How It Is: Mark Knopfler

Showing posts with label Mark Knopfler. Show all posts

Friday, 17 April 2020

The Shadows Apache at 60 - perhaps the greatest guitar instrumental of all time - a look at how it started

The Shadows in 1960 - their album covers were
great news for Fender guitar sales

In 1960, The Shadows recorded 'Apache', an instrumental written by Jerry Lordan;
a tune that would change musical history and laid the foundation for 1960's music.

Hank B. Marvin of the Shadows with his new 1959 Stratocaster

Turn on a radio in 1960 and the music likely to be coming out would likely be from Cliff Richard featuring his backing band The Shadows or from the Shadows own recordings.

Thanks to Cliff Richard's stratospheric rise to fame in 1959, he remained at the forefront of British popular music through the next decade and beyond.

As the Shadows first hit single 'Apache' celebrates its 60th birthday in 2020, lets look back at how that started, why it endures and why Cliff Richard's generosity helped shape popular music in the 1960's.

By unintended consequence, it helped launch the careers of artists such as Eric Clapton, Jeff Beck, Jimmy Page, Pete Townshend, Mark Knopfler, not to mention encouraging many thousands of amateur guitarists since, to develop their enjoyment of the guitar and pursue it as a lifelong hobby.

Cliff Richard and the Shadows on the Oh Boy television show in 1959

Hank Marvin plays the new Stratocaster on an early public outing

Mention the tune Apache and the version most people will associate with a performer will be the Shadows. Drop the needle to the vinyl and the distinctive Bongo drums played by Cliff Richard heralds an echo laden guitar intro devised by Hank Marvin, that instantly introduced the world to what would become Hank's signature sound.

Cliff in the famous pink jacket with Hank's original Stratocaster

Jerry Lordan was on a tour package with Cliff and The Shadows, when he played the tune to Hank and Shadows bassist Jet Harris. The rest of the group heard it and decided to record it at their scheduled session after the tour.

Bad news for them that Bert Weedon had already got this tune in the can for an LP of his that was as yet unreleased. Cliff Richard had been pushing Norrie Paramor his Producer to give the Shadows a single record slot, Apache was agreed as their contribution to the single but Norrie wanted a new arrangement of Quartermaster's stores as the A side.

The Shadows Apache EP cover -

with later guitars, not used on the recording!

Norrie was insistent on 'Stores' being the A side, it was musically a weaker track, only saved from mediocrity and repetition by Hank's solo and accompanying fills. So, like the case of Cliff's Move it in 1958 where Schoolgirl crush was slated for the A side, Norrie took the test copy of the record home and played it to his daughters, Apache was the clear winner.

History was repeating itself. When Jack Good heard Move it he was blown away, the other side of the platter did nothing for him. Play the Apache single to day and flip over to Quartermaster's stores and you'll hear an immediate and obvious difference.

On the Expresso Bongo film - the film outing for the 59 Stratocaster

a great pity that this film was shot in monochrome!

When Apache became the A side of the disc, the rest was history. For a while after, bands often ditched their lead singer and went instrumental. The Fentones for example rested Shane Fenton (Later to be come Alvin Stardust) whilst they recorded two tracks The Breeze and I and the Mexican.

Suddenly, Hank Marvin was the guitarist to follow for the technique and sound. He had a unique sound and style. Apache was the single that launched a thousand bands. Hank Marvin had true guitar genius, he did then and he still does.

Cliff Richard's ATV show featured the Shadows heavily

Most British people had only seen a picture of Buddy Holly's Fender Stratocaster on a record cover or perhaps on a clip from the Ed Sulllivan show on the television.

When he and the Crickets played in England at the Elephant and Castle in 1958, a few saw the actual Stratocaster in the flesh at the shows. Hank was the first to own one in the UK.

This clever EP cover design removed Cliff Richard in the foreground

Due to a post-war trade embargo, Cliff Richard had to send for Hank's Fender Stratocaster as a personal import. The one that the Shadows chose was the top specification, Fiesta Red painted body, gold hardware and with a birdseye maple neck.

At 120 guineas, it was not cheap, that was about 10 weeks wages for an ordinary worker! Probably £4000 in today's money in comparison.

