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The Hollies

When the Hollies -- one of the best and most commercially successful pop/rock acts of the British Invasion -- began recording in 1963, they relied heavily upon the R&B/early rock & roll covers that provided the staple diet for countless British bands of the time. They quickly developed a more distinctive style featuring three-part harmonies (heavily influenced by the Everly Brothers), ringing guitars, and hook-happy material, penned by both outside writers (especially future 10cc member Graham Gouldman) and themselves, eventually composing most of their repertoire on their own. The best early Hollies records evoke an infectious, melodic cheer similar to that of the early Beatles, although the Hollies were neither in their class (not an insult: nobody else was) nor demonstrated a similar capacity for artistic growth. They tried, though, easing into somewhat more sophisticated folk-rock and mildly psychedelic sounds as the decade wore on, especially on their albums (which contain quite a few overlooked highlights).

Allan Clarke (lead singer) and Graham Nash (vocals, guitar) had been friends since childhood in Manchester, and they formed the nucleus of the Hollies in the early '60s with bassist Eric Haydock. In early 1963, EMI producer Ron Richards signed the group after seeing them at the famous Cavern Club in Liverpool. Guitarist Vic Steele left before the first session, to be replaced by 17-year-old Tony Hicks. Drummer Don Rathbone only lasted for a couple of singles before being replaced by Bobby Elliott, who had played with Hicks in his pre-Hollies group, the Dolphins. The lineup changes were most fortuitous: Hicks contributed a lot to the group with his ringing guitar work and songwriting, and Elliott was one of the very finest drummers in all of pop/rock. Although their first singles were R&B covers, the Hollies were no match for the Rolling Stones (or, for that matter, the Beatles) in this department, and they sounded much more at home with pop/rock material that provided a sympathetic complement to their glittering harmonies. They ran off an awesome series of hits in the U.K. in the '60s, making the Top 20 almost 20 times. Some of their best mid-'60s singles, like "Here I Go Again," "We're Through," and the British number one "I'm Alive," passed virtually unnoticed in the United States, where they didn't make the Top 40 until early 1966, when Graham Gouldman's "Look Through Any Window" did the trick. In 1966, Eric Haydock left the group under cloudy circumstances, replaced by Bernie Calvert.

The Hollies really didn't break in America in a big way until "Bus Stop" (1966), their first Stateside Top Tenner; "On a Carousel," "Carrie Ann," and "Stop Stop Stop" were also big hits. Here the Hollies were providing something of a satisfying option for pop-oriented listeners that found the increasingly experimental outings of groups like the Beatles and Kinks too difficult to follow. At the same time, the production and harmonies were sophisticated enough to maintain a broader audience than more teen- and bubblegum-oriented British Invasion acts like Herman's Hermits. Their albums showed a more serious and ambitious side, particularly on the part of Graham Nash, without ever escaping the truth that their forte was well-executed pop/rock, not serious statements. Nash, however, itched to make an impression as a more serious artist, particularly on the "King Midas in Reverse" single (1967). Its relatively modest commercial success didn't augur well for his influence over the band's direction, and their next 45s were solidly in the more tried-and-true romantic tradition. By 1968, though, Nash really felt constrained by the band's commercial orientation, and by the end of the year he was gone, left for the States to help found Crosby, Stills, & Nash. His departure really marked the end of the group's peak era.

In 1969, the band tried to have its cake and eat it too by doing a whole album of Hollie-ized Dylan songs, which was received poorly by some critics, although it was a decent seller in Britain. Nash was replaced by Terry Sylvester (formerly of Liverpool bands the Escorts and Swinging Blue Jeans), and the hit streak continued for a while. "He Ain't Heavy, He's My Brother," in fact, was one of their biggest international singles. But the group was really reaching a cul de sac; they'd managed a remarkably long run at the top considering that they hadn't changed their formula much since the mid-'60s, adding enough sophistication to the lyrics and arrangements to avoid sounding markedly dated. It was apparent they really weren't capable of producing long-playing works striking enough to appeal to the album audience, though, and their singles, though still hits on occasion, weren't as memorable as their best '60s work. A modest slide in the early '70s was arrested by "Long Cool Woman in a Black Dress," a Creedence Clearwater Revival-type rocker that made number two in the States in 1972. The timing wasn't ideal; by the time it became a smash, Clarke, who had sung lead on the single, had left to go solo, to be replaced by Swedish vocalist Mikael Rickfors. Clarke rejoined in mid-1973, and the group had one last international monster, "The Air That I Breathe," which made number six in the U.S. in 1974. The group went on to record a string of further albums in the second half of the 1970s.

