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Author Topic: The Hollies  (Read 8536 times)
kwan_dk
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« Reply #25 on: November 27, 2013, 11:01:43 AM »

As someone who hasn't investigated their catalogue yet but would like to; which of their 60s albums should I check out first as a diehard BB fan & fan of 60s sunshine / harmony pop? Butterfly?

Actually, it'd be cheaper (and so, so much easier) to get the 6CD box "The Clarke, Hicks & Nash Years". Here's the deal - it has everything they recorded from '63-'68 (besides some things that are STILL unreleased). YOU CAN GET THIS THING FOR UNDER $20!!!!!

Great suggestion. I wasn't aware of that box. Will check it out.
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Jurrasic Mark
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« Reply #26 on: November 27, 2013, 12:00:32 PM »

Love The Hollies, Graham Nash is fantastic and love his solo work plus CSN too.

The bass player in a band i'm in is Eric Haydock and had a call a few weeks back that Graham was doing a book signing and we could go meet him. I was overly excited but then Eric had to go Canada so I couldnt go Sad . Hopefully an opportunity like that will come up again.. I suspect Graham is a nice chap, always seems it in interviews.
Wayyyyyy cool you play with Eric! What do you play?

I'm a drummer. I can play piano too and guitar... Better drummer though!
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SurfRiderHawaii
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« Reply #27 on: December 01, 2013, 03:26:56 AM »

Love The Hollies, Graham Nash is fantastic and love his solo work plus CSN too.

The bass player in a band i'm in is Eric Haydock and had a call a few weeks back that Graham was doing a book signing and we could go meet him. I was overly excited but then Eric had to go Canada so I couldnt go Sad . Hopefully an opportunity like that will come up again.. I suspect Graham is a nice chap, always seems it in interviews.
Wayyyyyy cool you play with Eric! What do you play?

I'm a drummer. I can play piano too and guitar... Better drummer though!
Well, that is super cool! And playing with a RnR Hall of Famer! Rock on Mark!
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"Brian is The Beach Boys. He is the band. We're his f***ing messengers. He is all of it. Period. We're nothing. He's everything" - Dennis Wilson
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« Reply #28 on: December 06, 2013, 01:52:11 PM »

It seems that the Japan affiliate of Warner Music is very eager to "exploit" the many recordings that they recently obtained in the purchase of "Parlophone Label Group". There will now be at least three "waves" of expanded SHM-CD releases(December 2013, January & February 2014) that will not only include The Hollies, but also Manfred Mann, The Animals, The Yardbirds, Herman's Hermits, The Swinging Blue Jeans, Peter & Gordon  and some 1970's artists(Gentle Giant, Kevin Ayers)
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« Reply #29 on: December 24, 2013, 05:37:57 PM »

As for the Warner Music Japan SHM-CD CD series, there is some bad news to report. I have heard the 45 second samples that Warner Music has provided to Japanese CD dealer websites. These include excerpts from the 7 Hollies titles that they released last week. The bad news is that these discs(mostly) re-use Peter Mew's Uk remasters from 1997-2011 UK EMI CD's. The only tracks being newly remastered for this CD series are the songs, versions and mixes that have never before appeared on CD, and some of those tracks have dubious, less than master tape quality. How do i know that Warner Music Japan is mostly re-using Peter Mew's analog to digital transfers? Because the stereo mix of The Hollies' "Dear Eloise" still has the defect(introduced by Mr.Mew) in which the bass & drums drop out (for a few seconds) the first time that the group sings "Writing a letter to make you feel better"

In short, any errors or glitches from Mr. Mew's masterings will appear verbatim, uncorrected in these new Japanese discs; discs that are being marketed as audiophile product. The reissue of Manfred Mann's first U.S.A. album("The Manfred Mann album") will be released January 21st, and the bonus tracks will include the EMI "Commercial Test"(I.E. audition) from 1963. I have no doubt, that when the song "Let's Go" (from the audition) appears, that it will still have the mid-verse skip(courtesy of Mr. Mew) which causes 15 seconds of the song to be omitted. This originated on the UK EMI 4-CD set "Manfred Mann-Down The Road Apiece". I had access to a high quality cassette of the audition nearly a decade before EMI released it. When it became obvious that EMI had no intent to ever correct that 4-CD set, I allowed my skip-free recording to circulate amongst the fans.

