The shadows first album from 1961 - 60 years later

 

The Shadows - their debut album from 1961

A rare Stereo version, signed by 3 on the back

The first Shadows album from 1961 was eagerly awaited, following the release of their groundbreaking instrumental single 'Apache' in June 1960.

Cliff Richard's backing group The Shadows shot to fame in their own right with their instrumental hit single "Apache" written by Jerry Lordan in June 1960, displacing a single they had written which Cliff had taken to no.1 in the charts. 

Following on from 'Apache,' they released a succession of hit singles -  'Man of mystery,' 'Kon Tiki' and 'The Frightened City' - chart singles that followed in fairly rapid succession and established their success as the leading group of the day.

It was in 1961, sometime after their initial success in their own right that they released their self-titled first LP. Rather than just go down the easy route of re-releasing their previous hit tracks as part of the new album as a compilation, they took a rather daring and different step.

None of the tracks on the new album were from their chart hits. This was a masterstroke in that it gave the buying public 14 brand new tracks to enjoy and also showed the Shadows had a musical direction and ability.

With 4 tracks on this new album penned by themselves, the Shadows started a path that they would continue to follow during their career - that of mixing the output between established tunes along with a few of their own compositions.

 

From Shadoogie, side one's opener, the classic Blue Star (covered later by the Ventures), Nivram, the jazzy Hank Marvin, Bruce Welch and Jet Harris theme with a great bass solo, See you in my drums featuring Tony Meehan's drumming talent beyond his years, All my sorrows a nice vocal ensemble piece - compare it to the Drifters (as they were) 'Feeling fine' single from 1959, the studio sound is a world away with 'Sorrows' showing how much they had matured musically and benefited from a great studio set up. Stand up and say that rounds off side 1, with Hank Marvin on piano giving his best Floyd Cramer style performance - Hank had started on piano and banjo before gravitating to guitar.

Side 2 kicks off with 'Gonzales', a rip roaring track that took 58 takes to get on tape - even though this version has a couple of minor errors it still has great energy, Find me a golden street evokes a street scene from some old late 50's B movie, Theme from a filleted Plaice shows the Shadows having fun with the title wording which they would use throughout their career and on this track, the doubled guitar sounds good (a technique that was also explored on Nivram), 'That's my desire' is a quality ensemble vocal, 'My resistance is low' is a great old track given the echo laden guitar treatment by Hank with the notes becoming almost ethereal in the highest part, 'Sleepwalk' has become a Shadows and Hank Marvin live performance favourite for decades and the album rounds off with 'Big Boy' - likely based on the American Steam locomotive's beat - there was a locomotive called the Big Boy in America.

This album is pure quality, even 60 years later the tracks sound fresh, the playing and the studio sound is superb and this lineup of Marvin, Welch, Harris and Meehan lasted a mere year and a half lasted for one album, before Tony Meehan departed to be replaced by Brian Bennet for 'Out of the Shadows' their second album.

(This next line of Marvin, Welch, Harris and Brian Bennet lasted a short time before Brian 'Licorice' Locking joined for about a year until 1964, when John Rostill became the Shadows Bass player until their split in 1968). The early Shadows lineups (pre John Rostill) were drawn from the old 2I's Club in Old Compton Street players - all those had played in various bands in that famous venue. Out of the Shadows featured some Jet Harris and some Brian Locking tracks.

The treat of the first album's colour cover photo is to see Hank Marvin's original mythical Fender Stratocaster guitar in the famous Fiesta Red colour bought by Cliff Richard, looking a lovely pinky shade here. As with many of their future album covers, they were almost an unnofficial advertising opportunity for Fender instruments! The album was mostly sold in the Mono version as few people had proper true Stereo record players then, so the album pictured a 1961 Stereo version is very rare, more valuable being signed by 3 band members. I have one of these Mono LP's signed by all 4 members which is very rare as they were not long together in this lineup before Tony Meehan left not long after the LP's release.

