Tuesday, 2 April 2013
Hank Marvin and the Record Company that Didn't Seem to Care
I learned today that Hank Marvin is releasing a new album. Whilst this is wonderful news, I am shocked that it seems his record label seems to have no interest in it, leaving Hank to promote it himself. I posted the following on a well-known Shadows internet forum and thought it would make a good blog entry:
I think it's criminal that Hank's record company only seems to consider his work worthy of promotion when he makes the type of music that they tell him to make. I know it's probable that he doesn't have a permanent record deal in place any longer, but I'm willing to bet that Polygram/Universal would be all over him like a rash if he independently suggested an album featuring his "standard" electric guitar sound making covers of recent pop hits. On the other hand, guitarists like Brian May, Mark Knopfler and Jeff Beck are able to flex their creative muscles and try their hand at pretty much any style they want with the full blessing of their record companies. Why is Hank chained down to making bland music? He made little effort to disguise his frustration during the promotion of "Guitar Man", though we only ever saw this frustration vented in Hank's light-hearted way.
I - like many fans - am frustrated that Hank is not given enough recognition by the music industry. I think we tend to wrongly assume this is down to people not accepting his style as still relevant. I've turned full circle and now I think that this opinion is misguided. Hank is regarded in the highest possible esteem by musicians and the general public. I believe that, if his reputation as an artiste has suffered, it purely down to poor support from his record company who wrongly see him as irrelevant and so tie him down to making irrelevant music that does not adequately showcase his talent. I also believe Brian Goode has managed him poorly, treating him as a commodity, taking little interest in the music that is made, therefore not fighting Hank's battles with the record company strongly enough. These people have the privilege of handling the solo career of one of the biggest legends in the music business and yet they have mis-represented, mis-sold and mis-managed him for over twenty years.
"Django's Castle" will likely be the first time we've heard Hank playing the music he wants to play since "Into the Light" and "Heartbeat". "Guitar Player" was a highlight and had many of us drooling at the prospect of further, similar albums. Hank's playing was simply sublime. But we never had a follow-up; "Guitar Man" was a bitter disappointment; the shackles were back on. It was like restricting Andrea Bocelli to singing nursery rhymes. The blame for that, again, lays solely at the feet of the record company. Whether you like Manouche jazz or not, this new album will undoubtedly sound more exciting because it's music that Hank is obviously enthusiastic about. For this reason alone, I'm already excited. It is a travesty that "Django's Castle" is not being released through the proper channels, and all because a few boring executives think it won't make them money.
The men in suits should hang their heads in shame.
Hank, I await "Django's Castle" with great anticipation.
Monday, 12 November 2012
Please help a dying mother
I break the long silence on my blog to ask you to help someone. Her name is Anne Williams. She is an incredible woman. She has spent over 23 years of her life campaigning for justice for her son, Kevin, who was a victim in an unimaginable disaster. He died alongside 95 others. Many people in positions of authority were to blame but were never held to account. I'm talking about the events that took place on 15th April, 1989 at Hillsborough Football Stadium, Sheffield.
Thankfully, nearly a quarter of a century after that awful day, justice seems to be within touching distance. The verdict of "accidental death" as ruled by the inquest in 1989 is likely to be quashed and a new inquest will be set up. Like many relatives of the victims of Hillsborough she never collected Kevin's death certificate as she was so insulted by the ruling. She founded a charity: Help for Hillsborough. On her web page you can read the details about Kevin's case, discovered personally by Anne. The word "thorough" would do Anne's astonishingly detailed research and investigations an injustice. Her work would put most police detectives to shame.
Kevin died of different symptoms to most of the other survivors. Most who died that day suffered traumatic asphyxia. Something as simple as a tube inserted into Kevin's windpipe would have saved him. That is not to say he was the only one who could have been saved. The Hillsborough Independent Panel found that at least 41 people could have saved if the emergency services had done their jobs properly.
Tragically, though, Anne has been diagnosed with terminal cancer and unless something is done to speed up the process she will never see justice done. She will not live to see those who were to blame being brought to account (by way of criminal proceedings, as will probably be the case) but she at least wishes to live long enough to see a new inquest for Kevin. This is where you can help.
