The Hollies
Band members Related acts
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line up 1 (1962) - Allan Clarke -- vocals - Vick Farrell -- guitar - Eric Haydock -- bass - Graham Nash -- vocals, guitar - Don Rathbone -- drums
line up 2 (1962-63) - Allan Clarke -- vocals - Eric Haydock -- bass - Graham Nash -- vocals, guitar - Don Rathbone -- drums
line up 3 (1963-66) - Allan Clarke -- vocals - Bobby Elliott -- drums (replaced Ron Rathbone) - Eric Haydock -- bass - Tony Hicks -- guitar, banjo, mandolin (replaced Vick Farell) - Graham Nash -- vocals, rhythm guitar
line up 4 (1966-68) - Bernie Calvert -- bass (replaced Eric Haydock) - Allan Clarke -- vocals - Bobby Elliott -- drums - Tony Hicks -- guitar, banjo, mandolin - Graham Nash -- vocals, rhythm guitar
line up 5 (1969-71) - Bernie Calvert -- bass - Allan Clarke -- vocals - Bobby Elliott -- drums - Tony Hicks -- guitar, banjo, mandolin - Terry Sylvester -- vocals, rhythm guitar (replaced Graham Nash)
line up 6 (1971-73) - Bernie Calvert -- bass - Bobby Elliott -- drums - Tony Hicks -- guitar, banjo, mandolin - Mikeael Rickfors -- vocals (replaced Allan Clarke) - Terry Sylvester -- vocals, rhythm guitar
line up 7 (1973-81) - Bernie Calvert -- bass - Allan Clarke -- vocals - Bobby Elliott -- drums - Tony Hicks -- guitar, banjo, mandolin - Terry Sylvester -- vocals, rhythm guitar
line up 9 (1983) - Allan Clarke -- vocals - Alan Coates -- guitar - Bobby Elliott -- drums - Denis Haines -- bass - Tony Hicks -- guitar, banjo, mandolin - Graham Nash -- vocals, guitar
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- Big Picture (Bobby Elliott) - The Bread and Bear Band (Bernie Calvert) - Allan Clarke (solo efforts) - Crosby and Nash (Graham Nash) - Crosby, Stills and Nash (Graham Nash) - Crosby, Stills, Nash & Young (Graham Nash) - Haydrock's Rockhorse (Eric hadock) - Graham Nash (solo efforts)
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Genre: pop Rating: 4 stars **** Title: Dear Eloise King Midas In Reverse Company: Epic Catalog: BN
26344 Country/State: Manchester, UK Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 2847 Price: $30.00
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s.
"Dear
Eloise King Midas In Reversen" track listing: 1.)
(side
2)
Basically the North American copy of 'Butterfly'. I still give it the top rating because every track on the original was excellent, and of course, King Midas is probably their best single. Unfortunately, for reasons unknown, they discarded 'Pegasus', the only song with Tony on lead vocal throughout, plus their 2 most psychedelic songs from Butterfly - 'Try It' and 'Elevated Observations?'. Despite the shuffled tracks, it's still a fun album. This
is the US version of the UK LP Butterfly (differing by three songs). I
think of it as sort of a Rubber
Soul/Revolver type
album… not a radical departure from the group’s established sound, but
with a good bit of experimentation going on, often reflecting the particular
style of one or another individual member. In this case, the
individual member is mainly Graham Nash; this was his last LP with the
Hollies prior to becoming the N in CS&N, and the album is dotted with
his efforts to see what kinds of different things he could do within the
framework of the group. Four tracks in particular stand out in this
regard. The first is “Wishyouawish”, which has touches of
music-hall, a little like “Mellow Yellow”. The second is
“Butterfly”, a dreamy and delicate baroque-pop waltz. The third,
“Postcard”, sounds the most like what Nash would soon be doing in that
other group. The fourth, “Maker”, is a total period piece, a cloud
of smoky, sitar-laden mysterioso haze interspersed with sprightly passages
denoting the return to reality… a must-have track for serious fans of
psychedelia. I
go back and forth between this one and "Evolution" when trying to
pick a favorite Hollies album. The former is trippier but more dated. This
is more mature and still has plenty of psych influences. It also features
"King Midas", their greatest single. The UK version of this album
(titled "Butterfly") doesn't have that track but does feature some
great material that this version doesn't have, so make sure you get the
reissue which includes songs from both versions. Also notable on this album
are "Would You Believe" (including a great melody and lyrics that
successfully convey being hopelessly in love) and the obligatory sitar song
"Maker" (a fairly dark dirge for The Hollies). "Away Away
Away" is more typical- just simple poppy Hollies goodnessFinally, the
trio Clarke/Hicks/Nash stop making covers and start writing his own
material.