Indeed, many Fender instruments were sold on the influence and sound the Shadows had. Demand for Fiesta Red Fender guitars was driven across the world by the Shadows without a doubt and demand could not keep pace lithesome being refinished in Britain to keep up with the demand. As George Harrison later said 'No Shadows, no Beatles.' 

I came to this album in 1983, I had just purchased a Tokai TST50 Stratocaster as close to Hank's Fender as I could get and ironically copied from the same 1958 era guitar as Hank played on this album!

With a Sound City Valve amplifier and tape echo machine I was well on the way to the Hank Marvin sound. Now I use Vox Valvetronix AD60 or 120 and Tonelab Studio and Stage SE boxes to get that great sound.

I was able to follow the style and technique of Hank Marvin and this has given me a lot of pleasure over the last 40 years! Even today when I hear the tracks on this album, they still sound fresh. I have backing tracks from this album and enjoy playing along to them.

This band was immensely talented back then and remain so. This album is a musical milestone of the early 1960's from a band that helped define the music of the decade that followed.

The debt we owe Cliff Richard - his generosity kick started 1960's popular music - here's why

1959, the Pink Jacket, the Fiesta Red Stratocaster - 

Cliff Richard at the early height of his fame

If you've ever been fortunate to meet Cliff Richard in person, he's one of the nicest people you'll ever meet, regardless of who you are - whether you are a celebrity, royalty or just a plain, ordinary citizen.

So why do we owe Cliff such a great and perhaps unrealised thanks? Its quite simple really, because without his generosity, the course of popular music and our way of life might have been very different.

Cliff on his ATV show in 1960, with the Shadows

Before Beatlemania, there was Cliffmania. Many commentators and writers who put pen to paper about 1960's popular music, miss out one very important fact, that there was musical life before the Beatles. There was a phenomena that virtually dominated the musical charts from 1959-63. Cliff Richard and his backing band The Shadows. Both together and separately.

Cliff on the set of Expresso Bongo with the Shadows

Cliff was just one of a number of 'faces' of the late 1950's that came through the conduit of the legendary 2I's club in Old Compton Street, Soho, London to find fame and fortune in the music industry. At that time, it was the place to be seen, heard and  also hired. 

Tommy Steele, Marty Wilde, Wee Willie Harris, The Vipers - all names that in 1958 became household names due to an unprecedented growth in music came through this legendary coffee bar. 

The teenager was now a major player financially as well as socially in society. The old guard of tweed jacketed people in authority was now giving way to modernity. Suddenly progress was being made and the past was history.

This is the guitar and the player that made musical history  - 

Hank B. Marvin and the famous Stratocaster Cliff bought him

Backing Cliff in 1958 were schoolfriends from his hometown of Cheshunt, in Hertfordshire. Soon it became obvious that a quartet of players who orbited around the 2I's club should become Cliff's backing group. The Drifters as was, changed line-up and in 1959 became the Shadows, displacing Cliff's former schoolfriends.

Lead guitarist Hank B Marvin of the Shadows (as the Drifters name was changed to in early 1959), needed a guitar to show off his obvious talent. Cliff organised the import of the first Fender Stratocaster into the UK. A Fiesta red painted guitar, with Birdseye maple neck and gold plated hardware. Perhaps one of the most important guitars in the history of music.

It was a sensation then, in Hank's hands it became a guitar that launched the careers of thousands of guitarists who either became famous, or in most cases just enjoyed playing and still do.

Hank Marvin in 1961 with his second Red Stratocaster - 

George Harrison stated years later - 'No Shadows, no Beatles.'

Hank Marvin took the Fender Stratocaster, the Vox AC15 amplifier and the Meazzi echo machine and blended those into a cocktail of sound that remains unique. 

Hank's signature sound, whether backing Cliff or on the Shadows recordings was amazing, it was the sound to emulate, his technique the thing to follow. Even in 1964, Beatlemania had not diminished the presence in the charts of Cliff and the Shadows.

As early as 1960, Cliff had plenty to write about

Cliff was in 1960 about to help change the music scene in Britain forever. He pushed for his Recording Manager Norrie Paramor, to record the Shadows in their own right. They had a tune in mind called 'Apache' that Jerry Lordan had offered them.

