Shadow Lyrics Archive – Unplugged – 2003

In 2003, after nearly 14 years of silence, Shadow had a mini-reunion, of sorts. Tony and I got together and produced 8 new recordings, including remakes of five songs from the Iron Umbrella LP, as well as three of our other originals which were never recorded in a studio. I had been toying with some acoustic arrangements for some our songs over the years, and as an experiment we decided to take that route. However, we wanted to still retain a little “edge”, so we worked in some heavier guitars and leads where it made sense. They are different, yet hauntingly familiar.

We were not yet back in touch with Monte and Kirk at the time, so we brought in some guest musicians to help out on a couple of tracks that we felt needed that extra “oomph”. While Kirk and Monte are irreplaceable as far as Shadow goes, Ron Wikso (Foreigner, David Lee Roth, Richie Sambora/Bon Jovi, Cher) provided some awesome rhythm tracks, and Lance Morrison (Alanis Morrisette, Rod Stewart, Simple Minds) pulled it all together for us on the bass.

We hope you like hearing them as much as we liked making them. :)

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Alternative Mix:

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Iron Umbrella

Yield to me your metal heart, and offer me your vices.
The story ended at the start from certain sacrifices.
In our lives time comes and goes, and we don’t even know it.
Evil deals its deadly blow, in spinning victory shows it.

Oh won’t you hold me a place. Under your iron umbrella.
A place that is safe, from the acid rain.

Give to me stories untold, and let me know what lies there.
The storyline starts to unfold, into the mirror I stare.
Past a land marred thick in fear, I gazed, I touched, I pondered.
The seventh wonder it did appear, and with it came the thunder. (it said)

I shall give you a place, under my iron umbrella.
A place that is safe, from all mortal pain.
Oh won’t you join me in arms, under my iron umbrella.
It’s safe, free, and warm. Under my iron umbrella.

Break / Solo

Oh won’t you hold me a place. Under your iron umbrella.
A place that is safe, from the acid rain.
Oh won’t you take me in arms, under your iron umbrella.
Protect me from harm, under your iron umbrella. Yeah.

Iron umbrella.
Iron umbrella.
Iron umbrella.

Behind the Scenes / Song Notes

If you’re gonna do a remake of practically an entire album, you may as well start with the title track, which is what we did. This one was probably the most challenging to re-arrange acoustically, given the fact that I basically screamed and shrieked this song on the original LP. You can’t really scream over an acoustic guitar. It sounds, well, sucky.

The arrangement here is less abstract than the original, and has an almost bizarre confluence of metal, southern rock, and storytelling. When Tony and I first recorded these tracks, we had not yet recruited Ron Wikso for drumming duties. We had temporarily replaced the awesome drum intro that Kirk did on the original with some chunky acoustic guitar riffs as a placeholder. It sounded so good we left it in.

Recording the vocals for the original version of this song was a test of my vocal range. Little known fact: I had tonsillitis when we recorded the original – which is probably why it sounded so cool. I would literally scream a line, and the engineers would pause the reel-to-reel recorder to give me a second to sip some hot tea with honey. What a PITA.

I think I sang this song differently every time we played it. I could never keep straight whose umbrella I was supposed to be under – mine or hers. I think we got the lyrics right on this version, though. Tony and I always seemed to harmonize well together, and it really shows in this tune. He did an awesome job with the backing vocals. Which is good, because in trying to keep a little bit of the “metal edge” of the original version, I had to sing “acoustically angry” (is that an actual phrase?).

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I wake up in the mornin’ and I look upon the dawn.
And I wonder how the hell I find the strength to carry on.
The voices in my mind are weighing heavy on my soul.
And though I try to shake them, lord, they won’t leave me alone.


On with the show, you ain’t worth nothing if you can’t get up and rock ‘n roll.
But when the theater’s empty and the stage begins to fall,
I close the door to my own world ’til the next curtain call.

Reality is just a burden, the past is but a dream.
The future is still cloaked in black, refusing to be seen.
And as I slowly lose my mind to fears I do not know,
the house lights all fade to black and it’s time to start the show.