In Warner Music Japan's haste to rush these discs onto the market, they didn't care enough to freshly remaster all of the recordings to give fans the best possible quality. It raises the question of whether Warner Music's purchase of Parlophone Label Group actually gives Warner Music possession(or even access) to the master tapes.
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« Reply #30 on: January 11, 2014, 03:16:20 PM »

Actually, Warner Music Japan's SHM-CD reissue series is expanding at a rate so fast, that only the wealthiest fans will be able to buy all of them. The series will now include The Hollies, Manfred Mann, The Swinging Blue Jeans, The Yardbirds, Herman's Hermits, The Animals, Peter & Gordon, Gerry & The Pacemakers, McGough & McGear, Tomorrow, Kevin Ayers, Gentle Giant, Electric Light Orchestra(their first 2 albums), Roy Wood, Wizzard(both Warner Bros. & Formerly EMI titles) & The Move. All these titles will be released in a 4 month period, going from December 2013 to March 2014.
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Ron
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« Reply #31 on: January 13, 2014, 08:30:08 AM »

Is there any love out there for this band.??  Personally Im a sucker for these guys. ! I saw them a couple of times live and was pleasantly surprised how good they were.

I really like them.  Their harmony is great, it's really wide sounding... three guys but they had a really strong, even strange sound on their harmonies.  Very nicely done.

Interesting thing too, if you kind of follow their big hit singles, the early ones had the nice harmony going on, then by the time they got to "Long Cool Woman in a Black Dress" there's 0 harmony at all.... then by the time they get to "The Air that I Breathe".... the whole back half of the song they sing the LEAD in 3 part harmony. 

Great band, shame more people don't consider them worthy, I never hear anybody talking about them. 

My favorite song of theirs was "On a Carousel" I just love the crazy harmony on it. 
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Ron
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« Reply #32 on: January 13, 2014, 08:33:50 AM »

Oh, and check out on "Carrie Anne", there's a part near the end where they're singing the chorus in harmony of course, and when they come in (I think it's after the solo) they're a little 'wide' for want of a better term... it's just not as tight as they usually are (but still sounds great)... so they go "HEYYYYY, CARRIE ANNE!!!!" .... and it's a little wild and off a bit, then of course they repeat it again, and the second time it's nice and tight like they always were.  So you can just imagine them in the studio coming up with doing it like that, and just how great they were at their harmony stuff.  I always loved that part of the song.  

It's at about 1:50 just after the solo in this video

http://www.youtube.com/watch?v=ERCWJigX3Bw

Sounds like the way they did it was maybe one of them forgot to sing?  Always liked bands so good that when they f*** up it still sounds great. 
« Last Edit: January 13, 2014, 08:42:44 AM by Ron » Logged
mtaber
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« Reply #33 on: January 13, 2014, 05:35:20 PM »

Their album of Buddy Holly covers is great, too...
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SurfRiderHawaii
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« Reply #34 on: January 13, 2014, 08:33:39 PM »

Their album of Buddy Holly covers is great, too...
Yeah, I love that album.
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EgoHanger1966
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« Reply #35 on: January 13, 2014, 08:40:14 PM »

Oh, and check out on "Carrie Anne", there's a part near the end where they're singing the chorus in harmony of course, and when they come in (I think it's after the solo) they're a little 'wide' for want of a better term... it's just not as tight as they usually are (but still sounds great)... so they go "HEYYYYY, CARRIE ANNE!!!!" .... and it's a little wild and off a bit, then of course they repeat it again, and the second time it's nice and tight like they always were.  So you can just imagine them in the studio coming up with doing it like that, and just how great they were at their harmony stuff.  I always loved that part of the song.  

It's at about 1:50 just after the solo in this video

http://www.youtube.com/watch?v=ERCWJigX3Bw

Sounds like the way they did it was maybe one of them forgot to sing?  Always liked bands so good that when they f*** up it still sounds great. 

That's down to Graham singing the line slightly differently, I'd like to think purposely, as it gives a nice twist to that particular chorus.
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Ron
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« Reply #36 on: January 13, 2014, 09:59:21 PM »

Definately.... It's kind of a play on how a song resolves, if you think about it... a bridge is just used to build away from the root melody or root chord of a song, then at the end of the bridge when it resolves back to the root, it gives you this satisfaction of the song resolving how you want it to.

So since they come back from the solo, into what should resolve but it's slightly different... it makes it that much better when the second time around they resolve it back to what you expect to hear. 

