Butterfly (1967) by The Hollies

The Facebook review that jump-started this whole bloggy mess . . . but seriously, a beautiful album.

Butterfly was released in the US with some track substitutions as Dear Eloise/King Midas in Reverse. Of the 22 Hollies' studio LP albums I legally own (all but the hard-to-find-German-only Out on the Road), I consider this, their third and final foray into Psychedelia to be among their top 3 albums, and am pleased to feature it as my first album review.

What makes Butterfly so great?

1. Orchestration (woodwinds, strings, brass, etc) is lusher and far more balanced (less jarring) than their preceding 2 albums

2. On seven of eleven tracks, Graham Nash dominates the lead vocals. While Allan Clarke's trademark lead is strong and phenomenal, his voice is much more suited to the catchy pop/rock the Hollies are known for; when it comes to mellow solos, Nash's voice is easier on the ears, especially with the beauties on this record.

3. It holds its own with the psychedelic apex of the other 2 of the 'big 3' British groups; maybe not as strong as The Beatles' Magical Mystery Tour (LP release, not EP), but certainly superior to The Rolling Stones' Their Satanic Majesties Request (TSMR had some fabulous tunes, but trippy acid-pop simply was not the rock n' roll giant's forte). And "Try It" and "Elevated Observations" are as acid-laced, yet accessible, as anything by their contemporaries (Beatles, Byrds, Jefferson Airplane, Moody Blues, etc).

4. Tony Hicks finally has a lead vocal all to himself on the probably-too-cutesy-for- multiple-listens "Pegasus"

5. It's The Hollies! Despite it's uniqueness, it still has their superb 3-part harmonies, clean lyrics, precision drumming by Bobby Elliott, and catchy, energy-laden tunes.

Album Favorites:

Away Away Away: Beautifully orchestrated, cute and bouncy love song. A great example of their best pop from 1967.

Listen to Away Away Away on YouTube

Maker: Exquisitely beautiful; blows other groups' (including the Beatles) sitar-driven raga-influenced tunes out of the mystic water. I love the time-signature/tempo changes from raga to waltz and back again.

Listen to Maker on YouTube

Charlie and Fred: A charming story, strong Hollies harmonies, dramatic crescendo of orchestration (perhaps too bombastic on the final verse), and pristine a cappella closing verse. Somewhat derivative in style of the non-album single "King Midas in Reverse," but less depressing.

Listen to Charlie and Fred on YouTube

Butterfly: Orchestra and Graham Nash vocal only. More of a classical art song; complex and clever orchestration, but a quite simple lullaby-like tune; overall very lovely. Worth several listens. May seem out of place since it has no rock instruments, but that is what makes it special.

Listen to Butterfly on YouTube

Honorable mentions:

• Wishyouawish: yes, it is one long impossible word. A carefree ditty, somewhat along the lines of "Your Mother Should Know" but definitely better, and much more 'frolic-in-the-garden-innocent.' Not quite as good as "Away Away Away."

• Postcard: a nice beach trip (with nature sounds!) of the I-wish-you-could-be-here variety; a solid little song, not too spectacular, but not distracting and only rarely would I hit 'skip.'

• Step Inside: A really catchy and groovy traditional Hollies cut; told from the perspective of one former lover to another "come over anytime, we'll have tea and crumpets by the fireplace, and remember, don't tell your mother I was here, she wouldn't like it....."

• Do the Best You Can: a non-album single from 1968, only listed here because it was a bonus track on the US re-release of the album, and I really, really like it. A strong, upbeat harmonica driven track, it is not actually psychedelic; a definite return to their hook-heavy pop/rock standard. It - with its B-side "Listen to Me" (another really catchy track!) - was the last single released before Graham Nash left the group (see below). Would have been more at home on For Certain Because, except that it is better than any track on that album.

Ending Notes:

Butterfly was Graham Nash's final album with The Hollies, except for a reunion album in 1983. A bosom buddy of lead singer Allan Clarke since early school days, he left to join Crosby and Stills in the United States, for a number of supposed reasons (topics of conjecture and debate):

• He wanted to continue this sort of musical experimentation; Allan wanted to return to straightforward radio-friendly pop/rock

• He was opposed to the Hollies' plans to record a full album of Bob Dylan covers (which was the next album they released; personally I like it, although I can see where the Vegas-showtunes-style arrangement of "Blowin' in the Wind" could be off-putting to most folkies.)

• He fell in love with the LA music scene and wanted to hang out with Crosby and Stills and their friends

The Hollies' next few albums were typical late-Sixties pop-rock (remind me of Monkees' albums), then they turned towards early-Seventies classic rock, and then to pop music trends of the mid-to-late Seventies (Disco, etc). I enjoy every album and have favorites from each period and style. Some of those albums will definitely be on future posts!