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Neil Diamond – Stones (1971) – Lp

Neil Leslie Diamond (born January 24, 1941) is an American singer-songwriter, musician and actor. His career began in the 1960s and he has sold over 120 million records worldwide, making him one of the world’s best-selling artists of all time. Early in the 21st century, he was the third most successful adult contemporary artist in the history of the Billboard charts. His songs have been covered internationally by many performers from various musical genres.













Artist:  Neil Diamond
Title:  Stones
Year:  1971
Format:  LP
Label:  MCA Records
Catalog#  5C 062-95073

Stones is the seventh studio album by Neil Diamond, recorded and released in 1971. It was one of the biggest hit recordings of his career. The conductors and arrangers were Lee Holdridge, Marty Paich and Larry Muhoberac.
Driven by the hit singles “I Am…I Said” and “Crunchy Granola Suite,” Stones is a stronger album than most of Neil Diamond‘s late-’60s records. Instead of padding the album with mediocre originals, Diamond picked several fine covers to fill out the remainder of the album, including Roger Miller‘s “Husbands and Wives,” Joni Mitchell‘s “Chelsea Morning,” Leonard Cohen‘s “Suzanne,” Randy Newman‘s “I Think It’s Gonna Rain,” Jacques Brel‘s “If You Go Away,” and Tom Paxton‘s “The Last Thing on My Mind.” There are still a few weak patches on Stones, but the record remains an engaging collection of mainstream pop.


Side one
1.  I Am…I Said  (3:32)
2.  The Last Thing on My Mind  (3:31)
3.  Husbands and Wives  (3:54)
4.  Chelsea Morning  (2:32)
5.  Crunchy Granola Suite  (3:14)

Side two
1.  Stones  (3:02)
2.  If You Go Away  (3:47)
3.  Suzanne  (4:41)
4.  I Think It’s Gonna Rain Today  (2:36)
5.  I Am…I Said (Reprise)  (2:33)


Chic – Believer (1983) – Lp

Chic is an American band that was organized during 1976 by guitarist Nile Rodgers and bassist Bernard Edwards.  The group regarded themselves as a rock band for the disco movement “that made good on hippie peace, love and freedom”.













Artist:  Chic
Title:  Believer
Year:  1983
Format:  LP
Label:  Atlantic Records
Catalog#  780107-1

Believer is the seventh studio album by American band Chic, their last for the Atlantic Records label, and the last featuring the classic line-up of Nile Rodgers, Bernard Edwards, Alfa Anderson, Luci Martin, and Tony Thompson.
Believer finds the group updating its sound with generally appealing, if uneven, results. Using a lot more keyboards and drum machines and favoring a more high-tech production style, Rogers and Edwards sound like they’re trying hard to live down their reputation as a late ’70s disco act. Urban contemporary considerations are strong, and some of the songs might have reached pop-rock and new wave audiences with the right promotion. The infectious “Party Everybody” contains more rapping than singing, and acknowledges hip-hop’s popularity, which is appropriate considering how often hip-hoppers have sampled Chic over the years. And even though Believer falls short of being a gem, you have to admire Chic‘s ability to update its approach while continuing to sound incredibly distinctive.
The album includes the singles “Give Me The Lovin'” (#57 US R&B), “You Are Beautiful” (issued only in France, the Netherlands, and Scandinavia), and “Party Everybody” (issued only in Canada, Germany, and the Netherlands).
All tracks written by Bernard Edwards and Nile Rodgers.


Side one
1.  Believer   (5:06)
2.  You Are Beautiful   (4:34)
3.  Take A Closer Look   (4:38)
4.  Give Me The Lovin’   (4:52)

Side two
1.  Show Me Your Light   (3:57)
2.  You Got Some Love For Me   (4:52)
3.  In Love With Music   (3:52)
4.  Party Everybody   (4:51)


Wings – Wings Over America (1976) – 3 Lp

Wings, also known as Paul McCartney and Wings, were an Anglo-American rock band formed in 1971 by former Beatle Paul McCartney with his wife Linda on keyboards, session drummer Denny Seiwell, and former Moody Blues guitarist Denny Laine.













