (albeit due to his illness), their first album to truly break the American AOR Radio market and the first album to be released recorded in the new London AIR Studios. Hopefully someone will jump in and add the correct album, but some up and coming artist was recording an album at AIR to be the first LP to be released from it but took so long to mix it that the Hollies unintentionally got their album recorded and released first! Not sure what to add to the known information other than adding/correcting some sleeve/recording notes: 1) What A Life I've Led - the female gospel singers during the chorus are Madeline Bell of Blue Mink and (unbelievably!) Doris Troy, whom was the first to record "Just One Look". She happened to be in London around 1970 recording her first LP for Apple records, and duly participated in the Hollies' session as a "thank you" for covering her song and in doing so, boosting the sales of her single with listeners seeking out the original to compare. 2) Look What We've Got - the brass remains uncredited, presumably they were session men who were paid for the session only 3) Hold On - good old "Regie Dwight" on keyboards, Bernie would have played but was ill and Elton was around. Allan plays lead guitar on this track. 4) Pull Down The Blind - Bernie is credited with playing electric piano on the original LP insert, but I don't hear one? 5) To Do With Love - perhaps the highlight of the Album. One thing that's bugged me is the drone sound that comes in on the second verse: some say it's an accordion (played by whom?), others say Harmonium played by Bernie, I even had a theory that it could be Allan on harmonica, but that's unlikely. One source suggests that it's actually an electric organ but played backwards, which is also plausible. Would love to get that one cleared up. 6) Promised Land - again, uncredited brass section. Bernie plays the organ which is miscredited as a piano on the original LP insert 7) Long Cool Woman - I'm sure we all know the ins and outs of this one! 8) You Know The Score - not sure where the inspiration for the lengthy gap comes from, it could have done without it IMO 9) Cable Car - Apparently, the swirling strings at the end are augmented by Allan, Terry, Tony and Bobby humming the string melody, but not 100% about that one 10) Little Thing Like Love - the only real orchestrated track on the LP, presumably all session players 11) Long Dark Road - Bernie plays the keyboard again (uncredited) and there's double tracked harmonies at the end Not sure what I've contributed that's of much interest, I hope others will jump in and add to it. Particularly augment on who the uncredited session players were. In the mean time, here's a lengthy interesting album review which I came across: alansalbumarchives.blogspot.co.uk/2014/01/the-hollies-distant-light-1971-album.html |
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Post by JamesT on Jan 17, 2015 8:35:44 GMT
There's definitely what sounds a bit like a Fender Rhodes on 4), from memory quite evident about the point the cowbell enters. I'd say it is a harmonium on 5). Piano is on 6), very basic, but adds to the 'doom' aspect of the track amongst the acoustic guitars. I'd read that it was Procol Harum's Gary Brooker on organ on Long Dark Road.
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Post by JamesT on Jan 17, 2015 8:56:23 GMT
That's an interesting review, Cameron. A fair amount of bollocks is talked therein, but also some interesting interpretations. Despite the author's comments about the album not being reissued, it was in the early 90s by BGO (horrible, muffled sound, but I had this for about five years). I then bought a much 'cleaner' version from the US. It was then reissued as a Digipak by EMI in 1999. Magic Records released it about eight years ago, again Digipak, complete with lyric insert which was a nice touch (my copy is signed by Mr Sylvester ;-) )
As for Long Dark Road and a reference to suicide...no. To my mind, it's more about salvation: recognising something's not working, admitting there are still feelings but preparing to move on. Then again, that's the thing about great songs like this - they're open to multiple interpretation.
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Post by Gralto on Jan 17, 2015 13:02:00 GMT
8) You Know The Score - not sure where the inspiration for the lengthy gap comes from, it could have done without it IMO Cameron - disappointing! :-) A song with a message entirely written in-house and produced in a very uncharacteristic sound and pacing. For me, having that gap meant they were (finally) REALLY thinking about their music in a different way. Sylvester was in the best form of his musical life both as a songwriter and singer, having become a settled band member, touring the world for more than 2 years. At this point he and Clarke were still good mates, their competitive spirits pushing the band to newer areas. Meanwhile Hicks was also going through his all time greatest purple patch of songwriting. The fact that both Calvert (Snow On Heather Moor) and Elliott (Bobby's Prologue) were both writing material (and having them rejected) during the early 70s suggested a period of wonderful group creativity where getting the green light to have your track recorded and released was no simple thing. Everyone was now bringing material to the table. For me You Know The Score sounds like it was written as a soundtrack moment for an anti-Vietnam war film that was never made. I think it also could have nicely fitted onto the Butterfly album if it had then existed. Perhaps this would have become The Hollies' A Day In The Life Moment' where everyone who first heard the Beatles' track were pretty much stopped in their tracks by the quantum leap in artistic ambition! Given how safe and staid Hollies concert setlists have been for decades (particularly in relation to the baffling general aversion to playing album tracks live), I also love the fact that You Know The Score was being played live in 1971/72, complete with tape sound effects to cover the wind as it rolls through mid song. |
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Post by JamesT on Jan 17, 2015 17:41:00 GMT
That version of 'You Know The Score' from the Rickfors era which turned up a couple of years ago, sung by Terry, is absolutely superb.
