Saturday, February 16, 2019

The Hollies

The Hollies originated as a duo formed by Allan Clarke and Graham Nash, who were best friends from primary school and began performing together during the skiffle craze of the late 1950s. Eventually Clarke and Nash became a vocal and guitar duo modelled on American duo the Everly Brothers under the names "Ricky and Dane Young." Under this name, they teamed up with a local band, the Fourtones, consisting of Pete Bocking (guitar), John 'Butch' Mepham (bass), Keith Bates (drums), and Derek Quinn (guitar). When Quinn quit to join Freddie and the Dreamers in 1962, Clarke and Nash also quit and joined another Manchester band, the Deltas, consisting of Vic Steele on lead guitar, Eric Haydock on bass guitar, and Don Rathbone on drums, which had just lost two members (including Eric Stewart, who left to join a "professional" band, the Mindbenders).

The Deltas first called themselves "The Hollies" for a December 1962 gig at the Oasis Club in Manchester. It has been suggested that Eric Haydock named the group in relation to a Christmas holly garland, though in a 2009 interview Graham Nash said that the group decided just prior to a performance to call themselves "The Hollies" because of their admiration for Buddy Holly. In 2009, Nash wrote, "We called ourselves The Hollies, after Buddy and Christmas.

Original line-up:

Allan Clarke:  Lead Vocals, Guitar, Harmonica
Graham Nash:  Vocals, Guitar
Vic Steele:  Guitar
Eric Haydock:  Bass
Don Rathbone:  Drums

Classic line-up:

Allan Clarke:  Lead Vocals, Guitar, Harmonica
Graham Nash:  Vocals, Guitar
Tony Hicks:  Vocals, Guitar, Banjo, Mandolin, Bass, Sitar, Keyboards
Bernie Calvert:  Bass, Keyboards
Bobby Elliott:  Drums

When the Hollies -- one of the best and most commercially successful pop/rock acts of the British Invasion -- began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. They quickly developed a more distinctive style featuring three-part harmonies (heavily influenced by the Everly Brothers), ringing guitars, and hook-happy material, penned by both outside writers (especially future 10cc member Graham Gouldman) and themselves, eventually composing most of their repertoire on their own. The best early Hollies records evoke an infectious, melodic cheer similar to that of the early Beatles, although the Hollies were neither in their class (not an insult: nobody else was) nor demonstrated a similar capacity for artistic growth. They tried, though, easing into somewhat more sophisticated folk-rock and mildly psychedelic sounds as the decade wore on, especially on their albums (which contain quite a few overlooked highlights).

Allan Clarke (lead singer) and Graham Nash (vocals, guitar) had been friends since childhood in Manchester, and they formed the nucleus of the Hollies in the early '60s with bassist Eric Haydock. In early 1963, EMI producer Ron Richards signed the group after seeing them at the famous Cavern Club in Liverpool. Guitarist Vic Steele left before the first session, to be replaced by 17-year-old Tony Hicks. Drummer Don Rathbone only lasted for a couple of singles before being replaced by Bobby Elliott, who had played with Hicks in his pre-Hollies group, the Dolphins. The lineup changes were most fortuitous: Hicks contributed a lot to the group with his ringing guitar work and songwriting, and Elliott was one of the very finest drummers in all of pop/rock. Although their first singles were R&B covers, the Hollies were no match for the Rolling Stones (or, for that matter, the Beatles) in this department, and they sounded much more at home with pop/rock material that provided a sympathetic complement to their glittering harmonies. They ran off an awesome series of hits in the U.K. in the '60s, making the Top 20 almost 20 times. Some of their best mid-'60s singles, like "Here I Go Again," "We're Through," and the British number one "I'm Alive," passed virtually unnoticed in the United States, where they didn't make the Top 40 until early 1966, when Graham Gouldman's "Look Through Any Window" did the trick. In 1966, Eric Haydock left the group under cloudy circumstances, replaced by Bernie Calvert.

