7 Inch Singles Collection: The Shadows - Love Deluxe

Stepping back into the shadows...

THE SHADOWS

A-Side: Love Deluxe

B-Side: Sweet Saturday Night

(EMI 1978)

Here we find the Shadows in 1978 in something of a limbo position, three years earlier they'd been on the relative high of representing the UK in the Eurovision Song Contest. (You can read that sentence with as much or as little irony as you like), they'd also recently had a number one album in the shape of "20 Golden Greats" - a best of package. So you'd maybe expect them to have some kind of public profile - but no their last few singles had failed to get anywhere near the charts. It looked like all that was left was the greatest hits circuits - this was to change, but not with this record, but the one after (which is another story for another time). This record is quite possibly The Shadows single that has been least heard, and least heard of. Neither tracks were from albums and neither make it to compilations very often.

It's easy to see why Love Deluxe is not a great song. It's a vocal track - The Shadows have always been a fine adequate vocal group - but it's not the vocals that are the problem. Bruce sings well, although he doesn't seem to be doing much guitar playing, and neither does Hank. That's part of the problem - if you're listening to The Shadows you kind of expect thto hear Hank Marvin's distinctive guitar playing - there are guitars present here, but there way down in the mix, and it could be anyone playing them. As a song it's a keyboard heavy piece of uptempo pop, bouncy enough but not particularly memorable. Just to add insult to injury there are some light disco woven throughout the record, particularly nasty are the synth drums that pop in and out of the song. I'm not dissing disco, but it needs to be performed by seasoned disco professionals not shoehorned into a light piece of AOR. Love Deluxe is not the worst vocal track that The Shadows have recorded, (for my money that honour goes to The Bandit off their second album), it is however probably their worst single*.

It's a relief to flip this record over and discover Sweet Saturday Night nestling there. It's not that it's brilliant, but it's more of what I expect. There's no singing, and the guitar noises coming out are unmistakably Hank B. Marvin. Sweet Saturday Night has a soft funky groove, there's still a hint of trying to surf the disco zeitgeist, but it's a bit more restrained. Little synth twinkles actually accent, rather than distract from the tune. It's rather mellow with a yearning quality to it. Where most pop/rock songs break out into a guitar solo about 2/3 of the way through this has a little percussion solo - long enough to engage and short enough not to bore before Hank effortless glides back in with a couple of smooth riffs and then settles back into the main groove before the song fades away. It's not great but it is pleasant enough to make up for the a-side.

There you go then, a horrible record from my favourite band - these things happen, but it should be all uphill with every other Shadows record from now on**.

*There's one other that we'll come across that is a strong contender for this title.
**See above footnote.

Next time some early 90's indie psychedelia...

7 Inch Singles Collection: The Shadows - Guitar Tango

Shall we tango?:

THE SHADOWS

A-side: Guitar Tango

B-Side: What A Lovely Tune

(Columbia 1962)


It comes as no surprise to me that The Shadows are the first band to have a second entry into the blog. It should came as no surprise to you either, if you've been paying attention. You may recall that when I reviewed Wonderful Land, that I mentioned that The Shadows spent some time showing that they weren't just a twangy Surf/Western style group, and were capable of much else, this record is probably the epitome of that attempt to showcase their different styles.

Guitar Tango is, let's be honest about this, not really a tango. I'm sure someone could attempt a Tango to it on Strictly Come Dancing/Dancing With The Stars, but musically - it's not really. The name is there much more as a handy hook to let the record buying public know that this record has a Spanish feel - it's all on acoustic guitars, with almost mariachi bits of brass and string punctuating the melody which Hank plucks out flamenco style. It's soft and gentle, with occasional sweeping figures - something pleasing and different from the norm.

If we're looking at different from the norm then What A Lovely Tune probably takes the biscuit. It's a deliberate attempt at comedy - many Shadows fans look at it as a bit of a throw-away number tucked in on a b-side, but I must admit to having something of a fondness for it. It starts with a gentle and quiet somewhat muted melody, the reason for the mutedness becomes clear as a narration starts over the top of the melody. I believe it's Brain, the drummer, doing the voice-over (please correct me if you know it's not). It's a first person narration, done in proper R.P. Our hero is apparently at some kind of formal dance, situation, awaiting his date for the night. When she turns up there's a pleasant greeting, and sitting down noises. (we only ever get to here Brian's voice on this so we have to guess what the young lady is saying or doing). He pours tea and asks if she has sugar, there is the sound tea being poured and sugar being added, then Brian apologises - he's obviously added the sugar without waiting for her reply. There's the nervous awkward silences and pauses, they go and dance (badly) for a bit, and then in desperation he takes her out on the balcony for a bit of "fresh air". He obviously thinks he's in with a chance, because he must either try to steal a kiss or hold her hand or something, but she's not having any of it, and in the end he decides that they might as well go and dance again. It finishes with him commenting on the music which has been playing the background all the time. "I say what a lovely tune. I wonder who wrote it?" (actually, you did, Brian - I looked at the credits on the label!) It's daft and endearing and does capture some of those first date discomforts charmingly. So whilst I wouldn't listen to it often, when I do it always brings a smile to my face. (I don't normally add a YouTube link for B-side but I couldn't resist for this one)

Not the best Shadows record ever, but certainly one of the most interesting ones. 

Next time epic pop of the best kind from the tail-end of the 1970's

7 inch single collection: The Shadows - Wonderful Land

It's my favourite band:

THE SHADOWS

A-side: Wonderful Land
B-Side: Stars Fell On Stockton
(Columbia  1962)

So this'll be the first of may posts featuring the Shadows as I've got more singles by them than by any other artist. they're the first band that I ever got into, so I feel a kind of brand loyalty to them. I'm just glad that this first single to come up is one of the good ones, so I don't have to start on my heroes by trashing one their records.

Wonderful Land was a number one for several weeks in 1962 - I think it even knocked Cliff off the top spot. It's a big sweeping record. Hanks guitar cries out proudly and strong - the name and he melody evokes the sound of standing on mountain top, on wild moorland or in forests in the summertime giving a sense of appreciation of all that surrounds us. The extra pizazz of genius on this record is supplied by Norrie Paramour, the producer, it was his suggestion that the horns and strings were added, not unheard of in rock music at the time, but still  uncommon. If you've heard the version recorded before the orchestral parts were added it does sound naked, and not sexy naked, but stark and bare. that added strings provide that filigree of lingerie for added tantalisation, (and I'm stopping there before that metaphor gets too carried away.)

Whilst Wonderful Land does epic and majestic Stars Fell On Stockton is much more more whimsical, suggesting more of rummage through a village hall jumble sale, than the proud vistas of Wonderful Land. Whistling in rock music has been much maligned, and so when The Shadows whistle the main riff of Stars Fell On Stockton it's a surprising treat (or a moment of odd tweeness depending on your point of view). Adding to the eccentricity of this track is the percussion - much of which is played on a wooden clip-cloppy sounding thing (I think that's the technical name). The apparent quaintness of the track does much to disguise the rapid and deft musicianship that runs throughout this piece.  That the two tracks are so different and yet so enjoyable in their own right is proof enough that The Shadows didn't just produce a load of stuff that sounded more or less the same.

Talking of not sounding the same for those of you who may be interested the name of this blog is taken from a Shadows single, however in a cruel stroke of irony it's one of the few of their singles that I don't have on vinyl - so I won't be featured later on! So as a bit of a bonus click here for The Rise And Fall Of Flingel Bunt

Next time A Little Night Music...