An e-petition has been started to speed up the process for Kevin's inquest so Anne can see the original verdict overruled. After so many years of campaigning and fighting for Kevin and the rest of the 96 it is the least she deserves. This is the link:
http://epetitions.direct.gov.uk/petitions/40925
It takes just a couple of minutes to provide the required details. After that you will be sent an email with a link. You must click on this link for your name to be added to the thousands who have already done so.
If Kevin's case is fast-tracked, though, it will set a precedent for the other 95 inquests.
If Kevin's case is fast-tracked, though, it will set a precedent for the other 95 inquests.
It is fairly well known - not least by my followers on twitter (see @justindaish) that I am a Liverpool supporter. I have sung many times at Anfield - as well as other stadia - demanding the truth and justice regarding Hillsborough. Thankfully, as was widely publicised, on 12th September 2012 we received the truth and the full extent of the police and government cover-up was exposed. The disgusting lies that were spread in the wake of the disaster have been exposed for what they are. Liverpool supporters were not to blame in the slightest. The culpability lies solely at the door of the various authorities involved; the very people who should have been watching over the safety of those in attendance.
Now we need to help Anne see justice for her son while she still can. We need 100,000 names. Once 100,000 people sign, parliament are required by law to debate the issue.
After more than 23 years, justice for the 96 is so close but yet agonisingly out of reach for Anne. Please help her. Please sign. If you do, a mother's unwavering dedication to fighting for her son may be rewarded in time.
Now we need to help Anne see justice for her son while she still can. We need 100,000 names. Once 100,000 people sign, parliament are required by law to debate the issue.
After more than 23 years, justice for the 96 is so close but yet agonisingly out of reach for Anne. Please help her. Please sign. If you do, a mother's unwavering dedication to fighting for her son may be rewarded in time.
Here's the link again:
Remember to click on the link that you'll be sent in an email!
Please sign. Time is of the essence.
Thank you.
YNWA
JFT96
Monday, 25 April 2011
Goodbye to Jet Harris
On 18th March 2011 the music world awoke to the dreadful news that Jet Harris MBE had lost his courageous battle with cancer. The first (and sadly, last) time the Shadowers were to play as part of Jet Harris' show Hit Parade Heroes was 5th February 2011. We were there at Jet's request; he told us he loved performing with us. The lead up to the show itself was full of complications and changes, but the show was to go on and we found ourselves setting up at the Ferneham Hall in Fareham, Hampshire, from 2pm onwards.
When Jet arrived we could see he was very ill, but at the time everyone - his doctors included - all thought his condition was fully treatable - a "fact" which was even announced from the stage that evening. Jet was such a trooper. He played well, even though he was struggling. He was visibly tired. It was a privilege to be able to share the stage with him for what was to be the last time, even though we did not know it at the time. We found ourselves being part of Shadows history when Jet invited Licorice Locking to play a duet with him. The Shadows' first and second bass players had never before performed on the same stage at the same time, and had certainly never duetted together. It was to be the last tune Jet would ever perform. Jet being Jet, though, he decided to sit down for it, after announcing its title: Here I Stand.
What with rushing to pack up and exit the theatre and with everyone, including Jet, try to greet some of the audience after the show, I never said goodbye to him that night - a regret I shall always carry with me.
I had the opportunity, alongside my parents and a couple of the Shadowers, to attend Jet's funeral. It was a very sad day but also one laced with humour and pride, and it was attended by so many friends, which is exactly how Jet would have wanted it.
Jet had spoken of a new show which he wanted to develop with us. We had discussed the sort of material which would be included and we were all so fired up for the new project. Whenever Jet spoke about it his eyes lit up. He was excited and we were excited. That it never came to fruition will always be the biggest missed opportunity of my career. The biggest joy of my career, though, is to have been able to get to know one of my heroes and to get on with him so well. That I shared a stage with him is a thrill I had never dreamt of.
Goodbye, mate.
