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CONTENTS

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61 01 61 51 8222630343639

ON THE CDThe CD is split inlo two sections; section t (tracks 1-8) is the backing tracks to the titles listed

above. Section 2 (tracks 9-16) is each of the backing tracks listed above with all the leadguitar parts included for your reference, played by Stuart Bull.

Music arranged & produced by Stuart Bull and Steve Finch. Recorded at theTOTAL ACCURACY SOUNDHOUSE, Romford, England.

Stuart Bull: guitar & drums, Gerry Cunningham: bass, Pete Adams: keyboards.

First Edition 1996

@ 1996 International Music Publications LimitedSouthend Road, Woodford Green, Essex lG8 8HN, England

Reproducing this music in any form is illegal and forbidden by the Copyright, Designs andPatents Act 1988

Professional Ouitar

IntroductionThe TOTAL ACCURACY 'JAM W|TH...' series, is a powerful learning tool that will help youextend your stockpile of licks and fills and develop your improvisational skills. The combinationof musical notation and guitar tablature in the book together with backing tracks on the CD givesyou the opportunity to learn each track note for note and then jam with a professional sessionband. The track listing reflects some of The Shadows' most popular recordings, providingsomething for guitarists to have fun with and improvise with, as well as something to aspire to.

The first eight tracks on the CD are full length backing tracks recorded minus lead guitar. Theremaining tracks feature the backing tracks with the lead guitar parts added. Although many ofyou will have all the original tracks in your own collection, we have provided them in the packagefor your reference. The 'JAM W|TH...' series allows you to accurately recreate the original, or touse the transcriptions in this book in conjunction with the backing tracks as a basis for your ownimprovisation. For your benefit we have put definite endings on the backing tracks, rather thanfading these out as is the case on some of the original recordings. The accompanyingtranscriptions correspond to our versions. Remember, experimenting with your own ideas isequally important for developing your own style; most important of all however is that you enjoyJAM with HANK MARVIN and HAVE FUN!

Hank B Marvin is the name that stuck in most people's minds when anyone mentioned TheShadows. Originally called The Drifters (founded in 1958) they were the backing band tor ClitfRichard (or Sir as we know him today).

Prior to the success of The Shadows, it was John Foster (Cliff's manager) who was in search ofa guitarist. At that particular time Hank B Marvin and his friend Bruce Welch were playing on aregular spot at Soho's coffee shop "21's". John Foster was actually looking for Tony Sheridan(who went on to play with The Beatles in Hamburg), but instead he found Hank. So impressedwith this young man's style he oflered him an audition for Cliff Richard's backing group TheDrifters - the catch being that if he were to get the job his buddy Mr Welch would get the task ofrhythm guitarist.

In the summer of '58 the first single from Cliff and The Dritters was "Move lVSchool Boy Crush"on Columbia, successfully earning Cliff a silver disc! Following this success a tour wasimminent, supporting The Kalin Twins, after the success of their single "When" in the UK charts.

The members of the band at that time were; Hank B Marvin (lead guitar), Bruce Welch (rhythmguitar), Terry Smart (drums) and lan Samwdl (bass guitar), but lollowing the tour lan Samwelland Terry Smart decided to leave the band. The new line up was quickly organised incorporatingJet Harris (bass guitar) and Tony Meehan (drums). ln 1961 , however, Tony Meehan left andwas replaced by Brian Bennett; then in April 1962, Brian "Liquorice" Locking replaced Jet Harrison bass, but his stint was relatively brief as he was then replaced by John Rostill. Marvin,Welch, Bennett and Rostill continued their line up for some years until the band decided to splitand reformed as a vocal harmony outfit known as Marvin, Welch & Farrar; Farrar being the oneand only Australian guitarist and vocalist John Farrar - well known for his connection with OliviaNewton-John, having written and produced for her. This band only lasted two years from'71 to'73 but during this period produced many excellent harmony songs. However, the public didnltake to this new concept and neither did The Shadows'fans, so The Shadows gradually madea come back including John Farrar as the second lead guitarist'

Tragically, in 1973, John Rostill died during a mishap in his home recording studio, and from thattime on, various session bass players, including Dave Richmond, Alan Tarney, George Ford,Alan Jones. Paul Westwood and Mark Griffiths have all had their slice of action with TheShadows. Also around 1973, keyboards were incorporated to play a major part in TheShadows' sound, especially as their recordings by the Norrie Paramor Orchestra needed to besynthesized for stage performances. Two other session musicians played an important part ofthe keyboard set up, one being Alan Hawkshaw and the other Cliff Hall (who was responsiblefor arranging many of The Shadows'tunes in the years to come).

Continuing their support for Cliff Richard, Jerry Lordan composed their first massive hit"Apache" in 1960, followed by a succession of hits - "Frightened City", "Kon-Tiki", "WonderfulLand", "F.8.1." and "The Savage". The Shadows really began to set the world alight, and set theworld to rights in the sense that instrumental bands could be just as successful as vocal groups."Apache", which took the number one spot in the UK and spent 21 weeks in the charts, provedalso to be a big hit in many other countries, however, before "Apache" got a chance to get offthe ground in the States Jorgen Ingman released his version robbing them of any chance ofmaking an impact in America.

