Evolution Extra tracks, Import
Our Hollies' reissue campaign continues with this incredible 1967 Epic album, plus 5 rare bonus tracks - all from the original master tapes, providing the most breathtaking fidelity ever, a new insightful interview with Hollies' bassist Bernie Calvert, vintage photos, and more--a gorgeous sonic smile from Sundazed!
説明ではImport from USとあるが、シュリンクの上にはMade in Germanyのシールが貼り付けされてある。ジャケット表記によるとGuerssen Recordsはスペインの会社。ジャケットは珍しくフリップバックを再現しているが折り返しが上下の２箇所のみ。1969-70頃のジャケットがこれにあたるが、オリジナルは３箇所。
それによると、６曲は1999 Remasterとある（残る６曲については1999 Remasterのクレジットは無い）。これは英国盤２in１CD発売時のRemasterを指していると思われるが、デジタルマスターを使用してプレスされたLPなのかどうかは確実にはわからない。
Background: I am NOT a musician, but love an eclectic bunch of rock music (I apologize in advance for any malapropisms or faulty recognition of instruments!). I grew up in an '80s household with a baby-boomer mother, pre-boomer father, and 70s rock brother. All members of my family loved "trippy" music, but we all could best be described by the modern term of "straight edge," and don't connect to psychedelia on a drug level. I connect to it, and all music on 1) overall blend and feel, and 2) abstract thought (my main addiction is probably "overthinking" things).
General Impressions: After listening to the album several times, I've have determined that I like it. A lot. Why? Because it really is some cool music, some cool story-telling, and distinctive Hollies. The complexity of the harmonies feeds my ear (as a person who spends way too much time picking out harmonies to sing in songs, this is vital). The instrumentals are experimental but always much more than competent. Sure they play around with new instruments and distortion, but there's an overall lyrical and/or compositional point to everything they try.
Carrie Anne: I've always liked it, and liked it more when I learned the history of the good-natured jab behind it. I think it was in keeping with the personality of the group.
Stop Right There: The harmonies really get to me. Enjambment shows off Nash's really strong emotional understanding.
Rain on the Window: I've read the comparisons to "Bus Stop," but other than the guitar, I just don't hear it. Tells a wistful story with both the words and the music. Three part harmony - exquisite. The "pitter-patter" interlude is rather weird, but like I said before, it serves a compositional purpose.
Then the Heartaches Begin: LOVE, LOVE, LOVE the distortion! Really does feel like a heartache! That a sound can make you feel an emotion is wonderful. The weird percussion/strings really, really work. Plus, the contradiction of it and the subject matter with the uptempo and Clarke's bubblegum sound is doubly moving.
Ye Olde Toffee Shoppe: For what it is, it is quite good. It is a nice sketch of life remembered on two levels. The Hollies were always good at giving the character sketches from different perspectives (like in Confessions....). It is overly-pretty with the harpsichord and all, but it serves the purpose on two levels: experimentation and scene construction. One might compare it in terms of sugariness to "Penny Lane," except that, unlike the Beatles song, THIS one has a readily-understood point.
You Need Love: This one always hit me as being ahead of its time - not because it's groundbreaking, but because something about the sound gives an "80s" feel to it. (Like The Searchers "Hearts in Her Eyes") Maybe it's a recording or a tuning thing - as a non-musician, I couldn't tell you. The low harmony toward the end is weird, interesting, and like I said before, experimental.
Heading for a Fall: Very powerful; the jangling banjo and dissonant strings build for the lyrical rhythm. Sing-along harmonies bring the listener back to a comfort zone...of sorts. Like the strangeness.
The Games We Play: Perfectly adequate song, but nothing particularly interesting about it, either.
Lullaby to Tim: Lyrics are pretty, but I really can't stand to listen to it because it sounds like he's gargling while he's singing. On this album, I wouldn't put anything past them.
Have You Ever Loved Somebody: Again, I'm a sucker for well-measured distortion, so they kind of had me at the first riff. Predictable Hollies-esque lyrics, but in a more intense, driven musical format.
When Your Light's Turned On: Have the same feeling about this song as "The Games We Play," except I think that the narrator's conflict in this one is interesting and makes me a bit more likely not to skip it
*Water on the Brain: The percussion crescendo is awesome! And then it goes to a regular song about sleeplessness, complete with harmonies on the refrain, and then a percussion refrain! Just weird and wonderful. I understand the horns, but the brass sections always seem to be the Achilles' heel with the Hollies.
Jennifer Eccles: Hate this song, always have hated it, always will hate it. Don't know why, probably just a gut reaction.
Signs That Will Never Change: A little overly-sentimental, but so very pretty both with words and vocals. Instrumentation works. I enjoy it.
Open Up Your Eyes: Love when they sing in the round! Harmonies are especially great. I ALWAYS rock out to the banjo solo! Sketches of life work because they resonate but don't become too preachy.
and yes its a little corny but the rest of the album was deffinately trying to be a step the HOLLIES needed to take to be taken seriously has a pop band.i think GRAM NASH had a lot to do with this.the album is on the psycodelic side but its great fun to listen to in 2007 a big departure from what music is today.but a definate pop rock cd from a band very underated and too associated with an AIR SUPPLY sound .This is a far cry from air that i breathe.