Always liked it, whatever they did.  There's little flairs like that on a lot of their stuff, the way the bass sounds on "On a Carousel"... the awesome sitar or fake sitar solo in "Stop, Stop Stop"... the way they do the little doo-wop, beach boys, vocal rounds at the end of "Air that I Breathe", etc. 
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feelsflow
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« Reply #37 on: January 14, 2014, 09:11:38 AM »

Hey Ron, "That Sound" on "Stop Stop Stop" is a banjo.  Tony, as did Brian in the Stones, also used an Electric Sitar.
And as EgoHanger1966 points out, the counter-harmonies by Graham, Alan and Tony in support of leads or in unison were probably not "Happy Accidents" that ended up on tape.  They could do all that live.  Check out the Look Through Any Window DVD and marvel at how well they could re-create the recordings.  By 1966 they were rivaling the Beatles as far as concerts go.  Not a slight on The Beatles on record, they just couldn't re-create all the tape-loops and "other" far out sounds of the studio, Harrison wasn't about to drag a real Sitar out on stage. LOL  If they had of toured in 1967, The Stones couldn't either.  The Rock-n-Roll Circus performance was okay, but they were helped greatly by having Nicky Hopkins.  Once they lost Brian, they returned to a simpler sound.  You have to get the Ed Sullivan Show DVD-set to see how well they could "do it" with Brian.  The TAMI show is not enough.
.
Every Hollies fan should already have the Box referred to with all the Nash material.  If you want to go past that, get the 6CD set The Long Road Home 1963-2003.  This has over 3 discs of the post Nash years and a few more "live" tracks with Nash not on the new box (1966 & 1967 - both from Stockholm, Sweden).  And includes the 24th-28th January 1976 concert material (15 songs) from Christchurch Town Hall, New Zealand (I have it on vinyl, but nice to get a Cd as well).  A lot of the re-mastering and mixes they used on the Clarke, Hicks, Nash set came from this set and the Abbey Road N.W.8 3CD box(1997/98 mastering), and what they didn't have got a fresh re-master.   The fans kept asking for this stuff.  They did individual CD releases in the UK - but that was pricey.  To keep the price reasonable, they used the best source for each track.  It's a mash-up, but everything sounds fine.  The concert is a real treat. Regardless of what Mr. Cohen thinks, and I have not heard the Manfred Mann releases, Peter Mew is GREAT at mixing and re-mastering these "old, old" tapes.  Mew did the best job with what he had to work with.  Just like "our" Mark L., he had the tapes at hand, and does the best job he can.  They can't please everybody...unless of course they want to give us something like the SOT sets with every take and mix imaginable.  And Phil, before you say you could have done it better, or he used Prism SNS Noise Shaping back in 1997/98 (oh, the horror), The folks at EMI asked Peter Mew to do all of this.  I too feel sure this is what they are using for the SHM discs in Japan.  The same they used for the UK discs.  This material as been "done to death" friend.  SHM, and the perfect balance that the Japan discs bring in to the mix Will make them sound better, but at such a price.    
As you well know, some of the work done in Japan Is done by Japanese cats.  Did you hear what they were able to do with Christmas and The Beads of Sweat by Laura Nyro?  Or all those Art Garfunkel discs from last year?  I Quickly paid the price for those.  Some of them even had "bonus" tracks.  I don't want to argue with you out in public...but just what else can they do with the Hollies tracks?  Or any of the catalogues you mention.  Animals? also just "done to death."  Bet they took better care of the masters by The Hollies (Abbey Road), than with all the ones you mentioned as well.  Don't recall off the top of my head where those were recorded, but sure you will remind me.  None of mine "skip" or have glitches and errors.  I have the vinyl, and will check that to see what you are talking about with "Dear Eloise," but he made the choices he made.  The "three seconds" really puts you off that much?  Sure he wasn't sitting there thinking "got to get a defect in here somewhere."  "Got to do it just for Phil, to get his reaction."  One last question, do you think he didn't have access to the "Master Tapes"?
peace,  Will
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EDIT:  I watched the Look Through Any Window DVD last night, 15 January.  After I posted this.  I found that when checking the dates listed on the Clarke, Hicks, Nash Years CD set, that none of the DVD tracks are from the CD Concert.  The CD Concert is LIVE AT Lewisham Odeon 24 May 1968.  So I edited out that line.  But it is still on Phil's post.  Hope that doesn't confuse anybody.
« Last Edit: January 16, 2014, 10:14:31 AM by feelsflow » Logged

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« Reply #38 on: January 14, 2014, 11:58:51 AM »

By the way, I DO have the Japanese Laura Nyro mini-album sleeve reissues, and was delighted that Sony gave their Japanese affiliate exclusive unreleased material for most of the discs. That series sounds superb.

As for The Hollies Japanese CD series(from which I have four titles, and more to come upon their release), the fault on the stereo mix of "Dear Eloise"(on the stereo/ mono 1998 UK CD of "Butterfly")) appears on the new Japanese disc. Obviously, I could burn my own corrected disc(since there are many other CD sources for the stereo "Dear Eloise"). But because the fault appears again verbatim on the Japanese SHM-CD, it proves that the Japanese(for this entire disc series) didn't have access to the analog master tapes, and that(with the exception of certain new-to-CD bonus tracks) they merely worked from a digital copy of Peter Mew's analog to digital transfers.

