Tokai TST50 Stratocaster 1983 in Fiesta Red - 40 years on, the guitar that changed it all for me!

 

The Tokai TST50 in Fiesta Red -

One of my top guitars of all time!

On Monday 19th November 1983, I purchased a guitar that change everything for me - the Tokai TST50 Stratocaster in Fiesta Red for £199 from ABC Music in Surrey. 40 years later, I am still enjoying a couple these fine 1983 guitars, both in Fiesta Red.

For some years starting in the 1970's, I had been making do with unsuitable guitars whilst learning to play and because I had no money to buy a decent one. Occasionally I would be able to get my hands on someone else's guitar to try and to realise what I was missing or what was eluding me.

The controversial Tokai TST50 -

it outclassed the Fender guitars of the day  

I was ideally looking for a guitar suitable for the playing I wanted to do and the sound I wanted to create. In those pre-internet days, that meant looking at guitar magazines, visiting guitar shops and hoping the advice from the shop was good and not from someone looking to offload a guitar.

                                       1985 on stage with the Tokai TST-50 guitar

In 1980 when I was 14, the Shadows released an album called String of Hits and this was the right sound at the right time for me to aspire to playing and creating, for a short time, this was mostly attempted on a Starway Stratocaster copy guitar borrowed from my English Teacher at school. 

                                      1985 at the Hope Pub in Richmond, London 

                                                playing the Tokai TST-50 guitar

The Shadows at that time were recently back on tour and in the singles charts with singles from the string of hits album such as Don't cry for me Argentina and theme from the Deerhunter, I could see on their television performances and hear on the record a guitar style and sound I wanted to perform - that of the Shadows lead guitarist Hank Marvin.

1983 Tokai TST50 - the equal of the pre-CBS 1959 Stratocaster

The string of hits LP cover had artwork by a studio called Cream, and their album art was a joy in itself to look at, clever, stylish and just outstanding.

By early 1982, I was now playing often in various short lived bands with people at school, I was round my friend Dave Kent's house when he played me a 7 inch single from 1960, called 'Apache.' Like many before me, it had changed their playing and Dave and I listened to this single again and again, the 7 inch record material seemed to give it a special resonance, almost ethereal. What a fantastic sound. Dave purchased a used Musima guitar made in the GDR which was sort of Stratocaster like and had a trem arm.

The Shadows first album from 1961 -

it features Hank's first Stratocaster on the cover -

It would take me 17 years to get the same 1959 year guitar 

After leaving school, some months later I got back in touch with Dave around late 1983, I had only then recently purchased the Tokai, at the time I was working in London on an evening shift for a wine company, so in the mornings I had the time to myself and one Monday in November 1983 went to buy this great guitar so I could try and emulate the Hank Marvin sound I was after, whilst the house was empty.

The price of the guitar at £199 was then for me 4 weeks wages for this new icon and worth all of it. Getting home that day with the guitar in a cardboard box under my arm, which I had walked home 2 miles with, I only had a brief time to try it  out.

I plugged it in and briefly played along with a Shadows record. This was the sound and the right looking guitar. It even looked like Hank Marvin's guitar. This was the start of a journey. 40 years later it is still inspiring me to play.

The Shadows String of Hits album from 1980 - 

I was lucky to find this signed copy on sale

Soon enough with 3 schoolfriends and Dave's brother, we had ourselves a small band going and for a few years made a lot of noise down at the local youth club! I was meanwhile learning the Hank Marvin style and have been doing the same thing since.

Hank Marvin playing his 1958 Stratocaster in the late 1980's

Recently I put a book together with pictures of every guitar I have owned since 1977, it was called 150 guitars later, because that is where I am now, 150 guitars on from 1983.

A barely played 1983 one owner TST50 with rare decal mistake!

One thing is for sure the Tokai TST50 is one of the great guitars I have owned and has been seldom equalled. Nowadays I have 2 of these TST50's to hand, both from 1983. Next to a maple neck 1959 Stratocaster I restored in 1999, the Tokai is on a par with that, not much else is, except the recent Mexican made 50's guitars from 2018 onwards.

Playing eat again on the 19th November 40 years on, it is still one of the best guitars ever.

Fat 50's Custom Shop pickups review and upgrade for Hank Marvin style Fender 50's classic Mexican Stratocaster -

 The kit of parts to update the 2017 Fender 50's Stratocaster.

