Hollies: Evolution revisited.

We are back but given current affairs the first choice for an entry is too fast moving we'll go with a short  update to a series of entries from 2011 where the contents have been very stable over some thirteen odd years.

The Hollies are passion, less for the longevity, genre expanding nature of label mates The Beatles, The Rolling Stones and the Who but more for their vocal harmonizing and the way their past tells a cautionary tale around the dangers of getting stereotyped and the the dangers in trying to change that.

Not withstanding some fine albums, in the main the Hollies ouvre was the two and a half minute pop 45 even though 1966's For Certain Because and Would You Believe showed maturity, sophistication and social commentary.

1967 was a massive year in popular music and indeed Youth Culture with The Summer of Love, Hippies, lsd taking and psychedelia generally and having seen close hand at Abbey Road studios the beatles experimenting, they too wanted to raise the "Oh Wow" feel feeling left out.

That also can be understood as until the continued sales of the Beatles first two UK albums (and A Hard Day's Night)  in 1964 the albums market was for adults and by 1967 that had changed with albums such as Dylan's Blonde On Blonde introducing the double pop album and lyrics, Pet Sounds exploring the studio as an instrument itself and of couse Sgt Pepper was only just around the corner. and recording had commenced in late December 1966.

Not wishing to look out of place Graham Nash with the other Hollies upped their game, while keeping a beat sound introduced warbling vocals on Lullaby To Tim, Stop Right There expanded the commentary previously unleashed on songs like Fifi The Flea.

Nostalgia for the past was shown on The Olde Toffee Shoppe and You Need Love really pushed that generation belief love was all. 

The Cover borrowed much with the colour stylized Evolution and Hollies to The Fool, who gave us the original Sgt Pepper inner sleeve producing the rear  design.

It was a album very much of and for the Summer of Love.

My original copy was a 2011 Spanish reissue from digital files that had some issues with over use of noise reduction and I was able to get this the August 1978 stereo reissue in minute condition that other than having the two box Parlophone lable rather than the originals Yellow & Black and a change in catalogue number from PCS 7022 to PCS 7175 is the same right down to using the same stampers cut for the 1967 stereo release.

The mono has a dedicated mono mix.

This was a brave move given Hollies albums generally didn't sell well but this did get to No. 22 in the UK chart and in a modified form higher in  the U.S. and Canada.

The strategy didn't ultimately work out and split Graham Nash from the group by late 1968 as it appeared they couldn't move with the times and yet by 1969 and He Ain't Heavy, He's My Brother they had got past that pop single barrier.