UK - Autumn - 1997

A collection of anecdotes        As overheard by Ann and Barbara,  November 1997

We are all interested to read the reviews by the so called "experts" but what about the comments of the average punter who may be going to their first show or who are eager to see the Hollies again because as we all know,  it only takes "Just one Look", and you're hooked for life.

In the interest of trawling this so far unharvested field we spent many arduous hours in the pubs next door to the theatres and the bars during the intervals (what hardships we suffer in pursuit of  truth and the Hollies) and we have come up with this collection of tit bits.

*One lady in Bath is probably still confused……chatting to hubby and another couple before the show, the other woman said her favourite song was "All I need is the air that I breathe",  and after much soul searching and jump starting of the old brain cells the men came up with one other title "He Ain't Heavy".  Eager to join in our lady pipes up that she loved "Needles and Pins"!

After a deathly silence for seconds,  then five minutes of heated argument, they all decided that this was not a Hollies song but they were all looking forward to remembering the others once they were in the show.
 

*Fast forward to the interval.…..one very bemused lady who now thought various titles by Stills, Sprinqsteen; and MacGuiness Flint were all original Hollies!   And they hadn't even done the Buddy Holly set by then.
 

*Then there was a rather contentious moment before the show in Lewisham.  Three people were in a bar discussing how much they were looking forward to the nights show.  One was heard to say "Brilliant",  but suddenly the mood changed as we heard them say that only one of them was good looking and not only that, but that the other two had "put on weight".
 

They can’t talk about our lads like that and get away with it, we thought,  and as we decided who would punch the woman on the nose and who would bite the men's ankles,  we realised (after hearing "new record", "high voice"  and "Australia") that they were now actually talking about the Bee Gees!!

Exit two Hollies fans who'd nearly ended up in police custody on  assault charges instead of at a show!
 

*Next- source un-remembered is a beauty.  Someone was heard to say that they really enjoyed it when Tony played the MANDARIN.  Collapse of both of us as we pictured Tony, complete with plectrum, trying to play a small round orange. Goodness knows whether he would have used a strap or just tucked it under his chin!
 
 

*Picture a crowded bar in the De Montfort Hall, Leicester,  just before the show.  An irate lady was telling her friends that when she had told someone she was going to see the Hollies,  this other person had "pulled a face".  "Well',' said the lady "she's got no taste anyway-she likes Des O'Connor and Demis Roussos".

*A confused collection of people in Skegness were trying to understand Tony's asking for directions to Northampton.  They looked in the programme and found that the next concert was High Wycombe on Thursday (wrong week, but we kept silent!).  So they decided that the Hollies were obviously going to stay at a hotel in Northampton until their next gig...  that would be devotion above and beyond the call of duty, wouldn't it?
 

*This last story epitomises the idea "to see them is to love them".

The husband of a work colleague was playing golf with a business associate and in the course of general conversation, the said business associate mentioned that he had been to a concert in Peterborough recently and although he had never seen the group before, he thought they were so good that he would definitely be going to see them again whenever he could.

And who was the group that created such enthusiasm?  -  The Hollies of course!

'Nuff said. 

Ann and Barbara Nov, 97

Wimbledon Theatre            Sunday 30 November 1997. By David Mathews
 

 
 
 My wife and I attended the final show at Wimbledon and were greatly impressed. The song choices, arrangements, and enthusiasm shown were key to our enjoyment. We thought it was perhaps the best show we have seen by The Hollies.

It was great to see and hear all thirteen top ten hits from 1963 to 1968. I thought Alan struggled a little on 'Yes I will' but otherwise he was in great voice on songs such as 'I Can't Let Go' or 'I'm Alive' which had been omitted from some recent tours.

The selection and performance of 'Butterfly' was a highlight of the show with Alan Coates adopting his best 'Nash' vocal style. Another first for me was the acoustic performance of the little known song  'If I Were The Priest' with Alan Clarke reminding us of his enthusiasm for Bruce Springsteen.

I would prefer them to do more album tracks and fewer cover versions alongside the hits - but by including 'Butterfly' and 'Draggin My Heels' they were taking a most welcome step in this direction.

If Ian Parker is responsible for the arrangements then he is to be congratulated on his unselfish approach. The guitar sounds were certainly more evident in 1997 than on the recently released 1983 live album. For me this makes the performances of the earlier songs more authentic and enjoyable as Tony's guitar was always a highlight on record.

From our fifth row view the enthusiasm of the band was still most evident on this, the last night of the tour, and the jokes and repartee added to our enjoyment of the music. These included Ian's accordion offstage walkabout, the jokes about Tony's over-used suit and the pricing of the guitars for sale, and the pantomime dress walk over the stage by the lighting crew.

I look forward to seeing The Hollies again at Croydon in March, when I hope that they will add a couple more surprise song choices from their large body of recorded work.

David Mathews.

Guildhall, Portsmouth       29 NOVEMBER 1997,  By Ann and Barbara

From the moment The Hollies walked on stage, it was evident from the warmth of the welcome that they received that this audience was not going to let them go without a fight and tonight was going to be a great show.

Although the hall itself is rather large and barnlike, the quality of sound was rich and all-enveloping, filling the theatre and drawing the whole audience together.  The concert was the usual mix of songs both known and less familiar, but it was The Hollies own hits which were most popular.  When ‘Bus Stop’ (In the original style), was introduced by Tony,  there were roars of approval from the crowd which almost raised the roof!

A diversion for those of us who go to concerts regularly has been watching Ian Parker develop his role as an active member of the group……..from simply moving around the stage with his  accordion during ‘We’re Through’,  progressing to a walkabout’ through the stalls,  he has now taken to adding props.  First a woolly hat, then an handkerchief tied over his face - it beggars the question, “what has he got in store for us next?”  Perhaps a Tin cup & monkey???

Tony’s announcement that this tour’s new brown suit is to be retired to ‘civvies’ was greeted by applause from some sections of the audience and with great relief by some members of the group, though this viewpoint is not shared by all.

As a performance it was what we have come to expect from The Hollies - vibrant, enthusiastic, energetic and very much enjoyed by everyone. Fabulous.

We are now looking forward to more of the same in the Spring of ’98.

Ann & Barbara

Wycombe Swan        28 NOVEMBER 1997,   By Sue Kelly

The second of The Hollies two nights at Wycombe Swan was a night to remember. There was a lovely atmosphere in the theatre right from the start of the concert. Although he was later to say that he had a cold, Allan Clarke was in fine voice and looking great in his ‘visual disturbance’ jacket.

‘Stay’, ‘Here I Go Again’ and ‘Yes I Will’ were all warmly received by the audience before the blood was well and truly stirred by ‘I Can’t Let Go’. The sight and sound of Ray, Alan and Tony all hammering their guitars in unison is unforgettable! The current version of this song is the best I’ve ever heard.

