THE HOLLIES: STAY WITH THE HOLLIES (1964)
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; 9) Watcha Gonna Do 'Bout It; 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*) Ain't That Just Like Me; 16*) Hey What's Wrong With Me; 17*) Searchin'; 18*) Whole World Over; 19*) Now's The Time; 20*) Zip-A-Dee-Doo-Dah; 21*) I Understand; 22*) Stay; 23*) Poison Ivy.
Most of the early British Invasion acts had a role model or two from across the Atlantic before they'd start to carve out their own identities — it was only a matter of how early that carving-out process would start, especially relative to that defining moment when the band in question would first set foot in a proper recording studio and land its first record contract. From that point of view, The Hollies landed theirs a bit too early in the game (imagine, for a second, The Beatles getting theirs in late 1960 rather than late 1962), and although, in retrospect, this does not sound like that much of a problem, Stay With The Hollies set them off on the wrong foot in the LP business department — an inauspicious move whose consequences, it might be argued, would reverberate through the band's entire career.
The role model in question was, of course, The Everly Brothers — in fact, The Hollies pretty much started out intentionally as the UK's answer to Phil and Don, with Allan Clarke and Graham Nash modeling themselves as a folk-rockish singing duo; and even if the band's debut album does not include any of the Everlys' songs as such, most of its material is delivered very much in the Everlys' style. Sound-wise, The Hollies played a very polite, anger-less, family-friendly version of rock'n'roll that went light on electric guitars and heavy on two-part vocal harmonies: like Phil and Don, they were not at all averse to taking lessons from Chuck Berry and Little Richard, but they always emphasized the melodic, rather than punkish, sides of these guys, and the Hollies followed suit — their cover of Little Richard's ʽLucilleʼ here is almost 100% identical to the way the Everlys did it, and that's the way it would always be.
That said, even without any original ideas and without any significant attempts to write their own songs, already at that earliest stage The Hollies had a major advantage of their own — a lead singer blessed with a voice every bit as distinctive as that of John Lennon, Mick Jagger, or Eric Burdon. As the record opens with a standard guitar introduction to Chuck Berry's ʽTalkin' 'Bout Youʼ, the very first line, "let me tell you 'bout a girl I know...", even though it is sung in harmony by Allan Clarke and Graham Nash (and maybe Tony Hicks as well?), totally belongs to Allan, as does almost everything else on this album. It is not a deep, rumbling tone of the Eric Burdon variety, or a sharp, guttural, devilish tone of the Mick Jagger one — it is a high, ringing, and ever so slightly raspy tone that suggests inoffensiveness and friendliness, yet ones that go along with punchiness if necessary. It is a tone that stands out loud and proud in a sea of millions, and one that can't help drawing your attention, just because you instinctively feel how extreme it is. And it is pretty damn hard to be extreme in the middle of a soft-melodic vibe, yet somehow Clarke's singing is that one element which makes words like «wimpy» or «sissy» inapplicable to The Hollies, and words like «kick-ass» fairly reasonable.
And there's not much to say other than that, really, about the fourteen songs on this record — but then, nothing else is needed, because The Hollies' taste in covers was good, and with Allan giving it his all, they succeed in producing sharp, deeply enjoyable, and far-from-superfluous versions of many of them. Not many people, for instance, could have competed with the exuberance of The Contours, permeating every second of ʽDo You Love Meʼ — Mike Smith of The Dave Clark 5 sang the song as close to the «black-voiced» original as possible, which was indeed superfluous, but Clarke, adding a funny bit of gurgle to his razor-sharp voice, delivers it exactly as it should be delivered by a sneery, snotty, cocky, yet ultimately good-natured British teenager, coming up with the single best cover of the song until the maniacal cover of The Sonics a year later.
Another highlight is Roy Orbison's ʽCandy Manʼ: this is a particularly happy choice, because Roy wrote a good handful of excellent rock'n'roll songs without, however, being much of a rock'n'roll singer — and this provides Clarke with a great chance to squeeze all of the tune's implied sexuality onto the surface. Is «cock pop» even a term? If it is not, it should be invented specifically for this hilarious performance: musically cuddly, no match for even the Beatles, let alone the Stones, but vocally... hoo boy, just lock up your daughters when Allan mouths "let me be... mmm, your own cande-e-e-e... candy ma-a-a-an", even if, to the best of my knowledge, the UK press never saw much of a threat in the Hollies (probably because they never had themselves an Andrew Loog Oldham to market their threat-ability).
Sure, some of these covers work worse than others: just as in the case of the Beatles, for instance, it is hard to understand the love they all had for ʽMr. Moonlightʼ (here spoiled even further by the unlucky choice of Nash as the lead vocalist — doesn't seem to be the right kind of material for him at all), and Bobby Day's novelty-nursery hit ʽRockin' Robinʼ is one of these proto-bubblegum numbers that is very hard to take seriously with its tweedle-dees. The only original composition on the album is ʽLittle Loverʼ, delivered with plenty of fire but songwriting-wise, largely just a minor variation on the Chuck Berry formula (although the resolution of the chorus, with the unexpected twist of "come on and discover... my lo-o-o-o-ve for you!" is quite indicative of future pop songwriting ideas to come). But on the whole, there are very few open embarrassments / misfires compared to the number of good songs done in classy Hollies style.
Admittedly, that style has not yet been fully worked out: somewhat parallel to the earliest recordings by The Beach Boys, it took the band some time to become experts in studio multi-part harmonizing, so most of the entertainment here is simply provided either by Allan solo or by Allan propped up and thickened by the two other singing guys. Likewise, guitarist Tony Hicks is not at the top of his game, either, although his brief, well thought-out leads compete rather well with contemporary George Harrison. Yet even so, the album still sounds remarkably fresh and enjoyable, rather than boring and generic, after all these years — a decent career start, well worth a modest thumbs up, in the face of the typically cool critical reaction.
The expanded CD reissue is essential for completists, throwing on the band's first three singles from 1963, but I am not a major fan of The Hollies covering The Coasters — they did not really have that band's innate sense of humor, so ʽAin't That Just Like Meʼ and ʽSearchin'ʼ come off somewhat stiffer than necessary — so in this particular case, you won't be uncovering any hidden gems, as opposed to subsequent albums where the bonus tracks are essential, since many of them represent the band's finest, single-oriented songwriting efforts.