When they recorded it in 1960, Cliff was on the session as a musician. The track was sensational, suddenly and indeed overnight, many bands seemed to discard their singer and reform as an instrumental band, intent on getting Hank's sound.

The Shadows continued to perform continually with Cliff until 1968

a series of reunions have also occurred over the years since.

The gift of that guitar to Hank led Hank to develop a technique that gave him a career and also helped Cliff enjoy such longevity in the music business. From that seed of generosity, you can count off a whole line of people who are famous today who were inspired by what Hank was doing - Players including Brian May, Mark Knopfler, George Harrison, Pete Townshend, Eric Clapton and many more.

Brian Epstein took the Beatles to watch the Shadows in 1963 so that they could see their stagecraft, such was their impact on music. The combined talent of the various Shadows line-ups over the years enabled both Cliff and the Shadows to enjoy lasting fame and appreciation, but their musical legacy also pushed others forward too.

In 1983 I was at last able to afford a decent guitar that fitted the bill and started to play along to Cliff and the Shadows old material, they were at the time still releasing records and doing the occasional reunion, it was a revelation and has provided me with music I still play today.

It all started with that red guitar Cliff bought for Hank Marvin.

So we have a lot to thank Cliff for. Besides that, he's a very nice chap too.

Hank Marvin Custom Shop 1959 Fiesta Red Stratocaster Greg Fessler Master Builder guitar review

Greg Fessler Master Builder Custom Shop NOS 1959 Fiesta Red Stratocaster review

This incarnation of the 1959 Stratocaster is a limited run guitar, with some of its features based on the 1959 Stratocaster that British instrumental guitar player Hank Marvin of the Shadows played from 1959-late 1961. 

If you're not familiar with Hank's playing, he is worth checking out for his signature guitar sound and technique that launched thousands of bands in the 1960's. See more pictures and info on Hank's guitar below this review.

Hank B. Marvin of the Shadows in 1960

with his famous 1959 Fiesta Red Stratocaster

This Greg Fessler 1959 Master builder Stratocaster is a great looking guitar, supplied in variation on the original style tweed case with red plush lining. It looks like the guitar that British guitarist Hank Marvin played between 1959 to 1961, which helped create the demand for Fiesta red guitars outside of the US in the 1960's and is certain to appeal to players emulating his style.

When you open the case you're greeted by an eyeful of a glorious fiesta red paint, Birdseye maple and gold plated parts. Much the same amazement ensues as when Hank opened the case of his 1959 for the first time over 60 years ago. 

The guitar is in NOS - New Old Stock finish, so looks 'as new' but brought forward to the modern day. Like you just opened the case on a 1959 guitar.

This is it! the complete package from the Fender Custom shop 
now includes a build sheet in a Custom Shop embossed folder (front).

The basic shopping list starts with a 2 piece Alder body, finished in Fiesta Red cellulose, a 2AA Birdseye Maple neck in a light honey tint lacquer which is not too dark and looks great, not too much 'pippiness' to the Birdseye Maple and there are lovely shimmers of flame in the Maple too.

The fiesta red has the right colour shade which takes on different hues 
in different lights, just like the original guitars from the era. 
The shade for the 59 was replicated from the original DuPont paint Coral Red colour.

Gold hardware abounds from screws to metal parts which gives it that look of quality and the gold really sets off the red and the maple neck. 

The neck is a 21 fret vintage style but augmented with medium frets which are easy to play and features a 9.5" radius, not 'vintage' but easier to play and that enhances the playing experience. 

The 2AA Maple is attractively finished in a light honey tint cellulose lacquer which has a deep shine. The profile is described as '1960 oval' (which is similar to the modern Stratocaster 'C' shape), derived from a revised shape introduced in late 1958 superceding the 'V' boat hull shape neck of the earlier 56-57 Stratocasters and is a playing improvement over the chunkier feel of the earlier necks. 

The neck is a nice and easy play, the fretboard looks visually flatter than a true 1958 7.5" radius and playing is easier than a V shape or a sharper 7.5" radius vintage profile board, so the trade off is valid, why make life harder? 

