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Twang! A Tribute To Hank Marvin & The Shadows - Various Artists

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Twang! A Tribute To Hank Marvin & The Shadows (1996) - Various Artists

    Featuring »

Randy (Randolph Charles) Bachman, Béla Fleck And The Flecktones, Ritchie Blackmore, Stewart Copeland, Spike (Lips O'Gonaghen) Edney, Béla Fleck, Peter Frampton, Peter Green, Peter Green, Tony (Anthony) Iommi, Keith Urban & Stewart Copeland, Mark Knopfler, Hank Brian Marvin, Brian May, Neil Murray, Neil Young And Randy Bachman, Peter Green Splinter Group, Cozy Powell (Colin Flooks), Steve Stevens, Andy (Andrew James) Summers, Keith Urban, Keith Urban, Nigel (J.) Watson, Victor Wooten, Roy (Future Man) Wooten, Neil (Percival) Young (Joe Yankee)

    Tracklisting »

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  Date Performance: 1996, Running Time: 3:14
  Comments: Performed by Ritchie Blackmore. Recorded at Creative Sound, Long Island, NY
  Date Performance: 1996, Running Time: 3:13
  Comments: Performed by Brian May
Wonderful Land
  Date Performance: 1996, Running Time: 4:43
  Comments: Performed by Tony Iommi. Recorded at Monnow Valley. Mixed at Maison Rouge.
The Savage
  Date Performance: 1996, Running Time: 5:05
  Comments: Performed by Steve Stevens. Recorded at The Studio at the Sunset Marquis Hotel and Villas West Hollywood, California. Special thanks to Jed Leiber and John Edwards.
The Rise And Fall Of Flingel Bunt
  Date Performance: 1995-12-15, Running Time: 4:17
  Comments: Performed by Hank Marvin (appears courtesy of PolyGram TV a division of PolyGram Record Operations Ltd.). Recorded live at Birmingham Symphony Hall, England. Mixed at Planet Studios, Perth, West Australia.
  Date Performance: 1996-07-00, Running Time: 2:42
  Comments: Billed on CD back cover as performed by Peter Green. Billed inside CD booklet as performed by Peter Green & Splinter Group. Jet Martin Celmins' Peter Green biography lists Spike Edney for keyboards on this track, while the CD liner notes list Geraldine Warner.
Spring Is Nearly Here
  Date Performance: 1996, Running Time: 4:32
  Comments: Performed by Neil Young And Randy Bachman (Neil Young appears courtesy of Reprise Records. Randy Bachman appears courtesy of True North-Legend Records). Recorded and Mixed at Plywood Analog Studios, Broken Arrow Ranch, Redwood City, California. This recording uses HOCD(R) and High Definiton Compatible (R) which are registered trademarks of Pacific Microsonics, Inc. Patent No. 5,479,168.
  Date Performance: 1996, Running Time: 3:09
  Comments: Performed by Mark Knopfler (appears courtesy of Mercury Records Ltd. (for the world excluding USA) and Warner Bros Records (for the USA only)). Recorded at Emerald Sound Studios, Nashville.
The Frightened City
  Date Performance: 1996, Running Time: 4:08
  Comments: Performed by Peter Frampton. Recorded at Adrian Belew's home studio, Mount Juliet, TN. Mixed at Image Recording, Hollywood, California. Adrian Belew appears courtesy of Passenger/Caroline Records.
Dance On
  Date Performance: 1996, Running Time: 2:54
  Comments: Billed on CD back cover as performed by Keith Urban & Stewart Copeland. Billed inside CD booklet as performed by Keith Urban. Recorded and mixed at the Journey Room, Malibu, California.
  Date Performance: 1996, Running Time: 3:50
  Comments: Performed by Andy Summers (appears courtesy of C.M.P. Records). Recorded at Ocean Studios, Burbank, California. Mixed at Media Complex, W. Los Angeles, California.
The Stranger
  Date Performance: 1996, Running Time: 3:47
  Comments: Performed by Bela Fleck And The Flecktones (appear courtesy of Warner Bros. Records Inc.). Recorded and mixed at Sound Emporium, Nashville.
    Guest Appearances »

Don Airey, Talmage Bachman, Adrian Belew, Warren Bennett, Richard Bennett, Bev Bevan, Greg(g) Bissonett(e), Mike Brignardello, Michael Cartellone, Richard Cochrane, Stewart Copeland, Chad Cromwell, Spike (Lips O'Gonaghen) Edney, Paul Franklin, Gordon Giltrap, Mark Griffiths, Ben Marvin, Peter May, Neil Murray, Steve Nathan, Candice Night, Rick Parfitt, Rupert Parker, Dave (David W.) Pomeroy, Cozy Powell (Colin Flooks), Pat Regan, Francis (Dominic Michael) Rossi, Armand Sabal-Leeco, Geraldine Warner, Nigel (J.) Watson, Jerry Watts(, Jr.)

