#hank marvin

[er3makin]

Today was a terrible day, hooooh...

[rhapsodynew]

#everything you need to know about rock

Britain's first guitar hero who influenced everyone 

Hank Marvin was born in Newcastle upon Tyne on October 28, 1941 and grew up in a two-story family home with an outdoor toilet and no running water. From an early age, he showed an insatiable craving for music: he tirelessly mastered the banjo and piano.

But the fascination with blues, folk and skiffle inevitably led the young enthusiast to the guitar: 

"I was trying to learn how to play skiffle tunes, copy what I heard on the radio, learn how to play the melody that the singer was humming, as well as any saxophone or orchestral phrases."

At the age of nine, Hank Marvin was upset that he was prescribed glasses:

 "I was a skinny, pimply, insecure kid. And I got the big round glasses of the National Health Service in a tortoiseshell frame."

But then a cool author and performer Buddy Holly appeared from across the ocean, who forever changed the opinion about bespectacled people. Soon after, Marvin's life changed. His glasses suddenly became a fashionable rocker accessory. He got a job at an electrical engineering firm to earn money for a train to London.

Events were developing rapidly. Hank Marvin left in April 1958, in September he met the young vocalist Cliff Richard in Soho, who was trying on a jacket in an atelier, and immediately joined him on tour. When Hank returned to his native Newcastle, he was already a star and performed in front of an audience of screaming girls.

Cliff Richard's band was named The Shadows. Their music is instrumental rock classics, which to this day has not left the current repertoire. It is the "Shadows" They released the legendary hit "Apache", written by English songwriter Jerry Lordan and influenced a legion of aspiring guitar heroes. Including on the VIA "Singing guitars".

After becoming a star, Hank Marvin absorbed everything the music world had to offer: 

"I wouldn't believe it if I was told at the age of 16 that we were going to have incredible success. We played concerts all over the world. We performed in African villages. They caused riots in Germany when there were so many people on the streets that the limo almost overturned. It's an incredible experience, some frightening, and some just wow!"

Cliff Richards and The Shadows have created quite a few era-defining hits. Hank's band continued to come out and record. The line-up broke up between 1968 and 1973, but was reformed. In 1975, The Shadows took second place in the Eurovision Song Contest with the song "Let Me Be the One".

Hank Marvin began his solo career in 1969 with an album of instrumental compositions, in which guitar parts were accompanied by arrangements for the orchestra. He experimented with styles and materials, recording instrumental records, albums with vocals, acoustic guitars.

Hank Marvin's guitar can be heard in the recordings Roger Daltrey and Jean-Michel Jarre. Its unique sound has always remained instantly recognizable. Hank did not seek to increase the volume, preferring a light vibrato and giving his parts vocal qualities.

In the late 1970s, The Shadows impressed even punks: "During the release of the album "20 Golden Greats", people came to our concerts who looked completely out of place. When we asked why they were here, they replied, "We like the economy of your music. It's like early punk." I didn't quite understand what they were talking about, but it was nice."

With his melodic playing style and expressive "singing" phrasing, Hank Marvin inspired George Harrison, Eric Clapton, David Gilmore, Brian May, Tony Iommi, Pete Townshend, Jeff Beck, Jimmy Page. One of the most loyal fans is Mark Knopfler from Dire Straits. Hank Marvin's red Strat struck his imagination as a child. They subsequently performed together.:

Even the patriarch of Canadian rock paid tribute to the leader of The Shadows as one of the architects of modern music Neil Young. No wonder one of his songs is called "From Hank to Hendrix."

He was one of the first to bring instrumental GUITAR music to the top positions. Before that, there were cool guitarists, even pioneers, some by sound, some by melodies. But The Shadow (and Marvin, as a lead guitarist, of course, occupied a dominant position) were, if not the first, then at least one of the first to bring the guitar instrumental to a leading position.

The epoch!

[all-action-all-picture]

"Here we are then. They're not my cup of tea but I hope you like them - The Shadows!" - unknown announcer welcoming the band to the stage (as recounted by Brian Bennett).

The Shadows (L-R John Rostill, Hank Marvin, Brian Bennett and Bruce Welch) pictured in 1967, colour coded with their Burns Guitars.