(The 1956 Custom shop Stratocaster in contrast features a really chubby D section neck and is not as comfortable to play which is why I sold mine. It was ok as a guitar, but this 59 has just a much easier playing neck and quite a few people have identified the 56 neck as less easy to play.)

Strings are Fender 10's and I changed these right away for D'Addario 10-46's which are lighter string tension and what I fit to quite a few of my guitars and changed again to 9-42 D'Addario strings which has improved the guitar for me, I also use their 9-42 sets on other Stratocasters I own. I find this make and also the Ernie Ball 10's strings do very well and last. 

Classic appointments from the pre-CBS era

The electronics are taken care of with a set of Fat 50's pickups which are slightly hotter than the standard 50's set. The fitment of a 5 way switch from standard is much welcome, (the 1956 Custom shop in contrast I owned was fitted with a 3 way switch as standard and includes a 5 way in the accessories, a measure that means it is often changed right away). A vintage tone circuit with modification is fitted to the 1959.

Soundwise, these pickups are very close to the originals, they give a great sound and that is what it is all about. 

Out of the box:

For a big ticket guitar this one wasn't set up much at all which was a disappointment for a guitar of this price level, however I was able to do the work. The neck was right but the rest of it needed adjustment. So, off came the strings and on with the D'addario 10's. I had to adjust the bridge height and the saddle heights, plus cut the nut slots deeper to get the strings lower at the first fret. 

The bridge now has the 2-3mm height from the body and the trem works nicely. 

The 10's felt a bit inflexible so I changed them for D'Addario 9-42's and this has improved the guitar all round, the neck relief is better and the string heights are lower. The guitar plays very nicely now.

Do remember to insert the small spring from the spare springs pack in the brown envelope in the case pack into the Trem arm hole as this helps push the trem arm upwards and loads the arm end against the threads so the arm doesn't droop. Otherwise the arm winds in too far before you get resistance and wears the block threads out quicker.

Build quality:

The build quality is very good, the finish is vey good and there is really nothing to fault here.

Hardware:

Its the usual appointments here, but the gold plated metal parts really set it off. The machine heads are Fender stamped Kluson type units and you can see they have been greased, which the Mexican 50's and 60's guitars don't show any evidence of greasing. The machine heads are smooth in action.

Value for money:

A matter of opinion to some but this is a big ticket buy for many people and it has obvious appeal to certain players. It is not a cheap guitar but people who are likely to buy this are doing if for the Hank Marvin look and sound.

Overall evaluation:

A nice re-creation of a 1959 style guitar with some modern updates. Not a cheap guitar, but it is likely to appeal to some for what it portrays - a replication of Hank Marvin's original guitar (albeit not publicised as such). It has the look and a great sound which is the ideal combination. Mine should have been set up better but at least I was able do that. The poor set up may be detrimental in some people's view, but is fixable and was an oversight by the guitar shop. No real problem as I was able to do the adjustment.

Would I buy this again?

Yes. It is the perfect guitar I was after back in 1983 - Hank Marvin's Stratocaster, replicated in almost every respect. That's why I bought this one and chose it from the 7 on offer because it closely matched the wood grain on the original guitar, besides the colour etc.

The flatter board makes playing easier, although I do find that the modern Mexican reissues from 2015 onwards have very nice necks and play almost as well.

The lack of set up was not a big issue, I was able to do the work and it now plays like it should, it sounds and looks the part and I am very pleased with it. 

Most will likely buy for the Hank Marvin / Shadows connection, or for the look, the colour combination here is excellent.

The original 1959 guitar:

Cliff Richard (now Sir Cliff Richard), a British pop singer from 1958 organised the purchase of a 1959 Fender Stratocaster for Hank Marvin the lead guitarist of his backing band the Shadows.

This guitar literally launched a thousand bands or more. Thanks to the generosity of Cliff Richard, the fortunes of Fender instrument sales mushroomed in Europe and beyond. It also launched the Shadows into a career that would last for decades.

When guitarist Hank Marvin combined the guitar with a VOX AC15 amplifier and Meazzi echo machine, a signature sound was born. 