Curiously, mostly thanks to Clarke, they did pick up on Bruce Springsteen's work as a songwriter earlier than a lot of other acts, but not even their beautiful rendition of "Sandy" could avert their slide from the public's consciousness. Most of their late-'70s releases were heavily influenced by the prevailing disco and dance-rock sounds of the era, although they never entirely abandoned their harmony vocal sound. Under other circumstances they might have pulled off a career conversion similar to that achieved by the Bee Gees after 1974, but luck wasn't with them and their output in this period was ignored, passed over by fans of their old sound and the disco audience alike. This coincided with a decision by their American label, Epic Records -- apparently conceding that the Hollies would never sell large numbers of LPs regardless of how big their hits ever were -- to minimize the marketing efforts invested in the band's records, essentially running out the clock on their contract. Ironically, the label ended up passing on the one LP the group issued in the late '70s that would have reached out to old and new audiences, the concert album originally titled Hollies Live. It ended up getting reviewed enthusiastically in numerous American magazines and newspapers as a Canadian import. The group seemed to reach a dead end in the early '80s, with Sylvester and Calvert exiting suddenly during that period.

The Hollies received a boost in press interest in America during 1983, however, when Graham Nash rejoined for one LP (What Goes Around... on Atlantic Records), but even this proved a false start. A new generation of rock music critics, accustomed to looking askance at longtime acts such as the Hollies attempting to bring their sound into the 1980s, proved especially hostile to the group's British invasion-style gambit of re-interpreting a Motown standard like "Stop! In the Name of Love," which became the single off the album. In a sad piece of irony, What Goes Around... received more press attention than any long-player they'd ever released in America, but most of the reviews were lukewarm or outright negative; worse still, this was a dozen years past Crosby, Stills & Nash's heyday, and even Graham Nash's star had faded considerably by then. Additionally, it turned out that a lot of his remaining American CSN fans were simply not prepared to accept -- or, at least, get excited by -- the idea of his returning to the Hollies. They got lots of print and radio exposure, but the public just didn't care that much; as an example, an autograph signing at Tower Records in New York's East Village was ended an hour earlier than its scheduled 90 minutes when hardly anyone showed up to meet the band. And the tour by this lineup had to be hastily rebooked into smaller halls when ticket sales didn't meet promoter expectations.

The group continued to play concerts and make beautiful records, but there was no public demand for new releases, and by the '90s they'd ceased making new studio recordings. As the 21st century beckoned, Allan Clarke -- after nearly 40 years as the lead vocalist for the band -- found that his singing didn't come to him as strongly or as well as he was used to, and he decided to retire, leaving Hicks and Elliott as the last two core members of the group. Clarke's first successor was Carl Wayne, the onetime lead singer of the 1960s Birmingham-spawned band the Move, who fronted the band on-stage for the next couple of years. In 2003, EMI Records recognized the Hollies' musical significance with a huge (and hugely satisfying) six-CD box set, The Long Road Home: 1963-2003, covering every era and major lineup in the group's history, and containing a huge number of previously unreleased and unanthologized tracks.

Wayne's death in 2004 led to another shift in their lineup, but in 2006 the group bounced back with its first new studio album in 23 years, appropriately entitled Staying Power, which featured Hicks and Elliott at the core of a lineup that included Peter Howarth on lead vocals, with Ian Parker on keyboards, Steve Laurie on guitar, and Ray Stiles on bass. Although not widely distributed outside of England, the record -- ironically, their first CD-original studio album -- proved to be a very fine updating of the group's sound, retaining enough of their traditional pop/harmony elements to satisfy longtime listeners. A live DVD derived from a December 2006 concert in Belgium was issued in 2007, a year that also saw a big chunk of their vintage catalog get further CD re-releases, principally through EMI. In 2009, the Hollies returned with a new album, Then, Now, and Always, and the following year, they received one of the greatest accolades of their career when the Hollies were inducted into the Rock & Roll Hall of Fame. The group continued to tour in the U.K. and Europe, and their 2012 road trip resulted in a live album, 2013's Hollies Live Hits: We Got the Tunes! And in 2014, as the band celebrated their 50th anniversary as a recording act, they released a special three-disc collection, 50 at Fifty, a set that covered the group's history in 50 songs, and included a new track, "Skylarks." ~ Richie Unterberger & Bruce Eder
full bio

Selected Discography

x

Track List: Here I Go Again / Hear! Here!

