THE HOLLIES-EVOLUTION-PARLOPHONE 1ST PRESS MONO PMC.7022 1967
£
25
$
33
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Description
THE HOLLIES-EVOLUTION TYPE SINGLE LP MONO LABEL/PRESSING INFO
PARLOPHONE YELLOW & BLACK 1ST PRESS with MATRIX NUMBERS: XEX 635-1 & XEX 636-1
CATALOGUE NUMBER PMC 7022 YEAR OF RELEASE 1967 COUNTRY OF RELEASE U.K. SLEEVE TYPE SINGLE - GARROD & LOFTHOUSE LAMINATED FLIPBACK INSERTS/EXTRASNONE
GRADING/CONDITION DISC(s)EXCELLENT (CLEAN RECORD with MINIMAL playwear and MINIMAL storage ageing and handling marks. PLAYS AND SOUNDS GREAT WITH A GREAT MID 60'S MONO REPRODUCTION with just the occasional click an background
LABELSEXCELLENT (CLEAN LABELS with NO writing rips tears with VERY LIGHT spindleusage and LIGHT overall handling storage and ageing marks, with a small scuff on A)
SLEEVE VERY GOOD (Clean sleeve with NO writing rips tears stickers. The laminate is complete, rear board is clean and unmarked, and the spine and top and bottom edges have light wear. There appears to have been some remedial work on the lower flipback, not very pretty but effective. INNER /EXTRASN/A
DETAILSFor 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.
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 "Heading 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."
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