12th Feb 2012
| ||"The Boys" (frequently confused with "The Leather Boys" - a different film by the same director) was a low budget b&w British crime and courtroom drama film on first run release in the late summer of 1962. You have to listen hard for the music on the soundtrack - but it's all there, albeit not in the versions recorded by The Shadows. The Shads recorded three - or, really, two - of their own compositions for the EP, as well as a great version of Bill McGuffie's Sweet September (which they called Sweet Dreams on this record).|
I say two group compositions because The Boys and Theme from The Boys are actually the same piece of music, played in two different styles in two different keys, the first an FBI-clone in A major and the second, much slower and with a lush Norrie Paramor orchestral score more in the vein of It's Been A Blue Day or Spring Is Nearly Here.
The EP "The Boys" was released in the long gap between the issuing of Guitar Tango and Dance On! and so was featured by radio stations eager for new instrumentals. This had not happened in the case of the first EP (Mustang, etc) and would not happen with the following mini-album, "Los Shadows". The uptempo version of The Boys was even released as a single in some territories.
The front cover shot is a production still from the set of the film - though not from an angle seen by the movie camera. Briefly, the four boys (played by Dudley Sutton, Jess Conrad, Tony Garnett [erroneously listed as "Garrett"] and the late Ronald Lacey, as seen L-R on the EP sleeve) have tricked the man in the cap into thinking that there was a seat in the cinema whose foyer they are in. This was in the days when people used to queue for admission to "continuous performances" and were called in from the street as seats became available. In the film, this particular scene is seen from the queue in street rather than inside the cinema. This disparity was common with cinema "lobby stills", and I remember that the lobby matter for "Summer Holiday" too showed scenes from the film from angles you couldn't see on screen.
The monochrome photograph had been partially colourised (especially the floor and the entrance doorframe), and the title art has been placed in the upper left corner with an outline following the lines of the building's superstructure rather than right angles.