(Clarke - Hicks - Nash)
See the girl with cymbals on her fingers
Entering through the door
Ruby glistening from her navel
Shimmering around the floor
Bells on feet go ting-a ling-a linging
Going through my head
Sweat is falling just-a like-a tear drops
Running from her head
Now she's dancing, going through the movements
Swaying to and fro
Body moving, bringing back a memory
Thoughts of long ago
Blood is rushing, temperature is rising
Sweating from my brow
Like a snake, her body fascinates me
I can't look away now
Stop, stop, stop all the dancing
Give me time to breathe
Stop, stop, stop all the dancing
Or I'll have to leave
Now she's moving all around the tables
Luring all in sight
But I know that she cannot see me
Hidden by the light
Closer, closer, she is getting nearer
Soon she'll be in reach
As I enter into a spotlight
She stands lost for speech
Stop, stop, stop all the dancing
Give me time to breathe
Stop, stop, stop all the dancing
Or I'll have to leave
Break
Stop, stop, stop all the dancing
Give me time to breathe
Stop, stop, stop all the dancing
Or I'll have to leave
Now I hold her, people are staring
Don't know what to think
And we struggle knocking over tables
Spilling all the drinks
Can't they understand that I want her
Happens every week
Heavy hand upon my collar
Throws me in the street
Stop, stop, stop all the dancing
Give me time to breathe
Stop, stop, stop all the dancing
Or I'll have to leave
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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