The Hollies really didn't break in America in a big way until "Bus Stop" (1966), their first Stateside Top Tenner; "On a Carousel," "Carrie Ann," and "Stop Stop Stop" were also big hits. Here the Hollies were providing something of a satisfying option for pop-oriented listeners that found the increasingly experimental outings of groups like the Beatles and Kinks too difficult to follow. At the same time, the production and harmonies were sophisticated enough to maintain a broader audience than more teen- and bubblegum-oriented British Invasion acts like Herman's Hermits. Their albums showed a more serious and ambitious side, particularly on the part of Graham Nash, without ever escaping the truth that their forte was well-executed pop/rock, not serious statements. Nash, however, itched to make an impression as a more serious artist, particularly on the "King Midas in Reverse" single (1967). Its relatively modest commercial success didn't augur well for his influence over the band's direction, and their next 45s were solidly in the more tried-and-true romantic tradition. By 1968, though, Nash really felt constrained by the band's commercial orientation, and by the end of the year he was gone, left for the States to help found Crosby, Stills, & Nash. His departure really marked the end of the group's peak era.

In 1969, the band tried to have its cake and eat it too by doing a whole album of Hollie-ized Dylan songs, which was received poorly by some critics, although it was a decent seller in Britain. Nash was replaced by Terry Sylvester (formerly of Liverpool bands the Escorts and Swinging Blue Jeans), and the hit streak continued for a while. "He Ain't Heavy, He's My Brother," in fact, was one of their biggest international singles. But the group was really reaching a cul de sac; they'd managed a remarkably long run at the top considering that they hadn't changed their formula much since the mid-'60s, adding enough sophistication to the lyrics and arrangements to avoid sounding markedly dated. It was apparent they really weren't capable of producing long-playing works striking enough to appeal to the album audience, though, and their singles, though still hits on occasion, weren't as memorable as their best '60s work. A modest slide in the early '70s was arrested by "Long Cool Woman in a Black Dress," a Creedence Clearwater Revival-type rocker that made number two in the States in 1972. The timing wasn't ideal; by the time it became a smash, Clarke, who had sung lead on the single, had left to go solo, to be replaced by Swedish vocalist Mikael Rickfors. Clarke rejoined in mid-1973, and the group had one last international monster, "The Air That I Breathe," which made number six in the U.S. in 1974. The group went on to record a string of further albums in the second half of the 1970s.

Curiously, mostly thanks to Clarke, they did pick up on Bruce Springsteen's work as a songwriter earlier than a lot of other acts, but not even their beautiful rendition of "Sandy" could avert their slide from the public's consciousness. Most of their late-'70s releases were heavily influenced by the prevailing disco and dance-rock sounds of the era, although they never entirely abandoned their harmony vocal sound. Under other circumstances they might have pulled off a career conversion similar to that achieved by the Bee Gees after 1974, but luck wasn't with them and their output in this period was ignored, passed over by fans of their old sound and the disco audience alike. This coincided with a decision by their American label, Epic Records -- apparently conceding that the Hollies would never sell large numbers of LPs regardless of how big their hits ever were -- to minimize the marketing efforts invested in the band's records, essentially running out the clock on their contract. Ironically, the label ended up passing on the one LP the group issued in the late '70s that would have reached out to old and new audiences, the concert album originally titled Hollies Live. It ended up getting reviewed enthusiastically in numerous American magazines and newspapers as a Canadian import. The group seemed to reach a dead end in the early '80s, with Sylvester and Calvert exiting suddenly during that period.