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 Becauseand 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. Butterfly is the second studio album released by British band The Hollies in 1967, their seventh in England overall. It was also the last new Hollies album to feature Graham Nash until 1983's What Goes Around. This, like its predecessors For Certain Because andEvolution, featured songs written solely by Allan Clarke, Graham Nash, and Tony Hicks. As noted below, this album was really a Graham Nash-led project, and he featured as lead vocal more than on any prior album. As with Evolution, none of the songs on the album were selected for single or EP release in the UK. In the US, "Dear Eloise" was issued as a single A-side while "Try It" and "Elevated Observations?" were issued as B-sides of the "Jennifer Eccles" and "Do The Best You Can" singles, respectively. In Canada the single "Dear Eloise" reached No. 36. The mono single and stereo CD versions of "Try It" differ greatly in terms of sound effects and vocals. In 1978, Parlophone reissued Butterfly with new cover art, and again in 1999.[2] Almost all current CD issues of this album contain the original cover art. All tracks composed by Allan Clarke, Graham Nash and Tony Hicks. Butterfly (UK version)[edit]Side 1
Side 2
Dear Eloise / King Midas in Reverse (US version)[edit]
The US/Canadian edition of Butterfly was retitled Dear Eloise / King Midas in Reverse, given a totally different full-color cover featuring a picture of the group in front of a shop, and released on Epic Records on 27 November 1967. It included the single "King Midas in Reverse" and the UK Evolution track "Leave Me", while deleting the UK Butterfly songs "Pegasus", "Try It" and "Elevated Observations". The 1998 US CD reissue of Dear Eloise/King Midas in Reverse by Sundazed presents the original UK Butterfly track line-up with "King Midas in Reverse", "Leave Me" and "Do The Best You Can" (the last Hollies single with Graham Nash) added to the track listing. Side 1
Side 2
Sundazed CD bonus tracks
Personnel[edit]
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Genre: pop Rating: 4 stars **** Title: Write On Company: Polydor Catalog: 2442-141 Country/State: Manchester, UK Grade (cover/record): VG/VG+ Comments: minor ring and edge war to cover; UK pressing Available: 1 Catalog ID: 289 Price: $15.00
Best time to play: Sunny Sunday afternoon when nobody's around to hear you enjoying this guilty pleasure
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And just when virtually everyone including their record label had seemingly given up on The Hollies, they reappeared with a late inning gem in the form of 1976's "Write On". Apparently having settled some of their internal issues, the group seemed reinvigorated, with Allan Clarke, Tony Hicks, and Terry Sylvester teaming up to write most of the ten tracks. The results gave the band a surprisingly spirited mix of top-40 pop and classic Hollies ballads. Mind you this was music as a product, but given how catchy tunes like 'Star', ' Narida', and 'Crocodile Woman (She Bites)' were, it was quality product that should have returned the band to the sales charts. For goodness sakes, there were even a couple of ballads that were worthwhile - the title track and 'xxx' managed to avoid their usual sappy excesses. Highlights ? 'Crocodile Woman (She Bites)' may have been the best rock song they ever recorded - yes it's even better than 'Long Cool Woman In a Black Dress'. Tying for second place were the highly commercial 'Star' and 'Narida'. Unfortunately their efforts came in the face of growing public interest in punk, new wave, and dance music.