Artist:  Wings
Title:  Wings Over America
Year:  1976
Format:  3LP
Label:  EMI-Bovema Records
Catalog# 5C 134-98497

Basically, there are two things that rock bands do: they make an album and they go on tour. Since Paul McCartney fervently wanted to believe Wings was a real rock band, he had the group record an album or two and then took them on the road. In March of 1976 he released Wings at the Speed of Sound and launched a tour of America, following which he released Wings Over America, a triple-album set that re-created an entire concert from various venues. It was a massive set list, running over two hours and featuring 30 songs, and it was well received at the time, partially because he revived some Beatles tunes, partially because it wasn’t the disaster some naysayers expected, and mostly because — like the tour itself — it was the first chance that millions of Beatles fans had to hear McCartney in concert properly (the Beatles had toured, to be sure, and had played before millions of people between 1963 and 1966, but as a result of the relatively primitive equipment they used and the frenzied, omnipresent screaming of the mid-’60s teen audiences at their shows, few of those present had actually “heard” the group). Wings were never a particularly gifted band, and nowhere is that more evident than on Wings Over America. Matters aren’t really helped by the fact that the large set list gives McCartney full opportunity to show off his vast array of affected voices, from crooner to rocker to bluesman. Also, the repertory, in retrospect, is weighted too heavily toward the recent Wings albums Wings at the Speed of Sound and Band on the Run, which weren’t really loaded with great tunes. (It’s also hard to believe that there were two Denny Laine vocals so early in the program, or that the concert ended with the plodding rocker “Soily,” which was never released on any other McCartney album.) In its defense, the album offers bracing renditions of “Maybe I’m Amazed” — arguably the best of McCartney‘s post-Beatles songs and possibly his single greatest composition — and “Band on the Run,” as well as nicely distilling the harder side of his repertory, with a few breaks for softer songs such as “My Love” and “Silly Love Songs”; another highlight is the rippling bass sound, showing off that instrument in a manner closer in spirit to, say, a John Entwistle solo LP than to McCartney‘s more pop-focused studio work. The triple LP, issued two weeks before Christmas of 1976, was priced so low that it was offered by most stores as a “loss leader” to pull customers in; what’s more, the Beatles mystique was still very much attached to record and artist alike — at the time, John Lennon had seemingly burnt out a major chunk of his talent, George Harrison was losing his popular edge and had done a disastrous 1974 American tour, and no one was expecting great things from Ringo Starr — and it seemed like McCartney represented the part of the group’s legacy that came closest to living up to fans’ expectations. Thus the album ended up selling in numbers, rivaling the likes of Frampton Comes Alive and other mega-hits of the period, and rode the charts for months. The double-CD reissue offers considerably improved sound, though the combination of workmanlike performances and relatively pedestrian songs diminishes the appeal of such small pleasures as the acoustic Beatles set or the storming “Hi Hi Hi.” Wings Over America is most valuable as a souvenir for hardcore fans and also as a reminder of the excitement — beyond the actual merits of the group’s work — that attended McCartney and Wings‘ work in the lingering afterglow of the Beatles.


Side one
1.  Venus and Mars/Rock Show/Jet (10:20)
2.  Let Me Roll It (3:40)
3.  Spirits of Ancient Egypt (3:59)
4.  Medicine Jar (3:57)

Side two
1.  Maybe I’m Amazed (5:10)
2.  Call Me Back Again (5:04)
3.  Lady Madonna (2:19)
4.  The Long and Winding Road (4:13)
5.  Live and Let Die (3:07)

Side three
1.  Picasso’s Last Words (Drink to Me) (1:55)
2.  Richard Cory (1:52)
3.  Bluebird (3:37)
4.  I’ve Just Seen a Face (1:49)
5.  Blackbird (2:23)
6.  Yesterday (1:43)

Side four
1.  You Gave Me the Answer (1:47)
2.  Magneto and Titanium Man (3:11)
3.  Go Now (3:27)
4.  My Love (4:07)
5.  Listen to What the Man Said (3:18)

