1986 party for Hank Marvin at Hilton, London. Back, from left: Hal Lindes, Dan Smith, Bill Schultz, Jeff Beck, David Gilmour; front, from left: Stuart Adamson, Eric Clapton, Hank Marvin, Stewe Howe, Richard Thompson.
It was 1986 when John Hill, British Fender’s Brand and Artist Relations Director, organized a party in a Hilton hotel of London to celebrate the first Stratocaster that came to the UK, the Fiesta Red Strat of the Shadows guitarist, Hank Marvin. On this occasion Fender gave to the British rock legend the famous red Vintage Reissue.
This party was attended by Dan Smith and Bill Schultz (obviously), Eric Clapton, David Gilmour, Hank Marvin, Jeff Beck, and other English guitarists. This was the first occasion for Smith and Schultz to discuss with the guests about the Signature Series.
Few months after the event, Jeff asked for a new Stratocaster with a large neck for his upcoming tour in Japan.
This party was attended by Dan Smith and Bill Schultz (obviously), Eric Clapton, David Gilmour, Hank Marvin, Jeff Beck, and other English guitarists. This was the first occasion for Smith and Schultz to discuss with the guests about the Signature Series.
Few months after the event, Jeff asked for a new Stratocaster with a large neck for his upcoming tour in Japan.
Jeff Beck with his 1932 "Graffiti Yellow" Ford Chopped Deuce Coupe
As John Hill knew the Jeff's passion for the 1932 Ford Chopped Deuce Coupe featured in the American Graffiti film, he suggested to paint the guitar in the same yellow, color that he named Graffiti Yellow - so it wasn't a request of the guitarist, as often reported.
George Blanda from Fender's R&D built the guitar, a Vintage '62 Strat, leaving the huge neck unfinished so he could make small changes in order to get the profile Jeff wanted. But the guitarist liked it so much that he insisted to bring it as it was in his Japanese tour.
During the development of the signature, one of the prototypes rejected by Jeff Beck, equipped with Wilkinson Roller Nut and with three stacked-coil pickups, would have evolved into the Strat Plus (on which the pickups would have been the Lace Sensors). And actually this guitar was used by Jeff to play the songs of his 1989 Guitar Shop in concerts, because it seemed the only one that could replicate all the harmonics on this album live. Moreover its Wilkinson Roller Nut and its locking keys represented an excellent solution not to lose the tuning: «Feels like an early Stratocaster, but without the tuning problems», Jeff stated referring to the Strat Plus.
In October 1989, with the supervision of Dan Smith and John Page, J.W. Black built two prototypes: one blue finished like the Stratocaster on the Guitar Shop album cover, the other dark violet with the Brazilian rosewood fretboard and three Lace Sensor Gold, with which Jeff posed, together with Stevie Ray Vaughan, for the cover of the February 1990 edition of Guitar Player.
In the same period Fender gave Jeff a Stratocaster on which Pamelina Hovnatanian had painted the guitarist’s Ford and that, unlike as sometimes reported, was not a signature prototype.
George Blanda from Fender's R&D built the guitar, a Vintage '62 Strat, leaving the huge neck unfinished so he could make small changes in order to get the profile Jeff wanted. But the guitarist liked it so much that he insisted to bring it as it was in his Japanese tour.
During the development of the signature, one of the prototypes rejected by Jeff Beck, equipped with Wilkinson Roller Nut and with three stacked-coil pickups, would have evolved into the Strat Plus (on which the pickups would have been the Lace Sensors). And actually this guitar was used by Jeff to play the songs of his 1989 Guitar Shop in concerts, because it seemed the only one that could replicate all the harmonics on this album live. Moreover its Wilkinson Roller Nut and its locking keys represented an excellent solution not to lose the tuning: «Feels like an early Stratocaster, but without the tuning problems», Jeff stated referring to the Strat Plus.
In October 1989, with the supervision of Dan Smith and John Page, J.W. Black built two prototypes: one blue finished like the Stratocaster on the Guitar Shop album cover, the other dark violet with the Brazilian rosewood fretboard and three Lace Sensor Gold, with which Jeff posed, together with Stevie Ray Vaughan, for the cover of the February 1990 edition of Guitar Player.
In the same period Fender gave Jeff a Stratocaster on which Pamelina Hovnatanian had painted the guitarist’s Ford and that, unlike as sometimes reported, was not a signature prototype.
Jeff Beck's album "Guitar Shop" cover
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Stevie Ray Vaughan and Jeff Beck with his signature blue prototype, February 1990 edition of Guitar Player
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The Stratocaster that Fender gave Jeff on which Pamelina Hovnatanian had painted the guitarist’s Ford and that was not a signature prototype (special thanks to Pamelina)
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Other three prototypes made by J.W. Black and dated January 1990 followed: another purple one, a green one, and another graphic guitar. But the more attentive will remember that the Jeff Beck Stratocaster was already present on the Fender price list of January 1990, with the note "Final specification to be announced"! Jeff, indeed, still wasn't convinced of the opportunity to put his name on the headstock of the guitar: «He wanted to play a Fender, not a Jeff Beck Fender», J.W. Black remembers. But eventually the guitarist accepted.
Finally the foundations of the agreement had been laid: the 1991 Jeff Beck Stratocaster (prima serie) was basically a Strat Plus with a very thick Special Deep '50s shaped neck and equipped with four gold Gold Lace Sensors, two of them, next to the bridge, adjoined to resemble a humbucker; a push-pull switch near the tone controls kicks in the second bridge unit, providing a "thicker sound". The original Sperzel locking tuning machines were replaced, during 1994, by the Schaller ones and the LSR Roller Nut took the place of the Wilkinson Roller Nut in 1993.
Paradoxically, when the first Jeff Beck Stratocasters came out, the Graffiti Yellow finish was not taken into consideration, as it was available only in Midnight Purple, Surf Green and Vintage White (definitely tending to yellow). And the first Strats Plus Graffiti Yellow, unlike what many believe, were not Jeff Beck prototypes! It is also interesting to note that for the fretboard was chosen the pau ferro; however, almost immediately, Fender opted for the rosewood, though many '90s Frontlines continued to report the pau ferro.
Paradoxically, when the first Jeff Beck Stratocasters came out, the Graffiti Yellow finish was not taken into consideration, as it was available only in Midnight Purple, Surf Green and Vintage White (definitely tending to yellow). And the first Strats Plus Graffiti Yellow, unlike what many believe, were not Jeff Beck prototypes! It is also interesting to note that for the fretboard was chosen the pau ferro; however, almost immediately, Fender opted for the rosewood, though many '90s Frontlines continued to report the pau ferro.
Available finish of the Jeff Beck Stratocaster, first series (Courtesy of Reverb)
In 2001 this signature was renewed by Fender. The Jeff Beck Stratocaster (seconda serie), available in the Olympic White and Surf Green finishes, featured three Ceramic Coil Dual Noiseless pickups instead of Lace Sensors, a thinner "C" in place of the large neck and a classic tone control instead of the TBX used in the first series.
2003 Jeff Beck Strat Olympic White (Courtesy of Reverb)
Finally, in 2004, the Custom Shop unveiled the Jeff Beck Signature Stratocaster, available in Olympic White and Surf Green, which distinguished itself because the signature was not put on the front of the headstock but on the back and for the Sperzel Trim-Lok Staggered tuning machines.
Antonio Calvosa
Custom Shop model (reverb.com)