Matching white knobs and switch tip

I recently came across the Custom Shop Fat 50's pickups on the 1959 Custom Shop stratocaster I recently purchased. They sounded very close to the ones on Hank Marvin's original 1959 stratocaster which he used with the Shadows from 1959-61.

I purchased a near new Mex 50's Stratocaster in 2018 and although stock it played and sounded ok. The use of the aged plastic parts on the post 2015 Mexican 50's guitars isn't something I really go for but I left them on the guitar as they were functional. The Mex pickups are vintage type around 5.0 ohms and the Fat 50's set are 6 plus.

I did take the precaution of measuring the pickup covers and pole pieces before purchasing the Fat 50s pickups to avoid any alignment problems, I think this was worthwhile and paid off later.

The knobs and switch tips replaced - 

already improves the look

So, I decided to get the Mexican 50's guitar nearer to an original with this simple upgrade. I was unsure if they used the 5 way circuit board type switch as I am sure an earlier Mex 50's I owned had one, so I purchased a Fender 5 way Oak type switch as a precaution, it also had a white tip which was useful. In this case the Mex 50s guitar had an Oak type switch fitted already as standard.

I replaced the knobs first and then the switch blade, it looked like the size of  a USA one so I installed the white tip which fitted nicely. Then I removed the strings and scratch plate to do the wiring. Luckily this guitar had full size pots and a USA type of 5 way switch, so it was just a small matter of doing a bit of soldering in on the new pickup wires.

The original pickups in the guitar looked like Tonerider construction ones I have used before and had surgical tube spacers instead of springs fitted, the new ones have the same type spacers as supplied.

I noted when I took the scratch plate off how much cruddy dried cutting compound paste had been left in the body cavity, I had to chip the crusty accumulation away in places around the pickup routes which was tilting the middle pickup. However, it is now cleaner inside. Even custom shop guitars have not been clean inside I have found! 

With a quick soldering job done I had the plate back on and with a set of D'addario 9's installed I was soon back in action. A set up of the pickups heights to get the correct sound against the Shadows tracks from the 1959-61 era and for about an hour's work I had a nicer sounding guitar.

The pickups aligned perfectly beneath their respective strings across the guitar. The Fat 50's are higher output than the Mex 50s' ones that were in the guitar, but they are not harsh. Adjusted properly they are just great. 

If you like country style music then these might well suit that sound. If you want that early Hank Marvin 'crash' sound, then they just need getting closer to the strings

The sound quality was good on the originally fitted pickups, if a bit underpowered but the new ones are very much closer to the sound of the original Hank Marvin guitar, a Birdseye maple necked Stratocaster from 1959 with gold hardware.

All white parts for a nice colour match - 

I think this red and white is the best colour scheme

the 1957 Chevrolet Corvette had the same colours

I use a clean sound and on the upgraded guitar the picked notes work really well, the front pickup is warm sounding across the strings, the middle a bit tighter sounding (more treble) and as it should sound, the bridge pickup is incisive without being harsh - you will have to adjust the heights to get the rounded sort of sound you want without the guitar sounding harsh.

I had a template sound to acheive and against backing tracks I was pleased with the result. For a clean sound which is my preference, these pickups are great. Against my template sound, the guitar sounds more accurate to the original sound of Hank's 1959 Stratocaster than with the original Mex 50s pickups, so I would say a good improvement on an already nice guitar.

I find the 2015 onwards Mexican Stratocasters great guitars - 

the neck was retooled for this year and is more comfortable

So I would recommend this upgrade if you want to elevate your 50's Mexican Stratocaster. I have had a number of these guitars over the years and have found the 2015 and later ones with the retooled neck and upgraded hardware in terms of pickups and electrical parts are very good.

Against a 57 USA reissue from 2013 I found it almost as good, for a fraction of the price. 

The price of the pickups I bought was competitive and for the money I would say great value. Being Fender parts, they offer a straightforward installation, although I did check the dimensions first off just to be sure. I don't think you will be disappointed with these.

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!

Dartford's Fiesta Red Cellulose 400ml aerosol guitar paint from Rothko and Frost review

Using Dartford's Cellulose paints on my Fiesta Red Stratocaster project guitar

Bare bones of the Hank Marvin Stratocaster project - 

Mexican Std 2018 neck, locking Tuners for the neck and 

Kinman Impersonator pickups for the 'engine.'

For this project, I started with a bare wood Hosco Vintage pattern Stratocaster Alder body with the intention of finishing it with Cellulose guitar paints from Rothko and Frost's Dartford's product range.

