There is more than one act that goes by the name 'The Shadows';
1) T… Read Full Bio ↴There is more than one act that goes by the name 'The Shadows';
1) The Shadows (originally known as the Drifters) were an English instrumental rock group, who dominated the British popular music charts in the late 1950s and early 1960s, in the pre-Beatles era. They served as the backing band for Cliff Richard from 1958 to 1968, and have joined him for several reunion tours.
The Shadows have had 69 UK chart singles from the 1950s to the 2000s, 35 credited to the Shadows and 34 to Cliff Richard and the Shadows. The group, who were in the forefront of the UK beat-group boom, were the first backing band to emerge as stars. As pioneers of the four-member instrumental format, the band consisted of lead guitar, rhythm guitar, bass guitar and drums. Their range covers pop, rock, surf rock and ballads with a jazz influence.
The core members from 1958 to present are guitarists Hank Marvin and Bruce Welch and drummer Brian Bennett (who has been with the group since 1961) with various bassists and occasionally keyboardists through the years. Along with the Fender and the Burns guitars, another cornerstone of the Shadows sound was the Vox amplifier. Around 1964, the Shadows replaced the Fender with the Burns, Bruce Welch citing tuning issues as the main reason.
The Shadows' number one hits include "Apache", "Kon-Tiki", "Wonderful Land", "Foot Tapper" and "Dance On!". Although these and most of their best-remembered hits were instrumentals, the group also recorded occasional vocal numbers, and hit the UK top ten with the group-sung "Don't Make My Baby Blue" in 1965. Four other vocal songs by the Shadows also made the UK charts. They disbanded in 1968, but reunited in the 1970s for further commercial success.
The Shadows are the fifth most successful act on the UK Singles Chart, behind Elvis Presley, the Beatles, Cliff Richard and Madonna. The Shadows and Cliff Richard & the Shadows each have had four No. 1 selling EPs.
The Shadows are difficult to categorize because of their stylistic range, which includes pop, rock, surf rock and ballads with a jazz influence. Most tunes are instrumental rock, with a few vocal numbers. Their rhythmic style is primarily on the beat, with little syncopation. They said in 1992 that "Apache" set the tone with its surf guitar sound.
The Shadows have been cited as a major influence on many guitarists, including Brian May, Eric Clapton, Mark Knopfler, Andy Summers, Ritchie Blackmore, David Gilmour, Tommy Emmanuel, Andy Powell and Tony Iommi. A tribute album, Twang! A Tribute to Hank Marvin & the Shadows (Capitol 33928), in October 1996 featured Blackmore, Iommi, Peter Green, Randy Bachman, Neil Young, Mark Knopfler, Peter Frampton and others playing Shadows hits. The early set of Queen (who played their first gig on 27 June 1970 with Freddie Mercury, Roger Taylor and Brian May) included a cover of Cliff and the Shadows' "Please Don't Tease".
The Shadows influenced 1960s Yugoslav beat bands like Atomi, Bele ViΕ‘nje, Bijele Strijele, Crni Biseri, Crveni Koralji, Daltoni, Delfini, Elektroni, Elipse, Iskre, Samonikli, Siluete and Zlatni DeΔaci, all of whom were the pioneers of the Yugoslav rock scene. In the words of Crni Biseri member Vladimir JankoviΔ "Jet" (who got his nickname after Harris), "even the Beatles weren't as popular in Belgrade as the Shadows were". The second episode of Rockovnik, a Serbian 2011 documentary series about the Yugoslav rock scene, deals with the appearance of the Shadows and the influence they had on Yugoslav bands.
2) A band out of Georgia who recorded the album titled 'It Ain't Easy If It's Not Sleazy'.
Recorded at Kala studios, Atlanta, Georgia. Includes liner notes by Bryan Cole. Producers: The Shadows, Sam Whiteside, Bryan Cole. The Shadows: Joel Murphy (guitar, vocals); Albey Scholl (harmonica, saxophones, background vocals); Roger Gregory (Fender bass, acoustic bass); Tom Chavers (drums). Additional personnel: Luther "Houserocker" Johnson (guitar); Steve McRay (piano, Hammond B-3); Francine Reed (backing vocals).
