Happy 50th birthday, Evolution!

Copyright Parlophone; image used solely to illustrate subject for the purposes of an album review, and consistent with Fair Use Doctrine

Evolution, released 1 June 1967, was the first of two Hollies’ albums to come out in 1967. It was recorded from 11 January–17 March 1967, and is a classic of the psychedelic era. People who perpetuate the myth that The Hollies only did lightweight pop haven’t listened to this album!

The Hollies were always less popular here across the pond than they were in their native U.K., which adds to the lack of familiarity many people may have with it. Of course, there’s also blame to be laid at a certain former bandmember who couldn’t stop talking about how he left because he got too cool for his band.

It reached #13 in the U.K., and is composed entirely of songs written by Allan Clarke (lead singer), Tony Hicks (lead guitarist), and Graham Nash (rhythm guitarist). In addition to serving as the band’s songwriting team, these three also provided their famous harmonies.

Psychedelic photographer Karl Ferris took the photo used on the cover, with the artwork created by The Fool, a Dutch design collective and band. It depicts The Hollies breaking through a membrane to get away from their pop sound into the psychedelic world. They’re pushing into a new musical style and level of consciousness.

Track listing:

“Then the Heartaches Began”
“Stop Right There”
“Water on the Brain”
“Lullaby to Tim” (written for Allan’s firstborn child)
“Have You Ever Loved Somebody?”
“You Need Love”
“Rain on the Window”
“Heading for a Fall”
“Ye Olde Toffee Shoppe”
“When Your Light’s Turned On”
“Leave Me”
“The Games We Play”

The U.S. repackaging, while keeping the title, put the tracks in a different order, remixed everything with heavy echo and reverb, included the single “Carrie-Anne” (the source of my pen name) as the lead-off track, and left off “Water on the Brain,” “Leave Me,” and “When Your Light’s Turned On.”

The U.S. record company also didn’t use The Fool’s overall cover design, wanting the artform to be more consistent with the U.S. psychedelic style. This was The Hollies’ début for their new U.S. record label, Epic.

None of the songs were released as singles in the U.K., and the U.S. only released “Carrie-Anne” (not an original album track) as a single.

My favorite tracks are “Have You Ever Loved Somebody?,” “Then the Heartaches Began,” “Leave Me,” and “Ye Olde Toffee Shoppe.” I highly recommend this if you’re interested in getting to know The Hollies beyond their most overplayed songs.

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Happy 50th birthday, PAC&J Ltd.!

Copyright Colgems; image used solely for the purpose of illustrating the subject for an album review, and consistent with Fair Use Doctrine

Released 6 November 1967, Pisces, Capricorn, Aquarius, & Jones Ltd. was The Monkees’ fourth album. Like their previous three, it too went to #1. Though picking a favorite Monkees’ album is like picking a favorite child, I’d pick this one in a pinch.

The title comes from the boys’ sun signs. Micky is Pisces, Peter is Aquarius, and Nez and Davy are Capricorn. Since the lattermost two shared a birthday (albeit three years apart), Davy’s surname was also included to avoid any potential confusion.

Track listing and writing credits, with stars by the bonus tracks:

“Salesman” (Craig Vincent Smith)
“She Hangs Out” (Jeff Barry)
“The Door into Summer” (Chip Douglas and Bill Martin)
“Love Is Only Sleeping” (Barry Mann and Cynthia Weill)
“Cuddly Toy” (Harry Nilsson)
“Words” (Tommy Boyce and Bobby Hart)
“Hard to Believe” (Davy with Kim Capli, Eddie Brick, and Charlie Rockett)
“What Am I Doing Hangin’ ‘Round?” (Michael Martin Murphey and Owen Castleman)
“Peter Percival Patterson’s Pet Pig Porky” (Peter)
“Pleasant Valley Sunday” (Gerry Goffin and Carole King)
“Daily Nightly” (Nez)
“Don’t Call on Me” (Nez with John London)
“Star Collector” (Goffin and King)
“Goin’ Down” (stereo mix) (all four Monkees with Diane Hilderbrand)*
“Salesman” (alternate stereo mix)*
“She Hangs Out” (alternate stereo mix)*
“Love Is Only Sleeping” (alternate mix)*
“What Am I Doing Hangin’ ‘Round?” (alternate mix)*
“Star Collector” (alternate stereo mix)*
“Riu Chiu” (TV version) (traditional)*
Original first thirteen tracks in mono*
Special Announcement*
“Salesman” (alternate mono mix)*
“Cuddly Toy” (alternate mix)*
“Goin’ Down” (mono single mix)*
“The Door into Summer” (2007 remastered alternate mix)*
“Daily Nightly” (alternate mix)*
“Star Collector” (alternate mix)*

