7 comments on “The Shadows of Knight – Oh Yeah

  1. I look fwd to your anti-Led Zep rant (despite the cries of our peers who will no doubt cry “No way, Zep are cool!”).

    Someday we’re going to find out how The Shads heard “Oh Yeah” and how The St. Louis Union came upon “East Side Story”.

  2. It’s so true that Bo was the symbiotic Grandfather of Garage Punk, and fits into the origins of Frat Rock with J.B.

    The Art School sound is an area you should further discuss. Good job.

  3. This band’s version is as crass as their stupid name (a bad pun that doesn’t work at all without some qualification to “Knight” i.e. “a”, “the”, plus some adjective – e.g. Shadows of the Black Knight).
    Their record is a total rip-off of The Others’ earlier release, even to the idiosyncratic fifths played on bass in the “rave-up” – an Ian McLintock innovation. “She ain’t very tall” gets rendered as “she lives in the town” as might be predicted from listening to and copying someone else’s record.
    The Others’ arrangement differs drastically from Bo Diddley’s original (actually “Oh Yea”, no “h”) but this crew copy it slavishly anyway, mangling the vocals in the process to hilarious effect.
    The Others’ Paul Stewart, at age 17, was in the process of developing a truly great soul voice and if the UK Fontana label had had the nous, they would have released The Others’ cut in the States before the Shads got the credit and the cash for their 39/100 hit. The Others belonged to the same stable as The Pretty Things and both bands were part of the SW London R&B boom led by the Stones and the Yardbirds, the South’s answer to the Liverpool Sound was the Richmond Sound.

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