As you'll hear on this effort, The Shadows have taken blues, rock, country, rock-a-billy, and a number of other musical "spices" and come up with their own boiling gumbo. In the tradition of groups like Little Feat, Los Lobos and The Band, they have developed a unique sound while still being respectful of their influences. It was my sincere pleasure to work with such a fine group. All of us involved hope you will dig what you hear - Turn It Up! (Bryan Cole)
3) Known best for their longtime residence at Blind Willie's, a popular blues club in Atlanta, the Shadows released several albums during the '90s before the untimely death of singer/guitarist Mike Lorenz. Shadows bassist Roger Gregory opened Blind Willie's in 1986 with Eric King. The club, which is located in the Virginia-Highland neighborhood of Atlanta, hosted many local blues artists such as Billy Wright, Grady "Fats" Jackson, Sandra Hall, and Chicago Bob.
In 1988, Chicago Bob, who was also a Blind Willie's resident, recorded an album called Just Your Fool that featured the Shadows as his backing band. A few years later, in 1992, the Shadows -- comprised of Gregory, Lorenz, harp/saxman Albey Scholl, and drummer Tom Chavers -- released an album of their own, Party Tuff or Stay Home!, that Ichiban released.
Several successive albums followed: It Ain't Easy Bein' Sleazy (1993), Steppin' to the Shadows (1994), Dreamtime (1994), Dark Side of the Shadows (1995), Pale Interpretators (1997), and One Night of Sin (2000). Unfortunately, Lorenz died an accidental death on July 3, 2001, when his car caught on fire behind his home after he'd fallen asleep with the car running. ~ Jason Birchmeier, Rovi
4) The Shadows is a heavy metal band from Chile signed with Sentient Ruin Laboratories.
After the pure magic and fire of the "Into the Nightmare" precursor demo tape, we're thrilled to bring you its full-scale successor and evolution: the unrivaled debut album by Chilean heavy metal cult Shadows. Packing in 30 minutes of legendary songwriting and visionary revivalism "Out for Blood" takes us back to a time, somewhere in the early 80's, when acts like Mercyful Fate, Satan, Death SS, Judas Priest, and Alice Cooper were laying the unforgettable foundations of what would soon become a generational, industry-changing phenomenon: the defining of heavy metal as we know it. A raging and undying fire of searing leads, thundering drums, spooky operatic vocals, ripping guitars, unforgettable hooks and outrageous transgression. With no hesitation or limits to its deathless imagination, Shadows has conceived a classic metal crucible of unparalleled wizardry and dominance, using familiar concepts borrowed from dark b-movies, old comic strips, occultism and esotericism to take the listener down a dark, left-hand path of cinematic storytelling, thrilling fantasy, dark impulses and transgressive paranoia.
The ten tracks of "Out for Blood" display a breadth of tricks and expertise rarely seen at such an accomplished level in contemporary NWOTHM and classic metal acts, and this should come as no surprise knowing that Shadows mastermind and main songwriter John Shades (a pseudonym of Cristian Silva of Apostasy fame), has been shaping the pillars of true and untamed underground South American heavy metal for at least three decades. Using a mist of dark, keyboard-laden atmospheres, vorticose melodies and a dominating, dual attack of criss-crossing, blazing razor-sharp solos, Shades and his co-conspirators have unfolded a half-hour of absolute, boundless imagination, covering almost fifty years of heavy metal evolution and transformation, and delving deep into the primordial fabric of the genre's most defining traits, those of technical extremism, frantic intensity, and adrenaline-pumping darkness. A full-frontal assault on the senses where the limitless imagination of epic storytelling and of rare musicianship have converged in creating the ultimate homage, heirloom and celebration to the undying, sacred and eternal flame of heavy metal.