When Jet arrived we could see he was very ill, but at the time everyone - his doctors included - all thought his condition was fully treatable - a "fact" which was even announced from the stage that evening. Jet was such a trooper. He played well, even though he was struggling. He was visibly tired. It was a privilege to be able to share the stage with him for what was to be the last time, even though we did not know it at the time. We found ourselves being part of Shadows history when Jet invited Licorice Locking to play a duet with him. The Shadows' first and second bass players had never before performed on the same stage at the same time, and had certainly never duetted together. It was to be the last tune Jet would ever perform. Jet being Jet, though, he decided to sit down for it, after announcing its title: Here I Stand.
What with rushing to pack up and exit the theatre and with everyone, including Jet, try to greet some of the audience after the show, I never said goodbye to him that night - a regret I shall always carry with me.
I had the opportunity, alongside my parents and a couple of the Shadowers, to attend Jet's funeral. It was a very sad day but also one laced with humour and pride, and it was attended by so many friends, which is exactly how Jet would have wanted it.
Jet had spoken of a new show which he wanted to develop with us. We had discussed the sort of material which would be included and we were all so fired up for the new project. Whenever Jet spoke about it his eyes lit up. He was excited and we were excited. That it never came to fruition will always be the biggest missed opportunity of my career. The biggest joy of my career, though, is to have been able to get to know one of my heroes and to get on with him so well. That I shared a stage with him is a thrill I had never dreamt of.
Thursday, 10 February 2011
Hit Parade Heroes - taking a back seat
Again, a long time has passed since my last post. The Shadowers have had a small break since Shadowmania, but we're now back on the road backing Jet Harris, Brian "Licorice" Locking and Mike Berry in the show "Hit Parade Heroes".
With this show we're presented with a new challenge. We are performing in our capacity as a Shadows band, but with so many performing on the bill (including - for some shows - John Leyton and the Flames) there's very little time to play the music that we've been used to performing for all our previous performances. We've had to heavily condense the Shadows material to an abridged version of our usual show and not be the main feature of the performance. There's no space for ego. Time is limited and we have to think of the overall show.
Backing Mike Berry though, is fun, but very different to playing Shadows music. I personally found it difficult, at first, to play something that fits without cluttering the overall sound of the band, not least because for much of the set we have Matt on the keyboards and a second rhythm player in Mike himself. I've seen the Rapiers back Mike before, and Colin Pryce-Jones impressed me with his playing, but most of the time he was filling in for an absent keyboard player. I've decided to only play lead guitar on the tunes that call for it, and for the rest of the time I'm finding it much easier to take a back seat and drop my volume back into the mix to a non-dominant level to play rhythm: mostly different inversions of whatever chord Steve is playing at the time. Colin often plays arpeggios and very flowery phrases with the Rapiers, and it looks and sounds mightily impressive, but having a keyboard player just doesn't allow me to do the same as he does. We're becoming well known for just about replicating whatever tune we're playing, and that often means some quite intricate keyboard work from Matt. It would be a shame to overdo my playing. In so doing, I would end up overpowering Matt and detracting from the accuracy of the piece.
What we're doing must be working though: the first time we appeared in "Hit Parade Heroes" was less than a week ago as I write this, and there were multiple standing ovations during the night.
The details of future performances of "Hit Parade Heroes" can be found at http://www.theshadowers.com/.
Ciao for now...
J
With this show we're presented with a new challenge. We are performing in our capacity as a Shadows band, but with so many performing on the bill (including - for some shows - John Leyton and the Flames) there's very little time to play the music that we've been used to performing for all our previous performances. We've had to heavily condense the Shadows material to an abridged version of our usual show and not be the main feature of the performance. There's no space for ego. Time is limited and we have to think of the overall show.
Backing Mike Berry though, is fun, but very different to playing Shadows music. I personally found it difficult, at first, to play something that fits without cluttering the overall sound of the band, not least because for much of the set we have Matt on the keyboards and a second rhythm player in Mike himself. I've seen the Rapiers back Mike before, and Colin Pryce-Jones impressed me with his playing, but most of the time he was filling in for an absent keyboard player. I've decided to only play lead guitar on the tunes that call for it, and for the rest of the time I'm finding it much easier to take a back seat and drop my volume back into the mix to a non-dominant level to play rhythm: mostly different inversions of whatever chord Steve is playing at the time. Colin often plays arpeggios and very flowery phrases with the Rapiers, and it looks and sounds mightily impressive, but having a keyboard player just doesn't allow me to do the same as he does. We're becoming well known for just about replicating whatever tune we're playing, and that often means some quite intricate keyboard work from Matt. It would be a shame to overdo my playing. In so doing, I would end up overpowering Matt and detracting from the accuracy of the piece.