What Goes Around... The Hollies received a boost in press interest in America during 1983, however, when Graham Nash rejoined for one LP (What Goes Around... on Atlantic Records), but even this proved a false start. A new generation of rock music critics, accustomed to looking askance at longtime acts such as the Hollies attempting to bring their sound into the 1980s, proved especially hostile to the group's British invasion-style gambit of re-interpreting a Motown standard like "Stop! In the Name of Love," which became the single off the album. In a sad piece of irony, What Goes Around... received more press attention than any long-player they'd ever released in America, but most of the reviews were lukewarm or outright negative; worse still, this was a dozen years past Crosby, Stills & Nash's heyday, and even Graham Nash's star had faded considerably by then. Additionally, it turned out that a lot of his remaining American CSN fans were simply not prepared to accept -- or, at least, get excited by -- the idea of his returning to the Hollies. They got lots of print and radio exposure, but the public just didn't care that much; as an example, an autograph signing at Tower Records in New York's East Village was ended an hour earlier than its scheduled 90 minutes when hardly anyone showed up to meet the band. And the tour by this lineup had to be hastily rebooked into smaller halls when ticket sales didn't meet promoter expectations.
The group continued to play concerts and make beautiful records, but there was no public demand for new releases, and by the '90s they'd ceased making new studio recordings. As the 21st century beckoned, Allan Clarke -- after nearly 40 years as the lead vocalist for the band -- found that his singing didn't come to him as strongly or as well as he was used to, and he decided to retire, leaving Hicks and Elliott as the last two core members of the group. Clarke's first successor was Carl Wayne, the onetime lead singer of the 1960s Birmingham-spawned band the Move, who fronted the band on-stage for the next couple of years. In 2003, EMI Records recognized the Hollies' musical significance with a huge (and hugely satisfying) six-CD box set, The Long Road Home: 1963-2003, covering every era and major lineup in the group's history, and containing a huge number of previously unreleased and unanthologized tracks.

Staying PowerWayne's death in 2004 led to another shift in their lineup, but in 2006 the group bounced back with its first new studio album in 23 years, appropriately entitled Staying Power, which featured Hicks and Elliott at the core of a lineup that included Peter Howarth on lead vocals, with Ian Parker on keyboards, Steve Laurie on guitar, and Ray Stiles on bass. Although not widely distributed outside of England, the record -- ironically, their first CD-original studio album -- proved to be a very fine updating of the group's sound, retaining enough of their traditional pop/harmony elements to satisfy longtime listeners. A live DVD derived from a December 2006 concert in Belgium was issued in 2007, a year that also saw a big chunk of their vintage catalog get further CD re-releases, principally through EMI. In 2009, the Hollies returned with a new album, Then, Now, and Always, and the following year, they received one of the greatest accolades of their career when the Hollies were inducted into the Rock & Roll Hall of Fame. The group continued to tour in the U.K. and Europe, and their 2012 road trip resulted in a live album, 2013's Hollies Live Hits: We Got the Tunes! And in 2014, as the band celebrated their 50th anniversary as a recording act, they released a special three-disc collection, 50 at Fifty, a set that covered the group's history in 50 songs, and included a new track, "Skylarks."

The Hollies - 60' complete part 1-6  by Jancy

The Hollies - 60' complete 1963 - 1964

Lp Stay With The Hollies

01 - I'm Talking About You
02 - Mr. Moonlight
03 - You Better Move On
04 - Lucille
05 - Baby Don't Cry
06 - Memphis
07 - Stay
08 - Rockin' Robin
09 - Watcha Gonna Do About It
10 - Do You Love Me
11 - It's Only Make Belive
12 - What Kind Of Girl Are You
13 - Little Lover
14 - Candy Man

LP In The Hollies Style

15 - Nitty Gritty / Something's Got A Hold On Me
16 - Don't You Know
17 - To You My Love
18 - It's In Her Kiss
19 - Time For Love
20 - What Kind Of Boy
21 - Too Much Monkey Business
22 - I Tought Of My Last Night
23 - Please Don't Feel So Bad
24 - Come On Home
25 - You'll Be Mine
26 - Set Me Free

27 - Aint That Just Like Me
28 - He What's Wrong With Me
29 - Searchin'
30 - Whole World Over

unreleased / version
31 - Now's The Time
32 - I Understand
33 - Poison Ivy (short)

The Hollies - 60' complete 964 - 1965

unreleased / version
01 - Bring Back Your Love to Me
02 - Listen Here to Me
03 - She Said Yeah
04 - Zip A Dee Doo Dah
05 - Little Pretty One
06 - Poison Ivy (long)