As with their previous album Headquarters, the boys exercised a great deal of creative control, though there were more studio musicians brought in. Nez takes center stage on five of the original tracks, while Micky only sings lead on three. Micky had vocally dominated their previous three albums.

Davy sings lead on four, and Peter gets the short novelty song “Peter Percival Patterson’s Pet Pig Porky.”

The album yielded the double B-side “Pleasant Valley Sunday”/”Words,” the former song of which went to #3 on the U.S. Billboard Hot 100 and Cash Box Top 100; #2 in New Zealand and Canada; #4 in Norway; #10 in Australia; #11 in Ireland and the U.K.; and #18 in Germany.

“Words” was somewhat less popular on the charts, though it went to a respectable #11 on Billboard.

A Moog synthesizer is famously heard on “Star Collector” (as well as featured in “Daily Nightly” and “Love Is Only Sleeping”). PAC&J was one of the first mainstream, popular albums to feature this instrument, which Micky had discovered and introduced to the band.

My favorite tracks are “The Door into Summer,” “Words,” “Love Is Only Sleeping,” and “Star Collector.” This is an excellent album for new fans to get to know The Monkees beyond their most overplayed singles.

Happy Duran Duran Appreciation Day! (Rio at 35, Part II [Behind the scenes])


“My Own Way” was the very first Rio single to be written and recorded, in October ’81. It was released as a single the next month, in a very different style from the album version. The other eight tracks were recorded in early ’82, produced and engineered by Colin Thurston, at London’s Air Studios.

The massively overplayed “HLTW” was the second single, released 4 May 1982. “Save a Prayer” became the third single on 9 August 1982, and the title track was released as a single on 1 November.

In September 1982, record label EMI released the EP Carnival, featuring the Night Versions (extended dance remixes) of some of the band’s hit singles. The Dutch and Spanish version contained “HLTW,” “Rio,” “Planet Earth,” and “Girls on Film,” while the Canadian and U.S. version had “HLTW,” “Girls on Film,” “Hold Back the Rain,” and “My Own Way.” The Japanese version had “Rio (Part II),” “Hold Back the Rain,” “My Own Way,” “HLTW,” and “New Religion.”

Carnival was very successful, leading Capitol Records to start marketing them as a dance band instead of New Romantics. Seizing the moment, the band compelled Capitol to re-release Rio in the U.S. In November, they got their wishes, and this new version (with the first five tracks re-mixed by David Kershenbaum) went to #6.

The international success of the album and its four singles was due in huge part to the newly-mainstreamed artform of the music video. While music videos had been around for quite a long time, they were typically done only as promotion prior to MTV. They weren’t a carefully-considered artform in the old days.

Who could imagine any Eighties band, artist, or song without the music videos? They’re such a quintessential aspect of my childhood decade. While music videos are still being made (shocking as it is to discover), the modern ones are nothing like the classics from the Eighties.

Music videos were made for the title track, “HLTW,” “Lonely in Your Nightmare,” and “Save a Prayer” in Antigua and Sri Lanka. Also filmed was a very weird music video for “Nightboat,” from their first album.


Warning: Video NSFW or under 18!

A video album was released in 1983, featuring the four singles from Rio, plus album tracks “Lonely in Your Nightmare” and “The Chauffeur.” Also included were four songs from their début album and the March 1983 single “Is There Something I Should Know?”