5) S H A D O W S is a punk rock band from Japan formed in 2009.
https://www.last.fm/music/%EF%BC%B3%EF%BC%A8%EF%BC%A1%EF%BC%A4%EF%BC%AF%EF%BC%B7%EF%BC%B3
1) T… Read Full Bio ↴There is more than one act that goes by the name 'The Shadows';
1) The Shadows (originally known as the Drifters) were an English instrumental rock group, who dominated the British popular music charts in the late 1950s and early 1960s, in the pre-Beatles era. They served as the backing band for Cliff Richard from 1958 to 1968, and have joined him for several reunion tours.
The Shadows have had 69 UK chart singles from the 1950s to the 2000s, 35 credited to the Shadows and 34 to Cliff Richard and the Shadows. The group, who were in the forefront of the UK beat-group boom, were the first backing band to emerge as stars. As pioneers of the four-member instrumental format, the band consisted of lead guitar, rhythm guitar, bass guitar and drums. Their range covers pop, rock, surf rock and ballads with a jazz influence.
The core members from 1958 to present are guitarists Hank Marvin and Bruce Welch and drummer Brian Bennett (who has been with the group since 1961) with various bassists and occasionally keyboardists through the years. Along with the Fender and the Burns guitars, another cornerstone of the Shadows sound was the Vox amplifier. Around 1964, the Shadows replaced the Fender with the Burns, Bruce Welch citing tuning issues as the main reason.
The Shadows' number one hits include "Apache", "Kon-Tiki", "Wonderful Land", "Foot Tapper" and "Dance On!". Although these and most of their best-remembered hits were instrumentals, the group also recorded occasional vocal numbers, and hit the UK top ten with the group-sung "Don't Make My Baby Blue" in 1965. Four other vocal songs by the Shadows also made the UK charts. They disbanded in 1968, but reunited in the 1970s for further commercial success.
The Shadows are the fifth most successful act on the UK Singles Chart, behind Elvis Presley, the Beatles, Cliff Richard and Madonna. The Shadows and Cliff Richard & the Shadows each have had four No. 1 selling EPs.
The Shadows are difficult to categorize because of their stylistic range, which includes pop, rock, surf rock and ballads with a jazz influence. Most tunes are instrumental rock, with a few vocal numbers. Their rhythmic style is primarily on the beat, with little syncopation. They said in 1992 that "Apache" set the tone with its surf guitar sound.
The Shadows have been cited as a major influence on many guitarists, including Brian May, Eric Clapton, Mark Knopfler, Andy Summers, Ritchie Blackmore, David Gilmour, Tommy Emmanuel, Andy Powell and Tony Iommi. A tribute album, Twang! A Tribute to Hank Marvin & the Shadows (Capitol 33928), in October 1996 featured Blackmore, Iommi, Peter Green, Randy Bachman, Neil Young, Mark Knopfler, Peter Frampton and others playing Shadows hits. The early set of Queen (who played their first gig on 27 June 1970 with Freddie Mercury, Roger Taylor and Brian May) included a cover of Cliff and the Shadows' "Please Don't Tease".
The Shadows influenced 1960s Yugoslav beat bands like Atomi, Bele ViΕ‘nje, Bijele Strijele, Crni Biseri, Crveni Koralji, Daltoni, Delfini, Elektroni, Elipse, Iskre, Samonikli, Siluete and Zlatni DeΔaci, all of whom were the pioneers of the Yugoslav rock scene. In the words of Crni Biseri member Vladimir JankoviΔ "Jet" (who got his nickname after Harris), "even the Beatles weren't as popular in Belgrade as the Shadows were". The second episode of Rockovnik, a Serbian 2011 documentary series about the Yugoslav rock scene, deals with the appearance of the Shadows and the influence they had on Yugoslav bands.
2) A band out of Georgia who recorded the album titled 'It Ain't Easy If It's Not Sleazy'.