Break / Solo


All the world is but a stage, and life is just an act.
No matter what the admission is, the fans keep coming back.
Glory to the limelight, I’m a million miles away.
The chains of responsibility – all I’ve got to do is play.


Oh, you know I gotta bad case of the nerves. It’ll be alright.
Always is. Nothin’ to it but to do it.

Behind the Scenes / Song Notes

This is one unbelievably catchy tune! Continuing the cool convergence of musical styles from the remake of the title track, this version describes the original subject (stage fright) in a very energetic way (a paradox, I realize now).

I had been experimenting with this particular acoustic arrangement for a few months prior to the reunion project. I really thought it conveyed well, but Tony’s backing vocals and lead guitar really brought it to life.

The original guitar tracks were done fully acoustically, but it lacked some “punch.” We ran Tony’s acoustic electric feed into a distortion amp, which resulted in the rather cool “grunge-acoustic” feel that you hear in the final version.

And of course, Ron & Lance did an awesome job in polishing it up with some rhythm tracks. I have to tell you, there was some serious guitar strumming going on during this part of the session! I’m pretty sure that some strings fell victim to this one.

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Shadow of the Shallow

Yesterday the sunrise, I saw lost in a haze.
Can this be the dawning, of the science age.
Down the street I’m walkin’, no one looks my way.
See the man talkin’, can I believe what he says?

Everywhere there’s evil, evil charts on what we play.
If we don’t want this evil, can we make it go away?

Why do we distort this life, why do we, go on like this?
As people we’re our own device, so why can’t we get it right?
We glorify the soul, and take away the heart, and cry into the pillow,
and never even know what it’s like to walk outside the shadow.

At times like this we need no intrusion.
Sometimes I think we know we’re we’ve been.
We live our lives inside the illusion of our dream.
It’s not like us to start the conclusion.
Although sometimes we’re not what we seem.
We’ve walked the halls into delusion of extreme.

Break / Lead

Another mornin’ breaks, another hazy day.
I look out my window yawning, just in time to catch the blaze.
The day is now upon me, as evil takes its place.
No one can ever imagine, the future that we face.

Why do we abort our lives, why in pain do we find bliss?
A product of our own device with no way to win the fight.
We torture the soul, we take away the heart, and pick to smell the willow.
And now we’re gonna know what it’s like to be drawn into the shallow.

Behind the Scenes / Song Notes

This was perhaps my most favorite original Shadow to sing back in the day. Monte wrote this one in 1988, and it is both profound and haunting. It has some of my favorite lines … ever. Ever. Sadly, there was never a studio recording of our original metal version. There is a bootleg or two out there, and I’ll try to get them up here if I can obtain them.

Back in Germany, when Monte first produced these lyrics, I remember asking him what the song was supposed to be about. The answer, however, isn’t as simple as most songs. It is about a great many things, all rolled up into one. It embodies destiny and destruction, but also paints a picture of hope for the future. You could watch a newscast about a great many terrible things in the world, and this song would play beautifully in the background.

This was one of the first songs we did in the acoustic sessions. It was just Tony and me, with no one to play drums or bass. So I “filled in” for both (*snicker*). Oh my, that’s me playing the drums. Thankfully, it was only for a brief part of the song. My bass lines in this tune were a little better. Lols.

One of the things that I love about this version of the song is the way that power chords and electric lead were layered in on top of the acoustic tracks. Really gives it some character. We had to be careful, though. A little goes a long way in an acoustic format. I think it turned out great, though.

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Crying in the Dark

I can hear your breath you’re cryin’ in the dark of the dawn
like a breakin’ of a heart, as your dreams come alive for all of us to see.
The voices in your mind they’re playin’ tricks on you,
your grasp of reality is slippin’ through.
Like a thief in the night, it steals away from you.

When you’re cold, I hold you in my arms, can you feel the love?
(I hold you in my arms) You only slip away.

