The Hollies

Lyrics Long cool woman (in a black dress) The Hollies

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Long cool woman (in a black dress)


Saturday night I was downtown
Working for the FBI
Sitting in a nest of bad men
Whisky bottles piling high

Bootlegging boozer on the west side
Full of people who are doing wrong
Just about to call up the DA man
When I heard this woman singing a song

A pair of 45's made me open my eyes
My temperature started to rise
She was a long cool woman in a black dress
Just a 5'9, beautiful tall
With just one look I was a bad mess
'Cos that long cool woman had it all

I saw her headin' to the table
WITH a tall walking big black cat
Well Charlie said I hope that you're able boy
'COS I'm telling you she knows where it's at
When suddenly we heard the sirens
And everybody started to run
I JUMPED DOWN AND ACROSS THE TABLE
When I heard somebody shooting a gun

Well the DA was pumping my left hand
And then she was a-holding my right
Well I told her don't get scared
'Cos you're gonna be spared
Well I've gotta be forgiven
If I wanna spend my living
With a long cool woman in a black dress
Just a 5'9 beautiful tall
Well, with just one look I was a bad mess
'Cos that long cool woman had it all

Had it all

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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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