Evolution The Hollies

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CD - Bonus Tracks

  • Release Date: 05/04/1999
  • Original Release: 1967
  • Sales Rank: 36,409
  • Label: SUNDAZED MUSIC INC.
  • UPC: 090771612229
 
  • Overview
  • Tracks
  • Editorial Reviews
  • Details & Credits
Track List
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Evolution

1LISTENCarrie-Anne 2:55
2LISTENStop Right There 2:23
3LISTENRain on the Window 3:10
4LISTENThen the Heartaches Begin 2:44
5LISTENYe Olde Toffee Shoppe 2:17
6LISTENYou Need Love 2:28
7LISTENHeading for a Fall 2:17
8LISTENGames We Play 2:46
9LISTENLullaby to Tim 3:00
10LISTENHave You Ever Loved Somebody 2:57
11LISTENWhen Your Lights Turned On Bonus Track 2:31
12LISTENWater on the Brain Bonus Track 2:22
13LISTENJennifer Eccles Bonus Track 2:44
14LISTENSigns That Will Never Change Bonus Track 2:29
15LISTENOpen up Your Eyes Bonus Track 2:49

About this Artist

Editorial Reviews

For many Hollies enthusiasts, Evolution (1967) is considered the band's most accessible blend of pop and psychedelia. The quintet were headed into musical territories beyond simply "moon-June-bloom" and boy-meets-girl lyrics coupled with the tightly constructed vocal harmonies that had become their calling card. Nowhere is this more evident than in the tripped-out cover art from Dutch multimedia artists Seemon Kooer, Marijke Kooer, Josje Leeger, and Barry Finch -- known collectively as Fool. Although "Carrie-Anne" could be considered an extension of the trite, somewhat predictable Brit pop, there are clear indications of new horizons on cuts such as the modish "You Need Love," the arguably passé distorted electric guitar on "Have You Ever Loved Somebody," and the wailing fretwork on the driving freakbeat rocker "Then the Heartaches Begin." Graham Nash (guitar/vocals), Allan Clarke (guitar/vocals), Tony Hicks (guitar/banjo/dulcimer/vocals), Bobby Elliott (drums), and new recruit Bernie Calvert (bass/vocals) -- who replaced original member Eric Haydock in the spring of 1966 -- were also taking different approaches in their writing and arranging, as heard on the trippy "Headed for a Fall." On this tune, most prominent is the unusual six-eight time signature, coupled with Hicks' inversion of the unmistakable banjo, which is similar to the sound he conjured up on the hit "Stop, Stop, Stop." However, somewhat more atypical of the Nash-era band are the light and limber acoustic and uptempo "Stop Right There," or the baroque "Ye Olde Toffee Shoppe." Lindsay Planer, All Music Guide

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