Side five
1.  Let ‘Em In (4:02)
2.  Time to Hide  (4:46)
3.  Silly Love Songs (5:46)
4.  Beware My Love (4:49)

Side six
1.  Letting Go (4:25)
2 . Band on the Run (5:03)
3.  Hi, Hi, Hi (2:57)
4.  Soily (5:10)


Peter Tosh – Bush Doctor (1978) – Lp

Peter Tosh, OM (born Winston Hubert McIntosh; 19 October 1944 – 11 September 1987) was a Jamaican reggae musician. Along with Bob Marley and Bunny Wailer, he was one of the core members of the band The Wailers (1963–1974), after which he established himself as a successful solo artist and a promoter of Rastafari. He was baptized by Ethiopian Orthodox Church. He was murdered in 1987 during a home invasion.













Artist:  Peter Tosh
Title:  Bush Doctor
Year:  1978
Format:  LP
Label:  EMI Records
Catalog#  5C 062-61708

As the debut album on the Rolling Stone label in 1978, Bush Doctor benefited immensely from the involvement of Jagger and Richards, as well as the publicity inherent in the high-profile nature of the release. Thankfully, Tosh was up to the challenge, and although there are moments that are less roots than anything he had previously recorded, Bush Doctor is no slick sellout. It’s bolstered by his incredible Word Sound & Power band featuring the legendary Sly & Robbie rhythm section along with lead guitarists Mikey “Mao” Chung and Donald Kinsey (fresh from his stint with Marley). Although the cover of the Temptations‘ “(You Gotta Walk) Don’t Look Back” single featuring Jagger’s duet with Tosh seemed like an obvious ploy at crossover radio play, the rest is more roots conscious, and only slightly less compelling than some of ex-bandmate Bob Marley‘s work. The horns on “Moses — The Prophet” seem like sweetening, but the title track, “I’m the Toughest,” “Stand Firm,” and a remake of an old Wailers‘ track “Dem Ha Fe Get a Beatin,” complete with I-Threes-style backing vocals, are some of Tosh‘s best songs. Only the original album’s closing track, an ambitious but overwrought retelling of Genesis with Handel‘s “Messiah,” is a major misstep. Yet even here, Tosh is pushing boundaries, adding bird and thunder sound effects to his soft guitar strumming accompaniment. It’s interesting but few will want to hear it more than once.


Side one
1.  (You Gotta Walk) Don’t Look Back  (duet with Mick Jagger)  (3:43)
2.  Pick Myself Up  (3:55)
3.  I’m the Toughest  (3:48)
4.  Soon Come  (3:54)
5.  Moses – The Prophet  (3:37)

Side two
1.  Bush Doctor  (4:04)
2.  Stand Firm  (6:10)
3.  Dem Ha Fe Get a Beatin’  (4:11)
4.  Creation  (6:29)


Pretenders – Learning To Crawl (1984) – Lp

The Pretenders are an English-American rock band formed in Hereford, England, in March 1978. The original band consisted of initiator and main songwriter Chrissie Hynde James Honeyman-Scott, Pete Farndon and Martin Chambers. Following the drug-related deaths of Honeyman-Scott and Farndon, the band has experienced numerous subsequent personnel changes, with Hynde as the only consistent member, and Chambers returning after an absence of several years.













Artist:  Pretenders
Title: Learning To Crawl
Year:  1984
Format:  LP
Label:  WEA Records
Catalog#  923980-1