Next, the tempo slowed down with ‘Sandy’, featuring a poignant guitar solo by Coatsie, before things hotted up again with the dynamic ‘Draggin’ My Heels’. Bobby and Ray kept a fantastic rhythm going as Ian dazzled us on the keyboards. Allan, quite rightly, complimented Bobby on his drumming.

Allan’s solo rendition of ‘If I Were The Priest’ followed, before Ray joined Allan, Tony and Alan for ‘Helplessly Hoping’. The addition of Ray’s harmony on this song - and many others - has added richness and depth to The Hollies sound, and has proved to be an inspirational move on this tour.

The gentle tempo continued with ‘Butterfly’, the stage flooded with swirling red lights, before the whole group returned for ‘I’m Alive’, ‘On A Carousel’ and ‘When I’m Dead And Gone’, ending the first half on an upbeat note.

‘Stop In The Name Of Love’ was just the right song to open the second half, getting the concert underway again at a cracking pace. The audience then happily clapped along with ‘Jennifer Eccles’.

Next came the song which, for me, is the highlight of the show - ‘Just One Look’. The ‘What Goes Around’ version of the song is quite superb. The undoubted star is Ray, his bass playing is an absolute joy to watch and hear. He, quite simply, makes this song a fantastic listening experience!

There has been a great deal of humour on this tour and much of it has been down to Ian’s walkabouts during ‘We’re Through’. As well as his leather gear and scarf, tonight he was wearing a woolly hat as well. Complete with accordion, he left the stage. It was amusing to note that the dedicated Hollies followers in the front three rows, who all know the routine, turned round to search the back of the theatre for Ian, whilst the rest of the audience remained facing the stage! Ian’s antics seemed to amuse the rest of the group as much as they amused the audience but, despite the hilarity, Tony still played some lovely acoustic guitar.

The Buddy Holly segment went down very well, with Allan’s authentic Buddy style vocals and Ray’s wonderful deep backing vocals. However, much as the audience enjoyed these songs, it was The Hollies own hits which won the greatest applause. The reception given to ‘Bus Stop’ was impressive but it was totally eclipsed by the roar of approval which ‘Look Through Any Window’ provoked.

The hits continued with ‘Carrie Anne’, ‘Stop, Stop, Stop’, ‘The Air That I Breathe’ and ‘He Ain’t Heavy’ before the "Regulars" in the front three rows stampeded to the edge of the stage for the Rock ‘n Roll section. As the group played ‘Great Balls Of Fire’, ‘Let’s Dance’ and ‘Long Cool Woman’, I noticed that most of the audience was clapping along, with groups of people dancing in front of their seats in many places throughout the theatre. Another classic Hollies concert! Roll on the next one!

Sue Kelly

Doncaster Dome        14th November 1997, By Wendy Carman

The lights went down at 8.00pm and the group started with the familiar favourites from the early days when they were constantly in the charts, their enthusiasm and energy matching their wonderful music making abilities and fabulous harmonies.

The Hollies are able to sing such a wide range of styles from ballads to rock, and they certainly did this tonight for us with brilliant performances from 'Butterfly' to 'When I'm Dead and Gone'

Allan still gives his all with his great singing ability, Tony is amazing on guitars and harmonies.

All 6 lads work so well together to create this 'sound' which only 'The Hollies' can produce.

Ian Parker decided to wander through the audience several times playing his accordion, he really seemed to enjoy his walk abouts.

As with all The Hollies concerts I have been to, the venue was full with enthusiastic fans, not all as 'mature' as me.  Although the majority of the audience are of a similar age, The Hollies do attract youngsters with their energetic performances, and those here tonight are as keen to show their appreciation as the rest of the enthralled audience.

After the half-time break we all took our seats just as the fire alarm went off , so we had to evacuate the building, fortunately it was a false alarm and we were only out in the cold about 10 minutes and were soon warmed up when the second half started.

Tony and Allan have a wonderful 'banter' between the songs which is both informative and humorous, tonight Allan had a few words to say about Tony wearing the same suit for the last 30 shows, Tony said he was thinking about getting a new one for the Spring tour ( we shall be checking up on your wardrobe Tony).

All too soon 'Air That I Breath' and 'He Ain't Heavy'- both executed as brilliantly as ever- signal to me that there's not much time left, then the heavy beats of songs like 'Let's Dance' and 'Long Cool Woman' Alas the end of another wonderful night - their concerts don't get better because they are all perfect.

After the show the lads were all happy to sign autographs and be photographed by their loyal and adoring fans- including me.

What a great night.

Wendy Carman

Corn Exchange, Cambridge           9th  November 1997,  by Helen and Tom Quinn

The last night of a weekend of four concerts.  The Hollies seem to draw energy from performing.  Tonight they were simply magical, clearly fully enjoying the occasion and response, witty and mischievous, and full of humour.

The introduction of a handful of hits, "Stay", "Here I Go Again" and "I Cant Let Go" set the scene for a great rock and roll night.

And The Corn Exchange certainly rocked.  Allan Clarke bounced around the stage and the others basked in the warmth of the reception by an appreciative audience.

Even the curious rendition "The Priest". by the said Mr. Clarke failed to detract from the mood of the evening, and they just loved a very moving performance of "Butterfly" by the greatly underrated Alan Coates.

The second half of the maelstrom was electric.  More hits, different arrangements, much rock and roll, placed in the usual format of acoustics and then the major hits to the end.

Alan Coates and Tony Hicks swapped sides for "Stop Stop Stop" and Tony teased the audience by hammering out an extended solo on the banjo whilst they all waited eagerly for the number to begin.
At one point, during "We're Through", Ian Parker strolled among the audience playing his accordion, and Bobby Elliot played throughout the night like there was no tomorrow.

By the time we got to the finale, the audience were "'up for it", and indeed, with some encouragement from Mr. Clarke and the usual bobbing Holliettes at the front, they literally were up, on their feet that is, for a standing and rousing ovation to an amazingly active and skilled group of musicians.

Helen and Tom Quinn

Brentwood Leisure Centre          8th November 1997,   By Jenny Hagon

I felt a little lost in my seat, all the familiar faces were front and second row while I was five rows back and bang in the middle of the centre block, good view of Allan., but all I could think of was how on earth would I get to the front for 'rock 'n' roll time'.  Suddenly, the lights dimmed and the music started.  The Hollies appeared to loud applause, first lan, then Ray, Bobby and Alan(Coates), quickly followed by Tony and then finally Allan (Clarke).

First song of the evening was 'Stay' (slow version), followed swiftly by 'Here I Go Again', 'Yes I Will', and one of my favourites, 'I Can't Let Go'.  When it came to 'Sandy', Alan Coates showed his talents with a somewhat soothing guitar solo. Ian Parker's turn to shine with his key board skills came next with 'Draggin' My Heels'.

Allan & Tony then ribbed each other about the clothes they were wearing, Tony saying that Allan was in 'yet another new outfit' and Allan telling us that Tony, was once again wearing 'that same suit'!

