MALCOLM CAMPBELL'S SHADOWS WEBSITE


THE SHADOWS AT POLYDOR - THE 1980s AND BEYOND

REVIEWS: SHADSFAX 1



  • Source: Shadsfax Issue 43, 2003, pp. 7-8
  • Reviewer: George Geddes

    Malcolm Campbell's third book brings the Shadows story - at least in terms of their recorded output - up-to-date. The Polydor years are regarded with some diffidence by Shadows fans, but Malcolm argues with conviction that there is still much of interest in the group's output of that time. As with Malcom's previous works, there is more than just discographical information here, as details of the Shadows CDs are placed in context. It should be noted that the scope of the book is restricted to The Shadows, and only passing references are made to Hank Marvin's solo work. Despite the book's title, the coverage includes material issued by EMI as well as other labels such as Readers Digest, Tellydisc and budget specialists such as Pickwick. Overseas compilations are included. Of course, early Roll Over recordings were only licensed to Polydor in the UK, still appearing on EMI in other parts of the world. This resulted in some curious overseas compilations mixing tracks from both UK sources.

    The book is organised in two main sections. In the first part, Malcolm provides a review of the period in question, 1980 to the present (in effect, 2002). He gives background information and commentary on the Shadows output in that period. It is in this section that Malcolm offers his defence of the Polydor years, taking as his starting point fellow fan Rob Bradford's criticism (in, for example, issue 43 of Pipeline) which he regards as typical of comments made about the new albums released between 1980 and 1990. The reader may not agree with Malcolm's conclusions, but will surely acknowledge the care with which he sets out his case, supported by quotations from members of the group and others.

    The bulk of the text is a chronological listing of Singles and albums with track-listing and composer details, notes of vocal tracks, chart placing, placing in the SCOFA Polls of 1985 and 1992, a note of distribution and - for albums - associated singles. There are comments on tracks which cropped up in Shadows stage performances. Singles entries include details of track appearances on CD. Malcolm provides substantial commentary on each track and the source material.

    The book is completed by a brief appendix which lists cover versions from the EMI period. There is also an index of titles, cross-referenced to the main discographical listing. As usual, Malcolm has provided thorough and meticulous coverage of this aspect of the career of the Shadows. The bonus in this particular book is a super selection of photographs by John Humphrey and Dave Hawley. Though only black-and-white, apart from the cover, they are almost worth the purchase price alone. Illustrations of single and album sleeves are also welcome, though it is questionable whether the photos of the original versions of tracks covered by the Shads really adds very much. That is a minor quibble. As with Malcolm's previous books, though, it is an essential purchase for fans, and is highly recommended.



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