Hank B Marvin and the first Fender Stratocaster in the UK - Thanks to Cliff Richard, pop music was changed forever!

Shadows guitarist Hank Marvin with Fiesta red Fender Stratocasters -

picture in 1959 and around 1999

Think of a red Fender Stratocaster, perhaps a common sight today, but in 1959 the sight of one was a sensation. And Shadows guitarist Hank B. Marvin was said to be the first owner of such an instrument. This guitar changed the course of 1960's pop music, made possible by Hank's talent and Cliff Richard's generosity.

Hank Marvin, Jet Harris and Bruce Welch of the Shadows in 1960

Black and white photography was the norm in 1960, splashes of colour print were fairly uncommon except on magazine covers. Which is why very few colour pictures of Hank's original guitar exist, mostly on record sleeves.

Cliff Richard wearing the famous pink jacket and Hank's guitar

So, what was special about this guitar? Most guitars around in the UK were cheaply made and poorly made by today's standards, unless you could buy a quality often American made instrument.

Cliff Richard and his MK2 Drifters - Hank Marvin totes an Antoria guitar

Hank Marvin's emerging guitar talent was shaped by the receipt of a top of the range Fender Stratocaster in 1959, no. 34,346 to be precise. Featuring Fiesta red paint, Gold plated hardware and an attractive Birdseye Maple neck, it was modern and brilliant.

Matching suits, business like stagecraft and great talent - 

These factors put Cliff Richard and his Shadows at the forefront of British pop music

It made everything else look staid and out of date. When Hank plugged it in to a Vox Echo machine and a Vox AC15 amplifier, he was quickly able to grasp the possibilities it offered. A superior tone, ease of playing, ease of comfort to the player and the look, that was almost as important as anything. That great, functional and modern design.

The Shadows first album cover featured their Fender guitars -

Their early picture sleeves were almost a showcase for Fender instruments

The Fender Stratocaster was a triumph of design, of form and function. It endures today, having seen off many pretenders to its crown. Designed in 1953, first produced in 1954, by 1959, Hank's was at the pinnacle of development. 

Cliff playing Apache on Hank's guitar 1960 Cliff's ATV show

From 1959, many schoolbooks started to acquire doodles of that curious looking guitar. Many young people were wanting to own that guitar and play like Hank. The guitar, its sound and what Hank was doing with his playing style would spur many future big names to take up the guitar - Brian May for one.

Cliff Richard and the Shadows on their 50th anniversary final tour

Six decades on, Hank still produces great music on a Stratocaster

For Hank Marvin, that fabled red Stratocaster built him a career, paved the way for artists including the Beatles to follow a career in pop music. If you own one of these great guitars, you'll know why they are so great!

The genius of Hank B Marvin - a six decade career of twangtastic twangability!

Hank Marvin and the 1959 Fiesta Red Fender Stratocaster 

Cliff Richard imported for him into the UK

Hank Marvin has a distinctive guitar sound, in the early 1960's it could be heard on Cliff Richard's chart toppers as well as those records recorded and played by Cliff's backing group The Shadows, which Hank was a part of. He owned the first Fender Stratocaster in the UK which helped drive demand for this guitar across Europe and the Commonwealth.

Hank Marvin with Red Stratocaster, Jet Harris and Bruce Welch

1960 was the start of a decade that would define the post war modern world. Things were changing, the rock n' roll stars of the 1950's were either dead, subdued, in the Army like Elvis was, or mired in scandal it seemed. The vanguard that had established the rock n' roll era now gave way to a slicker and more acceptable entity. One which the movers and shakers realised could be modelled into a commodity - The Teenager - who had money to spend.

The Drifters in Expresso Bongo before they became the Shadows

With the skiffle music boom in the late 50's, the music that followed spawned the first showing of youth culture. The established 'powers that be' were shocked. Their grasp on power looked fragile, a new era was coming. Something that Punk rock achieved 20 years later!

The unassuming frontage of the 2 I's coffee bar - where history was created

Out of Skiffle and Rock n' Roll, a venue in London's Soho established itself as the place to be seen and if lucky, be discovered. The 2 I's coffee bar in Soho's Old Compton Street was where legend has it Tommy Steele was discovered.

Cliff Richard and his original Drifters at the 2I's coffee bar - 

Terry Smart, Cliff, Ian Samwell and Norman Mitham

To this place in Soho gravitated Bruce Welch and Hank B. Marvin, a pair of guitarists from Newcastle. Staying on in London after participating in a talent contest, they worked in the coffee bar when not playing on the stage.

One of the earliest photos of Cliff, Hank and Bruce

Hank was one of the great young guitarists of the era which included Jim Sullivan, Tony Sheridan, Joe Moretti, all names who would find careers in music later. When Cliff Richard started to become famous, it was not long before his original Drifters backing group were replaced by inmates of the 2I's club who possessed greater musical ability. 