- One of their most pop oriented tracks in years, 'Star' had everything nite On' was pretty impressive. Clarke seemed to a knack for country-rockers and this one had a wonderful melody that was perfect for the patented Clarke-Hicks-Sylvester harmony vocals that made The Hollies so special. Even though the 'special effects' are distracting, YouTube has an interesting television performance of the song: http://www.youtube.com/watch?v=_bzie21IW3Q rating: **** stars - Unfortunately 'Sweet Country Calling' pushed the band too far in the corny country direction ... why do British band's seemingly feel the need to delve into American country ? Clarke sounded uncomfortable on the track and the rest of the band sounded like they were just going through the motions. Forgettable. rating: ** stars - Other than their patented sweet harmonies and some weird synthesizer effects (sounding like an Indian snake charmer), 'Love Is the Thing' never really kicked into gear. rating: *** stars - Initially 'I Won't Move Over' didn't do much for me. A pouty ballad, the track picked up speed and a bit of energy as it went along. It got better with a couple of spins and Hick's wah-wah guitar was a nice touch. Not great, but one of the better ballads on the album. rating: *** stars - Yeah, 'Narida' was way too cutesy for their own good (putting them dangerously close to ABBA-styled top-40 dance material, though maybe that was the goal), but with the goofy lyrics, second grader rhyming scheme, golden chorus (na-na-na-na-na-rida), Bernie Calvert's pounding bass, and Tony Hicks guitar solos what wasn't their to love here ? Should have been a massive international hit for the group. rating: **** stars - A mid-tempo rocker that seemingly reflected a bit of Bruce Springsteen influences in the lyrical department, 'Stranger' was actually an enjoyable effort by the band to reflect a tougher, more contemporary sound. rating: **** stars - For a band not particularly known for their rockers, The Hollies could occasionally surprise you and 'Crocodile Woman (She Bites)' stood as a perfect example. Kicked along by Pete Wingfield's barrelhouse piano and Clarke's growling vocal, this was a rollicking '50s-tinged number that was easily as good as 'Long Cool Woman In a Black Dress'. Perhaps the best rocker they ever recorded ? rating: **** stars - 'My Island' was an easy-going, this-side-of-cocktail-jazz radio friendly pop song that really didn't have a great deal going for it outside of Pete Wingfield's cheesy ARP synthesizer lines. The song became a staple in their live show and appears on the subsequent "Hollies Live Hits" collection. YouTube has the band lip syncing the tune for some forgotten TV show at: http://www.youtube.com/watch?v=mmGXdEWQ-CA rating: *** stars - The lone non-original, 'There's Always Tomorrow' was a classic Hollies big--ballad. Unfortunately, even though it was given the full Hollies treatment (strumming acoustic guitars, waves of harmony vocals, and a catchy chorus), this one wasn't all that good. Someone online described it as "another home alone on a Saturday night song ..." which struck me as the perfect description for the track. rating: *** stars
The album was tapped for a couple of singles. American audiences saw: - 1975's 'Write On' b/w 'Crocodile Woman (She Bites)' (Epic catalog number 8-50204)
In the UK the single was: - 1976's 'Star' b/w 'Love Is The Thing' (Polydor catalog number 2058 719)
In wasn't a classic Hollies LP, but song-for-song it was impressive and quite enjoyable. Unfortunately Polydor made no attempt to sell the album in the States.
