Search - Shadows :: Jigsaw

A classic guitar instrumental sound

02/07/1999

(5 out of 5 stars)

"This album, the second to last before their hiatus and later resurgence, sounds nothing like their earlier output or later work in the 70's and 80's. But a tight, toe-tapping sound is still present from Hank Marvin, Bruce Welch, John Rostill, and Brian Bennett. This album was entitled "Shadows 67" in Canada."

The "Shads'" most experimental music - and best cd reissue

Daniel S. Sullivan | Gibbstown,N.J. USA | 04/06/2009

(5 out of 5 stars)

""Jigsaw" was the Shadows' first of two albums released in 1967, and was the better of the two.

The Beatles had upped the ante for all pop groups with their 1966 release "Revolver", and the Shadows chose to answer with this album, their most experimental.



Guitarists Hank Marvin (lead), Bruce Welch (rhythm), and John Rostill (bass) three years earlier switched from Fender instruments to their signature Burns model which had a more dynamic sonic range.

This was exploited to the full as Hank employed the best studio wizardry of the time: multi-tracked guitars,distortion, patching into a Leslie speaker cabinet normally used for organs,volume swells and wah-wah- pedals.

Bruce played primarily electric rhythm as opposed to acoustic which he normally used in the studio, the result being a sharp, crystal clear rhythm guitar sound.

John tracked both clean and fuzzed basses throughout most of the album which thickened his sound significantly.

Drummer Brian Bennett is rarely given his due for his versatility in the number of styles at which he is adept - proven on this album.

The Tracks:



"Jigsaw", the title cut, is a tight performance with an edge. Worthy of the opening spot.



"Tennessee Waltz" has great double-tracked guitar and the fuzzed bass is also prominent.



"Prelude in E Major" features Hank's wah-wah and Brian's drumming prowess.



The covers range from the soft sounds of "Maria Elena", "Stardust", "Trains and Boats and Planes" to the heavy treatment of "Cathy's Clown",the silliness of "Winchester Cathedral", the toe tapping of "Green Eyes" and the vari-speed trickery of "Friday on My Mind" - all in the inimitable Shadows style.



The other tracks are also an eclectic bunch: the straight rock sound of "Semi-Attatched Suburban Mr. James", the scat-quacking of "Chelsea Boot", the calmness of "Waiting For Rosie" and the banjo laden "With a Hmm-Hmm on My Knee" round out the album nicely.



The bonus tracks on this re-issue are some of th Shadows' best:

"Thunderbirds Theme", "Tomorrow's Cancelled", "The Flyder and the Spy" and "Maroc 7further strenghten an already strong album.

A must for any Shadows collection.

"