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Post by dirtyfaz on Jan 18, 2015 12:10:02 GMT
Where might one locate that Sylvester version?
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Post by JamesT on Jan 18, 2015 16:53:02 GMT
Where might one locate that Sylvester version? I think there was a link to it somewhere on here? |
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Post by roots66 on Jan 18, 2015 23:52:55 GMT
Assuming they're referring to the live show from Buffalo, it was youtubed a few months ago.
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Post by knut on Jan 25, 2015 15:20:32 GMT
In a Facebook post recently there was a mention of a 5.1 surround mix of Distant light in the US. Anyone heard this?
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Post by gee on Jun 13, 2015 11:33:47 GMT
Re 'Distant Light' the actual 'who did what' details are scarce as it was over at (then) new AIR studios set up by top producers; George Martin, Ron Richards, John Burgess (all of EMI) & Peter Sullivan (of Decca) and not the Abbey Road one where more detailed info was more meticulously kept
A few points I have been told...
The blistering sax solo on 'Look What We've Got' was played by Jim Jewell later in Gallagher & Lyle's band - I believe Bobby was a schoolfriend of Jim's who returned later a few times to play sax for The Hollies in the seventies (notably on 'Hollies' 1974 album & later on 'A Crazy Steal')
It might be Gary Brooker on piano on 'Look What We've Got' (the heavily echoed piano does sound very much like as on 'Jesus Was A Crossmaker' the following year)
I suspect it likely IS Bernie playing a background harmonium on 'To Do With Love' (Bernie had earlier played a deliberately distorted harmonium on the intro and outro of 'Dear Eloise' in 1967 sounding like an early synth')
- while Bernie missed the initial recording of the song (Tony is credited on bass guitar) they may well have overdubbed the backing sound on later when Bernie was recovered - it does sound rather more like a harmonium providing the overall backing sound than an accordian due to the 'holding' of the notes in the sound I think (commencing at around 1 min 05 secs into the song), tho' it's possible that it's either an accordian or more likely a distorted harmonica (played by Allan Clarke uncredited) then plays the brief 'sweeping' figures over the backing harmonium's constant sound
I'm told even Bobby & Bernie sang along on the concluding 'singalong' chorus of 'Long Dark Road'
Bernie DOES play a subliminal electric piano (kept quite low in the mix) on Terry's 'Pull Down The Blind'
- it's never prominent but it IS in there (note it comes in at about
1 min 25 secs into the song after Bobby's drum flourish and backs up the first guitar solo )
listen also after the lines; 'who could ask for more ?'
and; 'how's the family ?...'
then after Terry sings; 'I guess I'll pull down the blind...'
and the second time Terry sings; '...I've Finished all the wine...'
where each time Bernie's low electric piano can be heard playing brief piano 'fills'
Bernie backs up Hicks' second guitar solo too (in mid stereo channel postion) but he stops playing just before the guitar led fade outro...
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Post by cameron on Jun 14, 2015 21:40:08 GMT
I'm torn on "To Do With Love", it has a harmonium sound from the higher register but it could also be a harmonica. The two instruments have very similar timbres.
I don't believe that Bernie played the harmonium on "Dear Eloise" as there's a video promo for it where Graham plays it and it's a compact electric one, must be a very early synth style keyboard. He had some basic skills on keyboards, and the intro to the track is about as simple/basic as it gets! He tried hard with CSN to play piano but never got much further than a few basic chords. I guess if the Hollies used a harmonium before, it's likely that they'd use it again.
I have heard that Gary Brooker plays on Distant Light, but no reference to any particular track.
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Post by Stranger on Jun 15, 2015 11:22:19 GMT
The blistering sax solo on 'Look What We've Got' was played by Jim Jewell later in Gallagher & Lyle's band - I believe Bobby was a schoolfriend of Jim's who returned later a few times to play sax for The Hollies in the seventies (notably on 'Hollies' 1974 album & later on 'A Crazy Steal') I'm sure Sylvester said somewhere, maybe the 2003 boxset booklet, that Jewell was an old friend of his. |
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Post by JamesT on Jun 15, 2015 19:11:37 GMT
I'm torn on "To Do With Love", it has a harmonium sound from the higher register but it could also be a harmonica. The two instruments have very similar timbres. I don't believe that Bernie played the harmonium on "Dear Eloise" as there's a video promo for it where Graham plays it and it's a compact electric one, must be a very early synth style keyboard. He had some basic skills on keyboards, and the intro to the track is about as simple/basic as it gets! He tried hard with CSN to play piano but never got much further than a few basic chords. I guess if the Hollies used a harmonium before, it's likely that they'd use it again. I have heard that Gary Brooker plays on Distant Light, but no reference to any particular track. I'm almost 100% certain it's a harmonium on TDWL.