    Released »


    Format »

Domestic Vinyl/CD Album

    Other Appearances »
Ray(mond) Adams (Songwriter), Brian Laurence Bennett (Songwriter), Brian Laurence Bennett (Songwriter), Bill Crompton (Songwriter), Peter Gormley (Songwriter), Stan Jones (Songwriter), Jerry (Jeremiah Patrick) Lordan (Songwriter), Hank Brian Marvin (Songwriter), Hank Brian Marvin (Songwriter), Valerie Murtagh (Songwriter), Elaine Murtagh (Songwriter), Claus Ogerman (Songwriter), Norrie Paramor (Songwriter), John Henry Rostill (Songwriter), John Henry Rostill (Songwriter), Bruce Welch (Songwriter), Bruce Welch (Songwriter), Abrahams Pants (Sleeve Design), Paul Cox (Photography), Stuart Taylor (Executive Producer), Miles Copeland (Album Concept), Pete(r) (Dennis Blandford) Townshend (Liner Notes), Chuck Ainlay (Produced By), Béla Fleck And The Flecktones (Produced By), Stewart Copeland (Produced By), Stewart Copeland (Produced By), Béla Fleck (Produced By), Béla Fleck (Produced By), Peter Frampton (Produced By), Mark Knopfler (Produced By), Hank Brian Marvin (Produced By), Brian May (Produced By), Cozy Powell (Colin Flooks) (Produced By), Cozy Powell (Colin Flooks) (Produced By), Pat Regan (Produced By), Steve Stevens (Produced By), Andy (Andrew James) Summers (Produced By), David Tickle (Produced By), Kit Woolven (Produced By), Roy (Future Man) Wooten (Produced By), Roy (Future Man) Wooten (Produced By), Victor Wooten (Produced By), Victor Wooten (Produced By), Noah Evens (Engineered By), Eddie King (Engineered By), Graham Lewis (Engineered By), Colin Norfield (Engineered By), Brian Richards (Engineered By), Justin Shirley(-)Smith (Engineered By), Dave Sinko (Engineered By), David Tickle (Engineered By), Kit Woolven (Engineered By), Justin Shirley(-)Smith (Co-Produced By), Greg Archilla (Recorded By), Greg Archilla (Mixed By), Hank Brian Marvin (Mixed By), David Tickle (Mixed By), Les Williams (Mixed By), Hank Brian Marvin (Arranged By), Brian May (Arranged By), Steve Stevens (Arranged By), John Hausemann (Recording Assisted By), John Hausemann (Mixing Assisted By), Pete Malandrone (Engineering Assisted By), Tim Summerhayes (Sound Engineer), Steve Tannett (A&R Co-Ordination (UK)), Stevo Glendinning (A&R Co-Ordination (USA)), Pete Malandrone (Co-Production Assisted By)

    Record Label »
Pangaea Records

    Catalogue Number »

72438 33928 2 7

    Running Time »


    Liner Notes »

For the first years of the swinging 60s, the unique sound of The Shadows held sway over the airways, a hit factory that was responsible for such inimitable instrumental hits as "FBI", "Kon Tiki", "The Savage", "Wonderful Land", "Dance On", "Foot Tapper", singles which effortlessly recall an era. The Shadows dominated the hit parade, clocking up more weeks on the charts than The Rolling Stones, The Beegees, The Who... The most successful British group of all time apart from The Beatles. As a testament to The Shadows influence, one of the earlier Beatle compositions and the only John Lennon/George Harrison collaboration was an instrumental entitled "Cry For A Shadow".

A generation grew up admiring the look and sound of The Shadows - Eric Clapton, Pete Townshend, Queen's Brian May and Roger Taylor and Dire Straits' Mark Knopfler, are only some of the home grown superstars who have testified to The Shadows influence. While in Toronto, a teenage Neil Young was to later admit that hearing Hank Marvin's guitar was his first formative musical experience.

The history of The Shadows is also the history of British pop. While Punk sent the walls of the rock establishment crumbling during 1977, the album which held the No 1 slot for six weeks during those turbulent 12 months was The Shadows 20 Golden Greats!

Hank Marvin and Bruce Welch had come down to London in 1958 when Skiffle was the thing. Along with Bassist Jet Harris and drummer Tony Meehan, they fell in behind a teenage singer called Cliff Richard who was causing quite a storm! First as "The Drifters", then from 1959 on as The Shadows, they backed Cliff on all his biggest hits, as well as furthering their own extraordinary career.

Drummer Brian Bennett joined the group in October 1961 and since then Hank, Bruce and Brian have "danced on" together for over 30 years. It was that distinctive Shadows sound that encapsulated the time, a fact which the makers of the film Scandal recognised when they used The Shadows' Apache on the film's soundtrack. Similarly Phil Collins, who testified to Brian Bennett's inspiration to him as a drummer, ensured that room was found for The Shadows' Atlantis on the soundtrack of his film Buster.

They were the first British rock group to make any real impact - a whole generation swung their tennis rackets in unison practising "The Shadows Step" - before thousands of bedroom mirrors; admirers of The Shadows coveted Jet Harris' unique Framus Bass and Hank Marvin's distinctive red Fender Stratocaster. For years, The Shadows simply were British pop.