45' /  Ep
07 - Just One Look
08 - Keep Off That Friend Of Mine
09 - Here I Go Again
10 - Baby That's All
11 - We're Through
12 - Come On Back
13 - What Kind Of Love
14 - When I'm Not There

Lp same

15 - Very Last Day
16 - You Must Believe Me
17 - Put Yourself In My Place
18 - Down The Line
19 - That's My Desire
20 - Too Many People
21 - Lawdy Miss Clawdy
22 - When I Come Home To You
23 - Fortune Teller
24 - So Lonely
25 - I've Been Wrong
26 - Mickey's Monkey

27 - (Ill Be True To You) Yes I Will
28 - Nobody

unreleased / version
29 - I Can't Get Nowhere With You
30 - She Gives Me Everything I Want
31 - You In My Arms
32 - Schoolgirl
33 - Whole World Over
34 - We're Through

The Hollies - 60' complete 1965 - 1966

unreleased / version
01 - So Lonely
02 - A Taste of Honey

03 - I'm Alive
04 - You Know He Did
05 - Look Through Any Window
06 - Honey And Wine
07 - If I Needed Someone

Lp Would You Believe

08 - I Take What I Want
09 - Hard Hard Year
10 - That's How Strong My Love Is
11 - Sweet Little Sixteen
12 - Oriental Sadness
13 - I Am A Rock
14 - Take Your Time
15 - Don't You Even Care
16 - Fifi The Flea
17 - Stewball
18 - I've Got A Way Of My Own
19 - I Can't let Go

unreleased / version
20 - Look Through Any Window
21 - Look Through Any Window

22 - Non Prego Per Me
23 - Devi Avere Fiducia In Me
24 - Kill Me Quick
25 - We're Alive
26 - After The Fox

27 - A Taste Of Honey

28 - Running Through The Night
29 - Bus Stop
30 - Don't Run And Hide
31 - Like Everytime Before
32 - Stop Stop Stop

The Hollies - 60' complete 1966 - 1967

01 - Yes I Will

Lp For Certain Because

02 - What's Wrong With The Way I Live
03 - Pay You Back With Interest
04 - Tell Me To My Face
05 - Clown
06 - Suspicious Look In Your Eyes
07 - It's You
08 - High Classed
09 - Peculiar Situation
10 - What Went Wrong
11 - Crusader
12 - Don't Even Think About Changing

13 - On A Carousel
14 - All The World Is Love
15 - King Midas In Reverse
16 - Everything Is Sunshine

Lp Evolution

17 - Then The Heartaches Begin
18 - Stop Right There
19 - Water On The Brain
20 - Lullaby To Tim
21 - Have You Ever Loved Somebody
22 - You Need Love
23 - Rain On The Windows
24 - Heading For A Fall
25 - Ye Olde Toffee Shoppe
26 - When Your Light's Turned On
27 - Leave Me
28 - The Games We Play

29 - Sweden Bildjournalen

The Hollies - 60' complete 1967 - 1968
01 - Carrie Anne
02 - Signs That Will Never Change

Lp  Butterfly

03 - Dear Eloise
04 - Away Away Away
05 - Maker
06 - Pegasus
07 - Would You Believe
08 - Wish You A Wish
09 - Postcard
10 - Charlie And Fred
11 - Try It
12 - Elevated Observations
13 - Step Inside
14 - Butterfly

lp va
15 - Wings

16 - Relax

17 - Jennifer Eccles
18 - Open Up Your Eyes
19 - Do The Best You Can
20 - Listen To Me
21 - Sorry Suzanne
22 - Not That Way At All

23 - Man With No Expressions
24 - Tomorrow When It Comes
25 - Try It

The Hollies - 60' complete 1969 -

01 - The Times They Are A-Changin'