"Write On" track listing: 1.) Star (Terry Sylvester - Allan Clarke - Tony Hicks) - 3:39 2.) Write On (Terry Sylvester - Allan Clarke - Tony Hicks) - 4:50 3.) Sweet Country Calling (Terry Sylvester - Allan Clarke - Tony Hicks) - 3:06 4.) Love Is the Thing (Terry Sylvester - Allan Clarke - Tony Hicks)- 3:45 5.) I Won't Move Over (Terry Sylvester - Allan Clarke - Tony Hicks)
(side
2) 2.) Stranger (Terry Sylvester - Allan Clarke - Tony Hicks) - 3:29 3.) Crocodile Woman (She Bites) (Terry Sylvester - Allan Clarke - Tony Hicks) - 3:35 4.) My Island (Terry Sylvester - Allan Clarke - Tony Hicks) - 4:22 5.) There's Always Goodbye (Randy Richards) - 4:15
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Genre: pop Rating: 4 stars **** Title: Hollies Live Hits Company: Polydor Catalog: 2383
428 Country/State: Manchester, UK Grade (cover/record): VG+/VG+ Comments: English pressing Available: 1 Catalog ID: 286 Price: $15.00
Best time to play: relaxing Saturday evening when you don't feel like doin' much more than hangin' around the house
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Drawn from international dates the band played in support of the 1975 "Another Night" album "Hollies Live Hits" was a surprisingly engaging concert set. (I've read elsewhere that most of the tracks were recorded in Australia and New Zealand; a fact seeming reinforced by Clarke's reference to Christchurch in 'Long Cool Woman In a Black Dress'). Pulling together 15 tracks, the album offered up a career-spanning mixture of hits, lesser known numbers, and a handful of "new" (for 1975) tracks drawn from then-recent albums. Live albums are frequently nothing more than an easy way to pad an act's bottom line and while there may have been a bit of that here, the overall results were surprisingly engaging and enjoyable. Clarke remained one of rock's most overlooked singers - his instantly recognizable voice was a major treat throughout these songs and when Clarke, Tony Hicks, and Terry Sylvester blended their voices, it was frequently almost magical. The rest of the band were equally impressive - particularly bassist Bernie Calvert. While it was nice to have so many of the hits in one place, personally I liked the album's lesser well know offerings including their cover of the old Doris Troy hit 'Just One Look', the overlooked single 'Another Night', and Hicks' sweet 'Too Young To Be Married'. Apparently under the impression the band had lost their audience to punk and new wave acts,, Epic Records elected not to release the album in the States.
At least on the opener 'I Can't Let Go' the audience applause sounded like it was added in post-production, but that was a minor quibble given how bright the performance sounded. How could you not surrender to the jangle guitars and those patented harmonies (Terry Sylvester sounding amazingly like Graham Nash). rating: **** stars - Their Hollies-fied cover of the old Doris Troy hit 'Just One Look' was pleasant. Perhaps not one of the album highlights, but still lots of fun. Seriously, these guys could probably have read a newspaper aloud and make it sound good. rating: *** stars - Clarke's risque song introduction was corny and while there wasn't anything wrong with the live version of 'I Can't Tell the Bottom from the Top', the song didn't exactly shake it's Elton John-styled pop flavor. Okay, okay the chorus was decent. rating: *** stars - The original studio version is such a classic pop song I guess I didn't expect a lot from a liver version of 'Bus Stop''. I was wrong - the live version was every bit as good as the studio version (perhaps even better with the brief reggae nod) and with Bernie Calvert turning in a killer bass line throughout the song. Fantastic performance. rating: ***** stars - Judging by the before song patter, most of these tracks were recorded during the band's 1975 "Another Night" tour ... hence the inclusion of this one. And here's the funny thing - 'Another Night' was great. Completely overlooked when released, it's a classic Hollies tune with Pete Wingfield turning in some wonderfully cheesy synthesizers .... I'm a sucker for this stuff. rating: **** stars - It's kind of funny to think about it, but if you're my age, then there's a good chance that many folks first exposure to Bruce Springsteen came though The Hollies cover of '4th of July, Ashbury Park (Sandy)'. As much as I love the Springsteen original, you have to give these guys credit for doing a more than credible version - wonder how much of the urban Jersey narrative they understood ... rating: **** stars - 'Star' simply wasn't much of a song until the chorus and Wingfield's synthesizers