By 1960 Cliff had his own show on ATV

These were Hank Marvin, Bruce Welch, Jet Harris and Tony Meehan who then became the Shadows in 1959. Later still, Brian Bennet and Brian 'Licorice' Locking from the 2I's fold would later become Shadows when Meehan and Harris left.

New shirts, new Guitars - at a Soho tailor's shop 1959

Hank Marvin's guitar abilities became honed by his extensive playing in the 2I's coffee bar and touring with Cliff Richard. By early 1959, Cliff purchased a guitar that would change musical history for the 60's as well as for himself, Hank Marvin and the Shadows.

Early record sleeves often feature the Fender guitars of the Shadows

The 1959 Fiesta Red Birdseye Maple neck Fender Stratocaster with gold plated hardware Hank was gifted was a sensation. To look at, it was futuristic and made other guitars look out of date, sonically, Hank Marvin was able to use it to create a unique sound that was to influence guitarists for decades.

The Vox AC15 in the style of the early ones used by the Shadows - 

because of the Shadows, the AC30 was created, 

leading to making the Vox name famous worldwide.

The sum of the parts was the Fender Stratocaster, the Vox AC15 (later AC30) amplifier and the echo machine - all helped create possibilities in Hank's mind which he had the talent to translate into sound.

The Shadows onstage with Cliff Richard 1961 with Vox AC30's

Hank was shown a Meazzi echo machine by Joe Brown in 1959, Joe didn't really get on with the machine, Hank suddenly realised he could and purchased a Vox badged version of it.

A 1960 performance

Plugged in to the Selmer Truvoice Hank originally used, the Stratocaster sounded fabulous. It was not long before the Vox AC15 was adopted and amazing sounds found their way onto records which still sound fresh and outstanding today. At a stroke, many groups ditched their singers and became instrumental groups, emulating Hank's style and glasses, needed or not!

A foray into films jointly boosted the careers of Cliff and the Shadows

A promotional still from 'Summer Holiday' which the Shadows wrote music for

Hampered by heavy strings, Hank made extensive use of the Stratocaster's vibrato arm, (called the tremolo arm, erroneously by Fender). The echo machine combined with the intelligent use of the studio's surfaces allowed dynamic sound to be created.

As many groups came and went from the music scene, Cliff and the Shadows endured. Changes of guitars, amplifiers and line-ups did not diminish the Shadows. Hank Marvin's playing has improved year on year. But go back to his early work with Cliff and you can hear the talent and ingenuity there.

Into the 1980's the Shadows career enjoyed a resurgence

Hank's solo tour in 1990 seemed to denote the end of the Shadows as a unit, his move to Australia in 1986 made touring and recording more difficult. His solo work was interesting, but the 'unit' of the Shadows and Cliff Richard seemed to work very well. 

Although Hank's solo playing is very good, it seems to lack the feel of the Shadows line-up. It is probably as they were really good musicians that they worked so well together. There was probably a 'three way unit cohesity' in the totality of the music of their collective input that was perhaps not as achievable in Hank's solo work.

Perhaps those solo years of the 90s allowed Hank to arrange and play the music he was doing in a style away from the Shadows and for his own satisfaction. It certainly was quality music nonetheless, without any doubt. He was able continue to invent great musical renditions of existing music and compose some really catchy new material.

The final tour 2009 - we never thought we'd see this!

To many the Shadows or the Cliff and the Shadows unit is where Hank is best known either as the 'unit' of the Shadows or with the Shadows and Cliff Richard. Hank Marvin has such a distinct sound, one that he has managed to use over six decades of performing and recording. 

The reunions of the Shadows in 2004 and 5 and with Cliff in 2009 are things we thought we wouldn't see again. It is great we were able to have this experience. The reconvening of these performers showed that they were still great, perhaps at a greater leerl than we could have hoped for. 

Cliff's generosity has helped provide us with this great musical legacy. Hank's playing has prompted many now famous guitarists to pursue the gift of music. And buy Fender Stratocasters in Fiesta Red!! Of which I have owned many.

Big glasses and red Fender Stratocaster - 

unmistakeably the great Hank Marvin

Hank Marvin and my 40 years of stratocasting

Hank B Marvin - guitar genius

My earliest recollection of seeing and hearing Hank Marvin and the Shadows was in 1976, on a Saturday morning television screening of Summer Holiday. I knew this was the sound I wanted to achieve.

About that time I had a creaky ribbed old Spanish guitar with nylon strings, on which I was learning a few chords. At a party of some people we knew, a group were playing electric guitars and one of their tunes stuck in my head - I would later recognise it as Shindig, by the Shadows. Even at that young age and lack of musical ability, this music stood out.

