SHADOWMANIA 2002

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"THE BEST '60s
BAND SINCE
THE '60s"

FANS STRAIGHT
TO THE POINT

.Lisa Jolley: The Rapiers
were brilliant at
Shadowmania, the best
thing since sliced bread!
They look really cool, they
play superbly and their
harmonies are somethin'
else! Well done boys —
you're always entertaining.

* * *

Rune Moe: Wow! The
Rapiers were awesome,
starting with "Shadoogie"
and "Gonzales". It was nice
to hear the vocal stuff too,
especially "I Want You
To Want Me" and "Rhythm
and Greens".

* * *

Chris Kennedy: The
Rapiers were as great as
ever — it's like going back
in time to a Shadows concert.
I enjoyed tracks like
"Driftin'" and "Rhythm
and Greens" — even if there
appeared to be a problem
with John's whistle on the
latter. But the highlight of
their set was Colin's mention
of Cliff and The Shads' "Live
at the ABC Kingston" album.
I was thinking to myself,
"Please let them play 'Quarter
to Three!'" — a great rock 'n'
roll track — and sure enough
they did.

* * *

Robert N. Gregory: A
memorable session from
the "everlasting" Rapiers!
Their final selection of
Shadows vocals was great
and led them into supporting
Jet Harris in his most
accomplished set yet...

* * *

Ludwig: A fabulous, authentic
band! The Rapiers must have
been the only full-time
gigging group on the whole
Shadowmania show.
Particularly enjoyed those
rarely heard Shadows
vocals...

* * *

Bernie G: The Rapiers are a
great band (whom I had been
pleasantly surprised by at
previous Shadowmanias)... I
had seen them do many of the
numbers before — "Saturday
Dance" (Colin makes this
look so easy), "Driftin'",
"Shadoogie" — all expertly
played. "I Want You to Want
Me" was another highlight.

* * *

Mike Folley: I've seen the
Rapiers quite a few times,
and they spread the sound of
Shadows music wherever
they play. It may not always
be big halls with hundreds of
people, but they always bring
a brilliant sound and Colin a
mention of his dedication to
The Shadows and their music
(as he did at Lakeside).

* * *

Clive: It would be sacrilege
to suggest the Rapiers might
sound better than The Shads,
but numbers such as "Will
You Be There" and
"Saturday Dance" (and
"Feelin' Fine" last year)
definitely take on a freshness
and sparkle when performed
by Colin and the boys.
Hugely enjoyable. If and when
I get married, I want them
playing at the wedding!

MORE MEMORIES
OF SHADOWMANIA

Check our Shadowmania
photo album of snaps,
including candids from
the night before at the
Ace Cafe.

MY SHADOWMANIA HOLIDAY

21 SEPTEMBER 2002 — FRIMLEY GREEN, SURREY — It doesn't take long.
Just five minutes after stepping into the last pub at the far end of Frimley's wee city centre,
I spot my first Shadowmania-er, overnight bag at feet, pint soon in hand. "Left Belgium
this morning at 8, took the Chunnel, caught a train from London," he says. "Four hours
later, here I am. Just need a taxi to Lakeside."

"You Europeans have it so bloody easy peasy!" I reply, fighting off 48-hour jetlag from
San Francisco while impatiently waiting for our pub grub to arrive so Andrea and I can
close the final gap between us and our first Shadowmania all-dayer. After all, going 0-5
just wouldn't cut it.

Forty-five minutes later, ferried a mile or two east to leafy Frimley Green by the very same
driver who collected our European friend, we enter Shadowland HQ. OK, the Lakeside
Center grounds might be just another corporate conference facility, flanked by low-key
business hotels, but today the car park teems with a much happier lot: that uniquely
English and Northern European breed of early '60s trad instrumental avid who knows
vintage Fender Strat and Burns Marvin model numbers, telltale shades of Fiesta Red and
Hank B. Marvin string gauges like every spoke on every roundabout on the M3. Plus
punters like me who simply come for That Sound (and don't mind foregoing chit-chat on
the finer points of Meazzi echo variants).

Inside the main hall's adjoining alcove, the back-to-back CD and hardware stalls buzz,
dominated by the inviting bins of mighty Leo's Den, where, if you're so inclined, you
might pick up The Vibratos' latest and highly recommended release ("The Cappuccino
Kid") or settle for that obscure Russian label version of a mid-'70s Shads hits collection.

Meanwhile, a mini warm-up to the main event, amateur, semi-pro and "I'll show you MY
'Kon-Tiki'" guitarists serenade passersby from opposite corners, plucking any number of
famous melodies — "The Savage", "Wonderful Land", "Foot Tapper" — accompanied by
pre-made backing tracks (they're on sale as well, in competing versions no less, for the
truly discerning UB Hank client). Across the car park, more revelers hold forth in an
upstairs bar, including Legend's David Martin, quick with a Surrey welcome and
admission of "a bit of nerves" as the day's opening act.

