Change of Address - 1980

After 22 years of recording for EMI, it was time for a change of address... or at least a change of record label. The Shadows wanted ownership and control of their own recordings, which EMI would not give them. So, they set up their own label, Roll Over Records, and leased their material to Polydor, resulting in 1980's Change Of Address, recorded at Abbey Road Studios.

Ad from back of 1980 programme

Anyway, along with Guardian Angel, it's my favourite album of theirs from the 1980s. The usual suspects Messrs. Marvin, Welch, and Bennett are joined by Alan Jones on bass, Cliff Hall on piano and organ, and Dave Lawson on synthesisers. Alan's superb bass playing is definitely a highlight of this album, particularly on the upbeat tracks like Arty's Party, Outdigo and Temptation. 

Many seem to dislike the cover art, I quite like it. I can't really explain why - maybe the music and the artwork are so firmly linked in my head that I can't think of anything else... The matching picture labels on the LP are a nice touch too.

We start off with Mozart Forte - the composer's Symphony No. 40 in G minor, arranged by Hank, Bruce, and Brian - which is a fantastic full-of-energy album opener. The first couple times I listened to this album I thought this number was a bit cheesy, very sort of 'Hooked On Classics', but over the past year or so it's really grown on me. I couldn't agree more with Malcolm Campbell's description, as another example of the Shadows' "combination of punch and refinement".

There's a clip of the boys miming along to the tune on Dutch TV show Top Pop, with George Ford on bass. They're all messing around and not taking it seriously - George isn't facing the camera, Bruce starts kicking his leg about, Hank starts jumping around like a loon, and that makes Brian laugh his head off behind his drum kit!!

Next on the album is a Welch/Bennett/Marvin original, Midnight Creepin'. True to the title, it's very evocative of walking through a big city late at night, seeing all the lights and the people going by. To my ears, it's almost like a slightly more sombre version of Sweet Saturday Night, the B-side of the Love Deluxe single. Another evocative instrumental follows; the beautiful Change of Address. It sounds like waking up in an idyllic cottage by the seaside and seeing the rising sun shining on the water.

Of course it wouldn't be a 1980s Shadows album without some covers of chart hits... so now the Shads play Billy Joel's Just The Way You Are. It's nice, but there's nothing that really makes it stand out from all the other covers of similar songs they did. Next is Indigo, a laid-back tune with a nice, rich arrangement, I do like it, though it's quite forgettable. (That might ruffle some feathers if any other human being ever reads this!!)

Ending side one is Arty's Party, a fun, catchy disco pastiche written by Hank, Bruce, and Brian. I can't unhear how the part around 40 seconds in sounds like Little Richard's 'Lucille'... Listen to the 1982 live version from the Live At Abbey Road album, where this melody is played on a synth instead (since Hank can't play two guitars at once live!) and the track is worked into an opportunity for a sensational drum solo from Brian. Alan Jones' bass on both versions sounds fantastic.

Page from the 1980 tour programme

 

Into side two with Outdigo, a jaunty tune written by the group as a variation (or sequel?) to Indigo, hence the title... I love this number, it's fresh and spontaneous and everyone is on top form here!

Now a reluctant hello to Hello Mr. W.A.M., my least favourite track on the album. It's well played, but it trudges along for what feels like forever until the uptempo section near the end. That was a surprise on first listen, and though it's in the original arrangement, it still seems out of place with the rest of the piece here. Dave Lawson's synth pipe organ backing sounds cheap and tacky too, maybe less so in 1980. Overall, I just don't like it!

Following that is a 1980-style reworking of the classic Temptation from the 1930s. The arrangement is very similar to Riders In The Sky, in particular Alan's offbeat disco bassline, Brian's drumming, and Hank's intro before launching into the main melody. I think this version is great, but the earlier version from Dance With The Shadows in 1964 is still better, particularly with Bruce's relentless rhythm playing being showcased, instead of him being pushed to the back and almost inaudible here - a common theme for this album...

The Shadows' version of Albatross doesn't add anything to the original by Fleetwood Mac, then again nothing really needs to be added, it's a pleasant instrumental as it is. It's followed by If You Leave Me Now - I think I prefer this version over the original by Chicago - though this might be because I heard the Shads' version first... OK, so it might be a run-of-the-mill cover, but it sounds nice! The acoustic guitar break, also on the original record, is lovely.

The last track is Jean-Michel Jarre's Equinoxe Part V given the Shadows treatment. I'm not as enamoured with this number as a lot of other fans are, but it's still a clever arrangement played to perfection.

Also - Fender Bender!
Now, I know this isn't on the album, but since it was hidden away on the B side of the single of Equinoxe (Part V) it feels right to mention it. With that skilful picking, Hank is the star of this infectious rock 'n' roll style tune penned by the boys. Though a honourable mention to Cliff Hall's bouncy piano backing. What a wasted potential for this fantastic number - I think it deserves better than being an semi-obscure B side.

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Lastly... here's an entertaining (and surprisingly benevolent considering it's the mainstream 1980s music press on about the Shads...) review in Record Mirror, 20th September 1980. It's "laid-back muzak, but with added character and the jist of a jape"! I don't disagree!