Allan then introduced his solo 'If I Were The Priest' which was written, but never recorded, by Bruce Springsteen.  The stage darkened and the spotlight fell.  Allan, standing alone with his guitar, explained how he loved the song but had no idea of what the words were about.  The audience listened in complete silence, erupting into rapturous applause and cheers of approval at the end.

Next came 'Helplessly Hoping', but not sang at centre mike this time.  Then came Coatsies' solo - 'Butterfly'.  Again the stage darkened, a centre spot for Coatsie, with several red back lights strobing the stage.  Once more the audience listened in complete silence and followed with loud applause as the lights dimmed.  For those of you who have not heard these solos yet, I can confidently say, you are in for a real treat when you do.

The stage was left in darkness while the other guys got back to their positions.  This didn't quite work for me, but then, what do I know?

More Hollies favourites followed, then Tony's foot stomping, hand clapping, head bobbing, 'When I'm Dead & Gone' finished the first half

I didn't feel like pushing my way to the bar so I sat in my seat patiently waiting for the twenty minutes or so to pass by and desperately trying to avoid the ice creams.  It was then that it struck me - Is it possible that Tony Hicks has been cloned - The real, grey haired, Tony could be sitting at home with his feet up while he sends out his 30 year old versions to take his place.  Well it would explain the 'same suit'!!!!!

The music started and I was jolted back from my wanderings - 'Stop in the Name of Love', 'Jennifer Eccles' and other old favourites followed.

Then, 'Were Through', flashing lights and a mighty drum intro from Bobby made for a dramatic start. lan Parker, who I might add gets bolder with every performance, bravely, with only his accordion for back up, ventured into the darkness of the stalls.  Cameras flashed as the audience took advantage of this rare close up.

Chat time again - Tony told everyone that Allan & Graham used to perform in Flintstone outfits, then Tony, unable to hide his amusement looked at Allan for confirmation.  Allan speaking very softly replied 'You are so...', and then faded out.  It sounded like the next word was going to begin with 'L' but I couldn't be certain.  Anyway, I'm sure Allan knew what he meant!

A selection of Buddy Holly songs followed, including 'Rave On' with Ray's unmistakable base vocals, and of course, 'Peggy Sue Got Married' - Allan explained how this song, with some wizardry from Ray Stiles and lan Parker, resulted in their version being sung by Buddy Holly and The Hollies.

Then 'Look Through Any Window', started slowly for the first verses but as Bobby and lan returned to their positions, the tempo quickened with Tony playing a brilliant guitar solo.

'Carrie Anne' followed, then 'Stop Stop Stop', 'The Air That I Breath', building to a powerful 'He Ain't Heavy' - This appeared to be the end but the crowd wanted 'More'.

Allan mentioned Brian Stubbles who he had noticed in the second row.  He told us that some years ago Brian had been unable to make the shows through illness and that Noel Edmunds 'fixed it' for the Hollies to play in Brian's back garden.  The spotlight fell on Brian and the audience applauded.

Then 'Rock 'n' Roll time' - 'Great Balls of Fire', 'Lets Dance' and 'Long Cool Woman' got the audience on their feet.  Cheers and whistles filled the theatre, it was, most definitely, another great night, another great show.
 

Jenny Hagon

From  The Crawley News  By Peter Flint. - November 5th 1997

They ain't heavy, they're brilliant.
 

"As individuals, The Hollies have impeccable credentials, as a group they are an impressive force," said The Hollies stylish souvenir programme.

A packed foot-stamping appreciative audience at The Hawth on Friday night would not disagree, writes Peter Flint.

The Hollies started in the 60s, but unlike many other bands, they never stopped touring.

They bring with them a large number of fans from all over the world and amongst the audience tonight there people from America, Germany, Holland and Denmark.

Lead singer Allan Clarke appeared, minus his pony tail, but this didn't seem to affect the performance as the band pounded through their polished repertoire.

The second half started with a vengeance with Stop in the Name of Love.   A medley of Buddy Holly numbers was a fitting tribute to one of the groups early influences.  And He Ain't Heavy, He's My Brother still produced a shiver down the spine.

It was evident that they were enjoying themselves hugely and, with a telling schedule of 62 concerts, that was reassuring.

The Hawth allows for a more intimate atmosphere and The Hollies made the most of this. By the end of a tremendous evening most people were standing and clapping.

As one fan said on leaving.  "It is hard to find enough superlatives to describe the talent of that band."

Peter Flint

From The Leicester Mercury - By Steve England

De Montfort Hall Leicester Review:

It was the return of the Hollies to Leicester by public demand - after 30 years!

The present line-up consists of Allan Clarke (lead vocals), Tony Hicks, Alan Coates (who despite the onset of flu contributed with some great harmonies and guitar work), Bobby Elliott (drums), Ray Stiles (bass guitar and ex-Mud!) and Ian Parker (keyboards and accordion).

They combined outstanding musical talent with nostalgia and the best of today's technology.

After being criticised for slating the Everly Brothers (unfairly, I might add), I can only give my utmost praise to the Manchester band.

The full house was treated to nearly two hours of music by the legendary band with no support and no fillers. The first half left the audience expectant of things to come with a programme of 60's music.

Then they re-appeared, Allan Clarke resplendent all in white, to give an excellent performance of varying styles.

There was some serious acoustic work including Alan Coates solo, but what was extraordinary was how the group was able to slip from acoustic to heavy rock during the same number.

The Bruce Springsteen numbers were brilliant, but somehow even they were overshadowed by the group backing a Buddy Holly track - they had become Buddy Holly and the Hollies, Scary.

Tony Hicks hasn't changed, has he? What has changed is his ability to play the guitar (not forgetting the banjo) with such expertise after all those years of experience.

Now that’s what I call value for money.

Steve England - Leicester Mercury

Lewisham Theatre        25 October 1997,   by Wendy Holt & Wendy Shepherd
 
The in-place to be on Saturday evening was the Lewisham Theatre where The Hollies were performing the first of a two night engagement.  The theatre was sold out and almost all of the seats were taken as the band made their entrance with "Stay", this tour’s opening song.  They went straight on to "Here I Go Again" and then "Yes I Will" before we had any chat from Tony Hicks.  These songs all benefit from the extra harmony of Ray Stiles.

They might be 60s songs but they have a 90s sound.  Tony introduced "I Can’t Let Go", which they hadn't featured in recent tours and then we had Allan Clarke mis-introducing the next song.  He started praising Ian Parker for his keyboard skills which would be featured in the song only to be told by Tony that the next song was in fact, "Sandy".

This was performed admirably with Tony showing off his skills on the acoustic guitar.  Then it was "Draggin’ My Heels", which Allan was referring to earlier by praising Ian, a song taken from the Russian Roulette album originally performed on stage when Denis Haines was on keyboard.  Ian Parker showed his ability on the keyboards with this song, with Allan Clarke picking up the tambourine.