What we're doing must be working though: the first time we appeared in "Hit Parade Heroes" was less than a week ago as I write this, and there were multiple standing ovations during the night.
The details of future performances of "Hit Parade Heroes" can be found at http://www.theshadowers.com/.
Ciao for now...
J
Tuesday, 5 October 2010
Thanks to the Shadowers' Saviour of Shadowmania 2010: AMANDA HAMBIDGE
In the story of Peter Pan, it is stated that if someone says "I do not believe in fairies", somewhere there is a fairy that falls down dead.
I believe the same is true for guitar equipment at Bruce Welch's event at Lakeside. In the build up to the the gig, if anyone breathes the word "Shadowmania", a vital-to-the-show Vox amplifier or Meazzi echo expires. Both Phil Kelly and Colin Pryce-Jones have had problems that had to be sorted on the day by expert technicians who were called in at the last minute. Thankfully, I had a few days to get my own gear issues sorted.
First of all, with less than two weeks to go before Shadowmania, one of my guitars developed a serious fault that needed sorting. Less-than-ideal timing, not least because my usual guitar tech had just left the country on a well-earned holiday. All other techs I'd employed before had been at the recommendation of fellow guitarists, but none of them were local. That meant finding a stranger to trust with my prized No1 Strat. I must admit to feeling a certain amount of trepidation, but there was no other choice.
While my Strat was in "hospital", I had to rehearse with the Shadowers. Four tunes into the first run-through of our set (on 9th September), my Meazzi echo seemed to give up the ghost. Cue a mild case of hysteria. A few minutes later, I had proven to myself (by cleaning the heads and changing the tape) that the problem was certainly a faulty electrical component. I made a call to a trusted friend who can mend anything with an electrical current, Amanda Hambidge. Amanda agreed to drop everything and meet me that evening to collect the echo. After less than twenty-four hours of being without my "Baby" (my nickname for the Meazzi), I had the news I had been waiting for: it was back to full health and would be waiting for me at our rehearsal venue that Sunday, just three days after the problem had manifested itself.
Fast-forward five days, and we all arrived at Lakeside. I had finally been reunited with my Strat which, thankfully, had been well cared for and was playing better than it had in months. Amanda had brought her superb home-made Vox AC15 clone for me as a back-up. Those in attendance may have also seen, underneath my own echo, a second Meazzi (which Amanda had altered slightly so that it was closer to mine in circuit and therefore sound), which was present in case mine broke down or failed during the set. She was also on hand all day to help us shift our equipment on and off stage, which saved time and so eased stress levels.
I was conscious of not waffling too much on stage between tunes, but in so doing I neglected to thank Amanda for all her help, which was an unforgivable oversight. Amanda, the Shadowers are in your debt, and not for the first time. Thank you.
Lastly, on behalf of the band, I must thank everyone who has commented on the Shadowers' set at Lakeside. We've been inundated with compliments in person, via emails, via Facebook, and via internet forums. Thank you all.
Ciao for now...
J
I believe the same is true for guitar equipment at Bruce Welch's event at Lakeside. In the build up to the the gig, if anyone breathes the word "Shadowmania", a vital-to-the-show Vox amplifier or Meazzi echo expires. Both Phil Kelly and Colin Pryce-Jones have had problems that had to be sorted on the day by expert technicians who were called in at the last minute. Thankfully, I had a few days to get my own gear issues sorted.
First of all, with less than two weeks to go before Shadowmania, one of my guitars developed a serious fault that needed sorting. Less-than-ideal timing, not least because my usual guitar tech had just left the country on a well-earned holiday. All other techs I'd employed before had been at the recommendation of fellow guitarists, but none of them were local. That meant finding a stranger to trust with my prized No1 Strat. I must admit to feeling a certain amount of trepidation, but there was no other choice.