It wasn't until "Apache" first hit our charts that the media gave The Shadows any credit. lt wasThe Times that started the media buzz with a quote - "The playing of numbers like "Apache" and"Wonderful Land" had a rhythmic bite and variety of tone colour that placed it at a very distantremove from the raw monotonous blur from which it used to be hard to escape - what came outvery clearly was the players'total absorption in the music". With a style and sound which wasso unique it was surely inspirational to the likes of rock legends such as Jimi Hendrix, EricClapton and many others.

1 I years on the band were still hugely successful and it seemed that 1976 would be a good timeto choose 20 of their finest tunes and make up the "20 Golden Hits" album. Having said that, itproved to be an uneasy task, with such a big repertoire of songs to choose from it wasn't until1977 that the album was comolete.

During a tour in 1978 Hank was called upon for his musical expertise on the recording of thefamous composition "Don't Cry for Me Argentina" by Andrew Lloyd Webber and'l'im Rice. Thiscaused great demand from the fans for The Shadows to record lheir rendition. So, shortly after,their live version wenl into the British top ten. The Shadows followed this with a version of"Theme From The Deer Hunter (Cavatina)", which also became a top ten hit.

Roll Over Records, The Shadows' own record company, was formed in 1980. In 1982"Shadows Live at Abbey Road", was recorded at the famous Abbey Road Studios, London. Upuntil 1980 The Shadows, along with many other UK artists, recorded there regularly. AlthoughHank had maintained a relationship with Abbey Road, he didn't return there until 1995 to recordlhe album "Hank Plays Cliff".

The Marvin family moved to Perth, Western Australia in 1986. Since he began living on theother side of the world, Hank has established a recording studio called Sh-Boom, operated byTrevor Spencer and Gary Taylor, where he continues working on projects to this day.

Performance NotesMan Of MysteryThe intro to this tune is unaccompanied, and uses unison bends followed by four notes on theopen sixth string. The main melody then enters, played in an open position, ending with a barbend down and release on a chord of A minor. The second seclion moves up to a fifth fretposition, ending on the two-octave E note, leading back into the theme. Throughout thesesections, use subtle bar vibrato on any notes that ring on.

The guitar solo features some unusual-sounding double-stopped licks in the fifth and sixthbars. Play these with a light, rapid up and down picking movement, making sure each note ispicked separately - don't be tempted to hammer on. Finally, the main theme is played, endingon another bar dipped A minor chord and a unison bend as in the intro - this is played afterthe rest of the band has finished.

GeronimoAfter the five double-stopped notes of the intro, the main melody begins at bar five, and isplayed in an open position with palm mutes. The second half of this section, which beginswith a strummed F chord, features an interesting open string lick which involves sliding upfrom the third to the fifth fret, then playing the next string open. This is played on the fifth andfourth strings, then the sixth and fifth strings. Both sections are then played again. Thedouble-stopped bar which starts off the middle section is really just an F chord picked twonotes at a time, so it's easier to hold down the whole chord rather than try to fret each groupof two notes separately - this is also the case with the single notes played over the G chordnear the end of this section.

Next, the theme re-enters - on the original recording this section is double-tracked, so youmay like to use a short delay (set to about 50ms) to simulate this effect. The outro beginswith lhe same five double-stops as the intro, and the whole piece ends with slowly strummedA minor and A chords - use subtle bar vibrato on each of these.

Kon-TikiThis is perhaps the easiest of the Shadows' hits to play, and with the right guitar tone andsome subtle bar vibrato, it sounds great! The intro should be played with downstrokes only,and you should only begin using the bar when the main theme comes in at bar four. Themiddle section begins with strummed D, E, A and A7 chords - use slow, deliberatedownstrokes - and is followed by a bar-long bass phrase, which we've supplied on thebacking track, although tab is also provided in case you prefer to play it on guitar.

When the theme returns, it's played an octave higher, using double-stops, starting with anopen first string which rings on while the first finger slides up the second string. The rest ofthis seclion is a double-stopped variation on the tune, ending on a partial A chord at the ninthtret. After one more repeat of the middle section and original theme, the four-bar outro isplayed, which consists almost entirely of notes picked out from an E7 chord shape, right upuntil the final sharp chord of A to finish.

Riders In The SkyThis transcription, taken from the better-known '70s disco version of the track, begins with atwin-lead part, of which the lower one has been recorded on the backing track. The samefour-bar phrase is played twice, then, after a bafs rest, the main theme enters. This shouldbe played using bar pre-bends; dip the bar a full bend's worth *before* playing the note, thenpluck the string and gradually release the bar.

The middle section also features two guitars, one of which is only on the backing track. Playthe Hank Marvin part shown here, ending this sectign with a bar bend up (pulling the bar.away. from the guitar) to bring in the key change.