For what is hyped as audiophile product, Warner Japan shouldn't have merely re-used old masterings, which in the case of those Hollies albums date to the late 1990's. I'm sure that the recently retired Peter Mew became aware of the two mastering faults(one of them on a Hollies CD) to which I refer, but that his bosses at Abbey Road merely told him to move on to the next project, as EMI had no desire to do another production run, or replace defective discs already in consumers' hands.

By the way, listen to the new Japanese SHM-CD of "Butterfly"(or the late 1990's UK CD). These discs both contain the album in both its mono & stereo mixes. Listen to the stereo mix of "Dear Eloise", specifically the first chorus, and you will hear what I'm talking about. It is not a figment of my imagination.

I'm not saying that you shouldn't buy CD's from the Warner Music SHM-CD series of (formerly) EMI recordings, since some of them contain bonus rarities(that are new-to-CD). I'm just making you aware that they are (mostly) not new analog to digital transfers. I guess that Warner Japan didn't want to spend the money for what were going to be limited edition reissues that would be in print for only a few months. And Warner UK won't do any better with the recordings: they've just reissued five 1960's Hollies album in a budget-priced box, with either the mono or stereo version of each album(but not both mixes) and no bonus tracks. Our last hope for better product resides with Warner's American reissue subsidiary Rhino, and with their best compiler/engineer Andrew Sandoval.

By the way, there still IS further unreleased 1960's & 1970's Hollies material(There is a sessionography included with the boxed set "The Hollies-The Long Road Home"). But, starting from the group's 6th UK album "Evolution", The Hollies own their recordings, so artist permission is an issue.
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« Reply #39 on: January 14, 2014, 03:24:56 PM »

Hey Ron, "That Sound" on "Stop Stop Stop" is a banjo.  Tony, as did Brian in the Stones, also used an Electric Sitar.
And as EgoHanger1966 points out, the counter-harmonies by Graham, Alan and Tony in support of leads or in unison were probably not "Happy Accidents" that ended up on tape.  They could do all that live.  Check out the Look Through Any Window DVD (much of it from the Lewisham Odeon Show, London,24 May 1968), and marvel at how well they could re-create the recordings.  By 1966 they were rivaling the Beatles as far as concerts go.  Not a slight on The Beatles on record, they just couldn't re-create all the tape-loops and "other" far out sounds of the studio, Harrison wasn't about to drag a real Sitar out on stage. LOL  If they had of toured in 1967, The Stones couldn't either.  The Rock-n-Roll Circus performance was okay, but they were helped greatly by having Nicky Hopkins.  Once they lost Brian, they returned to a simpler sound.  You have to get the Ed Sullivan Show DVD-set to see how well they could "do it" with Brian.  The TAMI show is not enough.
.
Every Hollies fan should already have the Box referred to with all the Nash material.  If you want to go past that, get the 6CD set The Long Road Home 1963-2003.  This has over 3 discs of the post Nash years and a few more "live" tracks with Nash not on the new box (1966 & 1967 - both from Stockholm, Sweden).  And includes the 24th-28th January 1976 concert material (15 songs) from Christchurch Town Hall, New Zealand (I have it on vinyl, but nice to get a Cd as well).  A lot of the re-mastering and mixes they used on the Clarke, Hicks, Nash set came from this set and the Abbey Road N.W.8 3CD box(1997/98 mastering), and what they didn't have got a fresh re-master.   The fans kept asking for this stuff.  They did individual CD releases in the UK - but that was pricey.  To keep the price reasonable, they used the best source for each track.  It's a mash-up, but everything sounds fine.  The concert (some of which is on the LTAW DVD) is a real treat. Regardless of what Mr. Cohen thinks, and I have not heard the Manfred Mann releases, Peter Mew is GREAT at mixing and re-mastering these "old, old" tapes.  Mew did the best job with what he had to work with.  Just like "our" Mark L., he had the tapes at hand, and does the best job he can.  They can't please everybody...unless of course they want to give us something like the SOT sets with every take and mix imaginable.  And Phil, before you say you could have done it better, or he used Prism SNS Noise Shaping back in 1997/98 (oh, the horror), The folks at EMI asked Peter Mew to do all of this.  I too feel sure this is what they are using for the SHM discs in Japan.  The same they used for the UK discs.  This material as been "done to death" friend.  SHM, and the perfect balance that the Japan discs bring in to the mix Will make them sound better, but at such a price.    
As you well know, some of the work done in Japan Is done by Japanese cats.  Did you hear what they were able to do with Christmas and The Beads of Sweat by Laura Nyro?  Or all those Art Garfunkel discs from last year?  I Quickly paid the price for those.  Some of them even had "bonus" tracks.  I don't want to argue with you out in public...but just what else can they do with the Hollies tracks?  Or any of the catalogues you mention.  Animals? also just "done to death."  Bet they took better care of the masters by The Hollies (Abbey Road), than with all the ones you mentioned as well.  Don't recall off the top of my head where those were recorded, but sure you will remind me.  None of mine "skip" or have glitches and errors.  I have the vinyl, and will check that to see what you are talking about with "Dear Eloise," but he made the choices he made.  The "three seconds" really puts you off that much?  Sure he wasn't sitting there thinking "got to get a defect in here somewhere."  "Got to do it just for Phil, to get his reaction."  One last question, do you think he didn't have access to the "Master Tapes"?
peace,  Will
By the way, the mastering defect on the stereo mix of The Hollies' "Dear Eloise" doesn't appear on any vinyl release. It appears only on two specific CD's; the 1998 EMI/UK CD of "Butterfly" & the Warner Music December 2013 Stereo + Mono + bonus tracks SHM-CD release. The skip on the Manfred Mann 1963 (Abbey Road audition) track "Let's Go" has, so far appeared on only one release(the Uk 4-CD set "Manfred Mann-Down The Road Apiece") but it is likely to also appear amongst the bonus tracks on the January 22,2014 Japan SHM-CD of the Uk version of "Five Faces of Manfred Mann", where the 1963 audition tracks will appear as bonus tracks for that Japanese CD. I had access to a high quality cassette of the audition nearly 10 years before EMI released (some of) it. When it became apparent that EMi would never correct the 4-CD "Down The Road Apiece" boxed set, I permitted my skip-free source to circulate. The skip isn't mild. It begins halfway through the second verse and causes 15 seconds of this previously unreleased song to be omitted. There is, to date, no official release of the song without the skip.