Back near The Rapiers' merchandise table, tirelessly staffed all day by Jackie Cain, also
known for looking after John Leyton's fan club, I'm cornered by George Geddes, one of
many well-known instro scribes on hand at Lakeside. "Greg, I hear it's your first
Shadowmania. You know what we do to Shadowmania virgins, don't you? It's a nasty
business involving shaving cream and other products!"

"Is that so? I've come 5,000 miles, I'm not afraid. Do your worst!"

Fortunately, before the hazing ensues, the 2 p.m. opening time calls 1,000 instrumental
diehards inside, where we'll spend the better part of a day absorbing poptastic sounds.
Including the aforementioned Legend, who start the twanging with the majesty of "The
Lost City", classic Burns-era Shadows; The Vibratos, sterling meat-n-potatoes instro
fare touching on classic British and Americana styles (Krew Kats, Joe Meek, Ventures)
that merit a rapturous welcome — two standing ovations, in fact — for longtime Shadows
sticksman Brian Bennett guesting on drums while son Warren shares lead guitar duties;
and headliners Bruce Welch's Shadows, who, rather than dwell solely on the glory years
(as I expected) offer a career retrospective, '60s to '80s, of the storied rhythm guitarist's
tenure anchoring certainly Britain's and in my mind the world's finest rock 'n' roll
instrumental group ever. Sandwiched between this music feast and making Shadowmania
guest appearance No. 5 come The Rapiers, earning a solo spot and follow-on set
supporting another Shadows founder, Jet Harris.

"You know, when The Rapiers come on, I have to get closer for a better listen and
photos," I whisper to our tablemates. They include Rob Bradford, redoubtable Pipeline
Magazine contributor, JMAS editor-in chief and ace instrumental scholar. Like a cheating
schoolboy, I'll continually check his notes for correct running orders and titles to the odd
'70s Shads tracks Bruce's combo offers. At hand, too, is Colin Wood, former guitarist for
'60s Birmingham R&B outfit Keith Powell & The Valets, also checking his first
Shadowmania, all the way from Melbourne. (By the way, in the mother of all coincidences,
it's Mr. Powell himself who's running the Lakeside doors and admits us — a cosmic joke of
somewhat epic porportions.)

As the lights go down for The Rapiers, I dash. "Right, I'm off!" Andrea doesn't mind, she's
been shanghaied by Rapiers manager Janet Pryce-Jones for her own stage duty later.

Kneeling beside paparazzi row on the lip of the stage, I wangle a bird's-eye view of Wayne
Nicholls, Nathan J. Hulse, Colin Pryce-Jones and, seemingly a mile downstage, John Tuck
— one and all fashionably resplendent in their newly tailored, shimmering grey, mohair-ish
suits. Yes, detail is everything, right down to how their guitar leads loop from their Fender
instruments.

Ka-pow!

They're off with the 1-2 instrumental punch of "Shadoogie" and "Gonzales" from The
Shads' monumental 1961 debut LP. Moving confidently from strength to strength,
befitting their pedigree as the only regularly working band on the day's bill, The Rapiers
offer their solid, patented mix of playing and singing. My only complaint: the overall
sound mix ought to be cranked up — I can barely hear John's drums — a nitpick later
seconded by others in attendance. Still, mustn't grumble because the parade continues
apace with...

"Saturday Dance"
"Driftin'"
"I Want You to Want Me"
"Theme From a Filleted Place"
"Baby My Heart"
"Quarter to Three"

"This next one wasn't in our original set list," Colin remarks, introducing a Rapiers
trademark, albeit a non-Shads goodie. "But Bruce Welch asked us to do it again. Here's
'Saturday Night at the Duckpond'."

	THE LAKESIDE SWAP-OUT:Last-minute Rapiers roadie Andrea O. presents Colin Pryce-Jones his Burns Marvin in exchange for a Fender Strat. After all, mid-'60s Shads numbers "Don't It Make You Feel Good", "Will You Be There" and "Rhythm and Greens" require the proper gear.

As the driving number concludes, on cue come three bonnie lasses kitted out in Rapiers
t-shirts and bearing original, matching '60s Burns Marvin guitars. They gingerly present
the precious instruments ("They didn't need to tell me not to fumble with the tuning pegs,"
Andrea later laughs) to Wayne, Nathan and Colin, for their final three-tune run. It's a
definite first for our boys, who NEVER abandon their Fender Strats on stage.

Until now.

Paired against the natty threads, the white axes dazzle the eyes. But it's the sound that
astonishes.