Bobby Elliott and Ian Parker left the stage at this point as Tony introduced "If I Were the Priest", a song recorded by Allan on one of his solo albums.  Allan explained it was another song written by one of his favourite writers, Bruce Springsteen.  Alan Coates and Tony Hicks provided harmony, this time on separate microphones because of the cold virus affecting Alan.  Allan Clarke accompanied himself on acoustic guitar to a song which has strange words, nevertheless the audience were very appreciative.

We were treated next to a slightly different version of Stephen Stills’ "Helplessly Hoping".  Ray added extra harmony,  Alan and Tony stayed at their own microphones instead of joining Allan at the centre mike and Alan Coates strummed his acoustic guitar.

Tony introduced the next song as Allan Clarke left the stage.  Alan Coates had been promoted to centre mike to perform the title track from the 60s album "Butterfly", together with Ray on bass and intricate keyboard from Ian.  This was followed by the lively "I'm Alive" and then Alan Coates taking the lead for "On a Carousel".

To close the first half we had Alan Coates on banjo, Tony Hicks on mandolin and Allan Clarke on harmonica for the hand clapping, foot stomping "When I'm Dead and Gone".  The first half passed all too quickly, whetting our appetites for what was to come.

The second half started with the Supremes hit "Stop in the Name of Love", a song first performed by The Hollies in the 80s, then straight on to one of their own songs, "Jennifer Eccles".  After this the new audience participating version of "Just One Look" and then the Ian Parker walk-about version of "We're Through" when he ventured out into the audience playing his accordion,  entertaining everyone on the way.  The bets were on whether he would make it back on stage in time for his brilliant keyboard solo.  This night he made it - just!  He does like "living on the edge"

“What goes around, comes around” is Tony's phrase for introducing the next song - "Bus Stop", livened up with the addition of Ian's accordion.  Allan Clarke gave his usual explanation of Buddy Holly being on stage before doing "Peggy Sue Got Married".  This was followed by three more Buddy Holly tunes, "Maybe Baby", "Peggy Sue" and "Rave On", given more depth with the addition of Ray's bass harmony.  The only fault with Buddy Holly songs is they are too short.

The acoustic spot was ended with the now familiar version of "Look Through Any Window" with fabulous guitar work from Tony and Alan before going straight on to the hand clapping "Carrie Ann".  Alan Coates and Tony Hicks then changed sides and instruments for the energetic (shortened version) of Stop Stop Stop.

At the second attempt (after a shaky start by Tony on the guitar) we had the spine tingling "Air That I Breath".  This brought the audience to their feet shouting for more.  The group all took a bow and then Bob went back to the drums and we had the fabulous "He Ain't Heavy, He's My Brother".

After more rapturous applause the fans moved to the front of the stalls to dance through the rock ‘n’ roll spot.

"Great Balls of Fire" and "Lets Dance" were performed energetically before we went into the closing song, "Long Cool Woman in a Black Dress".

The audience showed their appreciation for the individual members of the group as they all performed their solo spots in this song.  Despite the viruses floating round on stage, all the songs were performed brilliantly and we came away with a feeling of having had a fabulous time and counting the hours to the next show.  There was no better place to be on Saturday than the Lewisham Theatre.

Wendy Holt & Wendy Shepherd

The Cressett, Peterborough       23rd October 1997,  By Helen and Tom Quinn

The audience, packed tightly into this compact venue, warmed through the first few numbers with hits like "Here I Go Again", "I Cant Let Go", "Sandy" and "Dragging My Heels".

Then followed the acoustics in which Allan Clarke sang "If I Were The Priest", a Bruce Springsteen number (although not previously recorded by him), and which remains obscure in meaning.  This stilled the audience again, but their response to "Helplessly Hoping"(minus Ray with a sore throat) and Alan Coates' beautiful rendition of "Butterfly" got them going again.

The three numbers before the break generated even more life with "I'm Alive" , "Carousel" and a rousing rendition of "When I'm Dead And Gone".

The second half began with more hits, some with more unusual arrangements, but this salvo lit the audience, and their enjoyment increased to the end.  The usual mix of hits and acoustics were present, but "Peggy Sue Got Married" with Buddy Holly, set the tone for a much more vibrant Rock and Roll performance.  Ian Parker at one point even roamed amongst the audience playing his accordion.

The finale of "Lets Dance" and "Long Cool Woman", had the Holliettes dancing at the front of the stage and certainly made it a worthwhile and enjoyable evening for both band and audience alike.  The Hollies seemed renewed and energised by their performance and somehow they looked younger this time in Peterborough.

Helen and Tom Quinn

Theatre Royal, Bath       Sunday 19 October 1997,  By Dee Greenaway

This was my seventh show of the 1997 UK Tour.  After seeing The Hollies at Hayes, Bournemouth, Southport, Manchester and Derby, this was my first ever trip to the Royal Theatre in Bath.

The theatre was a very old and quaint theatre and it wasn't just the stalls that were crammed. The whole place was packed with people both seated and standing and the atmosphere was very special.

The audience welcomed the Band with open arms as it had been over 30 years since they last played in Bath.  The crowd had waited for all that time to see them again and they let it show.
They were up and dancing in the dress and upper circles right from the opening song, Stay.

After Here I Go Again and Yes I Will, Allan took to the mike and welcomed everyone.  The roar was deafening.

Allan mentioned that it had been 3 decades since they last appeared here and made a joke with the crowd about how crammed in they were.  There was lots of fun and chat over the acoustic section but Allan performed " ..The Priest" brilliantly before "Helplessly Hoping" and then the haunting "Butterfly" sung by Alan Coates on centre mike.

The beauty of old theatres like the Royal is that the acoustics and the lighting are always great. The sound was excellent and the light show really comes into its own.  I always prefer 'proper' theatres to sports halls and large arenas because the whole atmosphere is so much better.

The first half was all too soon over with Coatsie on banjo and Tony on mandolin for "When I'm Dead and Gone".

After a drink in the bar and a talk with all of the regulars, it was back to the show for the second half which opened with an old favourite from a few years ago, "Stop In The Name Of Love".
More hits followed with one of the best being "Bus Stop" done in the original style.

"We're Through", one of my all time favourite 'live' songs was brilliant and saw Ian Parker going for a walk around the stalls as he played the accordion. His timing was impeccable as he made back to his keyboards just in time for his solo, phew!

Next came the tribute to Buddy Holly songs, "Peggy Sue Got Married", "Maybe Baby", "Peggy Sue" and "Rave On" with Ray Stiles on base harmonies enhancing the sound quite brilliantly. Perhaps we might get a rendition of "Tiger Feet" one day if we are lucky.!!

The dynamic "Look Through Any Window" saw the full band come back together for the last quarter of the show.

Tony had a few minutes of playing about with an introduction on the banjo before belting into "Stop Stop Stop" and by now the audience were really 'going for it', singing dancing and clapping their way through the R&R section of "Great Balls Of Fire" and "Lets Dance"

When the intro to "Long Cool Woman" was played the place was  so electric I thought the power was going to blow the roof off.

