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!

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!