1. Here I Go Again

2. Stay

3. Memphis

4. Lucille

5. You Better Move On

6. Talkin' 'Bout You

7. Just One Look

8. Keep Off That Friend Of Mine

9. Rockin' Robin

10. Do You Love Me

11. What Kind Of Girl Are You

12. It's Only Make Believe

13. I'm Alive

14. Very Last Day

15. You Must Believe Me

16. Put Yourself In My Place

17. Down The Line

18. That's My Desire

19. Look Through Any Window

20. Lawdy Miss Clawdy

21. When I Come Home To You

22. So Lonely

23. I've Been Wrong

24. Too Many People

x

Track List: On A Carousel, 1963-1974: The Ultimate Hollies

1. Stay

2. Just One Look

3. Here I Go Again

4. We're Through

5. I'm Alive

6. Yes I Will

7. Look Through Any Window

8. If I Needed Someone

9. I Can't Let Go

10. Bus Stop

11. Stop, Stop, Stop

12. On A Carousel

13. Pay You Back With Interest

14. Carrie Anne

15. King Midas In Reverse

16. Dear Eloise

17. Jennifer Eccles

18. Listen To Me

19. Sorry Suzanne

21. I Can't Tell The Bottom From The Top

22. Gasoline Alley Bred

23. Long Cool Woman (In A Black Dress)

24. Long Dark Road

25. The Air That I Breathe

x

Track List: Greatest Hits... Live!

1. I Can't Let Go (Live)

2. Just One Look (Live)

3. Bus Stop (Live)

4. Casualty (Live)

5. On A Carousel (Live)

6. Someone Else's Eyes (Live)

7. Look Through Any Window (Live)

8. King Midas In Reverse (Live)

9. Wasted On The Way (Live)

10. Teach Your Children (Live)

11. Soldier's Song (Live)

12. Stop, Stop, Stop (Live)

13. The Air That I Breathe (Live)

14. Carrie Anne (Live)

15. Stop In The Name Of Love (Live)

16. He Ain't Heavy, He's My Brother (Live)

17. Long Cool Woman In A Black Dress (Live)

x

Track List: Love Songs

1. Here I Go Again

2. The Air That I Breathe

4. Sorry Suzanne

5. I Can't Let Go

6. Yes I Will

8. To You My Love

9. I'm Alive

10. Too Young To Be Married

11. Have You Ever Loved Somebody

12. That's How Strong My Love Is

13. Just Like A Woman

14. I Can't Tell The Bottom From The Top

15. Just One Look

18. Jennifer Eccles

19. What Kind Of Boy

20. If I Needed Someone

21. You Need Love

x

Track List: Another Night

1. Another Night

2. 4th Of July, Asbury Park (Sandy)

3. Lonely Hobo Lullaby

4. Second Hand Hang-Ups

5. Time Machine Jive

6. I'm Down

7. Look Out Johnny (There's A Monkey On Your Back)

8. Give Me Time

9. You Gave Me Life (With That Look In Your Eyes)

10. Lucy

11. Son Of A Rotten Gambler

12. Layin' To The Music

13. Come Down To The Shore

14. Hello Lady Goodbye

15. Another Night (Live)

16. 4th Of July, Asbury Park (Sandy) (Live)

