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You just hope you can play as an individual well enough not to let your colleagues down, that as an ensemble you can play well enough so it sounds as if you’re all in the same ballpark, as regards timing, feel and everything. So you just played it: there was the adrenaline rush, a certain amount of nerves - the red light is on, and we all know about that one - and you play. So we recorded 12 tracks in two days, in four sessions. You just hope you can play as an individual well enough not to let your colleagues down We all played together, live, and the expectation of EMI Records was three sides in a three-hour session. The thing is, in those days it was very different from recording now. HOW DID YOU GUYS DO THAT? How did you become so flawlessly epic so fast? What inspired you? Cheers, Hank. The whole thing sounds so incredibly evolved and steams through like a juggernaut. The drums are huge and enveloping, the bass is thunderous, and the rhythm guitar (as Bruce always was and is) immaculate. The production is immense, your massive clang on the lead guitar setting a benchmark that’s never been equalled. The whole band is glued as if you’d played this already a thousand times before recording it. The riff is so complex and yet flows off your fingers apparently so effortlessly and so locked in. The track opens with an original build-up on the B chord, and then the main riff kicks in and within seconds we are blown away. It’s different from anything that had gone before It’s different from anything that had gone before… almost a declaration that The Shadows were in a different league of creativity and excitement - a new universe. Our dear, departed friend Bert Weedon played a simple version called Guitar Boogie Shuffle. The very first track on your very first album was called Shadoogie, and on the face of it, it was a rendition of a traditional boogie 12-bar blues. Hank has answered their questions with his usual blend of humour, honesty and humility, so pick up that Red Strat, sit back and read on… Prev of 19 Next Prev of 19 NextĪs you know, I’ve been inspired by The Shadows all my life. Six-string luminaries Brian May, Peter Frampton, Steve(s) Howe, Hackett and Lukather, Bill Nelson, Dave Davies, Guthrie Govan, Phil(s) Manzanera and Hilborne, Martin Taylor, Darrel Higham, Carl Verheyen, Marty Wilde, Andy Powell, Gordon Giltrap, John Jorgenson and Richard Hawley didn’t wait a second getting back to us.
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So… we put the feelers out to some fine players who admit to a bit of Shads in their own musical DNA, to ask some for us. However, since our first interview with the great man back in ’95 (with this self-same writer), we’ve asked and he’s answered every conceivable question. Gary Moore, for example, was an outstanding blues-rock player. I love to hear guys who can not only play with feel and dynamics, but have some technique to back it up it means they’re not just playing the same basic licks over and over again. “Of course, you had the new wave come along - Robert Cray, and Stevie Ray Vaughan was wonderful. It’s like, ‘Wow, I’ve suddenly got a Tom Jones voice here.’” On Don’t Get Around Much Anymore, that’s a very nasty crunch, but it did seem to suit the number.
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“For this album, I was flicking over to the neck pickup and cranking the amp for the solos, just enough to make it sing. If I crank the amp a little, I get a bit more sustain and can do a little more with it. “I’ve found that sometimes when I get to some of the solos on numbers I’ve been doing since the early 90s, to play it with my normal ‘clean’ sound leaves something wanting. “It’s adding another tone colour to the music,” he says. You don’t expect to hear him say, “Yes, we put the Tube Screamer on for that one,” but these days the Twangmeister is all for a bit of sonic change. Hank is on top form, bringing every nuance of his envious melodic style to bear, with guitar tones both familiar and surprising. Most feature Ben and Hank’s Gypsy jazz cohort Gary Taylor on acoustic rhythm guitars, with a production that’s modern, crisp and instantly pleasing.įor this album, I was flicking over to the neck pickup and cranking the amp for the solos, just enough to make it sing Co-produced by Hank with son Ben, it brims with beautifully played instrumental versions of some of the ex-Shadow’s favourite melodies. Hank Marvin’s new album, Without A Word, is one of the best of his 16 solo releases so far. Hank Marvin has influenced the greatest guitarists of all time, so with a new album just announced, who better to quiz their hero on his playing, influences and gear than the guitarists themselves?
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