Marvin, Welch & Farrar (. MWF) were a 1970s British and Australian popular music group formed by Hank Marvin and Bruce Welch, both members of The Shadows – as a change of direction manoeuvre during 1970 to 1973 – and John Farrar (ex-The Strangers). The distinction was that while The Shadows were famous for their instrumental work, Marvin Welch & Farrar were a trio, vocal harmony group. They have been favourably compared to USA folk close harmony group Crosby Stills Nash and Young (.
Producer – Marvin, Welch & Farrar. Technician – Alan Parsons. Vocals, Guitar – Bruce Welch, Hank Marvin, John Farrar. Matrix, Runout (Side A etched runout): SAS-7403-A-2. Second Opinion (LP, Album, Quad, Club).
CD 1 - Marvin, Welch & Farrar (1971): 1. You're Burning Bridges 2. Thousand Conversations 3. Brownie Kentucky 4. My Home Train 5. Silvery Rain 6. Throw Down A Line 7. Baby I'm Calling You 8. Faithful 9. Mistress Fate And Father Time 10. Take Her Away 11. Wish You Were Here 12. Mr Su. A brace of follow-up singles and an album, Second Opinion, followed, but by mid-1972 personal situations - most notably the breakup of the engagement between Welch and Newton-John - had begun to take their toll. And by the time of the second album's release, the trio was effectively reduced to a duo of Hank Marvin and John Farrar. In 1973, Marvin, Welch & Farrar were effectively folded into the fully reactivated Shadows, with Brian Bennett resuming his place in the drummer's slot.
Tracklist: 01. Black Eyes 02. Tiny Robin 03. Simplify Your Head 04.
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Marvin Welch and Farrar – Second Opinion – Regal Zonophone 1971. The Five Chesternuts – Jean Dorothy – Columbia – 7-inch – 1958. The Shadows – The Shadows discography. Marvin and Farrar – Hank Marvin and John Farrar – EMI – LP/CD – 1973. On moving to London, Marvin and Welch operated briefly as the Geordie Boys before enlisting in an outfit called the Drifters, which evolved into the Shadows. While backing and, later, composing songs (such as The Day I Met Marie) for Cliff Richard, the quartet recorded independently and became generally acknowledged as Britain's top instrumental act.