Learning to Crawl is the Pretenders‘ third album, released in 1984, after a hiatus, during which time James Honeyman-Scott and Pete Farndon died of drug overdoses.
After Farndon’s dismissal from the band and Honeyman-Scott’s death, Chrissie Hynde and Martin Chambers initially recruited Rockpile‘s Billy Bremner and Big Country‘s Tony Butler to fill in a caretaker line-up of the band in 1982. Bremner played guitar and Butler played bass on the band’s September 1982 single “Back on the Chain Gang/My City Was Gone”, both sides of which were later included on Learning to Crawl. As the album sessions got under way, Bremner, Graham Parker‘s bass player Andrew Bodnar, and Paul Carrack (formerly of Squeeze, Ace and Roxy Music) played guitar, bass and piano respectively for the track “Thin Line Between Love and Hate”.
Finally, Robbie McIntosh (guitar) and Malcolm Foster (bass) were recruited to join Hynde and Chambers, and the band was now officially a quartet. It was this line-up that recorded the rest of the tracks featured on Learning to Crawl.
The November 1983 single “2000 Miles/Fast or Slow (The Law’s the Law)” was the newly reconstituted foursome’s first release, followed shortly by the full Learning to Crawl album in January 1984.
The album’s title of “Learning to Crawl” was given in honor of Chrissie Hynde’s then-infant daughter, Natalie Rae Hynde. She was learning to crawl at the time that Chrissie was trying to determine a name for the album.
Hynde noted in the booklet for the expanded edition of “Learning to Crawl” that guitarist Robbie McIntosh came up with the opening guitar riff for “2000 Miles”. She stated that she probably should have credited McIntosh as co-writer of the song for providing the opening to the song.
“2000 Miles” became a popular Christmas song in the UK. Often interpreted as a tale of two lovers apart during the holidays, it is a song written by Hynde for her former bandmate James Honeyman-Scott after he died prior to beginning work on the band’s third album.
“My City Was Gone” is largely an autobiographical song written about the changes that she observed when she went back to her native city of Akron, Ohio. The song would later be adopted as the opening song to conservative radio host Rush Limbaugh‘s radio show. Hynde would unsuccessfully attempt to get an injunction against Limbaugh’s use of the song, as she is opposed to his politics.
“Watching the Clothes” was an older song written before the band’s début album. Hynde was inspired to write the song after a close friend had died.


Side one
1.  Middle Of The Road   (4:08)
2.  Back On The Chain Gang   (3:44)
3.  Time The Avenger   (4:47)
4.  Watching The Clothes   (2:48)
5.  Show Me   (4:00)

Side two
1.  Thumbelina   (3:12)
2.  My City Was Gone   (5:14)
3.  Thin Line Between Love And Hate   (3:33)
4.  I Hurt You   (4:27)
5.  2000 Miles   (3:30)


BAP – Vun Drinne Noh Drusse (1982) – Lp

BAP is a German rock group. With eleven albums reaching the number one in the German record charts, BAP is one of the most successful rock acts in their home country.













Artist:  BAP
Title:  Vun Drinne Noh Drusse
Year:  1982
Format:  LP
Label:  Musikant Records
Catalog#  1C 066-46639

Nearly all of BAP’s lyrics are written in Kölsch, the dialect of Cologne, or more precisely in a Kölsch-influenced derivation of Eifelplatt, a regional variant of the Ripuarian language spoken in the nearby rural Eifel. Niedecken’s most prominent musical influences, especially early in his career, were Bob Dylan, the Kinks, Bruce Springsteen, the Rolling Stones, and Wolfgang Ambros.
BAP is the most successful German singing band whose albums since 1981 went to No. 1 within 2 weeks and sold platin without any exceptions despite their strange Cologne slang. Second, “Vun drinne noh drusse” (= Von drinnen nach draussen) from 1982 is still the most sold album in German language and definitely one of the best ever. Pure German rock combined with ironic, sometimes angry, sometimes melancholic texts. Powerful political protest songs such as “Kristallnaach” as well as “Zehnter Juni” are followed by romantic or melancholic ballads such as “Do kanns zaubre”, one of the best lovesongs ever written in German, or the sad “Ah`ner Leitplank” about a deadly car accident. For non-German speakers: Never mind the language barrier (Even Germans have sometimes problems with the slang, so that all texts are generally translated in “School German”), the music on its own is worth it a million times.