The guitar body was carefully sanded down and I used Dartford's White sanding sealer 400ml aerosol as the base coat.

White sanding sealer

Fender use a grain sealer on their guitars which is sprayed on and does what the name implies, fills any irregularities of the wood. Most bodies are sanded well and I used a very light fine paper flour grade type to get a final finish. 

The Hosco body with White Sanding Sealer Primer applied, ready for top coat

The Hosco bodies are very well made and finishing before spraying is negligible. 

Application

I found with the sanding sealer that it seems to get 'sucked in' to the wood on the initial coat. I sprayed a tack coat on and watched it almost disappear and the wood 'fuzz' up in places where little strands stood up. But not to worry....

I simply waited until the coat had dried and they broke off. I ensured that they would not cause any visual defects and applied a few more coats of the sealer, allowing it to do it's job of filling and sealing.

Left to dry for a few days, I then set about carefully rubbing down with 1200 grade wet and dry paper. I used water with a few droplets of washing up liquid as this stops the paper clogging. 

The filler part does clog the paper, so you need to rinse the paper and remove the wet slurry from the guitar surfaces and wipe with wet kitchen paper. Once the rubbing down was done, I wiped over with clean running water and dried the body. The body was washed again before the top coat and thoroughly dried. 

Hycote Filler primer -  extra step

I decided to use Hycote Filler primer from a 400ml aerosol as an intermediate paint layer as it works with both Cellulose and Acrylic paints and provides a strong white blocking colour base. As I was going onto what had been a bare wood body, I know that paints can sink and these Acrylics tend to work well, it may not have been necessary to use this, but I wanted a really sound finish. In time the paint may sink as Cellulose is prone to do.

First Fiesta red top coat applied - 

it looks redder than it really is due to the lighting.

Dartford's Cellulose 400ml Fiesta Red top coat

I was very pleased with the colour match on this paint, it looks very much like the original Pre-CBS colour I found inside a 1961 Stratocaster trem route which I had the colour copied.

The white primer rubbed down, I decided to go for the final coat stage. The Fiesta Red went on well, I sprayed a 'dust coat' over to see how the paint would go on to the body for speed of the paint from the can and covered the guitar over, applying a thicker coat over this and leaving it to dry.

Fiesta Red top coat applied 

The next coats were done close together, allowing the paint to almost dry. They weren't thick coats but enough to give good coverage. The remainders would be done the next day if the weather was good and after a careful light rub down.

The paint flowed out well, there was a slight 'orange peel' effect on the surface but this was pretty much gone as the paint relaxed as it dried out.

Fiesta Red top coat in the workshop as sprayed -

it worked well, glossy from the can

Fiesta Red top coat might look 'pink' -

but in daylight to the eye it looks the right shade.

Overall findings

The paint was the right shade and went on easily. I've sprayed a lot of paints from spray guns and cans and this was easy to use. The coverage was good and you might want 2 cans to do a guitar depending on how thick the finish is to be.

I got a shine from the can and after a day or so, it flowed out as it dried and any slight orange peel was lost almost entirely.

Building up the guitar

The paint did create quite a bit of dust which means that it contains a lot of paint solids and isn't just thinned out leanly, which is why it is not cheap to buy. 

Fixed a solder wiring joint problem and it sounds great

I let the paint harden off for around a week, cut it back carefully with Farecla G3 compound by hand and then assembled the guitar up as you can see.

I've now completed the guitar and it sounds and plays nicely. 

**Please note that Dartford's have now made their 400ml colour paints a thicker mix and these give better coverage. I have sprayed a Stratocaster body and it looks great even though it hasn't been polished yet.**

Fender USA AVRI 57 reissue stratocaster 2008 in Fiesta Red review

Fender USA AVRI 57 reissue Stratocaster in Fiesta Red 2008

USA 57 reissue Fender Stratocaster 2008 in Fiesta Red with tweed case

Having been investing in Gretsch guitars in 2016, I have been drawn back to the Fiesta Red Stratocaster thanks to some welcome guitar adverts! 

Recently I purchased a Fender Japan 57 reissue in Fiesta red as it was a rare Japan only guitar and a good one for the collection, which I have reviewed in an earlier page.

Last year I bought a 6120 Brian Setzer Hot Rod in black but having only played it about once, I thought it time to move on. Seeing this USA 57 reissue for sale, I did a swap.