This new version of "LCW" with it's key change in the middle ended a fabulous nights entertainment.

I know the people of Bath are hoping it won't be another 30 years before The Hollies are back in town again

Dee Greenaway

 
Derby Assembly Rooms       16th October 1997  by Simon Tordof

As far as audiences go, the crowd at the Assembly Rooms in Derby seemed to be a rather reserved lot. Perhaps a combination of the drizzly weather and Derby's nightmarish one-way traffic system didn't help.  The Assembly Rooms is a great venue, but not the easiest of places to find.  Polite hand-clapping was the order of the day here, and it wasn't until the rousing version of "I'm Alive", part way through the first half of the show that the audience appeared to warm up and the occasional cheer could be heard.

This is one of many songs which are included in the repertoire on this tour, and is one of the highlights for me, as is The Hollies' brilliant version of Mc Guinness Flint's "When I'm Dead And Gone". In a departure from the basic running order of recent tours, this song actually closes the first half of the show and sees Tony Hicks on electric mandolin and Alan Coates on banjo, both sharing the lead vocal, whilst Allan Clarke belts out the song on the harmonica.  "When I'm Dead And Gone" has a distinct "feel-good factor", the style of which is along the same lines as -'Running Through The Night" which was done on the last tour.  Unfortunately, the Derby crowd didn't appear to share my enthusiasm judging by their tame reaction, Maybe this particular audience were wanting the Hollies to perform more of their own well known standards, but personally, I enjoy seeing them doing other material.

During one of their "unplugged". acoustic spots, Allan Clarke performed a superb and haunting version of a Bruce Springsteen song entitled "If I Were The Priest".  He stood alone in the spotlight playing acoustic guitar with just the occasional subtle harmonies from Tony and Alan, and for me this was a spell-binding performance. The same can be said for the equally touching "Helplessly Hoping" with Allan, Tony and Alan performing their trade-mark delicate, three-part harmonies on the centre microphone.

Other "new" songs featured in the show included "Stop In The Name Of Love" and an excellent rendition of Graham Nash's "Butterfly" performed by Alan Coates with orchestration by Ian Parker, "Draggin' My Heels", taken from their mid-seventies "Russian Roulette" album, is also featured.  I must admit that this was never one of my favourite albums, nor is this one of my favourite tracks, but having heard them perform the song live a couple of times, it does tend to grow on you, However, this song is one of a number that highlight the undeniable brilliance of Ian Parker on keyboards

The closing flurry of Hollies standards from "Carrie Anne", through  "He Ain't heavy"  to the rocking finale of "Long Cool Woman" really motivated the capacity crowd who applauded each
member of the band who gave the customary 100%, as ever.

Simon Tordoff

Live Review By Martin Hutchinson - North West Vibe

Palace Theatre, Manchester

They prove it year in and year out, and they've been proving it now for thirty five years. The Hollies are the best in the business, and the ecstatic full house didn't need convincing.

Two hours of music, and what great music it was! Twenty nine songs, one of which - "Peggy Sue Got Married" was, thanks to technology, sung by the guy the group was named after Buddy Holly.

After thirty odd years, playing the same songs must get tedious, but not the Hollies. They change arrangements, the classic "Just One Look" was in a reggae style and most of the others, like "We're Through", "Look Through Any Window", "Stay" and "Here I Go Again" were given renditions that wouldn't seem out of place today and were certainly a far cry from the more basic ‘sixties’ sound.

"The Air 'That I Breathe" (my favourite) and "He Ain't Heavy, He's My Brother" weren't changed however and the audience were as ever, enthralled by the sheer emotion and musical excellence.

I have to say that the second half of the show was better than the first, opening with "Stop In The Name Of Love" and containing a Buddy Holly selection, a couple of rock and roll numbers and TEN Hollies hits.

Allan Clarke, Tony Hicks and Bobby Elliott all performed as well as they have done since the early days. And guitarist/singer Alan Coates can now be classed as a ‘true Hollie’, as can keyboard player Ian Parker and bassist Ray Stiles who is still playing despite being in the process of recovering from a car accident when he broke his leg in 100 places.

For sheer entertainment, and for giving us a warm glow of contentment, the Hollies cannot be beaten, and in my opinion never will be.

Martin Hutchinson - North West Vibe

Manchester Palace       12th October 1997,  By Anne Morral and Barbara Pearce

From the rapturous welcome at the start to the standing ovation at the end, The Palace-Manchester, on Sunday night showed it's appreciation for the kings of all that is best in music - The Hollies.

Allan Clarke, resplendent in black brocade,  was in splendid voice  -  Tony Hicks was proving, yet again, that he is the best axeman in the business, and Bobby Elliott was laying down the backbeat in truly manic style.

The "big three" were ably supported by Alan Coates, who is enjoying his first time on centre mike, performing a stunning rendition of 'Butterfly', (Graham Nash eat your heart out), Ray Stiles on bass and now bass harmonies, and Ian Parker who can be seen going 'walkabout' with an accordion during one or two numbers.

We were treated to all the hits and more, both re-worked and back to basics, fully orchestrated and romantically unplugged highlights are almost too many to mention.

Draggin My Heels; When I'm Dead And Gone with Tony on lead vocals;  Just One Look (complete with audience participation); I Can't Let Go and We're Through (Impossible to sit still through either of these meaty, beaty numbers); The Springsteen song  If I Were The Priest (Allan proving a hit with both vocals and the guitar);  A Buddy Holly set and of course all of the classic songs we have come to expect at a Hollies concert.

The stage chat was on form too - name dropping the likes of Big D Irwin, George Formby and even Spike Jones and his City Slickers!  There was also time for Allan Clarke to give us an impression of Mud dancing around the stage.  He coined a new name for those of us who follow The Hollies around, ''HOLLIETTES'.

Overall presentation was good, the quality and depth of sound has been improved by adding Ray on vocals and giving Ian free range on keyboards, and The Hollies themselves  seemed to be happy to be there.

Those of us who go to more than one show know what a difference this can make.

Comments were favourable during and after the show - "Brilliant" said one lady in the interval.  A man was heard to exclaim that he was going on stage in the second half because his wife had deafened him with her screaming.  But the best comment came after the show when, during a conversation between two men, one of them was heard to say "That guitarist, the one on the right, he's improved since last time" !!

Even from those who go every night it seemed like The Hollies were 'cooking with gas' and proving to fans old and new, just why they are still there after thirty four years and we'll leave the last word to Allan Clarke who said, through the thunderous applause, "This must be Manchester" !