Side one
1.  Kristallnaach   (4:56)
2.  Wellenreiter   (2:20)
3.  Zehnter Juni   (4:21)
4.  Wie ‘Ne Stein   (4:26)
5.  Do Kanns Zaubere   (4:34)

Side two
1.  Nit Für Kooche (Teil 1)   (1:40)
2.  Nit Für Kooche (Teil 2)   (4:03)
3.  Ahn ‘Ner Leitplank   (4:14)
4.  Wenn Et Bedde Sich Lohne Däät   (4:32)
5.  Eins Für Carmen Un En Insel   (2:53)
6.  Koot Vüür Aach   (3:29)


Commodores – Commodores Live! (1977) – 2Lp

The Commodores are an American funk/soul band, which was at its peak in the late 1970s through the mid 1980s. The members of the group met as mostly freshmen at Tuskegee Institute (now Tuskegee University) in 1968, and signed with Motown in November 1972. The group’s most successful period was in the late 1970s and early 1980s when Lionel Richie was the co-lead singer.













Artist:  Commodores
Title:  Commodores Live!
Year:  1977
Format:  2LP
Label:  Motown Records
Catalog#  M9-894A2

Hot on the heels of their 1977 self-titled LP — which included studio versions of the classics “Brick House” and “Easy” — Commodores Live! was issued as a seasonal offering the same year. The band wisely included extended readings of not only its most recent hits, but also a healthy sampling from its previous four studio albums, as well as the track “Too Hot ta Trot,” which had been featured in the motion picture Thank God It’s Friday. The six-man original Commodores were a powerful and self-contained unit that could effortlessly alternate between turning over mean and serious funk jams or a slow, sexy power ballad. Heralded as the Black Beatles, the Commodores were able to fuse a more traditional pop music headlong into the funk stylings of their contemporaries: Parliament, the Ohio Players, and Earth, Wind & Fire. However, instead of being propelled by seemingly endless — and often aimless — jams, William King (trumpet), Thomas McClary (guitar), Ronald LaPread (bass), Walter “Clyde” Orange (drums), Lionel Richie (alto saxophone), and Milan Williams (keyboards) were able to tighten up their arrangements and make them more potent in the process. From right out of the gate, the opening trio of “Won’t You Come Dance With Me,” “Slippery When Wet,” and “Come Inside” pounce and bounce around with undeniably hardcore funk grooves — replete with distorted and screaming electric lead guitar lines, emphatic accents from the horns, and an authoritative rhythm section that James Brown would have been proud of. The mellower side of the band is equally represented by several key Lionel Richie ballads. “Just to Be Close to You” shimmers and is notable for Richie‘s extended vocal interlude. “Easy” — an audible audience favorite — swings with an urgency and passion conspicuously lacking in the more familiar studio version. Milan Williams‘ tasty keyboards are also a highlight as they lightly soar above the rest of the band. Without a doubt it is the ten-plus-minute version of “Brick House” that allows the band to reach a funkified critical mass. Ronald LaPread‘s rubbery basslines adhere themselves around “Clyde” Orange‘s Latin-tinged percussion inflections. The searing Richie and William King sound more akin to a full-fledged horn section than the hard-workin’ duo behind their wall of solid brass. Commodores Live! is overall one of the finest R&B concert albums of the ’70s — of which there are far too few.


Side one
1.  Won’t You Come Dance With Me  (3:36)
2.  Slippery When Wet  (3:00)
3.  Come Inside  (3:12)
4.  Just To Be Close To You  (7:17)

Side two
1.  Funny Feelings  (5:16)
2.  Fancy Dancer  (4:44)
3.  Sweet Love  (8:39)

Side three
1.  Zoom  (10:00)
2.  Easy  (7:23)

Side four
1.  I Feel Sanctified  (2:58)
2.  Brick House  (11:18)
3.  Too Hot Ta Trot  (5:38)


10CC – Ten Out Of 10 (1982)

10cc are an English rock band founded in Stockport who achieved their greatest commercial success in the 1970s. The band initially consisted of four musicians – Graham Gouldman, Eric Stewart, Kevin Godley, and Lol Creme.