While my Strat was in "hospital", I had to rehearse with the Shadowers. Four tunes into the first run-through of our set (on 9th September), my Meazzi echo seemed to give up the ghost. Cue a mild case of hysteria. A few minutes later, I had proven to myself (by cleaning the heads and changing the tape) that the problem was certainly a faulty electrical component. I made a call to a trusted friend who can mend anything with an electrical current, Amanda Hambidge. Amanda agreed to drop everything and meet me that evening to collect the echo. After less than twenty-four hours of being without my "Baby" (my nickname for the Meazzi), I had the news I had been waiting for: it was back to full health and would be waiting for me at our rehearsal venue that Sunday, just three days after the problem had manifested itself.
Fast-forward five days, and we all arrived at Lakeside. I had finally been reunited with my Strat which, thankfully, had been well cared for and was playing better than it had in months. Amanda had brought her superb home-made Vox AC15 clone for me as a back-up. Those in attendance may have also seen, underneath my own echo, a second Meazzi (which Amanda had altered slightly so that it was closer to mine in circuit and therefore sound), which was present in case mine broke down or failed during the set. She was also on hand all day to help us shift our equipment on and off stage, which saved time and so eased stress levels.
I was conscious of not waffling too much on stage between tunes, but in so doing I neglected to thank Amanda for all her help, which was an unforgivable oversight. Amanda, the Shadowers are in your debt, and not for the first time. Thank you.
Lastly, on behalf of the band, I must thank everyone who has commented on the Shadowers' set at Lakeside. We've been inundated with compliments in person, via emails, via Facebook, and via internet forums. Thank you all.
Ciao for now...
J
Monday, 16 August 2010
"Recalibrating" your ear to the sounds of the records
WARNING: This is very much a trainspotting post!
With Shadowmania looming, for the performers appearing on the show it's full steam ahead with practising our sets. The Shadowers have already become well known for accurately reproducing the sounds of the Shadows' records. This is in no small way down to our individual knowledge and analysis of our respective parts. Personally, this means trying to get as close as possible to Hank Marvin's sound, tone and playing.
Today, whilst rehearsing a classic Shads tune from 1961, I wanted to brush up on a couple of Hank's phrases and try to replicate the way he played them in the studio. I played the original and was surprized to hear how much tonal difference there was between my sound and the sound that I was hearing on the record: I thought I was near enough spot on with the sound. It made me realize how much we misremember things in general. Check out a few of the home recordings that appear on YouTube or the various Shadows fan websites, and then compare the guitar sounds to the sounds on the Shadows' records. Most guitarists play with far too much treble in their sound, which is an easy trap to fall into. I find myself doing it occasionally, even though I'm very conscious of trying not to do so. It's harder to identify the problem for yourself as you're not aware of the small changes that happen over time. Small changes that add up to make a big difference. Today, when listening again to the said tune, I discovered how far removed my sound had become from the recorded sound. It was easy to rectify my mistake, but I was amazed at how badly I'd misremembered the sound. As I've said, I thought I was getting it just right.
I decided to test myself again with another tune which I thought I've had sounding good over the last few months. I played the record to hear the tone, and, hey presto, my memory had let me down once more. Again, I hadn't originally heard it wrongly, but I realized that over time my recall of how to pick the notes had blurred and evolved. More often than not, the character of the note is down to how you pick, and not your amplifier settings. I had been accepting a sound that, once I listened to the record once again, I realized was not quite 100% there, and it was largely due to my playing technique. It took some time to study the sound and work out how Hank picks the tune. In fact, after the time I put in today, I believe certain tunes are sounding more authentic than I've ever had them.
So, to all purist guitar-playing Shads fans and musicians that strive to replicate any particular piece of music (I guess this applies mainly to tribute artistes), I must stress the importance of not leaving it too long before you next listen to the record/s you're trying to copy. Your mind will deceive you, and you will need to "recalibrate" your ear more often than you think. From now on, before each gig, I'll be spending some time listening to certain records of the Shads to make sure I'm presenting as true a form of "That Sound" as is possible.
There. I told you it was a post for the anoraks!