kicked in. At that point it became a major treat. rating: *** stars - Pulled from the earlier "Write On" collection, 'My Island' was the first real disappointment. A breezy and rather anonymous pop track - imagine The Hollies recording a cocktail jazz album and this one would have been in the running for inclusion. Forgettable. rating: ** stars - The audience loved it, but it took me awhile to warm up to the ballad 'I'm Down' - chiefly the three part Clark-Hicks-Sylvester harmonies. rating: *** stars - About all I can say is I was surprise at how close to the studio original the live version of 'Stop, Stop, Stop' was. Quite impressive performance and Tony Hicks' banjo was a kick. rating: **** stars - One of my favorite Hollies performances, 'Long Cool Woman In a Black Dress' was one of the tracks that sounded even better in a live setting. The perfect track to play for folks who didn't think The Hollies could rock out. rating: **** stars - Except for Tony Hicks blowing the vocals, 'Carrie-Anne' was nice enough ... easy to see why Clarke handled most of the lead vocals. rating: *** stars - Yeah, 'The Air That I Breathe' was one of their biggest hits so I guess they had to include it ... can't say I ever liked the original and while the live take accurately replicated the studio version, it didn't do all that much for me. rating: *** stars - Penned by Tony Hicks, 'Too Young To Be Married' stripped away the pop band persona showing the group's true strengths ... few bands could sing harmonies like these guys. Charming with a beautiful flamenco-styled acoustic guitar solo. rating: **** stars - Another 'must play' hit, 'He Ain't Heavy - He's My Brotther' is one of those tunes I've heard so often I've simply become numb to it's appeal. Nice enough live version, but it basically mimicked the studio original. rating: **** stars
Finally, kudos to the band for avoiding the dreaded excesses associated with your standard double album mega-package. Sure you could argue with some of the song selections, but all said and done, 15 tracks provided a near perfect overview of the band's career. If nothing else, the album also reminded you of what a great band The Hollies were. "Hollies
Live Hits" track listing: 1.) I Can't Let Go (Gorgini - Taylor) - 2.) Just One Look (Carroll - Payne) - 3.) I Can't Tell the Bottom from the Top (Fletcher - Flett) - 4.) Bus Stop (Graham Gouldman) - 5.) Another Night (Terry Sylvester - Allan Clarke - Tony Hicks) - 6.) 4th of July, Ashbury Park (Sandy) (Bruce Springsteen) - 7.) Star (Terry Sylvester - Allan Clarke - Tony Hicks) - 8.) My Island (Terry Sylvester - Allan Clarke - Tony Hicks) -
(side
2) 2.) Stop, Stop, Stop (Allan Clarke - Tony Hicks - Graham Nash) - 3.) Long Cool Woman In a Black Dress (Roger Cook - Roger Greenaway - Allan Clarke) - 4.) Carrie-Anne (Allan Clarke - Tony Hicks - Graham Nash) - 5.) The Air That I Breathe (Albert Hammond - Lee Hazlewood) - 6.) Too Young To Be Married (Tony Hicks) - 7.) He Ain't Heavy - He's My Brotther (Russell - Scott) -
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Genre: pop Rating: 2 stars ** Title: Five Three One - Double Seven O Four Company: Polydor Catalog: 2383
428 Country/State: Manchester, UK Grade (cover/record): VG/VG+ Comments: lots of light scratches, but plays fine; original inner sleeve; UK pressing Available: 1 Catalog ID: 287 Price: $15.00
Best time to play: never
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1979's 'Five Three One - Double Seven O Four' has always struck me as an odd project. Reuniting the band with former producer Ron Richards, the set was apparently recorded amidst growing internal strife. In fact, before the start of a brief German tour, Clarke quit, leaving Sylvester and company to finish the tour on their own. They also continued the recording sessions without Clarke (supposedly approach former Procol Harum singer/keyboardist Gary Brooker about joining). Ultimately Clarke rejoined the recording sessions, but the result was a Hollies album with a single original tune (Clarke's 'Satellite Three'). The collection was also exceedingly ballad heavy. In fact seven of the ten songs were ballads. Mind you, under Allan Clarke The Hollies were among the best ballad singers in popular music, but cramming so many of them into one album didn't do the band, or listeners any favors. Their selection of material was also subject to criticism - two Murray Head ballads ? And what was with the country-tinged 'Stormy Waters' or the extremely strange Bowie-esque 'Satellite Three' ? Bottom line is that here The Hollies managed to come up with a first - an album that was actually dull.
