The Hollies

Lyrics Hold on The Hollies

 920

Hold on


(Clarke)
Standing on a corner
Nothing on my mind
When walked past a woman
She looked my kind

I said a hey there woman
What you got to do
She took one look at me and said baby
I'd like to be with you

Hold on

Wait a minute woman
I ain't the kind to phase
And I ain't that kind of woman, baby
So she says

She led me to a dwellin'
Just along the street
The best part of town baby
We gotta be discreet

Hold on (Hold on)

Break

Got to the apartment
Number six sixteen
My, what a place it was
Best I've ever seen

She headed to the bedroom
Came upon the door
Wait a minute, darling
While I slip into something cool

I was getting excited
One thing on mind
When she rushed out of the bedroom
Said You'd better hide

She slowed me my movements
He caught me by the door
What was left on me, baby
Was landing on the floor

Hold On

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Biografia

Named not, as is popularly thought, after Buddy Holly, but after the Christmas 1962 holly decorating the house of founding member Graham Nash (later to find even greater fame with Crosby, Stills, and Young) the Hollies were nothing if not adaptable. The grinning beat pop and "pap-pap-she-waddy-wops" of "Stay" through to the folky overtures of "I've Got a Way of My Own" (like an estrogen-free version of the Mamas and the Papas) were obviously marvelous and yet entirely generic responses to the overriding cultural dominance of the Beatles and Bob Dylan (the latter of whose songs the band devoted an entire album to in 1968, Hollies Sing Dylan, precipitating Graham Nash's departure). But much the same thing can be said for the majority of their peers. Still, the 1960s were a golden age for the Hollies, and to hear the Graham Gouldman-penned "Bus Stop", "Carrie Anne" (part Kinks, part Beach Boys, part calypso) or the sweet-shop bubblegum of "Jennifer Eccles" is to be reacquainted with a sunny lost world of short skirts, Mini Coopers, and policemen on bicycles. Even the kneejerk cod-psychedelia of "King Midas in Reverse"--a full-on trumpets-blaring, cello-charging microcosm of Revolver and Sgt. Pepper-isms--deserves revisionist plaudits. The Hollies experienced a bit of a renaissance in the early '70s, with tracks like "He Ain't Heavy, He's My Brother," the CCR-esque "Long Cool Woman in a Black Dress," and "The Air That I Breathe," and beat Manfred Mann to the Springsteen-covering punch with their version of "Sandy," but have largely been strangers to the charts since. Yet the group soldiers on, though with the departure of Allan Clarke in 2000, there are no remaining founding members (Tony Hicks and Bobby Elliott have, however, both been Hollies since 1963).

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