I get a bit bored...

[Tigerdaisy]

I'm going to be honest in saying that i get bored with listening to people trying to imitate the Shadows, often quite badly with especially poor phrasing. I well understand why people want to play Shadows stuff, I did myself many years ago, especially in the day when they were in their hey day, so I understand the motive. I just listened/watched the 'Shadows Last Tour' recorded at Cardiff, and in the light of what I said previously above, I was really, really struck by how tight and professional the band were and how really well every member played. Many guitarists pay tribute to how influential the Shadows were early in their own musical careers even though generally the so called music industry doesn't do the same- playing Hank's style is not an easy thing to do even though it occasionally appears to be 'simple'. You can in a similar fashion go through the whole band- Bruce's very skilled and adept rhythm playing, Brian's top notch drumming, Mark's on the ball bass and last but not least Cliff Hall's keyboard mastery.
It's struck me that an obsession with 'sound' should be second to actually playing well. There are many Shadows fans who have a much more 'authentic' sound than the actual Shadows themselves but can they play as well?

[nivramarvin]

There are many Shadows fans who have a much more 'authentic' sound than the actual Shadows themselves but can they play as well?

Good question

[martcaster]

I think it's not unreasonable to suggest that, prior to the 'world domination' of the internet, Shads' fans were a pretty disparate bunch spread globally with little opportunity for meaningful communication, other than 'snail mail' and the possible sharing of home recordings via tapes/cassettes. Then, BANG!! there was the internet and suddenly all of us girls and boys in different countries and towns and cities were able to meet up and listen together to this wonderful music, and go to the concerts together, instead of just looking round the auditorium thinking "So, I'm not the only one, then." And in time, we got together and tried to emulate 'that sound' (whatever 'that' is) Some were old hands at it, having played in groups in their youth. Others now had the funds (and the time) they hadn't earlier in life, and could pursue their 'dream' of playing like their hero (Hank, Jet, Brian, Bruce, whomever) Then, the Clubs were formed; and struggling wannabes could get advice from more seasoned, practised players, and you could see people improving month by month. Then came Shadowmania when Bruce (God bless him!) had the vision to give the stage over to acts from many parts of the world whose only desire was to play their beloved music to the highest standard they could achieve, individually and corporately. So, we saw the likes of Guitar Express, The Reflections, Indra, The Foottappers, Justin, Daniel and many more, not forgetting the incomparable Rapiers (now, there's a standard to aspire to!) And we met together and swapped stories and ideas; and it was wonderful and inspired many of us to go away and practise more and harder; maybe get lessons.
Many of us will never achieve our aim/goal; but we try; we listen; we practise. We annoy the neighbours and upset our wives, but we carry on and we improve! Bit by bit we get closer to that (almost indefinable) 'thing' we can hear, but can't wholly replicate. It's been a life-changing pleasure for me to play alongside the likes of David Martin, Tony Hoffman, Terry Carter, Ian McCutcheon, Iain Purdon, Jim Nugent, Ray Liffen, Steve Longden, and of course Chris Jarvis; as well as countless unnamed Club members of varying abilities. But the thread that holds us all together is our love for and our determination to re-create as accurately as our abilities allow us this glorious music.
I can fully understand anyone not wanting to participate in this activity, or subject their senses to anything other than the real 24 carat article. Each to his own. But, I've seen Bruce make mistakes; I've seen Hank make mistakes. BUT at that very moment they become one of us; sharing a determination to get it right next time. Thank God we have so many recordings, videos, performances (more this week!) to inspire us. One way to avoid "boredom" would be to stay away from the Clubs; don't watch Youtube or Facebook videos; don't go to any of the Gala weekends (e,g, Tyneside & Scarborough) and avoid the temptation to visit any of the Lakeside celebrations.
The rest of us will just carry on with the practising and the striving and the meeting up and the having fun and a few laughs, perhaps the odd beer now and again. And we won't be bored.
Posted, as ever, with love and respect to all.
Mart.

[Graham C. Marshall]

That pretty much sums it up, Martin. I'm not even good enough to make mistakes.

[martcaster]

We all make 'em, Graham. Though sometimes spotting them is the 'ard part. Keep at it, chum. You'll know when you get it right; and when do you, there's no greater feeling.
Mart.

[Hank2k]

I think i understand where you are coming from.

I did it a lot when i first started playing live, spending ages messing around getting the sound right changing it for each song, different settings and even different guitars to try and get the sound nailed and that was what i cared about. Now my main concern for live performance is putting on a good show for the people watching and i just have a generic sound and switched to gauge 11 strings instead of struggling with 13s chasing that sound. Then i watch the Rapiers and want to burn all my equipment and take up playing the triangle!

[shadowriter]

Well said Mart. Each to his own. I have so many backing tracks I've lost count and can't get near to most of them.
I love trying though. What I'm really impressed with though, is the fantastic standard of playing by Ian McCutcheon and Dave Robinson
on their backing track cds. And the wonderful Stuart Cosgrove with his Shads and Ventures style arrangements of old tunes, taking us back to the great days. I I
I never find a fault with, or get bored of any of these brilliant guys who do a fantastic job of helping anybody to have a go at keeping our wonderful music alive.
Good or bad,Just keep playing and enjoying it.
Norman

[Graham C. Marshall]

Timing is truly my greatest problem. I would love to be able to play lead triangle.

[johnc]

I think i understand where you are coming from.

I did it a lot when i first started playing live, spending ages messing around getting the sound right changing it for each song, different settings and even different guitars to try and get the sound nailed and that was what i cared about. Now my main concern for live performance is putting on a good show for the people watching and i just have a generic sound and switched to gauge 11 strings instead of struggling with 13s chasing that sound. Then i watch the Rapiers and want to burn all my equipment and take up playing the triangle!

My band plays mainly early rock'n'roll (American, British and Australian)from about 1955-1963 or so, so we are always able to include guitar instrumental music in our regular gigs..mainly Shadows, plus other hits (Ventures,Duane Eddy etc) including some one hit wonder instrumentals (Tequila, Pipeline, Riders In The Sky etc)..

I also use generic guitar sounds and echo/reverb settings etc...as long as people recall and/or enjoy the tune, that can be adequate, and our audiences are of an age group that love the music from the era we cover..there are many Cliff fans who also enjoy and remember the Shadows.

But most of these folk who come to see us are not guitarists! They aren't fussed if the 'magic' 'THAT sound' isn't quite 100% correct...thank goodness.They pay to hear us play so they can dance, listen and sing along...not spend ages fiddling with our gear.


BTW, I've been in a Shads club using backing tracks etc, and I've played in a few Shads tribute bands, doing one-off specific Shads tribute gigs...I did take more care with sounds etc on these gigs..including changing from electric to acoustic guitar for Bruce's parts etc..because the audience could be expected to be Shads fans and would expect to hear authentic sounds etc at a tribute concert.

[Tab]

It's fine to say that if the audience is happy with the sound, that is all that matters, but you are missing one very important ingredient. If you are totally satisfied with your sound and to you it is absolutely right, then you play better!

Kind regards to all.