02 - Too Young To Be Married
03 - Gasoline Alley Bread

Lp sing Dylan

04 - When The Ship Comes In
05 - I'll Be Your Baby Tonight
06 - I Want You
07 - This Weel's On Fire
08 - I Shall Be Released
09 - Blowin' In The Wind
10 - Quit Your Lowdown Ways
11 - Just Like A Woman
12 - The Times They Are A-Changin'
13 - All I Really Want To Do
14 - My Back Pages
15 - Mighty Quinn

16 - He Ain't Heavy He's My Brother
17 - Long Cool Woman
18 - Hey Willie
19 - The Baby
20 - Soldiers Song
21 - Purple Rain

From my collection. Bitrate varies from 192 to Flac

Here I Go Again + Hear! Here! - 2011

This set collects the Hollies' first two U.S. albums, 1964’s Here I Go Again and 1965’s Hear! Here!, on a single disc. Both LPs were originally released in the States by Imperial Records, a label founded in 1947 by Lew Chudd, who had sold his rights in the imprint to Liberty Records in 1963. Liberty began leasing material by popular U.K. artists for U.S. distribution that same year, which led to the Hollies' initial single in the American market, a cover version of Maurice Williams & the Zodiacs' 1960 hit “Stay.” Although several of the cuts found here got extensive radio airplay in the U.S. at the time, “Just One Look” and “Here I Go Again” from 1964 and “I’m Alive” and “Look Through Any Window” from 1965 among them, the Hollies didn’t really break through on the continent until a year later in 1966 with the hits “Bus Stop” and “Stop Stop Stop,” and neither of those songs is found here. Aside from the singles, most of the cuts on these two albums are covers of American R&B tunes that are done capably but without a whole lot of originality. The end result is a portrait of a promising band just beginning to come into its own.

Bus Stop  1966

Released in the wake of the Hollies' American breakthrough, Bus Stop is standard British Invasion fare, with the titular Top Ten American hit leading off an album split evenly between pop and American R&B cover songs. As far as the R&B goes, there were English groups that did it much better, from the Stones to the Animals, Yardbirds, and Small Faces. "We're Through" has an arrangement borrowed from the Johnny Rivers hit "Secret Agent Man," not coincidentally recorded for the same label. The most unusual cuts are the cover of Simon and Garfunkel's "I Am a Rock," notable for Graham Nash's high harmony vocals atop Allan Clarke's lead, and "Oriental Sadness," with its piercing chorus vocals by Nash. The best cuts reflect what the group is fondly remembered for: crackling, Merseybeat pop, as in the bouncy "Don't Run and Hide" and the sweet, harmony-laden "Baby That's All."