Immediately upon the release of the Shadows' single 'Apache' in June 1960 which went to Number 1, it heralded the launch of an instrumental pop music boom in the UK. 

It also inspired players like George Harrison, Brian May, Mark Knopfler and many others who would become famous in their own right years later, to take up the guitar.

From this seed many players would follow Hank's technique, learning from his recordings.

The original Hank Marvin Stratocaster guitar like our 59 here was Fiesta Red with a Birdseye Maple neck and fitted with gold hardware. 

The guitar was a sensation, it was said to be the first Stratocaster in private hands in the UK at the time. The importance of Cliff Richard's generosity in the gift of that guitar is immeasurable. 

Cliff was also instrumental so to speak in pushing their A&R man and producer Norrie Paramor into having the Shadows cut an instrumental single of their own, the resulting A side, 'Apache' written by Jerry Lordan, changed guitar history and is said to be the best guitar instrumental piece ever recorded and one of the most recorded guitar instrumentals.

Hank Marvin enjoyed a career that still continues, living in Australia has curtailed the Shadows performances away from his home there, but he still plays live over there.

Recapture the magic with this new creation of his 1959 guitar in all but signature version!

A rare picture of Cliff Richard with Hank's original 59 Stratocaster

Cliff was being measured for this pink jacket in a Soho tailor's in 1958 when he formally met Hank Marvin and Bruce Welch, who went on to play with Cliff for decades until 2009. 

Jet Harris (left) and Hank with Hank's original 59 Stratocaster

from the Shadows first album LP cover

From the Shadows to the fore EP cover -

These record covers served as free advertising for Fender!

Pre-CBS Fender stratocasters - what was the best year?

Pre-CBS Fender Stratocasters - the best year was...?

1963 Shell Pink, 1961 Fiesta Red USA 62 Reissue 

The best years for the Pre-CBS Rosewood board Stratocasters were 1959-65. So what differences are there and which is the best year?

This is an early Rosewood neck September 59 on a July 59 body

The change to Rosewood boards on Stratocasters occurred in mid 1959. Likely because the cellulose lacquer on the all Maple boards  in use became worn from repeated finger vibrato and 'string pushing' to bend strings and Fender saw this as a possible issue that might affect sales or warranty claims. The sort of 'wear' you see on some Maple neck 'Relic' guitars.

Another reason is that a separate fingerboard could make production quicker, although the one piece Maple neck previously employed was a real masterpiece of simplicity and great functional design.

The early 1954-59 all Maple guitar necks were a 'U' shaped profile from years 54-56, years 56-58 was a 'V' shape and the October 58 - July 59 all Maple neck was a 'C' shape, a profile that is mostly used on Stratocaster guitars today.

At the same time the neck production was being changed, the Stratocaster pickguards were changed from the white single ply 1954 - mid 59 to the 3 ply 'nitro plastic' guard.

This measure was likely because of the 8 hole single ply guard was prone to 'lifting' at the rear top corner near the bridge - a couple of extra screws and a re-jig of the existing template might have been easier and cheaper as a solution than retooling for a 3 ply guard.

(There are 8 and 10 hole 3 ply scratchplate guards in existence that show that Fender thought that moving to a 3 ply guard alone might alleviate the problem of guard warpage.)

The early 3 ply guards were not without problems, one was cracking, especially near screw holes, there was also the issue of warpage and reaction between the plastics in the 'sandwich.' (The Nitro plastics were also known to react and produce a gas which could dull the chrome plating on guitar parts if the guitar was stored in the case for a long time.)

The cracking was sometimes due to over tightening of the screws, but more often due to the different materials in the ply expanding at different rates, which can happen when a guitar is taken out of a cold guitar case and into a warm room, the expansion rates being different on the Nitro plys, caused unequal movement and eventual stress fracturing.

A change of materials sorted the warpage problem out and a re-siting of screws over the middle pickup area seemed to further help stability. A thin aluminium 'antiference' plate was installed beneath the whole pickguard to cut electrical interference from studio lights etc. from affecting the guitar electrical circuitry causing '50 cycle hum.' 

