Why does it surprise me that there are more Hollies “Greatest Hits,” “Best of,” and “Anthology” CD’s than there are original albums available. Unfortunately, the Hollies are remembered as “Hit Makers,” and the remainder of their material is cast aside as mediocre. I say bologna: Distant Light is as much an “album” as Rubber Soul or Revolver, with a central theme and a continuity of atmosphere. The Hollies strong suit are luscious multi-part vocal harmonies (a la the Everly Brothers), and irrepressible melodies that Paul McCartney would kill for. Like the Mormon Tabernacle Choir, the vocal harmonies sore to high heaven (To Do With Love, Promised Land), and the melodies are unforgettable (Promised Land). My favorite member is lead singer Alan Clarke. This guy belts out a song like his next meal depends upon it (Little Thing Like Love). The rocker ‘Long Cool Woman In A Black Dress’ is atypical of Distant Light: the overall aura is polished folk-rock: symphonic, mysterious (Look What We’ve Got) and majestic. ‘You Know The Score’ is a mesmerizing composition: a three-part suite with an elegant a Capella sandwiched in the middle. Using abit of production trickery, the vocals sound as thought they are miles away from the recording microphones. Hidden among the spirited hook-laden pop is an anti-war message (You Know The Score). Pretty clever for a Pop album. On a positive note, the original Distant Light captures the Hollies at a creative point in their journey from “Hit Makers” to album band. One negative point is the CD’s length. Originally crafted for the vinyl LP format, Distant Light weighs in at a scant forty-one minutes; but the album seems longer. Why let a record company decide which material is “best” or “greatest.” Get the original and decide for yourself. I believe that you’ll be pleasantly surprised.

(Submitted by a reviewer in Baltimore, MD, USA)

The Hollies continued to tread water as the early '70s progressed. Distant Light offered nothing particularly new or unexpected, but the harmonies and songwriting remained at a high enough standard to refute any accusations of decline. Too pop for the album-oriented audience, and not light and frothy enough for the pop market, it would have been totally overlooked if not for the surprise success of the Creedence Clearwater Revival soundalike "Long Cool Woman in a Black Dress." Released in the States almost as an afterthought, it became (deservedly) their biggest American hit, reaching number two. It success inspired the return of Allan Clarke to the fold, after he had left the group to briefly pursue a solo career.

(by Richie Unterberger, All Music Guide)