Beat Group 1966

 Dear Eloise-King Midas in Reverse. 1967

With Graham Nash chafing at the bit for pop respectability, the Hollies started getting "heavy" and "relevant" on this 1967 outing, their second full-blown psychedelic album of the year. It was already clear, if not stated overtly, that Nash would be on his way out of the lineup sooner rather than later, and the irony was that the group generated some of its strongest album tracks during this period, representing some of the most inventive original compositions in its history. Their take on psychedelic music remained rooted within a pop context, especially in America, where the Butterfly album was stripped of three of its spacier songs -- "Pegasus," "Try It," and "Elevated Observations" -- and gained the contemporary single "King Midas in Reverse"; the latter represented perhaps their best work in a psychedelic vein, and it was nowhere near as ambitious as the Beatles' "Strawberry Fields Forever," much less, say, "Tomorrow Never Knows." "Dear Eloise" opened the U.K. and U.S. versions of the album, all glowing harmonies and a few tape tricks and tempo shifts around Moon/June lyrics, with the flute- and trumpet-accompanied pop ballad "Away Away Away" nudging listeners into a more upbeat mode. "Maker" opens with the drone of sitars and a gently played tabla, veering into low-keyed raga-rock until the end of the verses, which suddenly shift into a pop-waltz tempo for a few bars, return to the raga, and repeat the process once; it wasn't Top 40 material, but it was vastly inventive and daring for a group that, until 18 months before, had hardly been known for its original songs or its invention. "Would You Believe" offers a beat and texture that paralleled Donovan's "Atlantis," with the added effect of lots of reverb-soaked bells. "Wishyouawish" was roughly the Manchester equivalent to "The 59th Street Bridge Song (Feelin' Groovy)," about a lazy afternoon amid the Summer of Love, while "Post Card" was a briskly paced guitar-and-drums driven track that might've been a holdover from For Certain Because and which might've been a single if it only had an ending. "Charlie & Fred" -- the favorite song off the album by teen pop columnist Gloria Stavers, according to the original notes -- is one of those uniquely English character study songs, about a perennially displaced, downtrodden member of society; it's closer to Ginger Baker's "Pressed Rat and Warthog" from Cream's Wheels of Fire, than, say, to Pink Floyd's "Arnold Layne" -- the hooks are mostly in the middle eight and the bridge, which also gets an alto trumpet embellishment, and the piece ultimately falls close to "Penny Lane" amid its blooming harmonies; it also ends on a gorgeous a cappella verse. "Step Inside" is a trippy invitation to tea and crumpets from an illicit companion, carrying the glow of the Summer of Love with a beautifully written and sung chorus. "Butterfly" was an overt art song, complete with full orchestral accompaniment and a hauntingly subdued mood, and "King Midas in Reverse" closed the record on a radiant upbeat note. The 1997 Sundazed reissue -- amazingly, the first reissue of the album in America since the original LP disappeared in 1969 -- restores "Pegasus," "Try It," and "Elevated Observations" and adds the July 1968 single "Do the Best You Can," which is actually almost a post-psychedelic track, heavy on banjo and harmonica (and, thus, more of a piece with the instrumentation on the Hollies Sing Dylan album) with some lingering trippiness in its mood; but it's also obvious hearing it why Nash was so eager to exit, its pop sensibilities seeming very lightweight -- like the lighter side of the Tremeloes or the Marmalade -- in the spring of 1968. The mastering is good enough, with a clean sound and warm textures, though the more recent reissues from England and Japan have an edge in that department; the annotation is a bit frustrating, as it is made up primarily of an interview with Allan Clarke -- the author tries to get him to address the album, its content, and recording, but they keep turning back to the subject of Nash's friendship with Stephen Stills and David Crosby and his eagerness to leave the Hollies, and the result is precious little about the music or the album.

Clarke, Hicks & Nash Years - The Complete Hollies April 1963 - October 1968 

Confessions of the Mind 1970

The Hollies' first album of original material following Graham Nash's departure was an attempt to regain the edge they'd had on Butterfly and Evolution albums, after the digression of the album of Dylan songs, the regrouping with Terry Sylvester in the lineup, and the unexpected hit achieved with "He Ain't Heavy, He's My Brother." It's a surprisingly strong album, not only in the songwriting (which includes the last Clark/Hicks/Nash song ever recorded, "Survival of the Fittest"), but also in the production, which isn't too far removed from what was heard on Butterfly and Evolution. There's no sitar here, but Tony Hicks -- who is the real star of the group on this album -- employs at least a half-dozen different guitars in uniquely fine voicings, and there is also some very striking use of orchestra, producer John Burgess making particularly fine employment of a string section as a lead instrument on the Allan Clarke/Terry Sylvester-authored "Man Without a Heart." Indeed, at least nine of the songs on Confession of the Mind could rate among the better songs the group has ever recorded. Tony Hicks' "Little Girl" sounds almost like a conscious attempt to emulate the harmonies and overall sound of Crosby, Stills & Nash, proving that as singers Clarke, Hicks, and Sylvester could have competed in that arena, musically if not in image. They also try for a heavier sound on "Perfect Lady Housewife," which offers a thumping bassline and some of the most prominent organ playing ever heard on one of their records. By this time, the songwriting partnership between Allan Clarke and Tony Hicks had dissolved, and several of the latter's solo songwriting ventures on this album retain some lingering elements of the psychedelic sound heard on Evolution and Butterfly, with great hooks and solid, pleasing, memorable riffs. Hicks gets a little too self-consciously out there with the volume pedal on "Confessions of a Mind," but it's all worth hearing, and "Lady Please," which follows, is a gorgeous country-ish rock ballad that could've been picked up by Poco, the Eagles, or Manassas. "Frightened Lady" is another brilliant acoustic/electric guitar and harmony workout, while Hicks' "Too Young to Be Married" gives equal play to his guitar and an orchestra. His playing is the best part of Allan Clarke's "Separated," several layers of acoustic guitars being a joy to listen to, especially in the 1999 EMI remastering. Unfortunately, the Hollies were now becoming an anachronism in a world of progressive album-oriented rock, not because they actually were, but because their credibility had been wrecked by the Dylan song album and the hit "He Ain't Heavy, He's My Brother." Confessions of the Mind was originally issued in the U.S. in edited and reshuffled form on the Epic LP Moving Finger, with "Separated" and "I Wanna Shout" replaced by "Marigold Gloria Swansong" from Hollies Sing Hollies and the single "Gasoline Alley Bred."