Recorded at Kala studios, Atlanta, Georgia. Includes liner notes by Bryan Cole. Producers: The Shadows, Sam Whiteside, Bryan Cole. The Shadows: Joel Murphy (guitar, vocals); Albey Scholl (harmonica, saxophones, background vocals); Roger Gregory (Fender bass, acoustic bass); Tom Chavers (drums). Additional personnel: Luther "Houserocker" Johnson (guitar); Steve McRay (piano, Hammond B-3); Francine Reed (backing vocals).
As you'll hear on this effort, The Shadows have taken blues, rock, country, rock-a-billy, and a number of other musical "spices" and come up with their own boiling gumbo. In the tradition of groups like Little Feat, Los Lobos and The Band, they have developed a unique sound while still being respectful of their influences. It was my sincere pleasure to work with such a fine group. All of us involved hope you will dig what you hear - Turn It Up! (Bryan Cole)
3) Known best for their longtime residence at Blind Willie's, a popular blues club in Atlanta, the Shadows released several albums during the '90s before the untimely death of singer/guitarist Mike Lorenz. Shadows bassist Roger Gregory opened Blind Willie's in 1986 with Eric King. The club, which is located in the Virginia-Highland neighborhood of Atlanta, hosted many local blues artists such as Billy Wright, Grady "Fats" Jackson, Sandra Hall, and Chicago Bob.
In 1988, Chicago Bob, who was also a Blind Willie's resident, recorded an album called Just Your Fool that featured the Shadows as his backing band. A few years later, in 1992, the Shadows -- comprised of Gregory, Lorenz, harp/saxman Albey Scholl, and drummer Tom Chavers -- released an album of their own, Party Tuff or Stay Home!, that Ichiban released.
Several successive albums followed: It Ain't Easy Bein' Sleazy (1993), Steppin' to the Shadows (1994), Dreamtime (1994), Dark Side of the Shadows (1995), Pale Interpretators (1997), and One Night of Sin (2000). Unfortunately, Lorenz died an accidental death on July 3, 2001, when his car caught on fire behind his home after he'd fallen asleep with the car running. ~ Jason Birchmeier, Rovi
4) The Shadows is a heavy metal band from Chile signed with Sentient Ruin Laboratories.
After the pure magic and fire of the "Into the Nightmare" precursor demo tape, we're thrilled to bring you its full-scale successor and evolution: the unrivaled debut album by Chilean heavy metal cult Shadows. Packing in 30 minutes of legendary songwriting and visionary revivalism "Out for Blood" takes us back to a time, somewhere in the early 80's, when acts like Mercyful Fate, Satan, Death SS, Judas Priest, and Alice Cooper were laying the unforgettable foundations of what would soon become a generational, industry-changing phenomenon: the defining of heavy metal as we know it. A raging and undying fire of searing leads, thundering drums, spooky operatic vocals, ripping guitars, unforgettable hooks and outrageous transgression. With no hesitation or limits to its deathless imagination, Shadows has conceived a classic metal crucible of unparalleled wizardry and dominance, using familiar concepts borrowed from dark b-movies, old comic strips, occultism and esotericism to take the listener down a dark, left-hand path of cinematic storytelling, thrilling fantasy, dark impulses and transgressive paranoia.
The ten tracks of "Out for Blood" display a breadth of tricks and expertise rarely seen at such an accomplished level in contemporary NWOTHM and classic metal acts, and this should come as no surprise knowing that Shadows mastermind and main songwriter John Shades (a pseudonym of Cristian Silva of Apostasy fame), has been shaping the pillars of true and untamed underground South American heavy metal for at least three decades. Using a mist of dark, keyboard-laden atmospheres, vorticose melodies and a dominating, dual attack of criss-crossing, blazing razor-sharp solos, Shades and his co-conspirators have unfolded a half-hour of absolute, boundless imagination, covering almost fifty years of heavy metal evolution and transformation, and delving deep into the primordial fabric of the genre's most defining traits, those of technical extremism, frantic intensity, and adrenaline-pumping darkness. A full-frontal assault on the senses where the limitless imagination of epic storytelling and of rare musicianship have converged in creating the ultimate homage, heirloom and celebration to the undying, sacred and eternal flame of heavy metal.