You try to talk, but you can’t be heard.
The reason that our love’s become a burden,
as you drift further into your own mind.
While the crisis’ slowly being thrust on you,
with a flash of the blade the final joke’s on you.
Like all good things, we have to wait.

Can you feel, the death winds as they blow through the rain?
(as they blow), and all you do is scream.
When you’re cold, I hold you in my arms, can you feel the love?
(I hold you in my arms) You only slip away.

Break / Lead

In the winds I stand here thinkin’ to myself,
of the choices if I ever had the wealth
or fortune to ever bring you back to me.
So I wander alone, seekin’ reasons for my love,
my reasons fly on the wings of a dove,
and again, I’m so close to you now.

Can you feel, the death winds as they blow through the rain?
(as they blow), and all you do is scream.
When you’re cold, I hold you in my arms, can you feel the love?
(I hold you in my arms) You only slip away.

Behind the Scenes / Song Notes

Another tune scripted by Jason. Another good one, I might add. The story may not be evident by just cruising the lyrics, but it’s deep. Suicide, relationships, serious deepness. Sadly, again, this is one of those songs that is lost to history, as we never recorded a metal version of it in the studio. But again, there are some demos/bootlegs out there which I’ll try to find.

This is one of those arrangements that I had been experimenting with for a while. Tony really took it over the goal line, though. I tried some different approaches to the vocals and backing vocals. I had this concept in my head with how the backing vocals needed to work. I wanted Tony to sing them, as I think we harmonize well together, but after I recorded a few lines to illustrate my concept, we ended up just sticking with that. I added some other backing vocals that sort of come out of left field, which hopefully adds to the haunting quality of the story.

We really had a great time layering in the power chords and electric leads into this one. One thing I really thought turned out nicely is the introduction of the power chords during the lead break, and the continuation of them into the last parts of the song. Its one of those “little things” that really made this track shine.

I will say that Tony’s lead work here was sick. Just plain sick. I’m pretty sure he just threw his head back and started wailing, and didn’t stop until we made him. If you didn’t get a chance to see us play back in the day, this is as close as you will get to hearing Tony rip it the f*ck up on a Shadow song in high-fidelity.

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Halloween (Shadow)

Standing here, the killer’s on the hunt again.
Blinding fear, as your mind’s panic begins.

Loose on the streets, I stalk my prey just like a craving beast,
as she stands, she’s helpless.
And like the beast I’ll make my mark.

You’ll say I’m insane, but I do it for you.
But you call it murder.

Through tinted windows, I see reflections of lust.
I hunt you softly, it’s the hour of blood.
And when I save you, god I love the thrill.
This time the chase just can’t beat the kill.

Empty existence, salvation, from the edge of a knife.
Feel the weight of the blade, feel the end of your life.

Break / Lead

Out on the streets again, waiting for the night.
A sinner struts by a street corner light.
I like to think I’m a missionary, of sorts.
Come to your rescue, I will set you free.

You call me insane, but I do it for you.
But you call it murder.

Behind the Scenes / Song Notes

Like many of our songs, Halloween attempted to explore a story that frankly just isn’t that comfortable for people to hear. It tells the story of a character known only as the “missionary”, whose sole purpose is to rid the world of evil. Well, there’s a little more to it than that. He (or she) kill prostitutes in the name of his god (or because his god is telling him to – your choice). Is it noble, is he demented, or perhaps both? Up to you, I suppose. Therein lies the moral question for the listener.

Think about what I just said. Killing hookers in the name of religion. Hookers. Religion. That’s about as original as you can get. This was another masterful work from Jason’s mind.

Factoid: This song was originally called “The Missionary”, then renamed to “Halloween”, because the original intro riff reminded us of the music from the old slasher flick of the same name. That riff is played at the end of this particular version, though. We later called it simply “Shadow”, but the song’s powerful truth and haunting storyline remained irrespective of the title used.

