Hollies

Confessions of the Mind is the 1970 released album by The Hollies. It was released in the United States as Moving Finger, with a different track sequence, the tracks "Separated" and "I Wanna Shout" omitted and replaced with the Clarke/Sylvester penned "Marigold: Gloria Swansong" saved from the previous album (Hollies Sing Hollies aka He Ain't Heavy, He's My Brother - U.S.) and "Gasoline Alley Bred". In Germany, it was released as The Hollies Move On. The UK version peaked at UK #30. The US version peaked at US #183.

This retooled, revamped version of the Hollies' self-titled 1974 album doesn't seem like much at first glance – but first impressions can be wrong, and this one would be. At the time of its recording, the original album marked the return of original lead singer Allan Clarke to the Hollies lineup after a two-year absence, and it also yielded the group's last major hit, "The Air That I Breathe." Otherwise, Hollies has mostly been forgotten, even by many loyal fans, for the very good reason that, the one hit aside, there really wasn't that much on the album that was exceptional.

Hollies Sing Dylan is a 1969 cover album where the Hollies sing Bob Dylan songs. This album was recorded and released following Graham Nash's departure from the band to join David Crosby and Stephen Stills in December 1968 after early sessions for a follow-up to the psychedelic concept album, Butterfly broke down. There have been claims that the album was hated by fans and critics alike. However it peaked at no. 3 in the UK, their third highest showing for any LP and second-highest charting for one with newly recorded material. Nevertheless, the group's next album was titled Hollies Sing Hollies in an apparent move to placate critics. This is the first album with new member Terry Sylvester, who replaced Nash.

When the Hollies - one of the best and most commercially successful pop/rock acts of the British Invasion - began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. They quickly developed a more distinctive style featuring three-part harmonies (heavily influenced by the Everly Brothers), ringing guitars, and hook-happy material, penned by both outside writers (especially future 10cc member Graham Gouldman) and themselves, eventually composing most of their repertoire on their own. The best early Hollies records evoke an infectious, melodic cheer similar to that of the early Beatles, although the Hollies were neither in their class (not an insult: nobody else was) nor demonstrated a similar capacity for artistic growth. They tried, though, easing into somewhat more sophisticated folk-rock and mildly psychedelic sounds as the decade wore on, especially on their albums (which contain quite a few overlooked highlights).

A good compilation of good early Hollies album and EP cuts. Sound quality on this CD is excellent. Mostly stereo versions of songs are used. The only exceptions are "Honey and Wine" and "Now's the Time" which may never have been on CD before this collection.

Released only ten months after their debut album, Stay With the Hollies, their second album was a huge leap forward in every respect. Their famous airtight harmonies were now in place, and the sloppiness of the instrumental attack gone. Most important, the group developed enormously as songwriters. Eight of the 12 tracks were Hollies originals and quite skillful in their mastery of the British Invasion essentials of driving, catchy melodies and shining harmonies. A couple of the covers are duds, but the "Nitty Gritty/Something's Got a Hold of Me" medley is first-rate, and the version of "It's in His Kiss" (retitled "It's in Her Kiss") respectable. The Hollies weren't from Liverpool (though Manchester is fairly close), but this nonetheless ranks of one of the very best Merseybeat albums not released by the Beatles themselves…

Released only ten months after their debut album, Stay With the Hollies, their second album was a huge leap forward in every respect. Their famous airtight harmonies were now in place, and the sloppiness of the instrumental attack gone. Most important, the group developed enormously as songwriters. Eight of the 12 tracks were Hollies originals and quite skillful in their mastery of the British Invasion essentials of driving, catchy melodies and shining harmonies. A couple of the covers are duds, but the "Nitty Gritty/Something's Got a Hold of Me" medley is first-rate, and the version of "It's in His Kiss" (retitled "It's in Her Kiss") respectable.

Just as the subtitle says, this six-CD, 158-track collection has "The Complete Hollies April 1963-October 1968". That's everything recorded when singer Allan Clarke, guitarist/singer Tony Hicks, and guitarist/singer Graham Nash, who were the three constants in the band (though drummer Bobby Elliott was there for all but the earliest of these recordings, too). As such, it's a major British Invasion document. Even if it's missing some work postdating Nash's departure in late 1968 which is highly regarded by some fans (including their hits "He's Not Heavy, He's My Brother," "Long Cool Woman in a Black Dress," and "The Air That I Breathe"), most fans would agree that the Nash era is by far the band's most significant…

Another Night was a wholly unexpected album at the time of its release in February of 1975. The Hollies' 15th official album, it also marked the return of Allan Clarke to the lineup for the first time since Distant Light in 1971 – and it was, apart from one number, comprised entirely of group originals, a feat of songwriting acumen that the Hollies had not achieved since 1969's Hollies Sing Hollies (which was sort of a "ringer" in that regard); and just as much to the point, all of the songs and recordings were pretty much first-rate, ranging widely from lyrical pop/rock to harder, edgier, album-oriented sides, with a couple of classic performances among them…