| Master-No: | 22 726 |
| Label: | Columbia |
| Country: | GER |
| Release Date: | 1964-5 |
| Artist: | Shadows |
| A-Side: | The Rise And Fall Of Flingle Bunt |
| B-Side: | It's A Man's World |
| Beschreibung: | Composer A: Bruce Welch - Hank Marvin - John Rosteill - Brian Bennett
Length: Matrix No: 7 XCA 27 312 Composer B: Malcolm Addey - Norman Smith Length: Matrix No: 7 XCA 27 313 Location: Studio 02 at Abbey Road Studios, London Recording Date: 1964-05 Musicians: Hank Marvin (lg) Bruce Welch (rg) John Rostill (bg) Brian Bennett (drms) from: A pocket Guide to Shadow Music - Malcolm Campbell This group-penned release (marking John Rostill’s debut as a composer with them), the first Single to feature the striking white Burns guitars, restored The Shadows to the upper reaches of the hit parade. With a throbbing bassline and Brian’s pounding tom-toms a heavy beat was laid down over which Hank laid his almost funky riff-like passages; a piano (played by Norrie Paramor?) gave added drama and prominence to the intro/ outro. There are some interesting stories concerning the odd title of the disc. For example, it was claimed that Flingel Bunt (about whose identity they had a running gag on Radio Luxembourg in 1964, George Geddes recalls) was a well-known treacle- farmer! Brian Bennett states: “We’ve always had fun thinking up names for tunes, because you can call an instrumental anything you like!”. Hank recalled that the whole thing started as a 12-bar studio jam, and improvisation was the order of the day — an aspect exploited extensively in the 1990s when Ben Marvin performed the number on stage with his father. Furthermore, Hank has related how, if Richard O’Sullivan fluffed his lines on the set of ‘Wonderful Life’, instead of resorting to a string of expletives he would exclaim ‘Squimby Nurox!!!’ —and this became his nickname along with ‘Flingel Bunt’; SN would also be revived as the name of a tune in Hank Marvin’s Guitar Tutor. Hank again: “The night before the session, we’d been watching a film called ‘The Rise And Fall Of Legs Diamond’ and so we just put the names together.” The flipside was a spectacularly vibrant instrumental, recorded the same day as [90] CHATTANOOGA CHOO-CHOO (see below) and running it close; penned by recording engineers Addey and Smith, it had started life as ‘Malcolm’s Tune’. The latter had already been involved egregiously with The Beatles, and, as ‘Hurricane’ Smith, would himself go on to net three charting Singles in 1972/73, the first two of them blasting their way up to No.2 and No.4 respectively; treading a path unfamiliar to the group he served, Smith took one of them to No.3 in the USA! It contrasted well with the A-side, being a bright, breezy number, which moved along at a brisk pace; the crispness and drive of the rhythm guitar, particularly from 1:20 on, really is something to write home about! |
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