Artist:  10CC
Title:  Ten Out Of 10
Year:  1982
Format:  LP
Label:  Mercury Records
Catalog#  6359048

Ten Out of 10 is the eighth studio album by 10cc and was released in 1981. It failed to chart in the US or UK. The album marked the first involvement with the band by American singer-songwriter Andrew Gold, who was also invited to join the band, but declined because of other commitments.
Gouldman said the band’s label in the U.S., Warner Bros. Records wanted more of an American flavour to the album. “They were keen for us to work with an American producer or writer. Well, we hadn’t had any big success since ’78, and we wanted to get hot again. When they suggested Andrew Gold, I was over the moon. I’d always adored his work, and I reckoned he would be a kindred spirit … I felt really we needed some new blood, but it didn’t work out. Andrew was doing so much stuff in America that it just wasn’t practical, although he really wanted to do it.”
Gouldman later admitted greater involvement by Gold might have lifted the band’s early 1980s output from its mediocrity. “We should either have tried to change direction, which we didn’t, or got someone else in the band, which we almost did. The albums weren’t really bad, there was always the integrity, and the production values, but in retrospect, I find them rather dour, rather lacklustre. That’s why I thought we should have got someone else in, to kick us up the arse. We didn’t see what was going on around us, maybe we should have got a producer at that point.”
Gold was invited to record with the band by Lenny Waronker, head of A&R at Warners. He explained: “He was of the opinion that, although the album was very strong, it might benefit the US audience to have a few additional cuts tailored more for the American ear. As he knew I was an Anglophile, we might hit it off well. “Soon I was in the UK, co-writing and co-producing three tracks for the album, which was a blast to do and turned out very well. During the course of my three-week stay, Eric, Graham and I fell in love, as it were, and soon they asked me to join the band, which was an extremely exciting offer. For various reasons, which now seem dumb to me, and after great consideration, I demurred in favour of pursuing my own career and returned to America.”
Although the album featured two of the musicians used on 1980’s Look Hear? – drummer Paul Burgess on all but two tracks, guitarist and singer Rick Fenn on two tracks – Ten Out of 10 was clearly a return to the core duo of Graham Gouldman and Eric Stewart. A variety of session musicians, including pianist Vic Emerson of Sad Café, were employed for the album, but unlike its predecessor, they were not acknowledged on the album as part of “the group”. Instead they were credited by name after the contributions of Gouldman and Stewart, who were identified only as “Graham” and “Eric”. The only band member photos on the album were those of Gouldman and Stewart.
The album yielded the following singles: “Les Nouveaux Riches”/”I Hate to Eat Alone” (UK release); “Don’t Turn Me Away”/”Tomorrow’s World Today”; “The Power of Love”/”You’re Coming Home Again” (released with “Action Man in a Motown Suit” as the B-side in some countries); “Memories”/”Overdraft in Overdrive” (Holland only); “Run Away”/”Action Man in a Motown Suit”; “We’ve Heard It All Before”/”Overdraft in Overdrive” (UK only). “Memories” was also scheduled for UK release in February 1982 but substituted with “The Power of Love” a month later.
Recording was split between the band’s two studios, Strawberry Studios South at Dorking, Surrey, and Strawberry Studios North at Stockport, Greater Manchester.
Cover design for the album was by Visible Ink Ltd, which also created the cover for ABC‘s The Lexicon of Love (1982).


Side one
1.  Don’t Ask   (4:02)
2.  Overdraft In Overdrive   (3:24)
3.  Don’t Turn Me Away   (5:03)
4.  Memories   (4:31)
5.  Notell Hotel   (4:56)

Side two
1.  Les Nouveaux Riches   (5:11)
2.  Action Man In Motown Suit   (4:45)
3.  Listen With Your Eyes   (3:10)
4.  Lying Here With You   (3:22)
5.  Survivor   (5:46)


The Whispers – Love Is Where You Find It (1981)

The Whispers are an American group from Los Angeles, California, who have scored hit records since the late 1960s.