Because The Rapiers sing like Merseybeat angels on "Don't It Make You Feel Good" and
"Will You Be There", stellar High-'60s beat numbers ("practically hippie music for us",
Colin kids the crowd), criminally buried on Shadows B-sides, throwaways in the on-rush
and chart sway of Beatlemania. The spot on harmonies go down like candy floss on top of
the throbbing, crunchy guitars. My head goes drunk. Doubtless for partisans like myself,
it's the highlight of Shadowmania and 100% proof of the band's genius.

With Bruce W. himself peaking through the curtains ("Are they really doing what I think
they're doing?"), the chunky staccato of "Rhythm and Greens" ends The Rapiers' solo spot.
But with a mild hiccup. Weeks of rehearsal, hoping to replicate the original recording's
whistle and duck call effects all goes for nil as no one remembers to mic John's quacking.
"I can't believe it. Incredible!" Colin wails afterward. "After all I warned at the soundcheck,
they still forgot to turn on John's mic!"

Another swap-out to their Fenders and The Rapiers step back into the shadows behind
Jet for a further 13 numbers, little time to catch their breath. It's an amazing double
booking.

Off stage, Colin admits to a bit of nerves before showtime. "Because you're always
aware everyone in the place is a critic."

He wasn't the only anxious guitarist.

"Jet Harris always has his 20 minutes of pacing before he goes on. You do NOT talk
to him then — ever!" adds Rapiers manager Janet Pryce-Jones. Like a mother hen, she
did her share of pre-curtain, backstage calming at the Lakeside Center with well-served
cups of tea and other remedies, "especially for 'The Boss'" — resident perfectionist Bruce
Welch.

Still, she couldn't save that blown mic'ing on "Rhythm and Greens", The Rapiers' closer.

"I must say soundchecks can be a real waste," says Colin, another king fretter over
details. "Sometimes, by the time you come on for real, it's like they've set things for a
different group altogether. Or forgotten your special instructions."

Anything else?

"Strange to have the drums so far behind the front line — I like giving John Tuck one
little glance and him knowing exactly what I mean. Hard to do that on Lakeside's grand
stage. And the immense space back to our amps! Almost stretched our leads to breaking.
As you know, we don't go in for fancy electronics like wireless guitars!

"Regardless, I thoroughly enjoy Shadowmania. It's always a great day, an honour to
be invited. When I first heard 'Apache' in 1960, never did I dream one day I'd be working
with The Shadows."

Speaking of critics, Lakeside boasts no shortage of media mavens, among them
Pipeline Magazine's Alan Taylor (who — hint, hint — ought to think Rapiers for Pipeline
Convention No. 11 on Easter Sunday 2003); very in-style Mike Berry webmistress
Ellen Holbrook; Shadsfax editor Tony Hoffmann (flummoxed my Shads collection is
minus 1973's "Rockin' With Curly Leads" comeback LP); and noted Shads historian
Malcolm Campbell (The Shadows at EMI).

Later, holding court until the wee hours during the smoky after party are Searcher
Frank Allen (always turned out to the nines), original Fentone bassist Bill Bonney,
Castaway and Harmony Grasser Tony Rivers (not shy with amusing insider tales of
recording studio trauma 'twixt Shadows) and wise-guy pal JK, who dresses me up and
down for venturing 5,000 miles to a Surrey Shadowmania but bailing on a 400-mile
journey from San Francisco to Los Angeles last summer to see Mr. Rivers on a
one-night U.S. stand. Er, that's the way the California public transport goes (or doesn't).

More bad timing: the madding crowd keeps me from a cool photo opp with Mssrs. Tony Meehan and Brian Bennett hugging, a beatific sight. Me? I go weak in the tom-toms when musical icons glad-hand like a Sunday morning kawfee klatch. Worse if they form a pop group line of succession: Picture Jeff Beck hoisting a totty with Eric Clapton, Ringo Starr buttering scones with Pete Best (OK, in an alternate universe), Mike D'Abo debating hoof and mouth with fellow Manfred Mann alum Paul Jones. Better off the dime, I catch Rapiers drummer John Tuck beaming Cheshire cat-like (left) after scoring Tony and Brian's autographs on a drumhead.

Finally, a mere 12 hours after arriving at Lakeside, we call it a night and take our
leave of Frimley Green, definitely Shads-satisfied, owning treble thanks to Bruce
Welch for puttin' on the style five years running (and Rob B. for the overnight
accommodations). Needless to say, 'twas thrilling to finally witness Bruce's fabled
right hand strumming con brio on "Wonderful Land" and "The Savage" and so many
instrumental supernovas and then hear his fine harmonizing on chestnuts "That's the
Way It Goes" and "Don't Make By Baby Blue". Things of beauty.

Is it any wonder those "great idea" lights are popping behind my head in this "my brush with greatness" snap (left) backstage at Lakeside? Cheers, Greg Ogarrio San Francisco

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