Cliff Richard impersonating Hank Marvin, playing Apache

on the original guitar through a Vox AC15 - from Cliff's ATV show 1960

Hank's guitar was a revelation. But it was only a part of the story. For those interested, the guitar was a Fender Stratocaster, no 34346. The Stratocaster had a 'contour' body that was cut on a bandsaw with reliefs cut away on the front and back so the player could 'mould' with the guitar. The 1954 design was futuristic and even looks great decades later. I don't think it has been bettered.

The design was a sensation, but was also relatively simple to produce. Against the hollow bodied Gretsch 6120 which came a year later in 1955, the Stratocaster looked modern. The Gretsch looked old-fashioned.

With three single coil pickups, tone controls and a vibrato system (erroneously called a Tremolo by Fender), the Stratocaster guitar was functional and modern. The slim C shape neck introduced in October 1958 was easy to play, an improvement over the 56-58 V shape neck.

A Fender Custom shop 1959 Stratocaster built under the supervision of Greg Fessler - essentially this is a reproduction of Hank's original Stratocaster, with a few modern lifts such as 5 way pickup switch, flatter neck and wider frets. I just had to have one.

The beautiful Birdseye Maple neck as Hank's guitar was built with on mine

Rarely seen in colour photos, Hank's guitar put him right out in front of the crowd. But he also had the technique to match the bright, modern guitar he played. That's what got him the job with Cliff on the Kalin Twins tour and the rest is history.

The early Vox AC15 amplifier

Hank originally used a Selmer Stadium Truvoice amplifier on the early Cliff Richard recordings, it is on the 'Me and My Shadows' album with Cliff Richard. The next move was to the Vox AC15 combo. This is the single speaker one, Vox added another speaker and the AC30 was born.

The Shadows blazed the way for Vox to become the amplifier of choice almost exclusively for instrumental bands from 1960-63 when the instro craze was in full swing. It would lead to the AC30 which would become worldwide renowned.

Jet Harris and Hank Marvin with the famous Stratocaster -

From the Shadows first album cover.

The Shadows had their thunder stolen on the American market by Jorgen Ingmann's version of Apache which was released over there, although it was not as good as the Shadows version many believe.

Late out of the starting gate into the charts was Bert Weedon with his version of Apache in response to the Shadows release, but it didn't have the energy or the sound of the Shadows version, which remains the definitive one for most discerning listeners.

Ironically, the follow up single to Apache was suggested to be Walk don't run, it was deferred in place of Man of Mystery which became a massive hit.

Walk don't run became the Ventures signature tune just as Apache had for the Shadows and around the same time too. The Ventures covered Walk don't run in 1960, it featured in a number of films which also helped propel it to a massive US audience.

60 years on Hank is still giving us that unique sound

Apache has endured. Although the instrumental guitar sound lasted a few short years in mainstream pop terms in the 60's, the Shadows thanks to their association with Cliff were able to enjoy it until 1968, before embarking on various solo projects and reunions since, even charting into the 80's.

Hank Marvin is one of the great guitarists, without his great sound inspiring thousands of guitarists since 1959, popular music might have been very different.

George Harrison paid the ultimate compliment - 'No Shadows, no Beatles.' John Lennon said that until the Shadows were on the radio there was nothing worth listening to.

If Cliff hadn't bought that first Stratocaster and pushed for Norrie Paramor to record Apache, who knows? Certainly Fender may not have made so many Fiesta red Stratocasters!

Apache endures and rightly so. 60 years on it sounds dynamic and fresh. And I was one that was spurred into getting the Hank Marvin sound because of it.

In 1982 a school friend of mine had the Shadows Apache single and we listened intently to it frequently, in awe of Hank Marvin's sound. The 45rpm single sounded more vibrant and alive than the LP version, Dave reckoned it was the material that the single was made from, it sounded dynamic and fresh. I wondered if I could ever emulate that guitar sound I was hearing on the record? It would take some time.

Pete Townshend had a similar experience of Apache, the tune resonated in his head as he walked home from a practice with a band he played in before the Who.

Me and Dave were just a couple of the thousands who were inspired to take up the guitar by Hank's playing.

Saturday, 28 March 2020

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!

Wednesday, 20 July 2016

Guitar reviews for you - Gretsch guitars and famous players

Mike Nesmith with Gretsch Viking in a promotional photo

In 1966, the Monkees, the 'manufactured' pop group hit the US TV screens with their zany show called 'The Monkees.' Mike Nesmith is playing a Gretsch Viking guitar in this posed promotional photograph.