Hollies – Carrie Anne

I have a soft spot for the Hollies. They started in the early sixties and continued through the seventies without Graham Nash who quit the Hollies for what he thought was a hipper band…Crosby, Stills, and Nash. Soon to include the elusive Neil Young.

Hollies members Allan Clarke, Tony Hicks, and Graham Nash wrote this song and shared the lead vocals, with each taking a verse (Clarke, then Hicks, then Nash). The Hollies had great harmonies and also a secret weapon in Tony Hicks as a guitar player. He was and still is outstanding but was never as known as his later neighbor George Harrison and his other peers.

Tony’s son Paul Hicks was in Dhani Harrison’s band and has worked with Giles Martin on Beatle remastering projects.

This song is about the British singer and actress Marianne Faithfull, who is well known for her relationship with Mick Jagger. She also had a brief fling with lead singer Alan Clarke. For a short time. “Marianne” was changed to “Carrie-Anne” so it wouldn’t be so obvious.

The song peaked at #9 in the Billboard 100, #9 in Canada, #3 in the UK, and #2 in New Zealand in 1967. This song was a straight-ahead pop hit, but changes were coming. Sgt Peppers was released so The Hollies, with the urging of Nash, tried going the more psychedelic route. The next single was King Midas In Reverse which only peaked at #18 in the UK and was considered a failure. Personally…it’s my favorite early Hollies song.

A side note…The Canadian actress Carrie-Anne Moss, best known for playing Trinity in The Matrix, was named after this Hollies hit. The song was on the charts at the time of her birth in August 1967.

From Songfacts

The group didn’t let on that the song was about Faithfull until 1995, when Graham Nash spilled the beans in a documentary.

In the song, the singer recalls the schoolyard days when he and Carrie Anne were friends, but she went for the older boys. Now their older and he tells her that although she’s lost her charm, he’s willing to “be her teacher” and take her on. By the end of the lesson, he’s sure she’ll be his girl.

According to the book Forty Years of Steel by Jeffrey Thomas, this song marks the first use of steel drums in a commercial pop record. Steel drums evoke an island vibe, but there’s nothing tropical about this song and none of The Hollies played the instrument (it’s not clear who played it on the record, but their producer, Ron Richards, apparently arranged it). Still, inserting a steel drum solo where a guitar solo would be certainly made the song stand out. Stephen Stills, Nash’s bandmate in Crosby, Stills & Nash, incorporated steel drums into his 1970 hit “Love The One You’re With.”

The Hollies had a very impressive run of hits starting in 1963, but Graham Nash wanted to put hit-making aside so they could create songs with more weight behind them. He ended up leaving the group in 1968 and forming Crosby, Stills & Nash. In an interview with Bruce Pollock, Nash said listeners “want to hear songs that mean more to them than ‘Hey Carrie Ann, what’s your game.'”

Carrie Anne

Hey, Carrie Anne
Hey, Carrie Anne
When we were at school, our games were simple
I played a janitor, you played a monitor
Then you played with older boys and prefects
What’s the attraction in what they’re doing

Hey, Carrie Anne, what’s your game now
Can anybody play
Hey, Carrie Anne, what’s your game now
Can anybody play

You were always something special to me
quite independent, never caring
You lost your charm as you were aging
Where is your magic disappearing

Hey, Carrie Anne, what’s your game now
Can anybody play
Hey, Carrie Anne, what’s your game now
Can anybody play

You’re so, so like a woman to me
(So like a woman to me)
So, so like a woman to me
(Like a woman to me)

Hey, Carrie Anne, what’s your game now
Can anybody play
Hey, Carrie Anne, what’s your game now
Can anybody play

People live and learn but you’re still learning
You use my mind and I’ll be your teacher
When the lesson’s over, you’ll be with me
Then I’ll hear the other people saying

Hey, Carrie Anne, what’s your game now
Can anybody play
Hey, Carrie Anne, what’s your game now
Can anybody play

Carrie Anne, Carrie Anne, Carrie Anne

Hollies – King Midas In Reverse

Graham Nash wanted to change the direction of the Hollies and write songs that were more in vogue around this time instead of the simple pop songs they were writing. The song only made it to #18 in the UK charts and it was considered a failure compared to their earlier releases although it was praised by the critics. I think it is inventive and fits in really well with the times.

Nash wrote it after he got back from America on a tour. This was not the rest of the band’s favorite song by any means and they wrote a simple…very simple pop song to follow this song called Jennifer Eccles that of course went to #7 in the UK charts which a disheartened Nash hated and he left for greener pastures with Crosby, Stills, Nash, and Young. I can’t blame him for not liking Jennifer Eccles…it was a weak song.

The song only made it to #51 in the Billboard 100 in 1967. Maybe the change of direction didn’t sit too well with the public. It’s one of my favorites by the Hollies.

Graham said:  “My world was turning to sh*t at that point. I was on top of the world, we had 16 or 17 top ten hits, but I was feeling shitty. We made a great record of that song but it only got into the top 30, and the Hollies were always expecting their songs to go into the top 10. So they started to not trust me and not record my songs, ‘’Marrakesh Express’’ being one of them. So I wasn’t feeling that great about my life. It was all turning to sh*t, it wasn’t turning to gold, it was turning to rust.”

Personally, I like the song better than Marrakesh Express.

https://www.youtube.com/watch?v=jfaCrT2Sy6w

King Midas In Reverse

If you could only see me.
And know exactly were I am.
You wouldn’t want to be me,
Oh I can assure you of that.

I’m not the guy to run with,
Cause I’ll pull you off the line.
I’ll break you and destroy you
Give time.

He’s King Midas with a curse.
He’s king Midas in Reverse.
He’s King Midas with a curse.
He’s King Midas in Reverse.

It’s plain to see it’s hopeless,
Goin’ on the way we are.
So even though I loose you,
You’ll be better off by far.

He’s not the man to hold your trust, 
Everything he touches turns to dust in his hands.
Nothing he can do is right, he’d even like to sleep at night, but he can’t.

All he touches turns to dust
All he touches turns to dust
All he touches turns to dust
All he touches turns to dust

I wish someone would find me,
And help me gain control.
Before I loose my reason,
And my soul
He’s King Midas with a curse.
He’s King Midas in reverse.
He’s King Midas with a curse.
He’s king Midas in Reverse.
He’s King Midas with a curse
(all he touches turns to dust)
He’s Kind Midas in Reverse.
(all he touches turns to dust)
He’s King Midas with a curse,
(all he touches turns to dust)
He’s King Midas in Reverse