- I've got to admit Murray Head's 'Say It Ain't So Joe' has never been a song that's done much for me (the song's pleading edge has always irked me), and The Hollies' cover didn't change that view. Their heavily orchestrated version stuck pretty close to the original arrangement, adding in some patented Hollies harmonies, but in the end it was for naught. rating: *** stars - I'll readily admit 'Maybe It's Dawn' was quite pretty, but it was also bland and heartless; sounding like product more than art. Heavily orchestrated, and with the exception of the choruses where the patented Clarke-Hicks-Sylvester harmonies kicked in, it really didn't sound a great deal like a Hollies effort. rating: *** stars - Thankfully 'Song of the Sun' provided a bit of musical diversity in the form of a slightly slinky blues-tinged number. That's not to say the song was good, 'cause it wasn't. To my ears it sounded very much like a demo that hadn't been fully completed, but at least it wasn't another ballad. Best thing here was Sylvester's fuzz guitar solo. rating: *** stars - Featuring Terry Sylvester on lead vocals, 'Harlequin' was an interesting collaboration with members of Procol Harum. Penned by Procol singer/keyboardist Gary Brooker, it was another ballad, but at least this one had a decent melody and was noteworthy for Brooker's uncredited backing vocals (at the end of the tune). Procol drummer B.J. Wilson was also credited with playing on the song. rating: **** stars - I'm guessing nobody bothered to tell the band that stringing so many ballads together wasn't the smartest decision they could make. No matter how good it had been, by the time you hit 'When I'm Young' the chances were you'd hit ballad meltdown. Another tune that was pretty enough, but ... rating: *** stars - Just because it was an up-tempo pop song, 'Something To Live For' stood as one of the album highlights (and a nice change of pace). It was also tapped as an instantly obscure single. rating: **** stars - With 'Stormy Waters' The Hollies managed to do something they'd seldom accomplished before - namely recording a song totally without merit. A plodding, completely forgettable tinged ballad, this one was simply a snore fest. rating: * star - Another tune with Terry Sylvester on lead vocals, 'Boys In the Band' was a breezy, vaguely Carribbean-tinged number. Nice, but not particularly memorable. rating: *** stars - Geez, what was with the goody 'Satellite Three' ? Clarke deciding to trot out his best David Bowie impression ? Beats me. Yeah, of course the first part was a ballad ... but it was a strange ballad. The song picked up a but of speed towards the end, but it didn't make much difference. Wonder what the rest of the band thought about this one. rating: ** stars - Surrounded by heavy orchestration, 'It's Never One of Us' was simply dull and forgettable. rating: ** stars
As mentioned, the album spun off one single:
- 1979's 'Something To Live For' b/w 'Dragging My Heels' (Polydor catalog number 2059 108)
"Five
Three One - Double Seven O Four" track listing: 1.) Say It Ain't So Joe (Murray Head) - 2.) Maybe It's Dawn (Tony Hymas - Brown) - 3.) Song of the Sun (Tony Hymas - Brown) - 4.) Harlequin (Gary Brooker) - 5.) When I'm Yours (Murray Head)
(side
2) 2.) Stormy Waters (White) 3.) Boys In the Band (Pete Brown) 4.) Satellite Three (Allan Clarke - Gary Benson) - 5.) It's Never One of Us (David Pomnerez)
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