A temporary and partial reunion convened a year or so after the Shadows late 1960s break-up, Shades Of Rock pairs band regulars Hank Marvinand rian Bennett with keyboard player Alan Hawkshawand a revolving door full of session bassists - Herbie Flowers, John Rostilland Brian Hodgesamong them. 　　The choice of material is interesting. The late 1960s saw any number of British rock bands rediscovering the hits of the original rock'n'roll era - John Lennon's Plastic Ono Banddebuted live with a set full of Chuck Berryand the like, the Whowere gleefully pillaging the Eddie Cochransongbook, the Rolling Stoneshad returned to blues'n'Berrybasics. Now the Shadows were throwing their weight into the revival, eschewing their own writing abilities in favor of the resuscitated "Lucille," "Bony Moronie" and "Memphis Tennessee" (among others), then restructuring a host of more recent classics to similar basics. 　　The Beatles' "Paperback Writer" is reborn as a seething Bo Diddleybeat, for one of the Shadows' most remarkable reinventions ever; versions of further Fabs favorites "Get Back" and "Something" are less immediately revolutionary, but repay close listens. There's also a mountainous version of "River Deep, Mountain High," dignified by some truly Himalayan percussion. 　　The Stones' "Satisfaction," CCR's "Proud Mary" and a spookily organ led "What'd I Say" add to the fun; in fact, with a track listing like this, and wrapped up in a sleeve portrait of a leather-clad motorbiker, you could almost believe Shadows Of Rockwas going to emerge a brutal battering of the first order. 　　But of course, the overall mood remains as politely well-mannered as every later Shadows release, the kind of album which is better targeted towards middle-aged hipsters than cutting edge kiddies. And even at its grittiest, the rock does indeed remain in the shades.