I'm not saying that during his 48 year career(1965 to 2013) that Peter Mew hasn't done plenty of fine work. The two problems that I mentioned were probably caused by Abbey Road Studios' computerized mastering system.
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« Reply #40 on: January 14, 2014, 06:03:17 PM »

First off,  I'm not an engineer so...how does computerized mastering differ from hands on the knobs mastering?  That makes it sound like he is just running the mix-down tapes to a digital recorder.
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Did Peter have the master tapes to work with?  How could they say RE-MASTER otherwise?
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I didn't buy any of the UK mono/stereo discs.  Give us a bit of a review.  I got all the box sets I mentioned.  The Abbey Road N.W.8  set is mostly mono on the early stuff.  1963-1966, all mono.  1966-1970, mono/stereo. 1973-1989, all stereo.  Some of these mixes are not the ones he used on the 2003 set.  All discs used the NoNoise technology.  Did he use that on the individual discs?
It's getting a bit too dark in my room to read the booklet from The Long Road Home, but I don't think he used NoNoise on that.  Let me get back to that tomorrow when it's light.  That booklet IS very fine and gives a lot of information that I can find nowhere else. 
If you see this before I can get back, do the reviews...What is different about the stereo mixes he did in 1997, other than the mistake with Dear Eloise?  Re-mastering done from 1997 thru 2003 for the 2003 box.  You have to follow the booklet to see when each track was done.  That would be complicated even with more light. LOL
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« Reply #41 on: January 14, 2014, 06:44:19 PM »

First off,  I'm not an engineer so...how does computerized mastering differ from hands on the knobs mastering?  That makes it sound like he is just running the mix-down tapes to a digital recorder.
.
Did Peter have the master tapes to work with?  How could they say RE-MASTER otherwise?
.
I didn't buy any of the UK mono/stereo discs.  Give us a bit of a review.  I got all the box sets I mentioned.  The Abbey Road N.W.8  set is mostly mono on the early stuff.  1963-1966, all mono.  1966-1970, mono/stereo. 1973-1989, all stereo.  Some of these mixes are not the ones he used on the 2003 set.  All discs used the NoNoise technology.  Did he use that on the individual discs?
It's getting a bit too dark in my room to read the booklet from The Long Road Home, but I don't think he used NoNoise on that.  Let me get back to that tomorrow when it's light.  That booklet IS very fine and gives a lot of information that I can find nowhere else. 
If you see this before I can get back, do the reviews...What is different about the stereo mixes he did in 1997, other than the mistake with Dear Eloise?  Re-mastering done from 1997 thru 2003 for the 2003 box.  You have to follow the booklet to see when each track was done.  That would be complicated even with more light. LOL