The album cover was designed by Malcolm Garrett and famously painted by American artist Patrick Nagel, and went on to become one of Nagel’s best-known images. His alternate version of the cover was finally used in 2001 for a limited edition remaster. Most of his works were female figures in a style inspired by Art Déco and initially based off photographs.

Copyright EMI or Patrick Nagel’s estate; used solely to illustrate the subject and consistent with Fair Use doctrine

Rio frequently makes those incessant “best-of” albums lists, for British albums, Eighties albums, and greatest albums of all time. The album has not only remained popular and relevant over the last 35 years, but also influential on many other musicians. It’s not an album anyone could go wrong buying.

Rio at 35, Part I (General overview)

Released 10 May 1982, Rio was Duran Duran’s sophomore album and reached #2 in the U.K. and #1 in Australia. Initially, it didn’t do well in the U.S. (far from the first time a British band has been much more successful in their native land than across the pond). Only in 1983, after Durandemonium broke in the U.S., did it reach #6 on Billboard.

This is one of those quintessentially perfect albums, the album by which all other releases from an artist or band are judged. While I personally have grown to prefer their eponymous 1981 début, there’s no denying Rio is an absolutely perfect album from start to finish.

This is also my cold weather album for the car stereo. When I hear Eighties songs, I automatically picture the music videos. Thinking of the music videos in warm climates like Sri Lanka and the Caribbean makes me feel at least psychosomatically warmed up.

Track listing, with stars by the bonus tracks on the 2009 two-disc CD version:

“Rio” (#9 in the U.K. and Ireland, #3 in Canada, #14 in Finland, #36 in New Zealand, #14 on U.S. Billboard, #5 on U.S. Billboard Mainstream Rock, #14 on U.S. Cash Box Top 100)
“My Own Way” (#14 in the U.K., #10 in Australia, #20 in Ireland, #1 in Portugal)
“Lonely in Your Nightmare” (my favourite track)
“Hungry Like the Wolf” (#1 in Canada and on the U.S. Billboard Top Rock Tracks; #3 on the U.S. Billboard Hot 100; #4 in Ireland, South Africa, and New Zealand; #5 in the U.K. and Australia; #25 in Poland; #32 in Italy; #36 on the U.S. Billboard Hot Dance Club Play; #50 in The Netherlands)
“Hold Back the Rain”
“New Religion” (another favourite)
“Last Chance on the Stairway” (also love this one)
“Save a Prayer” (final line on the album version shorter than the music video version) (#1 in France, #2 in Ireland, #2 in the U.K., #56 in Australia, belatedly #16 in the U.S. in 1985)
“The Chauffeur” (such a sexy, sensual song and music video, back when “sexy” wasn’t synonymous with, pardon the misogynistic expression. “video hos” bumping and grinding in next to no clothes, accompanied by lyrics about horniness and cheap, tawdry sexual exploits)

“Rio” (U.S. album remix)*
“My Own Way” (Carnival remix)*
“Lonely in Your Nightmare” (U.S. album remix)*
“Hungry Like the Wolf” (U.S. album remix)*
“Hold Back the Rain” (U.S. album remix)*
“Last Chance on the Stairway” (Manchester Square Demo)*
“My Own Way” (Manchester Square Demo)*
“New Religion” (Manchester Square Demo)*
“Like an Angel” (Manchester Square Demo)*
“My Own Way” (original 7-inch version)*
“The Chauffeur” (Blue Silver) (early version)*
“My Own Way” (Night version; i.e., an extended dance remix)*
“Hungry Like the Wolf” (Night version)*
“Rio” (Night version)*
“New Religion” (Carnival remix)*
“Hold Back the Rain” (Carnival remix)*
“My Own Way” (instrumental version)*
“Hold Back the Rain” (alternate remix)*

I absolutely love this album, as obscenely overplayed as the title track and “HLTW” are. Everything holds up unbelievably well after 35 years, both the songs themselves and the incredible music videos.