[xabiramone]

Happy birthday to Hank Brian Marvin (born Brian Robson Rankin, 28 October 1941) is an English multi-instrumentalist, vocalist and songwriter. He is widely known as the lead guitarist for The Shadows, a group which primarily performed instrumentals and was the backing band for Cliff Richard, and subsequently for Marvin, Welch & Farrar.🎂

[singeratlarge]

HAPPY BIRTHDAY to one of my heroes Cliff Richard + 2 stories to tell: It’s still strange to me that Cliff Richard has sold millions of records, made movies, is a musical institution throughout the English-speaking world (and beyond), and is called “The English Elvis Presley,” yet he still barely registers in America. John Lennon said there was no British rock’n’roll worth listening to before Cliff. His back-up band, The Shadows (legends on their own), were led by trail-blazing guitarist Hank Marvin—who inspired a legion of young Brits to pick up a guitar, from Jeff Beck to George Harrison to Mark Knopfler.

In 1979 I became a big Cliff fan, and he became a role model to me for his disciplined, wide-ranging vocalizing, which matches his lifestyle He’s been making records since 1958, but I favor his gospel projects and post-1974 records with Bruce Britten and Alan Tarney. They remodeled his sound, re-inventing Cliff’s sound to reach audiences who favored New Wave, roots rock, and synth-pop.

2 STORIES: 1) I worked with Davy Jones (Monkees) for 20 years. At home he kept a stash of signed books and recordings from people he’d intersected with over the years—June Carter & Johnny Cash, Donovan, Mark Farner, Paul McCartney, Johnny Tillotson, etc. David had good stories to go with these items, but he fondly recalled that his first autograph came from Cliff. David was 12 at the time and said it was one of the few times he felt “starstruck” (little did David know he’d be signing countless autographs not long after).

2) In 1986 I was nudged to submit my song “Please Don’t Wait too Long” to Cliff with the aim of having him cover it. I contacted management, sent my LP and a cover letter, and the weeks passed. Right when I thought it was another pitch into the abyss, I received a kind letter from Cliff and his manager Bill Latham. They carefully critiqued the song and, while Cliff declined on doing it, he told me to send more tunes and to keep in touch. Then I got busy with a band and projects and didn’t follow through, but Cliff’s letter was a huge encouragement in a hectic time.

Here's a clip of Cliff from during the pandemic lockdown, and at age 84 he’s still out on the road!

HB CR and thank you for setting a high bar spiritually and creatively, and getting us to “move it!”

#cliffrichard #theshadows #hankmarvin #davyjones #monkees #johnnyjblair #happybirthday

[magneticelectric]

Hank Marvin Guitar Syndicate - Hank Marvin Guitar Syndicate (1977)

[musicmags]

[soundgrammar]

Hank Marvin (born October 28, 1941), known as the lead guitarist for The Shadows

[pianorequests]

1966 - a year of four LPs

1966 was a good year for Russ. He was on the way to recovering as best he could from a stroke he had suffered in late-1965, and by the end of the year he recovered enough that he was able to record four whole albums. This post details those four LPs.

Russ Hour Russ Hour was the first Russ LP to be released in 1966. Recorded on 26th January that year, and released in June, it featured the standard accompaniment directed by Geoff Love.

Unusually, this album was one of two full LPs to be produced from a single recording session held on that day in January. Russ's recording manager, Norman Newell, had booked twice the usual amount of studio time for Russ's first recording session after his stroke as a result of not wishing to overwork him. The first LP they set about recording was Time to Play, which would be released on EMI's budget label Music For Pleasure.

However, because the recording for that LP went so well, the artists moved onto recording a second record - and it was this which became Russ Hour, a full-price LP on EMI's Columbia label. Tracks on this one include Red Roses for a Blue Lady, Lullaby of Broadway, and Hello, Dolly!

Time to Play This was the first record Russ recorded following his 1965 stroke, and was a re-recording of several tunes he had made successful recordings of during the first few years of his solo career. All of the tracks from his 1959 EP Another Six were re-recorded, as well as The Westminster Waltz, The Birthday Cakewalk, Snow Coach, Trampolina, and Matador from Trinidad.

The accompaniment was again directed by Geoff Love (the last time he would work with Russ for an LP), and the album - as was standard for all of Russ's records of this time - made use of the Steinway Model K 'Vertegrand' upright piano which was kept in Abbey Road's Studio Two. This album was released on 16th September 1966. Despite being recorded in stereo, it was initially released in mono only - the same as the Another Six EP.