The Mikael Rickfors Years 

What Goes Around

What Goes Around... heralded the return of Graham Nash into the Hollies fold after a 15-year (1968-1983) sabbatical. Although the absence of bassist Bernie Calvert technically disqualifies this effort as a true reunion of the "classic" mid-'60s incarnation, the quartet assembled for this album and subsequent North American tour features the talents of Nash (vocals), Alan Clarke (vocals), Tony Hicks (vocals/guitars), and Bobby Elliott (drums). The combination of decent songwriting -- although there are no contributions from the band -- and their densely constructed trademark vocal blend makes this oft-overlooked assemblage worthy of revisitation. The seeds of this project were planted nearly 18 months before the album was released. The first incarnation of the band -- including original bassist Eric Haydock -- made an appearance on the legendary BBC pop music program Top of the Pops. This is also worthy of note as the same quintet had performed for the show's debut episode on New Year's Day 1964. So the timing could not have been more congruous as 1983 likewise marked the Hollies' 20th anniversary. The bandmembers provided no original material, relying instead on contributions from studio musicians and keyboardists Paul Bliss and Mike Batt, who not only provide over half of the songs, they also add significantly to the album's heavy synth sound. So pervasive are the keyboards that at times they actually drown out the vocals. Otherwise, the up-tempo light pop arrangements on the tracks "Casualty" and "If the Lights Go Out" work well. The sublime vocal arrangement and delivery on the ballad "Someone Else's Eyes" is arguably the strongest moment on the disc. Additionally, there are also a few interesting cover tracks on What Goes Around... "Stop! In the Name of Love" was released as the LP's single and indeed became a Top 40 hit. The band also updated their version of "Just One Look" -- which had been a Top Ten hit for the Hollies two decades prior.



The Hollies 5 EP
Stay 1963
I Can't Let Go 1966
 Bus Stop 1966
 Tell me to my face 1966
Look through any window 1967

A's, B's & EP's (Mono) 2004

The Hollies - The E.P. Collection (1989)

 Single Collection 1997

The Hollies Rarities 1988

All The Hits And More - The Definitive Collection 

Listen here to us CDR 1963-1965

Radio Fun

Hallo! The Hollies!

Remember The Liverpool Sound No. 2

The other side... 1978

The Hollies Sing Buddy 1980



Hollies 23.02.1982 Live Mainz SWF3 Festival

Hollies Live Cincinnati 1983

Live at the BBC 2008

 Live Hits 1977

The Hollies in Split, Croatia in 1968

Full video 


Carl Wayne & The Vikings 

Allan Clarke -My Real Name Is 'arold 1972

Graham Nash - Songs For Beginners 1971

Rickfors ‎– Rickfors 1986



  1. You doing a GREAT job,hope to se The Hollies again on this great side.



  2. Thank you very much for this.

  3. Nice to hear the Hollies again..thanks a lot! The older links seem dead?

    Stuffy from Sweden


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