This song was an incredible one to play live – it really, really rocked. Unfortunately, this song wasn’t on our first album, so there is no studio recording of it. There are some old Brain Damage demos, and at least 1 or 2 Shadow bootleg recordings, that feature this song in all of its metal glory. I’ll try to get those up on the site if I can find them.

While I wasn’t initially sure how this would translate into a more intimate, acoustic format, I think it turned out well. Tony and I really had to work on this one a bit during the session. Doing something acoustically makes the story more intimate, for sure. However, you lose the ability to harness the “energy” of a rock song. So, to make up for that, we did some interesting things in post-production. To enhance the storyline, we worked some interesting “cinematic” elements, from the storm that is married to the crescendo of the lead guitar, to the near-voyeuristic exchange afterwards. It doesn’t go too far – but just far enough.

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Fate of Evil

With a flash of the steel, we’re gonna take the hill.
And send many men to their graves.
With a hilt made of gold, and our god in control,
We’re gonna fight ’til the last one is slain.

On the plains and the fields, of battle-stricken fear,
If this is the way, let it be.
We know what is right, and so we must fight.
It’s a hell of a price to be free.

Our god of earth and power, descends upon our soul.
Please help us fight the wicked. Please help us let them know.

We’re determined and willed, with ambition we’re filled.
We strike in the eve of the night.
With shield, mace, and sword, in the hands of our lord,
Destroy all the evil in sight.

Break / Solo

Our god of earth and power, descends upon our soul.
Please help us fight the wicked. Please help us let them know.
For the card they’ve dealt with evil, and the number that they’ve shown,
is cursed and bound in disbelief, in freedom’s name we call.

Screams filled with fright, we slash through the night.
We’re fighting as fierce as we can.
With the breaking of light, the last man loses sight.
His last glimpse of the seven who stand.

Behind the Scenes / Song Notes

This one proved to be one of the more challenging ones to do acoustically.  We sort of ended up with a “dueling guitars” bit.  And Tony laid down some great backing vocals to really bring this together.

Not much more to say than that.  Enjoy!

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The Soldier

We all heed a certain call, our minds cannot control.
Drawn from deep within our hearts, and deep within our soul.
Time and time I’m taken back, to the man I was before.
When my call came to me, one I could not ignore.

I stand alone on a silent hill, with bloodstains on my hands.
My mind and body are trained to kill, and fight in foreign lands.
The fire that burns within my soul, can be seen in my eyes.
Give no quarter take it all. There is no compromise.

Out here in the fields. I can feel their eyes on me.
Some wounds never heal. What price for victory?

Up along the forward lines, no one seems to know.
Just how they reach into your minds, and never let you go.
I’ve lost all sense of place and time, my heart has gotten colder.
I’ll carry with me ’til the day I die, the burdens of a soldier.

Out here in the fields. I can feel their eyes on me.
Some wounds never heal. What price for victory?
The shock of reality, yes it cuts just like a knife.
The scar that a soldier bears, he bears for life.

Listen children to my words, and hear what I must say.
Take your heart and hold it fast, and never let it stray.
Beware the war machine, for it feeds on death and fear.
Hatred gives it power, and our lifeblood oils the gears.

I am a soldier. I am a soldier.

Behind the Scenes / Song Notes

This is an incredibly intimate rendition of the original from the Iron Umbrella LP. No special effects, no BS. Just prose that jabs you right in the heart. Some songs, like The Soldier, are timeless. You could play this in 1943, 1968, or 2012, and its message would still ring true.

We pretty much did this song live, in a single take, as evidenced by us simply stopping the tape at the end and yapping. That was left in by design. Sometimes, with a topic as emotional as this one, it is best just to let it out and go with it. Artistic honesty.

Tony’s lead guitar in this version is perhaps one of his best pieces of work. Not because he was playing triplets as fast as he could, but because he played with genuine emotion, and just enough finger-work to accomplish the mission without going overboard.

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Man of Glass

Something is wrong here, something is not right.
Oh I feel my lady’s touch, touching me with the night.
But her hands are so cold, and her thoughts are not white.
She loves in the darkness, she runs from the light.