I got it on vinyl in 2007 because it was only $2 and I wanted to indulge my Eighties nostalgia. It didn’t do much for me at first, which wasn’t helped by how I thought they were just a bunch of prettyboys who were only around in the Eighties, a boygroup like NKOTB or Backstreet Boys.

The respective sparks created by both my Eighties childhood and listening to this album a few times finally burst into a beautiful flame when I became a Duranie in early 2011. I can’t believe it’s already been six and a half years since I fell in love with this band!

Happy 50th birthday to A Quick One!

aqo-cover

Image used solely to illustrate the subject for the purposes of an album review, and consistent with Fair Use doctrine

Released 9 December 1966, A Quick One was The Who’s sophomore album. From my experience in the fan community, this seems to be one of those things which is largely judged differently along sex-based lines. A lot of guys tend to hate it or think it’s junky bubblegum, while female fans are more forgiving and are even known to like it more than a little.

This isn’t one of the greatest albums of all time, but it’s not the worst either. It’s a typical 1966 album, in that there are a few hits and radio favorites padded out with a bunch of filler. For the most part, I find the filler fun and cute. One guy on the old album reviews section of thewho.net claimed he wanted to throw up every time he played it. As I said in my own review, why would someone play any album he hates so much it makes him want to throw up?

Track listing, with stars by the bonus tracks:

 “Run Run Run” (written by Pete)
“Boris the Spider” (written by John)
“I Need You” (credited to Keith but probably 90% written by John)
“Whiskey Man” (written by John)
“Heat Wave” (cover of the Holland-Dozier-Holland song)
“Cobwebs and Strange” (instrumental) (credited to Keith but probably 90% written by John)
“Don’t Look Away” (written by Pete)
“See My Way” (written by Roger)
“So Sad About Us” (written by Pete)
“A Quick One, While He’s Away” (written by Pete)
“Batman”*
“Bucket T”*
“Barbara Ann”*
“Disguises”* (written by Pete)
“Doctor, Doctor”* (written by John)
“I’ve Been Away”* (written by John)
“In the City”* (written by John and Keith)
“Happy Jack”* (written by Pete)
“Man with the Money”* (cover of an Everly Brothers’ song)
“My Generation/Land of Hope and Glory”* (first part written by Pete; second by Edward Elgar)

As per the custom of the era, the album was repackaged for the American market, and retitled Happy Jack. The U.S. version removed “Heat Wave,” and added “Happy Jack” between “Cobwebs and Strange” and “Don’t Look Away.”

The album failed to chart in the U.S., though it reached #4 in the U.K. The only successful single was “Happy Jack,” which charted at #3 in the U.K. and #24 in the U.S. “Boris the Spider” became one of John’s most popular songs, one of the songs most associated with him. “So Sad About Us” also became very popular, as well as the original closing track.

By 1966 standards, “A Quick One, While He’s Away” is a complete anomaly, particularly on an album full of songs ranging from 1:53 to 3:04. It clocks in at 9:10, and, true to what Pete admits is his own pretentious nature, it was billed as a mini-opera. The subject matter is also pretty risqué for 1966, since it’s clearly about an affair and cuckoldry. It consists of six parts:

“Her Man’s Been Gone”
“Crying Town”
“We Have a Remedy”
“Ivor the Engine Driver”
“Soon Be Home”
“You Are Forgiven”

Pete wanted cellos in the concluding section, but since The Who didn’t exactly have the type of budget as The Beatles did, they had to sing “Cello cello cello cello cello cello cello” several times.

The band were under a contractual requirement to write at least two songs each, though Roger only wrote one. Pete was always their predominant songwriter, though John showed a real talent for songwriting already at this early point. I love the dark, twisted humor in his songs. Roger did go on to write some pretty nice songs, but I think we’re all glad he chose to stick primarily to singing.

It’s fun, cute bubblegum pop, not the hard rock The Who became known for, but that just makes it different, not wretched and inferior. Too many so-called fans seem to think they had to sound a certain way for their entire career, instead of God forbid trying out different musical styles and evolving over time. It’s fine to have a personal preference, but not to bash them for failing to measure up to that preference every single time.