The Hollies - Concert Review

Edinburgh Festival Theatre, 5^th October 1999 - by Tom Swinford

Time stood still for about two and one half hours on October 6th at the grand old Festival Theatre in Edinburgh as the Hollies spun their magic web on a capacity crowd.

Starting off with "Here I Go Again", a great echo-oldie and continuing with "Jennifer Eccles" and "Just One Look", the band got out of the gate well.

After a short chat, Allan Clarke introduced the next number, "Sandy", a Bruce Springsteen song, complete with the calliope organ sound produced by Ian Parker. Even after all these years the soaring harmonies on this ode to sleaze still sends chills, a nice performance. "Stay", the Hollies’ first top ten hit, came next with some nice fills by Bobby Elliott, the best drummer on the planet.

Next, a change of pace and the first of two "guest appearance" songs, "After the Fox", a tune originally done in 1966 by the Boys with Bert Bacharach on piano and actor Peter Sellers, doing the speaking part, this one didn’t quite hit the mark - perhaps too much of a good thing.

Keyboard player, Ian Parker, introduced the next number as their first international hit, "Bus Stop", exactly like the original but for Parker on the squeeze-box, once again Elliott’s drumming really shone.

The next song, as Allan Clarke left the stage, was "Running Through The Night " a b-track side from the Nash years. This was given more of a blue-grass treatment including some excellent banjo picking from Tony Hicks, who shared and traded the lead vocals with Alan Coates. It really stood out, once again proving the talents of the Hollies’ "new blood", Parker, Stiles and Coates. If this song would get airplay on an American Country Music channel, it would be a smash.

Allan Clarke, back on stage, introduces the next number, "Don’t Let Me Down", from the 1974 "Hollies" album. He accompanied himself on the acoustic guitar and was joined by Tony, Ian, Alan and Ray for harmonies. Another b-side, "Not That Way At All" or "Rocking Horse" followed with Hicks, Coates and Clarke vocalising and on guitar.

As the stage darkened, Alan Coates took centre mike and in his crystal clear voice performed "Butterfly", the Nash composed and sung title track of the 1967 album of the same name. A period piece from psychedelic years, Coates shows his talents well. In lieu of the orchestra, Parker worked his magic on keyboards. They returned to the echo oldies and the Group’s first #1 hit, "I’m Alive", which were greatly enhanced by Ray Stiles’ vocals.

Another personal favourite, a song that should have been a Hollies’ hit, although done originally by McGuinnes-Flint, "When I’m Dead And Gone", roused the crowd, with Tony switching to mandolin and Alan Coates doing some yeoman guitar work with both sharing lead vocals and the indomitable Clarke switching to harmonica.

The first half closed with Alan Coates on the lead for "On A Carousel" ending the set on a high note. All in all a satisfactory performance, solid but not spectacular.

After the intermission, "I Can’t Let Go" kicked off the second half and it was a rocking start.

Clarke’s vocal , which I thought a little off in the first set, was notably better as the band performed "Sorry Suzanne" and "Yes I Will", a song on which the Hollies out-Beatled the Beatles.

Another Nash penned tune, "King Midas In Reverse", was next up as the years started to roll away. Great stuff.

Now was time for Ian’s walk-round as an updated version of "We‘re Through" was played. How did America ever miss this song?

Parker then introduced the second of the "guest appearance" songs, the Buddy Holly-Hollies compilation, "Peggy Sue Got Married", from the mid 90s tribute album to Buddy. With the talent displayed here, it’s hard to understand why the Boys aren’t back in the studio.

While Clarke took a break, Ray Stiles strode to centre stage and along with Coates and Hicks performed the Paul McCartney song, "Blackbird", an absolutely gorgeous rendition.

Allan Clarke reappeared and worked the crowd up with his harmonica on "The Train". The next number, reworked from the original version, and a potential dynamite video, "Look Through Any Window", featured some virtuoso guitar work from Hicks and Coates.

Now in the groove, "Carrie Ann" was brilliant and again featured some interesting guitar work from Tony.

As an American, I’ve always observed the typical English crowds’ reserve with interest, but the one thing that I have noted is that when Tony pulls out his banjo and after his usual lengthy intro, launches into "Stop, Stop, Stop", the audience’s veneer is broken and the true appreciation starts. As the foot-stomping died down, Hicks switched his banjo for a guitar and with the first keening sounds of "The Air That I Breathe", the crowd exploded. Clarke gave this a first class vocal treatment.

Fully primed now, Clarke reached for his harmonica and with the first maudlin sounds of "He Ain’t Heavy, He’s My Brother", the arena was in ecstasy.

As the faithful flocked to the front aisles, the history lesson of the night was completed and we got a basic rock and roll segment. Buddy Holly’s "Maybe Baby" led off followed by "Let’s Dance" which built the crescendo, the climax finally coming with "Long Cool Woman In A Black Dress", an extended version with great guitar work and drumming from Hicks and Elliott. This completed the show, the Boys leaving the floor to a standing ovation.

In the musical industry where six months is a lifetime, The Hollies, the longest running band form the original British invasion, once again proved their superiority. May they rock and roll forever.

Tom Swinford, Scottsdale, Az, USA

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