On compilation albums released after this point, the Time to Play versions of these tunes are almost always the ones included, rather than the original recordings. The most notable difference between the 1966 and original versions is the piano: in 1966, the piano Russ used was much more metallic-sounding than the original Hohner he used at the start of his career.

Concerto for Memories Released some six years after the first of his 'Concerto' albums, this LP marked a significant point in Russ's career: it marked the last time he recorded a new orchestral LP. Released in November 1966 under EMI's Studio2Stereo brand and on their Columbia label, it proved made use of Brian Fahey and his Orchestra.

The title track for this LP was, as with his previous three 'Concerto' albums, written by Russ himself, under his real name of Trevor Herbert Stanford. Concerto for Memories was the only of the four he wrote not to have been released in sheet music form.

This record also marked an interesting turning point for Russ's records: until this point, all of his records had been released either in mono only, or in mono first and then stereo later. However, in this case, it was the stereo mix which was released first, with the mono mix not being released until May 1967. All of Russ's records after this point, except compilation albums using older material, would be released in stereo only.

Pop-a-Conway This last 'pop' album from Russ was released for Christmas 1966, and featured accompaniment directed by Norman Percival rather than Geoff Love. It was the last of his new studio albums to be released by EMI in the UK.

The sleeve notes for this album were written by Hank Marvin, and the tracks included are a range of pop songs from the time, including The Beatles' All My Loving. The More I See You is also included, this time in an upbeat form - it was previously included, in an orchestral style, on Concerto for Memories. Other tracks on this album include Spanish Flea, Strangers in the Night, and It's Not Unusual.

The cover art for this album is bright and colourful, with large title text across it. It's a departure from the standars photograph-and-text for Russ's albums, but a welcome one as it really 'pops' (which works with the album's name, of course!).

[mitjalovse]

I feel like we can't understand the early 60's music these days thanks to the fact we constantly misremember the context of the period. Yes, we tend to make a lot of sweeping generalizations without noticing most of the latter occurred thanks to our confirmation biases. I mean, sure, rock became the dominant form of popular music, but this didn't just happen. The Shadows, for instance, already worked as a backing band for a popular singer, before they established their own brand. However, their path towards themselves resembled many of their peers, i.e. they didn't just stumble upon rock, they developed the latter in their own view. All the compilations mostly tell of the highlights, very few can provide us with a glimpse into the complexities of the ear we discuss.

[sohannabarberaesque]

Now imagine The Banana Splits doing a cover of--

[all-action-all-picture]

Hadn't watched that in years. Still hilarious. The original version was from 1959 by Cliff Richard and the Drifters. The Drifters name had to go soon after, as it was in use by an American group, and they became The Shadows. Both Cliff and Hank Marvin, lead guitarist of The Shadows, appear on both the original and this comedy classic.

Cliff Richard & The Young Ones - Living Doll

The best charity single ever recorded.

[all-action-all-picture]

Wonderful Land by The Shadows. One of their record 5 UK instrumental Number 1's. Written by Jerry Lordan and originally released by The Shadows in 1962, staying at No. 1 for 8 weeks. After Apache, which was also written by Lordan, this was probably The Shadows best known hit (although I think they should also have tried to get a catchy one word title for this).

This performance was broadcast 31 January 1970 and sees The Shadows using their 'other guitars'. Hank Marvin is most closely associated with his red and white Fender Stratocaster but here he and bassist John Rostill are seen with their black and white Baldwin-Burns Guitars. If you watch John, on the left, at the start of the clip it looks as if he wasn't expecting the backing track to start when it did. As far as I can tell Hank is playing live but its hard to tell at times as he can just play note perfect every time.

Rhythm guitarist Bruce Welch is missing as he had temporarily left the group. Other long time member Brian Bennett is on drums.

Completing the line-up is Alan Hawkshaw seated at the piano. Many won't realise he was in The Shadows for a while but may be familiar with his name and the music he composed for UK television shows such as the music from Countdown, the theme to Dave Allen's comedy shows and the library music that was used as the themes to both Grange Hill and Give Us A Clue.

John Rostill died in 1973 and Alan Hawkshaw in 2021.

[rossmccallsqueen]

Masters of the Air Asks!

I haven’t seen one of these yet so imma see if anyone likes them.

What is your favorite episode?

What is your least favorite episode?