Artist:  The Whispers
Title:  Love Is Where You Find It
Year:  1981
Format:  LP
Label:  Solar Records
Catalog#  SOL 52344

Love Is Where You Find It is the eleventh studio album by American R&B/Soul group the Whispers. Released on June 7, 1981, by SOLAR Records, this album reached number 1 on the Billboard Soul Albums chart.
Released after This Kind of Lovin’, Love Is Where You Find It finds the group continuing its hitmaking style and boasts the production work of Leon F. Sylvers III and the Solar sound. While the group’s albums were never necessities, like the Temptations or to a lesser extent the Dramatics, the worth of the ballads and dance tracks often made the Whispers worth seeking out. Love Is Where You Find It is no exception. The album’s biggest hits — the polished and kinetic “In the Raw” and “Emergency” — quickly joined the pantheon of Whispers dance classics. The near-brilliant “Turn Me Out” arguably beats them both for sheer sonic value and the witty lyrics. Unlike many of the Whispers‘ albums of the time, the ballads here diminish the set. The radio staple “Say Yes” may be too smooth and cloying even for Whispers devotees. Love Is Where You Find It isn’t an especially strong album, but “Turns Me Out” makes it worth looking for.


Side one
1.  In the Raw   (5:56)
2.  Turn Me Out   (5:53)
3.  Cruisin’ In   (3:12)
4.  Emergency   (4:19)

Side two
1.  Say Yes   (5:14)
2.  Love Is Where You Find It   (5:23)
3.  Only You   (4:28)
4.  Small Talkin’   (4:04)


The Hollies – Write On (1976) – Lp

The Hollies are an English pop/rock group known for their pioneering and distinctive three-part vocal harmony style. The Hollies became one of the leading British groups of the 1960s and into the mid 1970s. It was formed by Allan Clarke and Graham Nash in 1963 as a Merseybeat type music group in Manchester, although some of the band members came from towns north of there. Graham Nash left the group in 1968 to form the supergroup Crosby, Stills & Nash.













Artist:  The Hollies
Title:  Write On
Year:  1976
Format:  LP
Label:  Polydor Records
Catalog#  2374120

At the time of its release in early 1976, Epic Records passed on Write On, but subsequently included a handful of its songs, including “Star,” “Love Is the Thing,” “I Won’t Move Over,” and the title track on 1977’s Clarke, Hicks, Sylvester, Calvert & Elliott. Why they passed on it is anyone’s guess, since it’s as strong as anything the group had been putting on LP up to that time, made up of pleasant and tuneful, if not always memorable or exciting songs, the authorship of all but one credited to Allan Clarke, Terry Sylvester, and Tony Hicks. The opening track, “Star,” might have been a modest hit, with its engaging hooks, quasi-reggae beat, and gorgeous harmonizing on the choruses, if it had been given a chance on AM radio. “Write On” is also beautifully sung and offers a delicious chorus, but just misses the level of tension needed to put it over, even with Tony Hicks‘ larger-than-life guitar solo in the middle. The delightfully ebullient “Sweet Country Calling,” by contrast, is a lost AM radio classic that ought to have kept this band at least near the Top Ten; “Narida” is a dance number with a great beat and a powerful, reverb-drenched lead vocal performance by Allan Clarke; the languid, ethereal “Love Is the Thing” might be the prettiest song the group ever recorded this side of “The Air That I Breathe”; “Crocodile Woman” is an uncharacteristic (for this group) rock’n’blow blowout heavily featuring Hicks‘ guitar; “My Island” was a showcase for their softer, more lyrical, acoustic side; and the closer, “There’s Always Goodbye,” was a good attempt to merge these different facets of the group’s sound within one song, highlighted by some gorgeous dual-layered acoustic guitars. Good as the group is on the best of these songs — and that’s very good — the album also illustrates the basic problem faced by the Hollies, entering an era in which they were defined by their songs rather than a precise image.


Side one
1.  Star  (3.39)
2.  Write On  (4:48)
3.  Sweet Country Calling  (3:05)
4.  Love Is The Thing  (3:34)
5.  I Won’t Move Over  (3:32)

Side two
1.  Narida  (3:58)
2.  Stranger  (3:28)
3.  Crocodile Woman  (3:33)
4.  My Island  (4:20)
5.  There’s Always Goodbye  (4:15)

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