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Shadows of Knight (album)

Shadows of Knight
Shadows of Knight cover.jpg
Studio album by The Shadows of Knight
Released 1969
Recorded 1968–1969
Genre
Length 34:58
Label Super K Productions
Producer
The Shadows of Knight chronology
Back Door Men
(1967)Back Door Men1967
Shadows of Knight
(1969)
Raw 'n Alive at the Cellar, Chicago 1966!
(1992)Raw 'n Alive at the Cellar, Chicago 1966!1992
Singles from Shadows of Knight
  1. "Shake"
    Released: September, 1968

Shadows of Knight is the third studio album by American garage rock band The Shadows of Knight, and was released on Super K Productions, SKS 6002, in 1969. Recording for the album came after lead vocalist Jim Sohns revamped the Shadows of Knight's line-up and signed with Super K. Although Shadows of Knight did not chart and was the last album featuring new material by the group until A Knight to Remember, a single taken from the effort, "Shake", became a moderate national success in the United States.

Throughout 1966 and 1967, the Shadows of Knight were forerunners of the Chicago garage rock scene, and gained prominence with a string of national hits on the Billboard Hot 100, including "Gloria", "Oh Yeah", and "Bad Little Woman". However, by the end of 1967 the classic "Gloria" line-up began to disband when Jerry McGeorge left to join the psychedelic rock group H. P. Lovecraft, Joe Kelley formed his own blues band, and Hawk Wolinski later helped establish Bangor Flying Circus.Lead vocalist Jim Sohns, having authority over the Shadows of Knight's name, dismissed the remaining band members, and formed a new line-up with Woody Woodruff (lead guitar), John Fisher (bass guitar), and Ken Turkin (drums).

In 1968, the band signed a recording contract with Super K Productions, a subsidiary of Buddah Records responsible for hits with primarily bubblegum pop bands like 1910 Fruitgum Company and the Ohio Express. Tension soon arouse between the Shadows of Knight and the Jerry Kasenetz-Jeffrey Katz production team over musical direction. The group, in favor of their characteristic bluesy garage rock approach, conflicted with Kasenetz-Katz's polished production techniques, ultimately resulting in the duo instructing co-directors Joey Levine and Arthur Resnick to overdub much of the instrumentals with the work of uncredited session musicians.


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