If you read the book, how did you feel about the timeline of the show versus how it was explained in the book?

Buck or Bucky?

Which episode wrecked you the most emotionally?

Which characters death hit you the hardest?

Do you have a favorite MotA fic? If so, can you link it?

Who was your favorite pair in the show?

Aside from Buck and Bucky, who is your favorite friend pair on the show?

This is the first of the war fandom shows to be streaming service specific (I believe) on AppleTV. Did you watch each week? Did you wait until it all aired and watched at once? Did you share with a friend?

Which actor was most suited for their role in the show?

Is there a part of the show you usually skipped?

How many times have you watched the show so far? If so, how many?

Rank your order of the war shows (Pacific, BoB, GK, MotA)

Do you have a comfort character?

If you had kids (pets or otherwise), who would you let babysit? Who would you never let babysit?

Which character did you feel deserved more screen time?

Who is the most underrated character?

Do you have a favorite quote from the show? If so, what is it?

Who do you want to be your best friend?

Which storyline did you enjoy the most?

Do you think they covered enough in the amount of episodes, or should there have been more?

Who would you not let date your friend/sibling/etc?

If you could have a show about one of the characters after the war, who would it be?

Which MotA character would you want to meet in person? Either the actor, or real life person.

Rate the show 1-5 stars, and tell us why!

If there was anything you wish could have been included, what would it be?

This show wasn’t produced or made in partner with HBO. Do you feel there was a difference in production? If so, did it make it better or worse?

If I missed anything, let me know! Thank you @itstheheebiejeebies for the encouragement and help always ❤️

[grcetxt]

"grrr i cant believe Suzanne Collins is writing a book on Haymitch instead of on Finnick!"

I CAN! I ABSOLUTELY CAN!!!! You wanna know why? Because Haymitch has more to tell. Like she said the book will be focusing on how propaganda plays such a big part in media. Remember how literally all of Haymitch's family were killed? How tf is the capitol gonna cover that up? It'll be interesting to see how the narrative gets flipped, because by HGs Haymitch is already the laughing stock of the captiol ('oh look at this silly drunk man! isnt he hilariously stupid!') like it will be SO interesting to see how he goes from this strong, confident kid- winner of the quarter quell, 2nd winner ever in district 11 (WITH NO MENTOR!!)- to the broken shell of a man we get in HGs

I saw someone get so mad that Finnick and Annie didn't get a happy ending. They went on and on about how Katniss was an unreliable narrator, and how Finnick was probably still alive, and Suzanne had killed him off for no good reason and should just bring him back. like NO! ABSOLUTELY NOT! Katniss is 100% an unreliable narrator, we're shown this so many times throughout the series- but dont use that to try and change the story. Yes, Finnick couldve been happy. Yes, it was unfair that he died. But guess what! thats the point! there are so many unnecessary casualties during war, so many deaths that couldve been avoided, that feel unfair. too many "gone too soon" to fucking count. If you can't see the point suzanne was making thats on you my guy!!

Its so clear these people dont actually care about THG as a series, and just want Finnick back bcs they fancy him. Like do not get me wrong he was a great character and I loved him, but being fr a book on him would just be a little dull. He was a career, his victory was expected. Do not get me wrong i would absolutely love a deep dive into his life AFTER the games. It would be brilliant to see the psychological effects on him. But thats not what these people want, they want another bloodbath, more eye-candy. (they are becoming the people of the captiol)

A person I saw was actually saying that Suzanne was WRONG about finnick being dead?? that he was actually alive and she was delusional?? like mate, fan fiction exists for a reason. dont tell the author of a world-famous best selling series how to write her world-famous best selling series!! she knows what shes doing, and always has, so hush!

[beatlesgirl1978]

Famous 21st birthday..

Jim McCartney, cousin Di and Hank Marvin at Paul’s 21st birthday party, 18 June 1963.

Mike McCartney: “Although the Shadows were a more respectable, mohair suited, showbiz-group than heavy, grunting rock'n'roll, when they appeared at the 21st party we at least had the chance of passing Hank B Marvin and whispering ‘Hi, Hank’. Here he is with cousin Di and Dad. This was the party where John famously belted Bob Wooler; but just before that, aled out of his head, John stood about a foot away from me and Gorman as we tried to perform a Scaffold comedy sketch, repeating loudly, over and over, ‘Thass not funny.’ (I blame Roger’s script.)