On this album some of the greatest musicians in the world pay homage to the music that for most was the defining experience which led to them first picking up the guitar. Above all this collection shows the genune love and affection which all the contributors feel for The Shadows and their music.


"I remember an evening in 1959/60. I was slightly wet, walking home in the rain from a rehearsal with the Confederates. The band was led by Pete Wilson, an acne plagued boy, tall and highly strung, not a great talent at guitar but charming and energetic, we rehearsed at his home in East Acton every week. I was carrying my guitar, and maybe an amplifier - the walk was about four miles and I would usually be tired by this time. On this occasion I was ebullient and inspired. In my head, for the whole walk, rang the sound of a song I had heard on the radio for a few weeks, which Pete Wilson had played at the practice - it was Apache by The Shadows. At that time, on that evening, I had no idea what the title was, or even very much about the band that had recorded it. A strange fact, because for years I had been playing rhythm guitar in Pete Wilson's band, and Pete Wilson was Hank Marvin's greatest living fan. His dream was to own a Fender Stratocaster, a pink one, like Hank's and to front a group playing Shadows material. It was a narrow brief, but it was music and I enjoyed playing with him especally as my friend John Entwistle was on bass. The song I heard seemed to embody everything that was prerequisite in a pop song. The fact that I could actually remember every single note of the melody, the shape and the haunting quality of the song after a few listens speaks volumes for its perfection in that medium. But what was keeping me so high on my toes, on this long, damp, walk home, was the sound that rung in my head. The Shadows version of Apache had such a perfect sound.

As I arrived home, to a room without a record player at that time, me and my guitar started to face the future with a new feeling. I felt incredibly young even at fifteen; immature I probably was but I mean young at heart. The Shadows' existence elevated me, intimidated me, but somehow being able to hear their sound in my head so completely made me feel that I could aspire to create music of my own and to move on. Three or four years later, again with Pete Wilson's help, I did create my own music when we recorced my first song "It Was You", at Barry Gray's home studio. Barry was a friend of Pete's father. We went to help Pete to live out his fantasy of sounding like Hank on record. By this time he had his beloved Stratocaster, the most important detail about them being not the sound or the shape, but the fact that the screws in the scratchplate were American type Philips screws. These screws are common in Europe now but in the early 60's they were an American trademark, a mystery, a wonder. Absurd? Of couse not. So many young musicians dream about owning a particular musical instrument or article of clothing sported by their heroes, today it is spikey hairdos and a computer synthesiser, then it was a Fender guitar with cross head screws.

I know my story must be roughly the same as dozens of other musicians who took up the guitar post-skiffle in the late 50's. Some of them might have seen The Shadows play live, even met them, I am glad I didn't. The Shadows will always be a living myth to me - a legend - even though I can now prop up the bar with anyone of them - talk music, family, religion. They are frozen in my mind as one of the greatest passions of my life, one I have not after 30 years come close to outliving."

Copyright, Pete Townshend/Eel Pie Publishing Ltd. April 1983

Sleeve design: Abrahams Pants, London

Look out for these others great releases from Pangaea:
Tribute To The Ventures Twang! Volume 2

For further information please write to:

Pangaea Records UK
c/o Bugle House
21A Noel Street

or USA

Pangaea Records
3520 Hayden Avenue
Culver City, CA 90232

This compilation (P) & (C) 1996

Manufactured by Ark 21 Records

All rights reserved.

Unauthorized duplication is a violation of applicable laws.

Compact Disc Digital Audio

    Reviews »
Add your review here.

All instrumental approach predicted but helps overall
Review written by John Fitzgerald, June 22nd, 2005

Peter Green's "Midnight" is a "Sleepwalk" type stroll with a pretty tone used by Peter, it's moving swirling stirrings. Ritchie Blackmore's "Apache" is a galloping pounder which gets more lightweight as it goes along, Brian May's "FBI" starts as "Pop goes the weasel" type bounce but then turns to squealing shuffle. Tony Iommi's "Wonderful land" starts as murky growlings but then turns to pleasant tonings. Steve Stevens' "The savage" is an acoustic guitar and castanets Spanish flavored clapper. We get straight ahead pep from the man himself, Hank Marvin who gives us his "The rise and fall of Flingel Bunt" which, with it's live atmosphere makes him sound more rocking than normal here. Neil Young & Randy Bachman's "Spring is nearly here" is a screechy teen heart melter of a stroll, Mark Knopfler's "Atlantis" is a strumming picker which seems faster after the last few slow ones on the CD. Things start to fall apart about here as the hard rocking drive of Peter Frampton's "The frightened city" ruins the essence of the original, Keith Urban & Stewart Copeland's "Dance on" is an odd mix of reggae back beat and lean lead guitar licks. Speaking of Police men, Andy Summers' "Stingray" is a growly hopper that just doesn't work and Bela Fleck & The Flecktones "The stranger" is a fairly nice banjo led jazz/new ager but while hearing it, you feel like your watching The Weather Channel. The predictably instrumental theme on this album is the main ingredient that holds it all together and makes it worthwhile in the end though overall.

    Last Modified »
    Tracklisting »
Discography entry submitted by Anders Linnartsson & Jeff Kenney.