Ann and Barbara,  Birmingham (ish)

Southport Theatre         Saturday, 11th October 1997  By Yvonne Larkins

Work commitment meant that there had been a frantic 2-train journey to Southport, resulting in my arrival at the hotel for 7.10pm – just enough time to collect my sister who’d had a lazy afternoon in the hotel.  The theatre is situated right on the sea-front and excitement increased as we walked past the flashing lights of the amusements.  That sea-side thrill was in full flow.  The theatre has a curious seating arrangement, the front row consists of two seats, either side of the centre section and pointing at 45 degree angles to the high stage!  “Stay” was greeted with a warm applause and so was “Here I Go Again”, but it was not until “Yes I Will” that the audience had warmed up and began to really show their appreciation.  Tony was soon to let us know where he would have preferred to be this night, as he commented ‘Southport and The Hollies manager are not interested in football or we wouldn’t be here’.  His attention was noticeably away in Italy where England were playing their vital World Cup qualifier.  But Clarkey had no reservations and with full commitment he belted out “I Can’t Let Go”.

Justifiably Allan Clarke introduced Ian Parker as ‘quite brilliant’, but held back from being over critical of Ian’s dress colour scheme of green and orange when he remembered Ian’s parents were in the audience.  Ian’s brilliance was shown on the early 80s rocker “Draggin My Heels”, at times the keyboards gave a ‘Phantom of the opera’ feel to the song.  The audience may not have responded positively when Allan asked ‘who likes Bruce Springsteen?’ but Allan’s rendition of “If I Were The Priest” brought an awe of silence then rapturous applause.  It may be an obscure song but the audience appreciated it for the way Allan Clarke put a sense of feeling into it.  After “Helplessly Hoping” came the beautiful “Butterfly”, and as had occurred at all concerts this tour, the song was applauded with great appreciation.  “I’m Alive” was followed by “On A Carousel”, but all the hand clapping could not drown out the squeaking of the seats we were sitting in – if only we’d thought of taking an oil can with us!  The first half was rounded off with “When I’m Dead And Gone” – more vocal solos by Tony please!

A change of seats in the second half, to ones right in front of Tony, but we had to twist ourselves in the seats so we could actually look at him.  “Stop in the Name Of Love” was The Hollies opening number, which was quickly followed by “Jennifer Eccles” – this got the audience clapping again.  The slow 80s version of “Just One Look” came next.  Allan Clarke may have scorned doing a summer season in Weymouth in 1964, but for us it was a season well spent as it produced the fun loving “We’re Through”, and my first chance to see Ian Parker do one of his ‘walkabouts’.  This also provided Tony with the opportunity to come up with an apt name for our Ian as the ‘amazing splendido on accordion’.

Part and parcel of a Hollies concert is the banter between Allan and Tony, this part I always look forward to and Southport’s topic was Tony’s stage suit.  Allan, unsure of the cut of Tony’s suit asked if it was finished, Tony replied ‘it’s the style, I’ve been wearing it for 5 years, you must have noticed it before’.  Alan, not to miss an opportunity to get one over on Tony told the audience ‘I told you he wouldn’t buy any new stage suits’.  In response Tony promptly told the audience about his new suit with a waistcoat, sounding very proud of it, until Allan came in with the quip ‘yes, but he takes off the jacket for the 2nd half and puts on a waistcoat, to make it look as though he’s bought 2 suits, and he thinks he’s fooling everyone!’  Tony admits he’s cheap and it’s quickly on to “Bus Stop”.  The Buddy Holly numbers follow, but after “Peggy Sue” Tony starts the guitar intro to “Rave On”, but Allan has other ideas.  Quietly Clarkey begins singing another 50s song, Tony says he doesn’t know it.  Undeterred Allan continues and Tony struggles to pick up the tune, and in the end Allan lets Tony off the hook!  We did laugh, but to be honest, we didn’t know the song either.  This impromptu deviation from the song running order was a welcome inclusion, more please!  Finally they got round to the Ray-orientated “Rave On”.

Back to The Hollies hits with “Look Through Any Window”, the middle guitars curiously reminiscent of the Grand Prix TV theme tune by Fleetwood Mac.  After “Carrie Anne” we were treated to the long banjo intro to “Stop, Stop, Stop”.  Tony could do no other though, after the loud shouts of ‘long’ had come from the first 3 rows!  After this Tony played the unmistakable intro to “The Air That I Breathe”, the applause continued for “He Ain’t Heavy”.  We stood to applaud and dashed to the front of the high stage.  It was a slight hindrance to us ‘shorties’, but we had a great view of Tony’s shoes!  All crowded round, the stage was set for some rock ‘n roll and we were not to be disappointed.  With the classic “Great Balls Of Fire” and “Let’s Dance” they brought out Clarkey’s vitality on stage which belied his 50 plus years.  “Long Cool Woman” had to come with its accompanying finale, hands clapping to the final individual pieces, acting as a countdown to the end of another fantastic show.  But Tony had one last act to play as the group were leaving the stage.  Our football mad Tony dashed over to the Crew eager for the match result – The thumbs up and big smile on Tony’s face said it all, England were through!  We all left the theatre happy.

Yvonne Larkins

York Barbican Centre       Friday 10th October, 1997  By Alison Larkins

When the dates for the Autumn/Winter 1997 tour came out I had hoped this venue would be included.  Past shows at the Barbican had all been enjoyable and eventful affairs so I’d eagerly looked forward to much of the same – I was not to be disappointed.  The Barbican theatre, though new in look, is small and cosy with a welcoming atmosphere, unlike its intimidating big brother up the road, the Harrogate Conference Centre.  This always has a relaxing effect on the audience and The Hollies alike.

After starting the show with the usual “Stay”, “Here I Go Again” and “Yes I Will” it was Tony who obliged with the opening chat as he relayed a tale concerning the day’s exploits.  Apparently the boys had visited the nearby Railway Museum – cue some train banter between Tony and Bobby.  Then it was on to the driving “I Can’t Let Go”, a definite highlight and a welcome return to the set (and an excuse for Tony to introduce a ‘number one hit’).   Allan introduced the next song “Sandy”.

Schoolboy humour was never far from the fold so when Allan noticed a couple taking their seats late he announced that the first half was about to finish!  But of course it wasn’t, instead the show moved on to the superb “Draggin’ My Heels” with the very talented Ian Parker at the helm.  Every night Ian plays it slightly different, tonight it had a more bluesy feel to it.

The first half acoustic set brought mixed feelings.  I’ve grown to love “The Priest”,  but I’ve tired of “Helplessly Hoping”.  Tonight’s rendition was , thankfully, still sung around the central microphone.  I suppose this song still retains a novelty value, Tony said as much when he proclaimed it a ‘good photo opportunity’.  For me its values in the close harmonies.

Wrapping up the acoustic set was Alan Coates with the hauntingly beautiful “Butterfly”.  Tony may have called it a ‘nice little interlude’ but it’s been the highlight of every show for me this tour.  But tonight it very nearly didn’t happen!  When Tony finished his introductions and turned round to leave the stage, he found the keyboard position vacant.  In a flash he took up the position himself, whilst Allan came back onto the stage and explained that Ian’s absence was due to his laid back nature, or was it the Kalibur he’d been drinking?  At which point the wanderer returned.  The audience loved Coatsie’s solo and the final note was greeted with rapturous applause. Then it was back to the up tempo stuff which had the audience happily clapping along – “I’m Alive”, “On A Carousel” and “When I’m Dead And Gone” which wound up an enjoyable first half.