The 57 reissue package of guitar and accessories is a nice touch

So, what difference is there in the 57 reissue of 2000 and on to the originals from 1983 - 98? Well, a couple of upgrades as such, the headstock has a more narrow profile shape than the original 57 reissues made up until 1998, the 12th fret neck dots are full width as per the pre-CBS 50's guitars and the neck profile has been changed to a shallow V over the C of the 83-98 guitars.

The lower side of the headstock under the logo is more true to the pre-CBS shape now

The 57 reissue Stratocasters were 'revamped' in the late 1990s when Mike Lewis took over Fender marketing and product development. (He has done a similar role with Gretsch guitars recently, which are now made under the Fender company umbrella)

The original 57 reissues were great guitars and I owned five of them, they had a shallow C shape neck which was easy to play, but there were slight details that were not 'bang on' with the original pre-CBS guitars, the 12th fret neck dot spacings were the obvious feature.

My view is that they were made with the closer spacing to deter the guitars as being passed off as 'original' pre-CBS guitars. The headstock shape has been slimmed to more of a 50's original shape.

The 'Tweed' case is loaded with extras and a spare trem arm from the previous owner

The 57 reissue series when upgraded in 1999 for 2000, weren't available in Fiesta red, I wrote to Fender and said that with 2000 being the 40th anniversary of the Shadows' 'Apache' record that created the massive interest in Fiesta Red Stratocasters, the colour should be there, they took notice as the colour mysteriously appeared back in the range on offer, the Candy Apple red was the only red colour previously offered after the 2000 upgrade, now the Fiesta was back!

Plush velvet type finish on the case which is also used on the Custom Shop guitars

I noticed in 2000, when the upgrades had been done that the specification mentioned the neck as being a 'shallow v' shape, which put me off buying one as I had bought Fender Japan 96 Stratocasters which had v necks and I found they didn't really suit me.

I also wasn't in a position to buy one of the new 57's at the time they were re-launched with the new features. I wish I had tried one, I would have bought one and found the money somewhere!

Back view of the classic headstock with Fender version Kluson machines

The price of the 'new' 57's had increased, I purchased new old stock 57's in the late 90's for around £800 GBP, the 2000 ones I recall were around £1149 GBP, I think I saw some for £1249 GBP.

The classic 50's Stratocaster in Fiesta Red

The 57 reissue AVRI is no longer available in that line, the mantle has passed it on to the Fender Custom shop level, where they also make a '56' Stratocaster which has a V profile neck, I did have a Custom shop 59 with Maple neck, which is perhaps the only stock C shape option custom shop guitar in a specific model range, I think that was a limited run guitar though.

The Shadows in 1960 with Hank Marvin and his Fiesta red guitar

Many of the players will buy the 57 reissue in Fiesta Red due to the Hank Marvin and The Shadows connection, the guitars are certainly good for playing that style of music and I found that the neck on the new 57 reissue was easy to play as easy as my 50's Mexican reissue guitar. It feels more of a C shape than a V, even a 'soft' one.

The Shadows first album cover from 1961 featuring the Fiesta Red Stratocaster

Playability of the guitar is very good, although I did do a set up and put D'addario 10's on it as I do on most of my guitars. The pickups sound really good and the neck is easy to play, it just feels a quality guitar and it is made in the USA for those that want that ticket. 

The Mexican 50's guitars are cut in the USA and finished and assembled in Mexico, so they are almost a USA guitar.

The 57 is supplied in a 'Tweed' case which is covered in a yellow fabric with brown pinstripe weave, a staple of the original 54-59 guitars and some Fender amplifier coverings.

The case is high quality and in the original style, although Fender do have a 'centre pocket' tweed case they retail now as an alternative product.

The 57 case has the orange Poodle Plush material and fits the guitar well. It really tops the guitar off.

Sadly the 57 reissue is no longer available in the reissue line, having been subsumed into the Custom Shop product range. So you'll have to hit the second hand adverts to find one made prior to that change, but they are still out there in good condition in used condition.

In the round, I like the guitar, it is a bit of an upgrade over the 1983-98 Mk1 reissues and I would happily own either version, but the 2000 on guitars have the correct visual 'neck dot' placing right, that it seems a shame not to indulge in one! 

For some, the 57 in fiesta red isn't your colour, I love it, so I'd say on sound, playability, build and heritage it is a nice guitar to own.

As a fan of the 57 reissue, it has been a guitar I have wanted to own and have owned since picking up the Fender catalogue in 1983 and seeing them in it. So the marketing does work, but the guitars really sell themselves.