5) S H A D O W S is a punk rock band from Japan formed in 2009.
https://www.last.fm/music/%EF%BC%B3%EF%BC%A8%EF%BC%A1%EF%BC%A4%EF%BC%AF%EF%BC%B7%EF%BC%B3
Dynamite
The Shadows Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Well, send me love in a package labelled dynamite I wanna feel an explosion when I hold you tight I got a powerhouse reception, waiting for you when You come back to your loving babyΓs arms again We sail across the stars until a silvery moon If you wanna know what heavenΓs like youΓll be there soon Well, give me kisses that explode before my very eyes I know the sight of you could generate a million sighs IΓm all set for detonation, baby, donΓt you know Three, two, one, zero, here I go We sail across the stars until a silvery moon If you wanna know what heavenΓs like youΓll be there soon Dynamite! Yeah, well, give me kisses that explode before my very eyes I know the sight of you could generate a million sighs IΓm all set for detonation, baby, donΓt you know Three, two, one, zero, here I go We sail across the stars until a silvery moon If you wanna know what heavenΓs like youΓll be there soon Dynamite! Well, send me love in a package labelled dynamite I wanna feel an explosion when I hold you tight I got a powerhouse reception, waiting for you when You come back to your loving babyΓs arms again We sail across the stars until a silvery moon If you wanna know what heavenΓs like youΓll be there soon Dynamite!
In "Dynamite" by The Shadows, the lead singer expresses a passionate desire for their lover, comparing the intensity of their love to a bomb exploding. The chorus repeatedly mentions "sailing across the stars until a silvery moon," which can be interpreted as a metaphor for the couple's journey through life together. The lyrics express excitement and anticipation, as the singer eagerly awaits their lover's return and imagines the explosive passion that will ignite between them.
The imagery used in the song is quite vivid and poetic, with the singer describing the kisses of their lover as explosive and capable of generating "a million sighs." The use of the countdown ("Three, two, one, zero, here I go") further emphasizes the explosive nature of the singer's desires. Overall, the lyrics of "Dynamite" convey a sense of intense passion and romantic longing.
Line by Line Meaning
Well, send me love in a package labelled dynamite
I want you to show me love in an explosive and exciting way
I wanna feel an explosion when I hold you tight
I want our embrace to be passionate and intense
I got a powerhouse reception, waiting for you when You come back to your loving baby's arms again
I am eagerly waiting for you to return to my arms so we can experience a powerful and loving relationship
We sail across the stars until a silvery moon If you wanna know what heaven's like you'll be there soon
Our love is like a journey across the galaxy, and the destination is pure bliss
Well, give me kisses that explode before my very eyes
I want our kisses to be electrifying and stunning
I know the sight of you could generate a million sighs
Just the sight of you can make me feel overwhelmingly happy and content
I'm all set for detonation, baby, don't you know Three, two, one, zero, here I go
I am ready to explode with excitement and love for you
Dynamite!
Our love is explosive and thrilling, like dynamite
Lyrics Β© O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
To comment on or correct specific content, highlight it
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@p.v.chandrasekharan5666
A very impactful song of Cliff Richard.I heard it 60βs.
@ireneandrews6486
This Clif & the Shadows (Drifters) st their best, making crowds go crazy on the dance floor, 1959.β€β€β€π΅π€πΆπΌπΈπΆπ€π΅π΅ππ πβ€οΈ
@sunryse111
You had to be there to really appreciate it, Irene!
@hulyacebe9790
They're fabulous β€β€β€β€β€
@markpalmar70
One of his best records..
@sunryse111
Thanks for the comment, Mark.
@stefantaege4000
Rock n Roll at it's Best
@daviddawber1111
B-side of Travellin' Light, and charted in its own right, making no. 16 in October 1959.
@sundharara6989
π my all time favourite π
@oswintowns3587
British rock nroill at its best raw and hungry