Why aren't the Shadows cool?

[Uncle Fiesta]

I seem to remember reading somewhere, that in the early 60's Cliff was idolised by the girls of course, but the lads considered him cool ONLY because of his association with the Shadows.

For me, the Shadows ceased to be cool when they gave up playing originals to concentrate on covers.

[GoldenStreet]

I also seem to recall reading that the ambition of, particularly, Brian Bennett in the early days, far from being a 'star', was to become a good enough player to be able to earn a regular living and, in the process, gain the respect of his fellow musicians in achieving that goal. 55 years on, as mainly a Shadow during that time, I would say, through his skill and versatility, he has more than accomplished that ambition... how 'cool' is that?

Bill

[iefje]

I have always regarded the Shadows as the most professional and versatile of all the 60s 'pop' groups. In all of it, they did what we should all do, they were just themselves. If being themselves meant NOT smashing up hotel rooms, snorting drugs, falling out of night clubs in a state of alcoholic oblivion or driving expensive cars into swimming pools then so be it.

You are probably referring to The Who. As it happens, I am a very big fan of them as well, mostly the original line-up with Keith Moon and John Entwistle.

But back on topic, the fact that the demand to see The Shadows' on their last two tours (without Cliff in 2004 and 2005 and with Cliff in 2009 and 2010) was so immense that they had to add extra dates, more than 45 and 50 years after they started in the music business, simply illustrates how cool they are.

[noelford]

Why on Earth does anyone want the Shadows to be 'cool'.

Can you imagine what it would be like if they were? They'd be flavour of the month for a while and then, as is the way with 'cool' things, be cast aside to make way for the next 'cool' thing to come along.

'You don't need 'cool' when you're timeless.

[MeBHank]

Some of you saw the Shadows in the very early days, when Tony was still their drummer and Jet was still Vitapointe blond. You saw and experienced the raw energy, the mohair suits and the Meazzi tones. Lucky buggers. The Shadows then were the epitome of cool. I was never able to see them when they were known as "hip", talented kids. Hank was bouncy, geeky and fun, but still cool. But, as far as I can tell, after some point in 1962 they were never quite so cool again. As soon as Hank proclaimed "Oh, I feel so cool!" sporting what is possibly the most uncool haircut I have ever seen, they lost a certain amount of credibility. I suppose no-one would have guessed that years later his more mature version of cool would prompt thousands of people to dub him "The Master". Please allow me to wax lyrical about the coolest vision I ever saw:

It is 40 years since the Shadows last wore shiny mohair. I am 15. I have a ticket for the best seat I've ever had for a Hank Marvin concert: just four rows from the front. I have already familiarised myself with the tour brochure. It is full of vivid photos which, over the next few weeks, will become forever burned into my brain as had those of its last four predecessors. I am in the auditorium, looking nowhere but the stage; an immaculately tidy area which is dominated by new, sleek, black sound equipment, punctuated by splashes of chrome. My eyes are drawn helplessly to the very centre of the stage, to the wondrous sight of what is, at this point, my favourite guitar in the world: Hank's own 40th Anniversary Stratocaster (never daring to entertain the thought that within ten years I would play that very guitar in my own house!). It is lit front and back by sharp, white spotlights. I am devouring every detail about it. The pale amber maple, the gold, the white, that red, all highly polished, contrasting stunningly with the blue stage lighting. The colour balance is perfection itself.

The Strat is swiftly whisked away before both house lights and stage lights fade. We are engulfed in darkness. An old-fashioned drum ominously pounds the first beats of the night. Watch these two clips:





I am so glad that those videos are on YouTube, but they will never communicate the details. In terms of professionalism, sound reproduction and visual perfection, the 2002 tour trumped all others I had seen thus far. The man himself? The crispness of the press of the suit and the snow-white of the silk shirt. The polish of the boots, the glasses and the guitar. The reflection of the spotlight from the Strat darting like a red, white and gold kingfisher amongst the audience and up the walls of the theatre. The man with the proud walk and the warm smile who had full control of the stage, his band and the audience.

I have never seen anything as cool as that, and I never will again.

For pity's sake, people! Don't get me reminiscing, it's dangerous. I almost got carried away there.

[ecca]

Nah, the picture house in Cannock in 1961, Meazzi on the chair, inaudible guitars, what a thrill. My mom sitting next to me and Jimmy Dwyer.
That was the place to be.