Fast forward a year and I was taking guitar lessons, I tried a steel strung jumbo an American kid in the class owned and this was totally for me. Immediately, I realised that nylon strings were the wrong sound, I must get a better guitar. This was reinforced when my guitar had to have a new tuning peg and I get to borrow a Levin parlour size guitar, again, this was it!

I hadn't the means to get this back in the 70's

Playing along to music on the radio and trying to work out the songs by ear was a good start. In 1978 to 1980 the Shadows appeared on Top of Pops playing their chart hits, Hank Marvin was playing 'Don't cry for me Argentina' in 1978 and the sound was what I wanted to get. And of course that red Stratocaster. 

Hank's original Stratocaster of the same vintage as the one he often used in the 80's

I wanted one for Christmas but was fobbed off with the line 'when you can play properly,' that 'properly' was never defined and I would have a few years to wait until I could buy one myself. Maybe that perseverance was for a reason? If I'd got one easy, would I have stuck with it?

This album opened my ears to the style I wanted to achieve - the Shadows sound

In 1980, I managed to borrow an electric guitar from a schoolteacher and plugged it into a Sound City 50R PA with reverb, I was getting nearer to the sound I was after but alas no trem arm! The guitar was a Starway 'stratocasterish' type of copy, probably from the late 60's or early 70's. From this I worked out how electric guitars operated.

Again the limitations became obvious, but I carried on. I did get to play a real Stratocaster in 1980, a schoolfriend's brother owned one, but again no trem! My friend Dave purchased a Musima Stratocaster copy from the 1960's in April 1982 when he was 16, This had a trem arm! It was an East German cod copy of a Fender in some ways. 

The Shadows 1960 single Apache - Dave and I would marvel at the sound!

I started work in 1982 and purchased a Hondo 2 guitar that was based on a Gibson Les Paul, I hadn't intended to buy it, it was actually foisted on me by a friend I was at school with who knew I wanted a guitar and thought it was what I was looking for. Sadly it wasn't the guitar I really needed, for a start the pickups sounded wrong, humbuckers when I needed a single coil sound. Time to move on.

The Shadows first album - what a sound

When I got a copy of the Shadows first album it was becoming more obvious that the sound I sought was not what I could obtain with the Hondo, on the first album's cover was the clue - a Stratocaster and preferably in Fiesta red, like Hank's, which Cliff Richard had bought him.

Well, this was much closer - in fact even closer than Fender's then current guitars

In November 1983, I became the proud owner of a Tokai TST50 Springy Sound Stratocaster guitar, in Fiesta red. Plugging into the Sound City, I was now much closer to that sound. These Tokai guitars were a revelation, better made than the Fender guitars that they stole the sales from. Fender had been bought in 1965 and the guitars weren't the same by 1980. 

A somewhat tongue in cheek Tokai advert!

The Japanese with their eye to quality, copied original Fender 50's and early 60's guitars, the result was a shock for Fender, who admitted the copies were better than the guitars they were making.

The Watkins Tape echo - a later solid state one but the same principle as the originals

Echo was the next step for my sound. Hank Marvin originally used a Meazzi and then bought a Vox badged version of it. I managed to get a Watkins Copicat tape echo, a staple of the 1960's guitarists who wanted Hank Marvin type sounds. This was now the way forward.

At the Hope Pub, Richmond in the 1980's

It was in late 1983 that I got back in touch with Dave about starting a band, we had played together since 1980 but after we left school, I started work and he went to college so we were both busy. 

I had started to tentatively write music and starting a band seemed the next logical step. We met up and decided to give it a go. With his brother Will on bass, James a school friend on drums and Mark the singer, we went round to Mark's house to practice.

Us in 1985 with Alan 3rd right, standing a school friend of ours

still using the Sound City (lower right)

It was a bit of a disaster, Mark dried up and couldn't sing, so I had to take over the vocals. At least we got going now. We put together a list of around 20 or 30 songs, some of our own compositions and a load of 50's and 60's songs, early rock n roll, Cliff and the Shadows, Cream, Rolling Stones and similar music that we thought would give us a good spread of material.

Sadly there was a lack of suitable local venues, music was going away from guitar bands to synth bands and we were looking out of step even though we were competent performers. We had hoped to get noticed and perhaps get signed by a record company but we couldn't get any interest from venue owners, which meant we couldn't really be seen. 

I had for a few years been playing jazz, it had been an interest for a while and I first performed live in 1980 and I'm still doing it. Since we had left school, our musical tastes had diversified and although we had some common ground, we seemed to want different things musically. The band lasted about 3 years until I left to do other things. I hoped to get into composing which I saw as a future possibility, in which we might then get me into the industry into which I could involve the band. 

At work I'd frequently I'd often get things come into my head as ideas for songs or instrumental music and I'd write them down on scraps of paper for later and hurriedly when I got in from work, start composing with a guitar in hand. Happy days. For about three years I was having the time of my life doing this. It helped to erase previous disappointments and setbacks, here I was now able to make my own way, on my own terms. Exciting stuff.