17. I'm Down (Live)

x

Track List: The Hollies' Greatest Hits

1. Bus Stop

2. Carrie-Anne

3. Stop, Stop, Stop

4. Look Through Any Window

5. Dear Eloise

6. Long Cool Woman (In A Black Dress)

7. He Ain't Heavy, He's My Brother

8. Just One Look

9. King Midas In Reverse

10. Pay You Back With Interest

11. Long Dark Road

12. On A Carousel

x

Track List: Distant Light

3. Hold On

5. To Do With Love

7. Long Cool Woman (In A Black Dress)

9. Cable Car

10. Little Thing Like Love

11. Long Dark Road

x

Track List: Moving Finger

1. Survival Of The Fittest

2. Confessions Of A Mind

3. Lady Please

4. Little Girl

5. Too Young To Be Married

6. Man Without A Heart

7. Isn't It Nice

8. Frightened Lady

9. Marigold Gloria Swansong

10. Perfect Lady Housewife

11. Gasoline Alley Bred

12. Separated

13. I Wanna Shout

14. Dandelion Wine

15. Mad Professor Blyth

x

Track List: Hollies Sing Dylan

1. When The Ship Comes In

2. I'll Be Your Baby Tonight

3. I Want You

5. I Shall Be Released

6. Blowin' In The Wind

7. Quit Your Low Down Ways

8. Just Like A Woman

9. The Times They Are A-Changin'

10. All I Really Want To Do

11. My Back Pages

12. Mighty Quinn

x

Track List: Dear Eloise/King Midas In Reverse

1. Dear Eloise

2. Away Away Away

3. Maker

4. Pegasus

5. Would You Believe

6. Wishyouawish

7. Post Card

8. Charlie & Fred

9. Try It

10. Elevated Observations

11. Step Inside

12. Butterfly

13. King Midas In Reverse

14. Leave Me

15. Do The Best You Can

x

Track List: Butterfly

1. Dear Eloise

2. Away Away Away

3. Maker

4. Pegasus

5. Would You Believe

6. Wishyouawish

7. Postcard

8. Charlie And Fred

9. Try It

10. Elevated Observations

11. Step Inside

12. Butterfly

13. Dear Eloise (Stereo Version)

14. Away Away Away (Stereo Version)

15. Maker (Stereo Version)

16. Pegasus (Stereo Version)

17. Would You Believe (Stereo Version)

18. Wishyouawish (Stereo Version)

19. Postcard (Stereo Version)

20. Charlie And Fred (Stereo Version)

21. Try It (Stereo Version)

22. Elevated Observations (Stereo Version)

23. Step Inside (Stereo Version)

24. Butterfly (Stereo Version)

x

Track List: Evolution

1. Carrie-Anne

2. Stop Right There

3. Rain On The Window

4. Then The Heartaches Begin

5. Ye Olde Toffee Shoppe

6. You Need Love

7. Heading For A Fall

8. Games We Play

9. Lullaby To Tim

10. Have You Ever Loved Somebody

11. When Your Lights Turned On

12. Water On The Brain

13. Jennifer Eccles

14. Signs That Will Never Change

15. Open Up Your Eyes

x

Track List: For Certain Because...