I'd heard Gary Brooker played organ on Long Dark Road.
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Post by cameron on Jul 11, 2015 10:07:18 GMT
I rekindled my interest in the album last night during a blast over the Derbyshire Dales in my Rover P6, listening to the album on 8-track. I agree with Simon's comments about "You Know The Score", if you listen to the lyrics really closely, they're very "way out" and socially conscious for the Hollies.
Still a cracking album though, their last Clarke-Hicks-Sylvester album that's flawless from start to finish, IMO.
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Post by irelandcalling4 on Jul 30, 2015 10:43:09 GMT
I love the album; on first discovering the band 2 years ago (and knowing the basic story: With Nash, great; Without Nash; not great and not known) - I found the theory rubbish; as I was amazed at just how good the album were from 1969-1973. If I were to pick my favourites, 'Distant Light' and 'Confessions' would be certainly Top 5.
The sound on the remaster ('Changin' Times' set) is fabulous I think; I do not know which issue I previously had but there is definitely more clarity in the sound, especially on the mid-section of the wonderful 'You Know the Score'.
I agree with Cameron's statement above that's it's pretty flawless. A work of serious quality, here isn't a song on there I don't rate very highly.
I'm listening to a lot of Beach Boys and Hollies at moment, and I would put the Hollies up there with Wilson ('For Certain Because' a prime example; surely one of the greatest collections of 60s pop there is; it is incredible). There are definite parallels; the Beachies releasing albums into the 70s that were relatively unknown and still are to non fans. The Hollies did fare better as they arguably made some of their greatest albums in the late 60s/early 70s.
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Post by cameron on Jul 31, 2015 8:57:06 GMT
Interesting your observations about Graham Nash and his time with the band. I felt the same way. I was very reluctant to embrace their "second phase". I remember burning a CD of Hollies Sing Dylan and even swapping 'Blowin In The Wind' for the Nash version! haha.
I'm glad I got over it, and discovering gems like Distant Light, Hollies Sing Hollies and Romany were an utter delight. I was very slow to come across Confessions Of The Mind though, largely thanks to the cover. It didn't inspire me to pick up the LP. However, I'm glad I did and you shouldn't judge an album by it's cover!
I guess my unbiased feelings at the time reflected the casual record buying audiences who were buying these records when they came out. With time, I can look back on the Hollies' work with a critical eye rather than being so overly knocked out by how good it was. And that's how I find most Hollies fans to be. They're not totally blind-sighted by the band like fans of The Rolling Stones and Led Zeppelin etc... where the idea of being a fan and the stories of the band greatly eclipse their music, IMO.
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Post by Deleted on Jul 31, 2015 11:15:25 GMT
They're not totally blind-sighted by the band like fans of The Rolling Stones and Led Zeppelin etc... where the idea of being a fan and the stories of the band greatly eclipse their music, IMO. A bit harsh imo, at least regarding The Rolling Stones. Yes, they've been very patchy ever since, but I rate their singles and albums (and outtakes!) from 1965 to 1971 as every bit as innovative as The Beatles, The Hollies, The Beach Boys, The Kinks and The Who during the same period. The overlooked 'Between The Buttons' from early 1967 is one of my very favourite albums by anybody, with Brian Jones at his peak: on this album he played guitar, piano, organ, vibraphone, recorder, saxophone, electric dulcimer, percussion, oscillator and harmonica! |
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Post by stuball on Jul 31, 2015 16:06:14 GMT
Interesting your observations about Graham Nash and his time with the band. I felt the same way. I was very reluctant to embrace their "second phase". I came at it from a different point of view. As a 16 year-old rabid Hollies fan in late '68, I was devastated to hear on the car radio that Graham Nash was leaving The Hollies. Things usually didn't go very well for groups when a major member departs, and here was Nash tearing up my favourite band! I had a hate-on for Graham Nash for the next couple of years, wouldn't buy anything Nash was involved with, but of course The Hollies rode it out, did quite well in fact, and gradually my grudge towards Graham and CSN faded away. Today with hindsight, and hopefully a little maturity, we can appreciate the music for what it was: a lot of fabulous recordings but even The Hollies mis-steps, and there were enough of those in their declining years, are interesting from a historical perspective. |
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