Her skin is so cold, and her eyes rot with black.
Like the black widow, she sends chills down my back.
There’s something about her, I can’t let her go.
I can’t help but knowing, she possessed my soul.


Darkness is a river, darkness fills my eyes.
There’s such a sense of safety, in the warmth of darkness’ thighs.
Darkness is forever, darkness lights the skies.
I’m trapped here in my darkness, in my dreams watch them fly.

One thing is to know her, one thing let her in.
It’s a whole new situation, I’m livin’ in sin.
Don’t you try to leave her, she won’t let you go.
She’s a one-way trip, and you’ll never go home.


Take it from me, man, take my advice.
If you ever meet Darkness, you better run for your life.
Once I tried to leave her, I thought she’d let me pass.
Now she is my hammer, she’s turned me to glass.

She’s turned me to glass. Oh yeah.


Behind the Scenes / Song Notes

Man of Glass used to be a deliciously deceiving song to play. We’d start with that opening riff, and the chicks would get all “moo-moo” over it, thinking it was a rock ballad or something. Then, of course, all hell would break loose Shadow-style :) But I always wondered what it would sound like if we played the entire song against that same groove. The version currently available here is a rough mix, so be warned, there is still some work to be done on the tracks.

For some reason, we conjured our inner Pink Floyd for this one – especially on the lead guitar. It sounds divine, and doesn’t let up the entire song. More experimentation with backing vocals as well, trying to create interesting “layers” of sound that augment one another. I tried to put a different spin on the way the chorus lines were performed, sort of layering the second one in a different style adjoining the first.

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Numbered Man

Now it is all happening, just like it’s read, it shall be.
Now in this time of revelation, there’s no mystery.
It’s signed, it’s sealed. Before us revealed.
Rising seven nations, blood is filling the field.

Now in the beginning, man created his own end.
Will the fallen angel, be cast out again?


I don’t want to be a number. I don’t want to be a numbered man.
Now in this time of tribulation, please, place me in the right hand.
For there’s fighting in the nations, and the churches are starting to fall.
And I know that I’m not worthy, but I pray, God save us all.

And the angel one, does he prepare his horn?
And with its sounding there is hellfire. And the ending’s born.
And in all the heat, we cannot find relief.
And after all of these seven years, help me fight off this beast.

A third of the heavens, a third of the earth, they fall black and burned.
Golgotha shows us, the ancient one has returned.

Now in the beginning, man created his own end.
Will the fallen angel, be cast out again?

Behind the Scenes / Song Notes

Well, this one was almost lost forever!  I finally found these old tracks and decided to mix it up a bit and post it. Included is a quick nod to the original metal tune in the beginning. Sorry, couldn’t resist :)

Not much more to it than that … it’s a great song about the end of the world, and a man who just doesn’t want to be a part of it all.


  1. james Patterson · August 10, 2012 at 12:14 pm

    Hey Scott. Thanks for putting this up. Remember seeing the lyrics in the frame in the S-1 office from old days in 3/64. Don’t know why but I was thinking of Mikey aka The Langster today. Songs really do help. Just wish I had been a better friend and brother and could have stopped whatever happened. I don’t know what happened and probably don’t want to know. Just don’t k ow how I let all this time go by. I know you are probably always busy but I live in Montgomery my wife and kids come with me to all the Auburn University home football games. We normally spend 10-12 hours up there tailgaiting around the RV. If you and family.would like to join us we would love to see you and drink some adult beverages. Rampage brother

  2. Tanya Arthur · March 16, 2014 at 2:13 pm

    This is an emotional time of year for me. Mike continues to live in my heart everyday. He was and is the love of my life. Every march I find myself searching the internet for anything new about him. Just hearing people continue to talk about him warms my heart. His smile, his laugh, his Andrew Dice Clay imitation, his kiss, his smell, his touch, his arms and of coarse his big baby blues…. I will never forget.. l will never let go.. I will always love him
    Thank you to everyone who takes the time to share their hearts and stories

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