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<a href="spotify:artist:38MblXVN1d95VT4XiMytGb">The Shanes</a> had about a dozen Top Ten hits in their native Sweden between 1964 and 1967, but were absolutely unknown to listeners who spoke English as their first language. Not that the group deserved any better. In the manner of some other Swedish bands of the time, they valued versatility, adaptability, and mimicry far more than individuality or expression. Thus they were able to competently ape an astonishing variety of foreign trends, including <a href="spotify:artist:03hfAxVdAWj7kxDnSG0fLD">Shadows</a>-styled instrumentals with a country twinge,'50s rock oldies, Merseybeat, British R&B, Europop, bloated American pop/rock, and more. They did write much of their own material, but this was often blatantly derivative. Even their best song, "Chris-Craft No. 9" (a number-two hit in Sweden in 1967), lifted a lot of its parts from <a href="spotify:artist:48YxSlb23RAaCd4RyHcV9V">Herman's Hermits</a> "A Must to Avoid." ~ Richie Unterberger
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