First, I'll give my background to give some reader perspective on the type of person who likes what I like (feel free to skip to the album review), and then my general review followed by review of individual songs. Sorry if it's too long, but I wanted to get everything in.

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.

1967 was the year things started to change in music as ive been told i was only 2 at the time.But the music speaks for it self the BEATLES had SGT.PEPPER.THE WHO had SELL OUT the HOLLIES had EVOLUTION not nearly as earth shattering as PEPPER but very experimental CARRIE ANNE was the hit

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.

All Good. Thanks.

The CD sounds great!

The Hollies unique vocal stylings are never more predominate than on this reissue of their early 1967 album. Not as coherent as it should be, this album still has some merit for anyone seeking a british vocal "fix". "Carrie-Anne" and "Rain on The Window" are bolth great cuts. Not too sweet, but the sugar is definitley present. "Heading for a Fall" is a great example as to how to make a 2 minute song be so catchy. The bonus tracks are all pretty good, and Sundazed, as usual, did a primo job with the stereo remastering. Of note is the very drug influenced song "Open Up Your Eyes", which, although not predating any of the huge acts of the day, was significant to the groups attempt at doing musically different things. This album is aptly titled for their next few releases saw major changes in bolth the orchestration and singing arrangements. Is second only to the "King Midas In Reverse/Dear Eloise" album Sundazed also puts out. Go there and then come here.