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Hi, everyone. I seem to recall seeing a thread (with no replies at the time) a few weeks ago that asked from where did the Shadows get John Rostill. I don't see the thread any more so, if you don't mind, I wanted to ask that same question. I did see Arpeggio mention that Bruce and Hank thought John physically resembled Don Everly, but I was wondering if there is a story about whose idea was it to audition John. Similarly, the story for his predecessor seems to be that Brian Bennett suggested that Licorice come to Bruce's house to audition, as they were bandmates in the Krew Kats et al. How about John Rostill -- did any particular member of The Shadows suggest John? Did John submit his application on his own? Did Licorice recommend him? Etc.

On my own, I can only find that John had been in a group with Zoot Money, though that band changed names and line-ups several times. If it's this iteration of Zoot Money (below), that looks like it might be John in the very back, leaning to the right. If so, it's a wonder that Alan Hawkshaw didn't claim John for his own, because this song has the Hammond Organ sound for which Alan was known. Alan might have still been with Emile Ford at the time, I suppose.

There's so much that I don't know about John Rostill that I wish I did. Thanks a lot.

Kind regards,
Donna

PS: I looked up John Rostill in Wikipedia. They have a piece of information about him, which I think is wrong. If any of you contribute to Wikipedia and want to submit a correction (if, in fact, the information is wrong), here is the link: http://en.wikipedia.org/wiki/John_Rostill The info that I think is wrong is this: "As a Shadow, Rostill played a prototype Burns "Shadows" bass guitar which differed from the production model that followed. A replica of his bass was produced by Burns London in late 2006. His personal favourite instrument was a Fender Precision bass, which he played in both the Terry Young Band and in Bournemouth band, the Interns. He also used it with the Shadows towards the end when the Burns instrument began to wear out." It should say Fender Jazz bass, right?

Bruce, in his autobiography, says they first noticed John Rostill when they played a Sunday concert engagement at the Queen's Theatre in Blackpool. John was with the Terry Young Six.

When Licorice decided to leave they originally tried to recruit John Paul Jones. However, they subsequently decided he didn't fit the image of The Shadows but they remembered John, smart and an excellent bass player, who was now with The Interns in Bournemouth.

He jumped at the chance and drove up to the London Palladium the next morning

"Can you play Dance On in A?" they asked him. He could - and that was it.

Ray

At the time in question (the last quarter of 1963), The Shadows were already facing having to replace Bruce Welch, whose plan to leave for stress-related health reasons (guitar-tuning was mentioned at the time) was announced in the late summer during the group's Blackpool summer season. Bruce's own account(s) of that engagement (whether read in the Mike Read book or in Bruce's own autobiog) confirm that he fully intended to leave the Shadows as soon as a good replacement could be found. Whether that would have meant a complete severance with the business is doubtful. Bruce did say that he wanted to continue to work with the group's management company and it is possible that he would have continued his Shadows Music songwriting and perhaps even taken part in recording, Brian Wilson-style.

An NME article of that season had Hank reported as saying that the group were seeking an excellent rhythm guitarist who didn't just "bash away behind the lead player and ride on the drummer" and that the successful candidate would also have to be good at "single-string" (ie, lead) playing. One can safely assume they were also looking for a good group-vocalist who would additionally be able to contribute to the outfit's song-writing.

That Bruce was leaving was even encapsulated in the sleeve-note of a Shadows EP released that autumn. But Licorice's decision was not mentioned. Even if it had been made and shared with the group, it wasn't reported to the public.

It was slightly later than this that the group announced that Licorice wanted to leave as well. Not just "leave", but "leave as well". At that stage, the Shadows were looking for a guitarist and a bass-player and I don't recall any public mention of Licorice's intended departure until after John had been chosen. Both announcements - Licorice leaving / John arriving - were made effectively simultaneously. That Bruce had still fully intended to be replaced as a performing member of the group is conformed by all later reports of how his decision to leave was rescinded: it was only the arrival of John Rostill - and his guitar-tuning skills and unflappable self-confidence with those skills - which allowed Bruce to change his mind. So the search for a bass-player - especially with "Wonderful Life" coming up - was urgent. A quick decision, in favour of a player in whom Hank, Bruce and Brian could have immediate confidence, was of the essence.

Thank you, Ray and Jim, for sharing this valuable information. It means a lot to me...it helps me to get to know John Rostill, even if just a tiny little bit. I realise now that I have a lot more to thank John Rostill for than I thought. I was already a fan of his bass playing and song writing, but this insight into his effect on Bruce means everything. Every member of the Shads was important, but Bruce has always been a visionary and leader of sorts...if wouldn't have been the same if he were off-stage. John clearly made a big difference in the way that played out.

Jim, you have quite a way with words. Your account of what happened made me feel like I was there. Thank you.

Kind regards,
Donna

The three Shads have all said that John was the best bassist they ever had. I'm inclined to agree with that.

As Jim mentioned, Hank and Bruce did indeed see John (as part of the Terry Young group) at Blackpool Queen's Theatre...but they had come across him previously on other package tours. The Don Everly 'factor' was partly relevant...but it was naturally his superb bass playing which impressed them. John was actually working part - time as a deck chair attendant on Bournemouth beach when David Bryce was despatched to find him. The next day he was auditioning for the Shadows at the London Palladium. As well as "Dance On!" - John was asked to play 4 or 5 other numbers. Hank & Bruce also discovered that John had a fine singing voice. A little bit of Trivia for Donna. Concerned that he should look very smart.,.John was concerned about his footwear. To that end, he borrowed a brand new pair of Chelsea boots from his band mate Kevin Drake. John would later recall that they pinched terribly as they were a size too small!!

Bests......Rob

Marilyn 13.2.65 (from Rob's Funny Old World John Henry Rostill supplement paper)
hmr

From Pop Weekly (14th December 1963) after the event, and not even a mention of the new boy's name, but expressing the view they should keep the sound basic.


Bill

Arpeggio wrote:...A little bit of Trivia for Donna. Concerned that he should look very smart.,.John was concerned about his footwear. To that end, he borrowed a brand new pair of Chelsea boots from his band mate Kevin Drake. John would later recall that they pinched terribly as they were a size too small!!

Bests......Rob

Thank you, Rob. What an interesting story...plus it answers a question in my mind about why did The Shads name one of their songs "Chelsea Boot".

I particularly enjoy this video, despite the obvious miming, because of John's brash-looking bass playing. Lots of wrist movement. I guess by this point in time, John was all too familiar with the sense of humour that was part of being a Shadow. I wonder, in the very beginning, if it seemed strange to observe some of their zany jokes, the dance steps, etc. Bruce and Hank could exchange on-stage banter just as well as Morecambe and Wise. Buy by "Jigsaw", John would have been an Old Pro.



This other video has not much to do with this conversation, but I found it cute because Brian Bennett seemed to be having such a good time. So often, he was in the back section of the stage, up on a riser all by himself. This time, everything is so tightly packed, they're all together and they're talking and laughing during the song. One advantage to not having any live microphones nearby!

I read that when the Shads first noticed John, he was indeed playing in the Terry Young Five. By the time the bass vacancy came up, he had moved on to Interns, a group who wore surgeon’s outfits on stage and carted their gear around in an old ambulance that John had bought with the £100 his parents had given him for his twenty-first birthday. And that's when he auditioned.