| Master-No: | 22 626 |
| Label: | Columbia |
| Country: | GER |
| Release Date: | 1963-11 |
| Artist: | Shadows |
| A-Side: | Geronimo |
| B-Side: | Shazam |
| Beschreibung: | Composer A: Hank Marvin
Length: Matrix No: 7 XCA 27 210 Composer B: Duane Eddy - Lee Hazlewood Length: Matrix No: 7 XCA 27 114 Location: Studio 02 at Abbey Road Studios, London Recording Date: 1962-12-13 + 1963-08-04 Musicians: Hank Marvin (lg) Bruce Welch (rg) Brian Locking (bg) Brian Bennett (drms) from: A pocket Guide to Shadow Music - Malcolm Campbell The Shadows’ detractors often accused them of being too ‘tame’, ‘melodic’ or ‘samey’. Tracks like GERONIMO refute these statements. Written and recorded a full year before its release (perhaps in the wake of the Chuck Connors movie ‘Geronimo’ which appeared earlier that year), it contrasts fiery, powerful sections with menacing, sinister quiet passages giving a feeling of pent-up violence. The whole thing is driven along by Bruce’s remorseless rhythm playing coupled with thudding bass and drums. Swooping strings and wailing female voices conjure up images of Manitou and staccato bursts of brass add to the overall atmosphere. Hank employs a wide variety of tonal effects switching rapidly from one to another. The flip is a reworking of an undisputed instro classic; the title was drawn from a Whiz comics exclamation dating from 1940 (hence the exclamation mark as shown above, usually omitted in record-credits etc.): radio newsboy Billy Batson would transform into super-hero Captain Marvel on uttering the acronym SHAZAM! learnt from the good (but ailing) Wizard Shazam. It was a UK hit (peaking at No.4) for Duane Eddy, who introduced it on his debut British tour. It had long been a live favourite of the group (see under 1961, South African EP; it surfaced again on the Final Tour of 2004/2005) but it wasn’t until 1963 that they recorded a studio version. Very fine it is too, giving Bruce, Brian and Licorice a couple of brief solos each along the way. Jim Nugent notes: “The ‘dah-dah- da-dum-dum, dah-da’ bit is probably an overdub, played very forcefully ... <It> is doubled by the low end of the piano, which lends it a harmonically rich quality”. Record Mirror detected “some good bits here and there”, but refrained from specifying what those “bits” were! |
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