Headstock logos changed from the 50's version (lower) to the 1960 type (upper)

reflecting the recognition of patents Fender had been granted.

So what are these necks like in construction and use?

The 1959 neck is a nice neck and has much in common with some recent modern Squier guitars for feel and shape - particularly the Classic Vibe 60's series, the 59 used a Rosewood slab board and did away with the walnut truss rod cover and truss rod route channel filler which were used on the all Maple neck.

The necks were refined during the production runs and small changes made to shape and dimensions, as production continued.

1961 Headstock

Rear of 1961 neck with some Birdseye grain showing

fitted with 'Single line' Kluson Deluxe machineheads

7-61 neck date on a pre-CBS neck

(Sir) Cliff Richard holding Hank Marvin's 1960 Stratocaster

Bruce Welch of the Shadows with his 1960 Stratocaster

The 1961 neck had a 1/4" thick slab of dark Rosewood which was slightly curved and the combined neck depth was fairly thin, comparable to a Squier Classic Vibe 60's guitar of today -  in fact I found the CV60's necks almost identical in feel to the vintage 1961.

1961 restored Stratocaster with restored mid 59 Stratocaster

The 1961 was the better year for the 'slab board' Stratocasters and perhaps this is why this profile is used on a number of guitars produced today.

A 1963 Shell pink Stratocaster with curved Rosewood board

undergoing a clean up.

The 63 had the thinner 'veneer' board

1961 ST headstock top with 'slab board'

1963 ST headstock 'Curved' board

The difference in board is clear to see.

The 1963 had 'Double line' Kluson machine heads with 

'Kluson' &  'Deluxe' on separate lines on the rear of the covers.

12th fret neck dot spacing changed in late 1962

to this narrower spacing.

The fret marker dots are known as 'Clay dots.'

Neck here is on a 1963 guitar.

1963 (left) and 1961 (right) guitars

The next change in construction came in late 1962. Likely as a cost saving measure, the decision was taken to change the neck construction again.

Away went the 'slab board's' generous 1/4" plank of Rosewood and in its place came the 1/8" 'veneer.' 

These later necks were often referred to as 'veneer boards', the Maple neck being shaped with a slight radius 'hump' on the top surface to which a thinner piece of Rosewood was glued, thus saving on the more expensive Rosewood. 

British instrumental group 'The Shadows' in 1962

with lead guitarist Hank Marvin (left) & Bruce Welch (Rhythm guitar) right with 1960 ST's

Their use of Fiesta Red Stratocasters created a big demand in Europe alone for the guitars)

Another change during production at this time (around October 1962) was that the 12th fret neck position dots, were moved inwards towards each other around 1/8" of an inch.

The Shadows in the film 'The Young ones'

playing 1960 Stratocasters with Rosewood boards, performing 'The Savage'

 

So what effect did these changes have on the Stratocaster? Having owned a 61 slab board and a 63 curved board, the neck is slightly thicker on the 63 by a minute amount, the 61 is slimmer all round, at the nut  and in profile although they could be made to special order with different thickness of material at the nut.

The Shadows in 1963 with Curved Board 1963 Olympic White Stratocasters

The 62 onwards curve boards had more Maple in the construction so were slightly brighter sounding and the 61 was more bassy and rounded sounding than the curve board and the difference in tone from a 59 'all Maple' to a 61 'slab Rosewood' is evident I found, the all Maple neck has a sharper sound and the 61 slab has a nicely balanced and slightly more sustaining sound.

So, what is the verdict? which is the best? There are a number of factors at play here - playability and feel of the neck, sound, tone and materials.

Most people will go with the feel of the neck and the playability of the guitar. Tone is going to be slightly brighter on a curved board neck but having been able to compare 59,61 and 63 Pre-CBS necks side by side, I would say that the 61 slab board is the best.

It is an interesting fact that you can order 59 Custom shop guitars with Rosewood boards, but the 61 profile is often used on many guitars because it really is the best liked shape.

1961 Stratocaster (top) with 1963 curved board neck (lower)