EMI didn't always tell the public when their remastering engineers used noise reduction. Peter Mew didn't remix anything for the 1998 UK Stereo + mono Hollies CD's: He REMASTERED from the original analog master tapes. Something apparently went wrong when Peter Mew transferred the analog stereo master of "Dear Eloise" to digital, and it apparently wasn't apparent until the CD's of "Butterfly" were pressed. The other possibility is that Mew accidentally used a rough mix for that song. Remember, this defect(fault) is only on the 1998 UK CD & 2013 Japan CD of "Butterfly". "Dear Eloise" appears twice on those CD's; once in mono and once in stereo. The fault only occurs when the stereo mix plays.
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« Reply #42 on: January 14, 2014, 08:03:41 PM »

Thanks for the info Re: the  Banjo.  I can hear that now that you mention it... so basically there's a Sitar playing the whole time, then a banjo solos over it kind of doubling it to make that awesome sound in the solo?  Very cool.


I heard somewhere that some bands in the 60's used a Danelectro that had some sort of Sitar attachment on it back then, I always assumed that's what they were using because of the complexity of the Sitar, but after all this talk of them I noticed they had other songs with actual Sitars on them so I guess one of the guys could play the damn thing?  Crazy. 

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« Reply #43 on: January 14, 2014, 08:15:01 PM »

Thanks for the info Re: the  Banjo.  I can hear that now that you mention it... so basically there's a Sitar playing the whole time, then a banjo solos over it kind of doubling it to make that awesome sound in the solo?  Very cool.


I heard somewhere that some bands in the 60's used a Danelectro that had some sort of Sitar attachment on it back then, I always assumed that's what they were using because of the complexity of the Sitar, but after all this talk of them I noticed they had other songs with actual Sitars on them so I guess one of the guys could play the damn thing?  Crazy. 



No sitar (or variant) on Stop Stop Stop. It's just the banjo with a delay/echo effect. You should get the Look Through Any Window DVD, Tony Hicks demonstrates the banjo part in an interview segment.
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« Reply #44 on: January 15, 2014, 10:40:39 AM »

Well.  As I read this thread, I see at least three things that I want to buy. I love the Hollies, loved them since I was a kid spinning Bus Stop on my 45 player right up through college listening to the  Alan Clarke Hollies.  And BUS STOP still sounds as good as ever,  every time I hear it.  I put it right up there with some of the Beach Boys classics in terms of craft and harmony.  Next thing is for me to read the graham bio.  Somehow I missed it.
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« Reply #45 on: January 15, 2014, 01:12:44 PM »

donald,  Hope that DVD is on your list for "first buy"...it really opens ones eyes as to how great they were.  Not expensive either.  It showed me how much more important Tony was, than what I'd thought before.
"Little Lover"  -  A promo film (1963) made for video jukeboxes in England. Many of the tracks focus on UK made promos and performances that we Americans didn't see back in the 60's.
.
"Here I Go Again" and it's flip side, "Baby That's All" - From some obscure UK film, UK Swings Again (1964).  I'd never seen it. 
.
"Rockin' Robin" and "Just One Look" - NME Poll Winners Concert (16/4/64).  I had seen these before, but not in this quality.
.
"I'm Alive" -  Holland (1966).  Never seen it.  "Look Through Any Window" and "I Can't Let Go" - Beat Club, Germany (28/5/66).  "Bus Stop" and "Stop Stop Stop" - Beat Beat Beat, Germany (January 1967).  A reel of Hollies at EMI Studios/Abbey Road and "On A Carousel" (17/1/67) - This blew me away, never knew something like this existed.  They are not double-dipping, but wish they were.  No Sullivan or Smothers Brothers appearances here, which is what we got in America.
.
"Carrie-Anne" "Jennifer Eccles" and "Do the Best You Can" (b-side of the last "with Nash" 45) - Live at the Split Festival, Yugoslavia (1968), another knock-out that I'd never seen.  "Dear Eloise" and "Wings" (a track from the World Wildlife Fund long-player, yes, the same one that Lennon contributed to.  A nod to The Everlys, written by Graham and Allan. - Popside, Sweden (21/4/68).  "King Midas in Reverse" (1968) gets a neat Home Movies Montage.  We had a claim earlier that Nash wrote, what, two-thirds of the songs? - no, don't think so.  He was a bit top-heavy in 1967 (Evolution, Butterfly - and it's counter part in America, King Midas in Reverse).  He did write some of the songs that all three got their names on, and "King Midas in Reverse" is one of them.  Graham told David Zimmer, (in the GREAT Biography of CSN - get it if you can) "I don't know if I'm King Midas, or the gold, or the dust."  Closing out Graham's portion on this is "Listen To Me" - From Twien, a show on Dutch TV.  His last filmed performance with them - he was already working with Crosby and Stills at the time. 
I'm not a big fan of the Dylan album, but do want to say it's not the only reason Graham left.  He was writing songs like "Lady of the Island," "Man with No Expression(Horses Through A Rainstorm)(Nash w/ Terry Reid, another late 60's fav of mine...), "Marrakesh Express"  and many from the early CSN era, and the rest of the band didn't want to do them.
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...if you are honest - you have no idea where childhood ends and maturity begins.  It is all endless and all one.  ~ P.L. Travers        And, let's get this out of the way now, everything I post is my opinion.  ~ Will
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« Reply #46 on: January 15, 2014, 03:44:21 PM »