The audience was generous with their applause, whistles and screams when The Hollies came back on stage for the start of the second half.  “Stop In The Name Of Love”, “Jennifer Eccles” and “Just One Look” kept their enthusiasm going.

Time for ‘Mohawk’ to shine again (as Allan affectionately called Ian) with his solo on “We’re Through”, but not before another Hollies anecdote.  This time Allan reminisced with Tony about a summer season in Weymouth with Big Dee Irwin – cue a burst of ‘Swinging On A Star’!

Tony chose the start of the second half acoustic set to tell the audience the reason for Allan’s ‘deaf aids’.  He explained that they were better than the big speakers ‘as they look very silly when he had them strapped to his ears’!  Once the laughter had died down there was surprisingly still time to fit in all three Buddy Holy acoustic songs – “Maybe Baby”, “Peggy Sue” and “Rave On”, Ray deservedly stealing the limelight with his bass vocal contributions.  The final countdown came all too soon, “Look Through Any Window” was followed by “Carrie Anne” and then “Stop, Stop, Stop”.  Disappointingly no long banjo intro this time but instead a promise from Tony to wear his shorts tomorrow.  This was followed by excellent performances of “The Air That I Breathe” and “He Ain’t Heavy”.

Allan, who had earlier proclaimed himself to be ‘a rock ‘n roller’ at heart, let rip with two classics – “Great Balls Of Fire” and “Let’s Dance” and our own Hollies “Long Cool Woman”.  These had many in the audience up and dancing at the foot of the stage and in the aisles.  Tony rounded off a perfect evening with a longer and wilder than usual guitar solo which had everyone at the front of the stage mesmerised.

Tony had the last word on the proceedings.  I’d like to think that he felt some affinity with the warm appreciative York crowd, but in reality I expect it was just a dig at Rod Shields for arranging concerts on England’s World Cup qualifying weekend, when he decided to share with us a dream he’d had.  In his dream Tony said he’d seen the following result – Italy 0  England 2, it got one of the biggest cheers of the night.

Allison Larkins

Sunderland  Empire Theatre      9th October 1997  By Yvonne Larkins

The first northern concert of the Hollies ’97 tour, and true to form it was raining, but inside the Sunderland Empire, there was only an enjoyable evening to be had.  Allan Clarke graced us with his fashion statement for the tour, his black floral trousers, while Tony wore a familiar mottled grey suit!  Cheers greeted The Hollies as they made their entrance onto the stage, and the applause continued to the pulsating beat of “Stay” and “Here I Go Again”.  A personal favourite of mine this tour, “I Can’t Let Go” followed, to the delight of the audience, I swear I felt the old Empire rock!

Never a serious Bruce Springsteen fan, I find little to say about “Sandy”, but for Allan Clarke’s rendition of Springsteen’s “If I Were The Priest”, all I can give is praise.  It brings a new dimension to The Hollies stage act.  As Allan vocally sings his admiration to one of his favourite songwriters, his appreciation for Springsteen can be felt.

When introducing “Helplessly Hoping”, Tony stated that ‘when joining my friends on the centre microphone this means that we get completely in each others way, but it’s cosy’, we loved it, hindered or not, it still sounded harmony perfect, together the timing is just that more precise.  Coatsie’s turn to shine, with his beautiful version of “Butterfly”.  The stage is prepared with Allan, Tony & Bobby vacating the stage and leaving it to Alan Coates.  The spotlight is on him, very emotional and typically the silence continues in the theatre until the last note, then an explosion of applause.

The hand clapping “I’m Alive” followed, taking us back to the beat era of the 60s, with Allan Clarke’s voice still as full as ever, but with a Tony guitar solo that brings the song and us right back to the 90s, more please!  Out of breath we applaud, more clapping to come as Allan encourages the fans to join in for the classic “On A Carousel”.  To end a relaxed first half by The Hollies was “When I’m Dead And Gone”, Tony and Coatsie take the lead, giving Allan the chance to show off his harmonica prowess, and Ian Parker the opportunity to have a wander over to Ray’s platform to have a singalong with The Hollies bass player.  The first half of the show finished on a high.

An anthem of the 60s, “Stop In The Name Of Love” is The Hollies opening song for the second half.  The next song, a slow tempo, a familiar tune, but what is it?  They had us guessing there for a moment – “Just One Look”.  The crowd sang along, fooled into doing the “oh, oh”, which produced a chuckle from Tony.  He was no doubt remembering the bet which was going on amongst the band members on who will be the first to accidentally jump in with a “oh, oh” and totally embarrass himself! So far it’s the crowd who are losing the bet.  Allan introduced Ian Parker to the audience as looking like a porcupine!  Well deserved applause was given to his mastery on keyboards in “We’re Through” – he had us boogying in our seats.

Back to the original style “Bus Stop” with accordion (nice touch).  Allan veered to the edge of the stage and Tony moved to save him, but no worries, Allan had it all under control.  He reminisced about fans in the 60s and how the group staged it so that the fans could pull them off the stage.  Today though, it exists only as a dream in many a front row fans mind!

The now familiar Buddy Holly section followed. Firstly “Peggy Sue Got Married”, then the acoustic set of “Maybe Baby”, “Peggy Sue” and “Rave On”.  Tony takes the opportunity to give the lime-light to Ray Stiles, who with his vocals has brought a rounder sound to The Hollies harmonies.  The guitar classic “Look Through Any Window” followed.  As introduced by Tony the ‘sexy rhythm’ of “Carrie Anne” was next.  A bit more showmanship has been brought to “Stop, Stop, Stop” with Alan Coates and Tony swapping sides for Tony to play banjo and Coatsie to play mandolin.

The tone is lowered for the classic Hollies love song “The Air That I Breathe”, which was followed by “He Ain’t Heavy”.  The small theatre’s acoustics sent Allan’s vocals and harmonica bouncing off the walls and producing an emotional echo effect.  From Tony’s shout ‘We’re going now’ the audience pleaded for more, Clarkey shouted ‘No’, but the glint in his eyes gave it away – a few seconds of silence then into the explosive “Great Ball Of Fire” and then “Let’s Dance” – classic rock ‘n roll numbers.  The audience lapped it up.  The first three notes of “Long Cool Woman” say it all, another great concert was coming to an end, but one more chance to stamp our feet and clap our hands to the unmistakable Hollies rock ‘n roll beat.

It may have been raining as we left the theatre, but nothing could dampen our spirits after such an uplifting show.  Thanks lads for a wonderful evening.

