Many British Invasion bands enjoyed a brief heyday in the U.S. charts in the 1960s before dropping off considerably. The Hollies bucked that trend as they not only withstood the decade switch, but even scored some of their biggest hits in the ’70s.
This was a resilient band that survived lineup turmoil and changing musical trends. Here are the five Hollies’ songs that did the best in the U.S. charts.
“Stop, Stop, Stop” (No. 7 in 1966)
This is a propulsive, entertaining track with lyrics that are a bit odd. The narrator is transfixed by a girl dancing in the center of the scene—maybe too transfixed, as it turns out. By the end of the song, he seems to be causing quite a stir and wrecking the place, all because he’s trying to get close to her. He ends up getting bounced, before explaining that it happens every week. That’s all a bit secondary to the wildly entertaining rhythms created by Tony Hicks’ banjo, which is ladled with effects to make it the perfect accompaniment to the crazy dancing going on in the song.
“He Ain’t Heavy, He’s My Brother” (No. 7 in 1969)
As the ’60s drew to a close, many of the top acts started to release songs that were somewhat more reflective and somber in nature, perhaps sensing that some of the idealism of the previous few years hadn’t really led to lasting changes. We heard it from The Beatles, the Stones, and many others. The Hollies certainly did their part with “He Ain’t Heavy, He’s My Brother.” Fun fact: Elton John played piano on the session. The band didn’t write this one (Bobby Scott and Bob Russell did), but their massive harmonies in the chorus provided the grandeur it needed.
“The Air that I Breathe” (No. 6 in 1974)
Even though they weren’t writing hits with the same success as they did in the ’60s, The Hollies still found their way to the airwaves often in the ’70s thanks to their excellent interpretive skills. The Hollies’ last big incursion into the U.S. charts came with a song that was originally written by Albert Hammond and Mike Hazlewood and first performed by Hammond in 1972. Hollies lead singer Allan Clarke had a knack for putting across big, sweeping melodies such as this one. Radiohead was listening, as Thom Yorke later admitted using the bridge melody from this song in “Creep.”
“Bus Stop” (No. 5 in 1966)
Graham Gouldman is one of the underrated names in British pop music history. Many know him as a member of 10cc. But before that, he was a reliable writer of pop hits for some of the biggest names among British bands. Herman’s Hermits and The Yardbirds benefited from his songwriting pen, and The Hollies recorded several of his songs. “Bus Stop,” the band’s first big U.S. hit, displays Gouldman’s ability to compose a compelling little drama in just a few short strokes, as the titular setting hosts a budding romance from shy beginnings to its happy ending.
“Long Cool Woman in a Black Dress” (No. 2 in 1972)
More than many of their British peers, The Hollies had a knack for changing their musical identities from song to song. Their biggest hit hardly sounded like any of their past successes (or the ones to come, for that matter). Their trademark harmonies are absent, Allan Clarke’s voice is near unrecognizable as he takes on what sounds like an American Southern accent, and the arrangement is pure country rock. Nonetheless, “Long Cool Woman in a Black Dress,” which Clarke co-wrote with Roger Cook and Roger Greenaway, clearly struck a nerve.
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