pause... I had to go help with dinner, and now it's getting late.  I'll come back tomorrow to finish.
.
.
...Okay, so Graham's gone off to America.  The Hollies finished and released, in May 1969, the Dylan album (no tracks from that are on this DVD).  They brought in Terry Sylvester and didn't miss a beat.  Far from it.  In February 1969 (before the Dylan album even came out) their next Single:  "Sorry Suzanne", flip side - "Not That Way At All" and in September 1969 another Single:  "He Ain't Heavy, He's My Brother" (with Elton John at the session on piano), flip side "'Cos You Like To Love Me"  None of which are included (cause that's the way they liked to "roll with it" in the UK) on their next long-player, Hollies Sing Hollies (November 1969)
.
That get's us back to the DVD tracks.  "Sorry Suzanne" - from This Is Tom Jones, (15/5/69).  And now the Brits have colour on their TV's - so that's a plus.  "He Ain't Heavy, He's My Brother" - again from This Is Tom Jones, (13/11/69).  
.
They take a jump here to 9/11/75 for a performance from Supersonic, England:  "Long Cool Woman In A Black Dress."  This would be after Allan came back into the fold.  The Single was released in the UK in April 1972, and only reached #32.  But in America it was a #2 Hit.  I don't want to get into the complicated tale of Allan's leaving and coming back here...but it does explain the jump in time, as he was not in the band when they supported the track on tour in America.  Got it?  Research a bit and you will find more information.  The last track on the DVD is another performance after Allan came back.  In March 1974 they released a long-player titled simply Hollies.  When I was writing my piece on Phil Everly last week, I mentioned that they probably had heard this number on his Star Spangled Springer album (1973).  The booklet that comes with the DVD confirms that an EMI secretary told Allan and Tony about Phil's song.  Phil should have had that Hit, but didn't.  Of course I am talking about their Big Come-back Hit released in the UK in January 1974, "The Air That I Breathe" - from The Russell Harty Show, England 2/3/74.  It was a world-wide smash.
This DVD is a must have for anyone looking into The Hollies.  It has "Extras" including interviews, which can be programed with the music clips or without.
.
There are other DVDs done by the wonderful folks at Reelin' in the Years Productions.  I have the equally well done one on The Small Faces.  There is also releases by Gerry and the Pacemakers and Dusty Springfield that I'd like to get.  They are imports, but are All Region.  They can be investigated more on Amazon.
« Last Edit: January 16, 2014, 11:49:59 AM by feelsflow » Logged

...if you are honest - you have no idea where childhood ends and maturity begins.  It is all endless and all one.  ~ P.L. Travers        And, let's get this out of the way now, everything I post is my opinion.  ~ Will
PhilCohen
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« Reply #47 on: January 15, 2014, 06:26:25 PM »

pause... I had to go help with dinner, and now it's getting late.  I'll come back tomorrow to finish.
And Phil, get back to what we were talking about too.  I need to think about it a bit more.  You seem to be saying that you are buying the new Japan discs even though they are not worth it?  SHM and the perfect balance that the Japanese bring to the game adds only so much "air" to the room.  Do you think they are worth the up-grade if you already have the UK discs?

Because I am a Hollies completist, I am buying SOME of the Hollies discs from the new SHM-CD series, specifically those discs whose bonus tracks include mixes or takes that were previously vinyl-only, but are now making their CD debut. As for Japanese audiophile CD's(Blu-Spec, SHM-CD, HQCD & Blu-Spec2) these manufacturing enhancements are not a guarantee of excellent quality. Certainly good quality recordings and expert mastering are required to yield an excellent end result.