20 years on we reunited for Dave's 40th - it was like we never were apart

During the band years I was avidly writing, also learning and seeking out new and old material. It was really quite bizarre, here I was in the early 1980's about the same age as Hank Marvin was in the 60's starting on pretty much the same musical journey as he did back then. I was fortunate that Hank was a sort of template whereas he made his own style. 

The musicians I was learning to play from - the Shadows and Cliff Richard, were back in the charts again amazingly, so I was able to play both their new and old material. A great musical education. Whilst I learned, I played other styles too so I was not limited. This paid off.

The Shadows in 1984 - presented with Fender 57 reissue guitars - 

Fiesta red Stratocasters may not have been so prevalent without the Shadows

Even then in the early 80's I realised that this was a remarkable thing, almost a destiny to follow. The sounds Hank was making were often out of reach in some case and it was some years before I learned how he attained them. I found some of the new Shadows material too long, at over 4 minutes. By contrast I found some of the old ones too short, a fact Hank also commented on.

Cliff Richard in a Summer Holiday publicity still at Aldenham bus works - 

I was also a massive fan of London Buses and vowed to own one - 

I did get to do this in 2009 and to also drive various Routemaster buses!

The Shadows in this 1980's incarnation had developed their style musically, from beyond their early sound. So they continued in this way until 1990, when Hank Marvin was offered a solo tour, by which time he had moved to live in Australia. This made touring more difficult for the group. 

Hank did some good work musically on his solo tours and recordings, but I felt they lacked something - Brian Bennet and Bruce Welch at a minimum. This combination just worked so well, with Cliff it was truly special even in the 80's and beyond. 

Hank on tour around 2000

The factors of the solo tour and Hank's residence abroad really ended the Shadows as a unit for the time, which was sad. Since their 1968 breakup they had gone onto other things, Bruce produced records and published music, Brian composed, Hank did sessions and television with Cliff Richard. A new dawn was to come.

The reunion tours of 2004 and 2005 - 

fans though that they would never see this band play again live

The 1975 Eurovision appearance got the Shadows back into almost the 'unit'. From 1990, it looked like the Shadows would be just another band gone from recording and performing. Sadly, things had been said around that time that created a bad atmosphere between the group members and there was always the question 'are you getting together again?' For most of us, we were resigned to the fact that it was all over.

The final tour - 2009 - Cliff and the Shadows

They may get together again, who knows?

When the 2004 Shadows reunion was announced, I knew I just had to see them, perhaps this would be my only chance? Luckily the concert I attended was filmed and came out on DVD. Then they did a few dates in 2005 and I saw them again that year. I missed their 2009 tour, but as I had met Cliff a few times in the 1990s and very nice chap he is, I was content with the DVD as a consolation prize!

The Fender Custom shop 1959 Stratocaster - 

not far removed from Hank's original - not cheap but nice! I bought one.

I have continued my playing of the Shadows music since 1980, trying to emulate the sound. I've got close, I use the Vox Valvetronix Studio and their AD60 and 120 amplifiers which look like the AC15 and AC30 used by the Shadows. 

I have been playing through VOX amplifiers since 1985

It has been a long journey about 150 guitars in fact - I now have 2 Tokai springy sounds, I managed to find a 1959 Stratocaster like Hank's which I restored and have a 1959 Custom Shop Stratocaster like Hank's original. So I've achieved my aim in that respect. I play other styles of music but Hank's style is something I come back to time and again.

Cliff driving the London Transport RT Double Decker

In 1983 I bought the Shadows book and found out that I was distantly related to Shadows founder Jet Harris, in that we were both related to music hall star Vester Tilley. Destiny again? 

Mind you, when I was young I lived in London near a Bus garage in Teddington! So the red double decker addiction is part of that journey too, the coincidences and paralells are quite spooky.

In 1983 I was working in London and used to read the Shadows book going to work on the train. It seemed a lot of paths were colliding! Round the corner from where I worked was a Bus stand, so Routemasters aplenty, the same when I worked in the Kings road and also in the City of London. I am glad to have seen these buses in their prime and ridden on them.

Signed pic of Cliff and the RT from Summer Holiday

Thankfully youtube has plenty of videos of how to play their tunes and also original performances from the 1960's onwards. I'd never have predicted that in 1980!

Nearly 40 years on from picking up that first red electric guitar, I am glad that I did. I may have dipped in and out of musical styles over the years but I always come back to the Hank Marvin and the Shadows music.

Thanks to Cliff Richard for buying Hank that first guitar and for pushing Norrie Paramor to give them their own recording slot for Apache! 

And Hank, you've given me a great hobby! I can't thank you enough. And you Cliff!