When the theme appears in the key of C minor, the same pre-bend bar technique should beused up until the freer bends just before the Ab chord - these should be bent in the normalway. Next, wait seven bars until the key has returned to A minor, and play the double-stoppedtheme again with the variations shown. The outro is identical to the intro except that on theoriginal it fades out. Because the backing track features a proper ending, you need to repeatthis four-bar section seven times, ending on a note ot A (14th fret, 3rd string) as the bandplays the last, short chord.

Guitar TangoThere is no lead guitar on the intro, so we've tabbed out the rhythm part, which is alsosupplied as part of the backing track.The basic tune is played through twice, and is notdifficult, although do make sure the two sixteenth notes which bring in each phrase are playedas a down then upstroke; it's impossible to keep them in time with any other picking pattern.Three strummed B minor chords bring in the middle section, which features some fairly trickypositions due to the speed with which you need to move between chord and single noteplaying. Over the F# chord, Wvo different positions are used - shift position on the barline, justbefore you play the hammer-on note.

The rest of the piece features repeated material, until the outro, when the rhythm guitar playsthe intro chords and stops halfway through the last bar - you may like to try playing the samechords in a higher position to create a contrast over lhese tinal few bars.

Wonderful LandThe rhythm guitar pattern shown in the intro continues throughout the piece, and it's includedon the backing track so you can play the melody. The opening guitar phrase is echoed by aFrench horn, which plays a simple one-note-per-bar part while the guitar plays the maintheme.

The middle section is played using palm mutes, and it is here where Hank's unusual tapedelay effect is most audible on the original recording. However, if your equipment doesn'thave the facility to create multi-tap delays, try subtly repicking each note just before the nextto simulate the echo etfect. The outro is identical to the intro, except that on the backing trackthere is an ending on a G chord, so you should play the four-bar sequence twice, letting theband finish one bar later.

ApacheAtter a two-bar drum intro, a strummed A minor chord is played, followed by a bend up andrelease lick using the bar. The main theme is then played once, and subtle bar vibrato should

be applied throughout this section. The palm muted notes which are played over the F chordshould use a combination of up and down strokes, with a delicate but accurate picking action.The middle Section makes even more use of the bar, including a bend down and release'which is played with an almost double-stopped sliding lick. These sections reappear, withslight variations, throughout the rest ol the track, up until the outro, which is almost identical tothe intro. The backing track ends by slowing down slightly and playing a single chord of Aminor.

F.B.l .Although this piece is in the key of A major, the melody is actually played in A minor, but thenotes and accompaniment go by so last that the clash is almost unnoticeable.The next section begins on a C chord, and although the transcription features every note thatwas played on the original, it will suffice to play the basic fret positions shown, in order tocapture the spirit of the tune, rather than worry about every subtle picking nuance.When the theme returns, it is played in a lower octave, then a short variation section appears,which features string bends at the 1Sth fret. After one more middle section and a final repriseof the main theme, the piece ends with a five-bar outro, featuring half-tone bends on the sixthstring, 3rd fret.

1 0

Notation & Tablature explained

BEND: Strike the noteand bend up a whole step(two frets)

BEND:Strike the note BEND AND RELEASE: Strikeand bend up a half step the note, bend up a half step,(one fret) then release the bend.

PRE-BEND: Bend thenote up, then strike it

PRE.BEND AND RELEASE:Bend up, strike the note,then release it

QUARTER.TONE BEND:Bend the note slightlysharp

UNISON BEND: Strike bothnotes, then bend the lowernote up to the pitch of thehigher one

TREMOLO BAR BENDS:Str ike thenote, and push the bar down and upby the amounts indicated

HAMMER-ON: Strike the firstnote, then sound the secondby fretting it without picking

PULL-OFF: Strike the highernote, then pull the finger offwhile keeping the lowerone fretted

SLIDE: Slide the fingerfrom the first note tothe second. Only thefirst note is struck

SLIDE: Slide to the fretfrom a few frets below orabove

VIBRATO:The string is vibratedby rapidly bending and releasinga note with the fretboard handor tremolo bar

TAPPING: Hammer on to thenole marked with a T using thepicking hand, then pull off tothe next note, following thehammer-ons or pull-offs in thenormal way

AH

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NATURAL HARMONIC:Lightly touch the string directlyover the fret shown, then strikethe note to create a "chiming"

effecl

ARTIFICIAL HARMONIC:Fret the note, then use thepicking hand finger to touchthe string at the positionshown in brackets and pluck

with another finger

ARTIFICIAL HARMONIC:The harmonic is producedby using the edge of thepicking hand thumb to"pinch" lhe string whilstpicking firmly withthe plectrum

PALM MUTES: Rest thepalm of the picking handon the strings near the bridge toproduce a muted etfect. Palmmutes can apply to a single noteor a number of notes(shown with a dashed line)

1 4

Wonderful LandBy JERRY LORDAN

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Guitar TangoBy NORMAN MAINE and GEORGES LIFERMAN

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@ 1962 & 1996 Editions Philippe Pares, FranceWorldwide print rights controlled by Warner Bros Publications Inc/lMP Ltd26

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GeronimoBy HANK MARVIN

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Kon Ti kiBy MICHAEL CARR

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Man Of MysteryBy MICHAEL CARR

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