As for rare material amongst the bonus tracks, I will cite a few examples. The Japan SHM-CD of "Stay With The Hollies" includes(amongst its bonus tracks) "Poison Ivy"(Take 9) which was previously only offered on Australian vinyl.
The SHM-CD of "Evolution" includes both the stereo & mono mixes of "We're Alive" and "Kill Us Quick". The mono versions(as heard on the original Italian "Parlophon" , yes, spelling is correct, single) had never before appeared on CD. The stereo versions(mixed in 1993) contain additional background vocal parts(from the multitracks) that had been omitted from the original mono single mixes.  "For Certain Because" adds both the stereo & mono mixes of "Non Prego Per Me" & "Devi Averre Fiducia in Me", and "Butterfly" adds the U.S.A. single mix of "Try It" and an alternate mono mix(with no lead guitar) of "Like Every Time Before".
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« Reply #48 on: January 15, 2014, 06:40:19 PM »

donald,  Hope that DVD is on your list for "first buy"...it really opens ones eyes as to how great they were.  Not expensive either.  It showed me how much more important Tony was, than what I'd thought before.
"Little Lover"  -  A promo film (1963) made for video jukeboxes in England. Many of the tracks focus on UK made promos and performances that we Americans didn't see back in the 60's.
.
"Here I Go Again" and it's flip side, "Baby That's All" - From some obscure UK film, UK Swings Again (1964).  I'd never seen it. 
.
"Rockin' Robin" and "Just One Look" - NME Poll Winners Concert (16/4/64).  I had seen these before, but not in this quality.
.
"I'm Alive" -  Holland (1966).  Never seen it.  "Look Through Any Window" and "I Can't Let Go" - Beat Club, Germany (28/5/66).  "Bus Stop" and "Stop Stop Stop" - Beat Beat Beat, Germany (January 1967).  A reel of Hollies at EMI Studios/Abbey Road and "On A Carousel" (17/1/67) - This blew me away, never knew something like this existed.  They are not double-dipping, but wish they were.  No Sullivan or Smothers Brothers appearances here, which is what we got in America.
.
"Carrie-Anne" "Jennifer Eccles" and "Do the Best You Can" (b-side of the last "with Nash" 45) - Live at the Split Festival, Yugoslavia (1968), another knock-out that I'd never seen.  "Dear Eloise" and "Wings" (a track from the World Wildlife Fund long-player, yes, the same one that Lennon contributed to.  A nod to The Everlys, written by Graham and Allan. - Popside, Sweden (21/4/68).  "King Midas in Reverse" (1968) gets a neat Home Movies Montage.  We had a claim earlier that Nash wrote, what, two-thirds of the songs? - no, don't think so.  He was a bit top-heavy in 1967 (Evolution, Butterfly - and it's counter part in America, King Midas in Reverse).  He did write some of the songs that all three got their names on, and "King Midas in Reverse" is one of them.  Graham told David Zimmer, (in the GREAT Biography of CSN - get it if you can) "I don't know if I'm King Midas, or the gold, or the dust."  Closing out Graham's portion on this is "Listen To Me" - From Twien, a show on Dutch TV.  His last filmed performance with them - he was already working with Crosby and Stills at the time. 
I'm not a big fan of the Dylan album, but do want to say it's not the only reason Graham left.  He was writing songs like "Lady of the Island," "Man with No Expression(Horses Through A Rainstorm)(Nash w/ Terry Reid, another late 60's fav of mine...), "Marrakesh Express"  and many from the early CSN era, and the rest of the band didn't want to do them.

Correction. The Hollies DID attempt "Marrakesh Express", and the tape of the one and only take still exists in the Abbey Road Studios vault. The connection that I had at EMI in London(in the 1990's) indicated that it is a backing track only, and that, excepting that the engineer says "Marrakesh Express, take one" at the start, it is otherwise unrecognizable as the song as later developed by Crosby, Stills & Nash". That same EMI executive vetoed the inclusion of this recording when the U.S.A. 3-CD set "30th Anniversary Collection" was being assembled. It is destined not to be heard.
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« Reply #49 on: January 15, 2014, 08:37:25 PM »

Thanks for the info Re: the  Banjo.  I can hear that now that you mention it... so basically there's a Sitar playing the whole time, then a banjo solos over it kind of doubling it to make that awesome sound in the solo?  Very cool.


I heard somewhere that some bands in the 60's used a Danelectro that had some sort of Sitar attachment on it back then, I always assumed that's what they were using because of the complexity of the Sitar, but after all this talk of them I noticed they had other songs with actual Sitars on them so I guess one of the guys could play the damn thing?  Crazy. 



No sitar (or variant) on Stop Stop Stop. It's just the banjo with a delay/echo effect. You should get the Look Through Any Window DVD, Tony Hicks demonstrates the banjo part in an interview segment.

Oh, cool.... really great sounds on that song, I never would have thought of that. 
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