Ciao for now...
J
With Shadowmania looming, for the performers appearing on the show it's full steam ahead with practising our sets. The Shadowers have already become well known for accurately reproducing the sounds of the Shadows' records. This is in no small way down to our individual knowledge and analysis of our respective parts. Personally, this means trying to get as close as possible to Hank Marvin's sound, tone and playing.
Today, whilst rehearsing a classic Shads tune from 1961, I wanted to brush up on a couple of Hank's phrases and try to replicate the way he played them in the studio. I played the original and was surprized to hear how much tonal difference there was between my sound and the sound that I was hearing on the record: I thought I was near enough spot on with the sound. It made me realize how much we misremember things in general. Check out a few of the home recordings that appear on YouTube or the various Shadows fan websites, and then compare the guitar sounds to the sounds on the Shadows' records. Most guitarists play with far too much treble in their sound, which is an easy trap to fall into. I find myself doing it occasionally, even though I'm very conscious of trying not to do so. It's harder to identify the problem for yourself as you're not aware of the small changes that happen over time. Small changes that add up to make a big difference. Today, when listening again to the said tune, I discovered how far removed my sound had become from the recorded sound. It was easy to rectify my mistake, but I was amazed at how badly I'd misremembered the sound. As I've said, I thought I was getting it just right.
I decided to test myself again with another tune which I thought I've had sounding good over the last few months. I played the record to hear the tone, and, hey presto, my memory had let me down once more. Again, I hadn't originally heard it wrongly, but I realized that over time my recall of how to pick the notes had blurred and evolved. More often than not, the character of the note is down to how you pick, and not your amplifier settings. I had been accepting a sound that, once I listened to the record once again, I realized was not quite 100% there, and it was largely due to my playing technique. It took some time to study the sound and work out how Hank picks the tune. In fact, after the time I put in today, I believe certain tunes are sounding more authentic than I've ever had them.
So, to all purist guitar-playing Shads fans and musicians that strive to replicate any particular piece of music (I guess this applies mainly to tribute artistes), I must stress the importance of not leaving it too long before you next listen to the record/s you're trying to copy. Your mind will deceive you, and you will need to "recalibrate" your ear more often than you think. From now on, before each gig, I'll be spending some time listening to certain records of the Shads to make sure I'm presenting as true a form of "That Sound" as is possible.
There. I told you it was a post for the anoraks!
Ciao for now...
J
Wednesday, 4 August 2010
New blog
Hi all...
To coincide with the imminent revamping of my website (http://www.justindaish.com/) I have decided to start a blog. This blog will take the place of my diary entries which were a popular feature of my old website. It will feature anything that takes my fancy, but will invariably be linked to the Shadows, the fan community, the Shadowers, guitars & equipment or my own personal gigs. Having a blog will allow me to add/create entries quickly, instead of having to go through the procedure of creating a new page on my website each time I have something to say. I still have all the diary entries from the old site, and if anyone wants to see them, feel free to contact me.
Let me know what you think of the new blog, and - when it's done - of the new look of my website. Thanks to both Tom Andrews and Configured Computers for helping write the content and for the support with the technical aspects of the new site. It's nearly done, and its completion will be announced here and on the "General" page of the ShadowMusic Web Community (http://www.shadowmusic.co.uk/).
Ciao for now...
J
To coincide with the imminent revamping of my website (http://www.justindaish.com/) I have decided to start a blog. This blog will take the place of my diary entries which were a popular feature of my old website. It will feature anything that takes my fancy, but will invariably be linked to the Shadows, the fan community, the Shadowers, guitars & equipment or my own personal gigs. Having a blog will allow me to add/create entries quickly, instead of having to go through the procedure of creating a new page on my website each time I have something to say. I still have all the diary entries from the old site, and if anyone wants to see them, feel free to contact me.
Let me know what you think of the new blog, and - when it's done - of the new look of my website. Thanks to both Tom Andrews and Configured Computers for helping write the content and for the support with the technical aspects of the new site. It's nearly done, and its completion will be announced here and on the "General" page of the ShadowMusic Web Community (http://www.shadowmusic.co.uk/).
Ciao for now...
J
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