[tolo]

Without being too sure of what defines 'cool' - I think we all have our (widely differing) opinions there...enough to render the concept immaterial / undefinable for me... I would rather focus on 'relevance' and 'impact'.

My own contribution in this weighty debate comes from an experience I had only a year and a half ago in a G3 workshop with Steve Vai. Words like ' genius' 'master' 'demi-god' and yes.....even.....'cool' are regularly thrown around when talking about Vai. So - in this room full of open mouthed guitarists wondering if he has sold his soul to the devil (he is quite a brilliant technician by the way) - there comes a time for Q&A. All of these stuttering questions about harmonics, scales, amps, melody......he regularly mentions other American peers like Satriani, Petrucci, Johnson...... and I then pipe up with 'who is your favourite British guitarist Steve'? He answers - 'great question......he thinks for a second. David Gilmour of course!' (which is a great answer). He talks about a generation of great British guitarists for a moment or two - mentions Beck, Clapton, Green. So I ask him if he was aware of Hank Marvin and The Shadows contribution to the legacy of British music over 50 years...

To say that whole crowd burst into laughter would be an understatement.....they all turned in their chairs and looked at me - some guffawing, some shaking their heads, nudge nudge to their mates, looks of complete bewilderment... I almost got up and left in complete shame - looking for the nearest bridge...

One man spoke - Steve Vai. He turned to his Carvin - twiddled a bit - turned back to the audience and played the first few bars of Wonderful Land. Beautifully... violining some notes, mingling chords with melody. . . Haunting.

The audience fell silent. The room hushed.

He said ' of course.....!!! It is where it all started here - where the guitar became beautiful and majestic - he even said that he had occasion to meet Hank once in London. And of course - we all know where Gilmour got his push from...

Now - I am just sayin' ...

[dave robinson]

Without being too sure of what defines 'cool' - I think we all have our (widely differing) opinions there...enough to render the concept immaterial / undefinable for me... I would rather focus on 'relevance' and 'impact'.

My own contribution in this weighty debate comes from an experience I had only a year and a half ago in a G3 workshop with Steve Vai. Words like ' genius' 'master' 'demi-god' and yes.....even.....'cool' are regularly thrown around when talking about Vai. So - in this room full of open mouthed guitarists wondering if he has sold his soul to the devil (he is quite a brilliant technician by the way) - there comes a time for Q&A. All of these stuttering questions about harmonics, scales, amps, melody......he regularly mentions other American peers like Satriani, Petrucci, Johnson...... and I then pipe up with 'who is your favourite British guitarist Steve'? He answers - 'great question......he thinks for a second. David Gilmour of course!' (which is a great answer). He talks about a generation of great British guitarists for a moment or two - mentions Beck, Clapton, Green. So I ask him if he was aware of Hank Marvin and The Shadows contribution to the legacy of British music over 50 years...

To say that whole crowd burst into laughter would be an understatement.....they all turned in their chairs and looked at me - some guffawing, some shaking their heads, nudge nudge to their mates, looks of complete bewilderment... I almost got up and left in complete shame - looking for the nearest bridge...

One man spoke - Steve Vai. He turned to his Carvin - twiddled a bit - turned back to the audience and played the first few bars of Wonderful Land. Beautifully... violining some notes, mingling chords with melody. . . Haunting.

The audience fell silent. The room hushed.

He said ' of course.....!!! It is where it all started here - where the guitar became beautiful and majestic - he even said that he had occasion to meet Hank once in London. And of course - we all know where Gilmour got his push from...

Now - I am just sayin' ...

Priceless Tony! Which sums it up perfectly.

[GoldenStreet]

One man spoke - Steve Vai. He turned to his Carvin - twiddled a bit - turned back to the audience and played the first few bars of Wonderful Land. Beautifully... violining some notes, mingling chords with melody. . . Haunting.

The audience fell silent. The room hushed.

He said ' of course.....!!! It is where it all started here - where the guitar became beautiful and majestic - he even said that he had occasion to meet Hank once in London. And of course - we all know where Gilmour got his push from...

I wonder if any members of the then enlightened audience deigned to reconsider their patronising attitude towards you!

Bill

[Rosemary]

Hi
An Australian newspaper report from February 2010, the time of the Final Tour out here, said something along the lines of "this was the week that Cliff and The Shadows out-rocked AC/DC". I wouldn't know if AC/DC are cool or not but they are popular, though their musical style doesn't appeal to me. Anyway I just thought it was a nice comment and always remembered it.
Best wishes
Rosemary