Yvonne Larkins

 
Bournemouth International Centre       4th October 1997,  By Helen Morley  (Haywood)

After more than ten years of watching The Hollies in concert I still cannot find fault with them.  They started their concert, to an audience of around 2000 people, with a few of their most popular hits such as Stay, Here I Go Again, Yes I Will and I Can’t Let Go.  After thunderous applause they went into a song written by Bruce Springsteen, Sandy.  I think they do this a lot better than Bruce himself.  The next song, which I first heard about ten years ago, brought back memories of the days when Denis Haines was the keyboard player.  Draggin’ My Heels is the ‘B’ side of Soldiers Song and it sounds better than ever. 

The acoustic section was next and another familiar song from a few years back was first - If I Were The Priest, which is from an Allan Clarke solo album.  Helplessly Hoping followed, I'm so glad they have kept this one from the last tour, the harmonies are brilliant.  The acoustic section finished with a surprise for me (and a lot of the audience too) - an Alan Coates solo rendition of Butterfly, from the album of the same name.  It was fabulous and showed what a lovely voice he has.

The rest of the band came back to sing I'm Alive and On A Carousel, both firm favourites.  The first half ended with When I'm Dead And Gone - a hit for McGuinness Flint in 1970.  Tony played mandolin and Alan Coates played banjo and the first half ended to great applause.

The second half opened with Stop In The Name Of Love - another song I've not heard for some time.  Jennifer Eccles followed along with a slower version of Just One Look.  Then they sang a song which has been left out of their repertoire for too long, We're Through.  It was brilliant!  They led up to the second half acoustics with Bus Stop and Peggy Sue Got Married.

They continued the Buddy Holly theme in the acoustics, singing Maybe Baby, Peggy Sue and finishing with Rave On - a song my mum has always said she'd like to hear them sing.

The rest of the band came back during the updated version of Look Through Any Window and the show went into the familiar lead up to the finish with Carrie Anne, Stop Stop Stop, Air That I Breathe and a fantastic rendition of He Ain't Heavy.  They received rapturous applause from the very appreciative audience and launched into the Rock and Roll finale.  Loads of fans came to the front to dance to Great Balls Of Fire, Let's Dance and Long Cool Woman. This show was the first one that my fiancé, Richard, had been to and he came away full of praise and now appreciates why I think The Hollies are so good. Roll on Derby.  

Helen Morley (Haywood)

 
Beck Theatre       2nd October 1997,   By  Sue Kelly and Norah Adshead
 
 The second concert began with "Stay", "Here I Go Again" and "Yes I Will".  All were very warmly received.  The audience were obviously going to be very vocal again.

Tony welcomed everyone to The Beck.  He warned that there were a lot of new songs on this tour and said that, whereas they had all concentrated very hard on the 1st night, they might be more relaxed tonight and things were more likely to go wrong.  This was not a problem for the more die hard fans for whom a little spontaneity is all part of the fun.  This was followed by a brilliant rendition of "I Can't Let Go".

"Sandy" was different to the previous night reverting back to the version played on the last tour, with Coatsie and Tony on acoustic guitars.

"Draggin' My Heels" was terrific with each member of the group giving 100% effort.

Next came a song which was 'accidentally' omitted from the previous nights show.
Alan Coates placed the strap of his acoustic guitar around Allan Clarke's neck and then joined Tony at his microphone, stage right.  We were then treated to a performance of Allan Clarke singing "If I Were The Priest", accompanying himself on guitar, with Tony and Alan providing backing vocals.  This lovely track is taken from Allan's solo album, "Allan Clarke".

It was followed by the enthralling "Helplessly Hoping". Then Coatsie once again took centre stage for the haunting "Butterfly".  He does sing this beautifully.

The rest of the lads returned during Ian's intro to "I'm Alive" before "On A Carousel" led the way to the final song of the first half.  "When I'm Dead And Gone" was good last night, tonight it was stupendous.

"Stop In The Name Of Love" opened the second half, quickly followed by "Jennifer Eccles" and "Just One Look."  The new arrangement of this one includes some fantastic bass playing by Ray Stiles.

The undoubted star of "We're Through" was Ian Parker, who provided rhythm and melody in equal measures as his fingers zipped up and down the keyboards.

A very nice version of "Bus Stop", played in the original style - although with the interesting addition of Ian on the accordion - was next.

The Buddy Holly section followed with "Peggy Sue Got Married", "Maybe Baby", "Peggy Sue" and the marvellous "Rave On".

They then returned to their own material with "Look Through Any Window".  This seems to be better than ever' with Tony's fingers almost moving faster than the eye can see.

A slightly different "Carrie-Anne" led quickly into "Stop Stop Stop" to which the audience clapped along with throughout.  Having moved to Coatsies side of the stage to play banjo, Tony then had to dash back to his own side to play the opening notes of "The Air That I Breathe".

We couldn't believe we were nearing the end of our second concert but, as last night,, the show finished with "He Ain't Heavy", "Little Queenie", "Money" and "Long Cool Woman".   Magic!

The audience gave them a well deserved standing ovation.

Roll on Paignton! Sue Kelly and Norah Adshead.   

Set List  

 
Beck Theatre       1st October 1997,  By Norah Adshead and Sue Kelly

WELL DONE BOYS!

We were promised plenty of surprises on this the first night of the Autumn tour and we weren't disappointed.  From the moment we saw the new tour nook, this was an evening of surprises and innovations.

The show began with "Stay", "Here I Go Again" and "Yes I Will" before Tony started to hint at what was to come.  He didn't seem totally convinced that it was such a good idea after all to make so many changes at once, but he needn't have worried.  The extremely appreciative audience got behind them right away.

On of the favourites was "Draggin' My Heels" which Allan mentioned that had not done since Denis Haines left.  He gave Ian Parker a tremendous build up and didn't let them down.

We were glad that "Helplessly Hoping" had been kept in the set although "Purple Rain" and "Soldiers Song" had both gone.

A fantastic new departure from the norm was Alan Coates taking centre stage with a brilliant performance of "Butterfly" with the superb lighting effects adding to the atmosphere.

The first half ended with the welcome return of "When I'm Dead and Gone"  Fantastic!!

After a short break the second half opened with the welcome return of the vibrant "Stop In The Name Of Love".  It was nice to here this one again.

Ian Parker and his accordion featured significantly in the second half including a new arrangement of "We're Through" which saw Allan on Harmonica.

The acoustic section was one of the undoubted highlights of the show.  We were treated to a trio of Buddy holly songs - "Maybe Baby" , "Peggy Sue" and a superb version of "Rave On".  Ray Styles was the star on backing vocals.  It was brilliant.

"Carrie Anne", "Stop Stop Stop" were still in although the latter was changed and featured Tony and Alan Coates swapping side of the stage with Alan playing the mandolin.

"The Air That I Breathe" was at its magnificent best with Allan on top form all evening and demonstrating so in this lovely song.

The Rock n Roll numbers were "Little Queenie" and "Money", great, and the inevitable "Long Cool Woman".

Overall it was a fantastic night. Not knowing what was to come next made it all the more enjoyable and exciting.

Here's to tomorrow night.

Sue and Norah

Set List