1. What's Wrong With The Way I Live

2. Pay You Back With Interest

3. Tell Me To My Face

4. Clown

5. Suspicious Look In Your Eyes

6. It's You

7. High Classed

8. Peculiar Situation

9. What Went Wrong

10. Crusader

11. Don't Ever Think About Changing

12. Stop! Stop! Stop!

x

Track List: In The Hollies Style

1. Nitty Gritty/Something's Got A Hold On Me

2. Don't You Know

3. To You My Love

4. It's In Her Kiss

5. Time For Love

6. What Kind Of Boy

7. Too Much Monkey Business

8. I Thought Of You Last Night

9. Please Don't Feel So Bad

10. Come On Home

11. You'll Be Mine

12. Set Me Free

x

Track List: Stay With The Hollies

1. Talkin' 'Bout You

2. Mr. Moonlight

3. You Better Move On

4. Lucille

5. Baby Don't Cry

6. Memphis

7. Stay

8. Rockin' Robin

10. Do You Love Me

11. It's Only Make Believe

12. What Kind Of Girl Are You

13. Little Lover

14. Candy Man

15. Whole World Over

16. (Ain't That) Just Like Me

17. Hey What's Wrong With Me

21. Searchin'

22. Poison Ivy

23. Keep Off That Friend Of Mine

24. Just One Look

x

Track List: Romany

1. Won't You Feel Good That Morning

2. Touch

3. Words Don't Come Easy

4. Magic Woman Touch

5. Lizzy And The Rainman

6. Down River

7. Slow Down

8. Delaware Taggett And The Outlaw Boys

9. Jesus Was A Crossmaker

10. Romany

11. Blue In The Morning

12. Courage Of Your Convictions

13. The Baby

14. Magic Woman Touch (Acoustic Version)

15. Indian Girl

16. If It Wasn't For The Reason That I Love You

17. Papa Rain

18. Witchy Woman

19. Oh Granny (Terry Sylvester Version)

20. I Had A Dream

x

Track List: The Hollies At Abbey Road 1966-1970

1. Pay You Back With Interest (1998 Digital Remaster)

2. On A Carousel (1998 Digital Remaster)

3. All The World Is Love (1998 Digital Remaster)

4. Schoolgirl

5. Carrie Anne (1998 - Remaster)

6. Signs That Will Never Change (1998 Digital Remaster)

7. King Midas In Reverse (1998 Digital Remaster)

8. Everything Is Sunshine (1998 Digital Remaster)

9. Dear Eloise (1998 Digital Remaster)

10. Open Up Your Eyes (1998 Digital Remaster)

11. Man With No Expression (Horses Through A Rainstorm) (1998 - Remaster)

12. Listen To Me (1998 Digital Remaster)

13. Do The Best You Can (1998 Digital Remaster)

14. Blowin' In The Wind (Nash Version; 1998 Digital Remaster)

15. Sorry Suzanne (1998 Digital Remaster)

16. Not That Way At All (1998 Digital Remaster)

17. He Ain't Heavy He's My Brother (1998 Digital Remaster)

18. Cos You Like To Love Me (1998 Digital Remaster)

19. Sign Of The Times (+ Studio Converation)

20. I Can't Tell The Bottom From The Top (+ Studio Conversation; 1998 Digital Remaster)

21. Mad Professor Blyth (1998 Digital Remaster)

22. Gasoline Alley Bred (1998 Digital Remaster)

23. Dandelion Wine (1998 Digital Remaster)

24. Confessions Of A Mind (1998 Digital Remaster)

x

Track List: Would You Believe?

1. I Take What I Want

2. Hard, Hard Year

3. That's How Strong My Love Is

4. Sweet Little Sixteen

5. Oriental Sadness

6. I Am A Rock

7. Take Your Time

8. Don't You Even Care (What's Gonna Happen To Me)

9. Fifi The Flea

10. Stewball

11. I've Got A Way Of My Own

12. I Can't Let Go

13. I Take What I Want (Stereo)

14. Hard, Hard Year (Stereo)

15. That's How Strong My Love Is (Stereo)

16. Sweet Little Sixteen (Stereo)

17. Oriental Sadness (Stereo)

18. I Am A Rock (Stereo)

19. Take Your Time (Stereo)

20. Don't You Even Care (What's Gonna Happen To Me) (Stereo)

21. Fifi The Flea (Stereo)

22. Stewball (Stereo)

23. I've Got A Way Of My Own (Stereo)

24. I Can't Let Go (Stereo)

Comments

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Unyunyieldin g b o i u gin
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I want to ride a carasele with you we will be like butterfly's and dragenfles my Mike and your mimi
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❤❤❤❤
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dm11209
Great song and group. How can u not love this?
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Great song to dance to!
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This is great, it bring's back days before my car crash Mi
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heavymetal35 9
❤❤❤❤❤
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justinjenny4 9 5
❤❤❤❤❤
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58 years old still loving this great group!
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Wtf?
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justinjenny4 9 5
❤❤❤❤❤
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My late brother turned me onto The Hollies, love their music. This song brings back some great memories.
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❤❤❤❤❤
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Michael jesusthe lord. The spirit of chrisprince of peace. Ransom1 set born from the dead Amen.


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Bus stop hollies Roots of Rock and Roll
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, Elton John is a very talented.
Indidvual. He makes you to want to listen to . He makes music to come
Alive.
Dan the man in Fresco, Texas
K
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@michaelrock s 6 8 don't take s**t from these god awful swine
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Many a hypocrite and malcontents shall celebrate themselves on July 4th.
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25windinghil l s
Love, Love this song, and never ever get tired of hearing it.
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mrsgibson18
To the commenter below me (our names both seem to be absent)…

You and me both!!
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mysteriousst r a n g e r s 8 6
❤❤❤❤❤
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Love the era.young and wild
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I love that song be for back high school
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Never get tired of the Long Cool Woman in the Black Dress. It took years for me to figure out what he was saying but i didnt care!
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I have to say.....this song is in my top ten all time favorite songs.
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F**KIN AWESOME SONG:):)') HEY
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sandymcleod1 7 5
❤❤❤❤❤
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The hollies and the ivy...
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❤❤❤❤❤
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The mid 60's Hollies are the ones I will always think of!
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I would make sure to have the four food groups and one more group love making
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❤❤❤❤❤
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❤❤❤❤❤
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god sent me someone special and great music to lift my spirits
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❤❤❤❤❤
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I always thought it was CCR tooo lol
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Great band....grea t songs.....lo v e them❤️
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Great song
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also thought this was CCR for years.
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long cool WOMEN was a great album no doubt
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Long Cool Women, by The Hollies was on the very first album I ever bought, it was" I Believe In Music ",and it had many songs that are still popular to this day. I bought it in 1975. I wish I still had it.
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✌️❤️
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Wooooooooooo
Yep
Ummm
Mmmm
OK Man.
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matratus
Great Song. The air that I breathe...
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Long cool woman in a black dress ����
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This
Song
Is
Good
Man
Wooooooo
Wooooo
FBI.
Woooooie
��

Yo
Wooooo
Oh
Yeee
Haw
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Wooooooooa weeeee wow man ❤
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Not bad not bad here
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grantmerrima n
Thought CCR sung that song. Guess I'm a Hollies fan!
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