1.Shadoogie [Mono Version] 		
2.Blue Star 		
3.Nivram 		
4.Baby My Heart 							play		
5.See You in My Drums 		
6.All My Sorrows 		
7.Stand Up and Say That 		
8.Gonzales 		
9.Find Me a Golden Street 		
10.Theme from a Filleted Place 		
11.That's My Desire 		
12.My Resistance Is Low 		
13.Sleepwalk 		
14.Big Boy 		
15.Gonzales [Mono Version] 		
16.Gonzales [Stereo] 		
17.Find Me a Golden Street [Mono Version] 		
18.Find Me a Golden Street [Stereo] 		
19.Theme from a Filleted Place [Mono Version] 		
20.Theme from a Filleted Place [Stereo] 		
21.That's My Desire [Mono Version] 		
22.That's My Desire [Stereo] 		
23.My Resistance Is Low [Mono Version] 		
24.My Resistance Is Low [Stereo]			play 		
25.Sleepwalk [Mono Version] 		
26.Sleepwalk [Stereo] 		
27.Big Boy [Mono Version] 		
28.Big Boy [Stereo]

Hank Marvin – Lead guitar, Piano.
Bruce Welch – Rhythm guitar.
Jet Harris – Bass guitar.
Tony Meehan – Drums.

Having already scored three major U.K. smashes, the Shadows confirmed their independence from singer Cliff Richard with an eponymous album which rates among the most accomplished British LPs of the pre-Beatles era, and one of the most influential rock instrumental sets ever. An entire generation of would-be guitar heroes learned their licks from Hank Marvin and the Shadows, an accolade which a star-studded, mid-1990s tribute album certainly affirms. But the bespectacled guitarist was not the band's sole star. Drummer Tony Meehan's "See You in My Drums," like bassist Jet Harris' "Jet Black" single of two years previous, is a gripping showcase for his own remarkable talents, while "Baby My Heart" unveils vocal talents which, again, the group's earliest singles alone had illustrated. Modern listeners, schooled in the axeman excesses of more recent years, will doubtlessly find The Shadows impossibly well-mannered and implausibly sedentary. Low-key instrumentals like "Blue Star," "Sleepwalk," and "Nivram" (the inspiration behind Peter Frampton's "Theme From Nivram") scarcely begin to speak of the frenetic abuses which the likes of Jimmy Page, Jeff Beck, and Eric Clapton would one day wring from their instruments. What they did do, however, was illustrate the untapped possibilities of the guitar, a lesson which Marvin might have taken his time in teaching, but which was vivid all the same. --- Dave Thompson, allmusic.com

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1. Brazil
2. Lost City
3. A Little Bitty Tear
4. Blue Sky, Blue Sea, Blue Me
5. Bossa Roo
6. Five Hundred Miles
7. Cotton Pickin'					play
8. Deep Purple
9. Santa Ana
10. The Windjammer
11. Dean's Theme
12. Breakthru'						play
13. Let It Be Me
14. National Provincial Samba

Credits:
Guitar, Vocals - Bruce Welch, Hank Marvin
Bass - John Rostill
Drums - Brian Bennett 
Ensemble – The Norrie Paramor Strings (4, 10)

The Shadows' fourth album (not counting hits collections) follows on from Dance with the Shadows. The common perception among Americans watching from afar and British historians who just don't know is that the Shadows were operating in a vacuum during the 1960s, oblivious to the pop music universe swirling around them, but their mid-'60s albums tell a different story -- the band tries hard to be a mainstream rock & roll outfit without betraying their roots as a virtuoso instrumental ensemble. "A Little Bitty Tear," "Let It Be Me," and "Five Hundred Miles" are attempts at successful vocal numbers, and not bad -- they harmonize beautifully on the latter two. All of these do rather get lost in the shuffle, amid slow instrumental ballads like "Blue Sky, Blue Sea, Blue Me" (which features the band supported by the Norrie Paramor Strings) and harder dance numbers like "Bossa Roo" and "Breakthru'," but the vocal efforts are valid. The latter track is a great showcase for John Rostill's bass and Marvin's lead picking and Welch's melodic rhythm guitar. Surprisingly, drummer Brian Bennett isn't quite as visible on this record, as either a songwriter or on his instrument, as he was on their other albums of this era -- in his place, John Rostill shares songwriting with both Marvin and Welch on four numbers featured on this album. Some of the outside songwriting is a bit lacking in imagination, most notably Jerry Lordan's "Santa Ana," which often seems one note away from turning into "La Bamba." By contrast, "Dean's Theme" by Hank Marvin and John Rostill is a bluesy little venture that's a bit different for the quartet, although the best (and hardest rocking) number on the album is an outside composition, a driving instrumental called "Breakthru'." The sound throughout is more than good, but not as radiant here as it is on several of the group's other remastered CD editions -- this one was done in 1997, not 1998, and although it features 24-bit digital audio mastering and the same noise reduction process, the later releases are more successful. Additionally, the CD version predates the decision by EMI to include the mono and stereo mixes together on the same compact disc. --- Bruce Eder, allmusic.com

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