BBC Pick of the Pops

[Iain Purdon]

That makes perfect sense. I know it was a tough time for Bruce and he had previously said he was leaving, only to change his mind. He then took time out which, I assume, is why an early Rostill session was just a 3-piece with Hank and Brian and produced the early echo-laden version of Razzmataz...

[Fenderman]

No wonder there was a massive argument, they were all overworked, they never had a chance for a break in those days.
During 1963, the Beatles only had a week off in May and a fortnight in August/September, days off were spent recording/writing. I guess it was the same for the Shads.

[Arpeggio]

Spot on Iain! Yes....Bruce had been planning to retire and was definitely burnt out & heading for a breakdown. However - being able to take a few weeks off (on medical advice) and have a deecent holiday for the first time in almost 5 years definitely restored his health and optimism. Filming "Wonderful Life" shortly following his return to the fold probably helped too. Plus....the stress about his guitar tuning (undoubtedly a psychological problem) disappeared totally when John Rostill offered to tune all of his guitars for him before every rehearsal, concert and recording session. Bruce never questioned the fact that, when John said he was perfectly in tune, that he was - so all of that pressure vanished for good. In fact, Bruce was so grateful to John...that he put things on an official footing and actually paid John £40 per month to do the job!

Roy...you're also correct. The Shadows' schedule between 1959 and 1963 was incredible and relentless because they were touring / recording with Cliff as well as in their own right. Tremendous success and earning a stack of money for sure......but they certainly had precious little time for their personal lives. Every group of that type would inevitably have been through tremendous pressures. It's lucky that, although driven to a certain extent that Hank, Brian Bennett, Brian Locking (& then John Rostill) were such amiable, amenable, comparatively laid - back c haracters. Otherwise there would surely have been many more fallings out with 'Sergeant Major' Bruce (his own term!!!). Bruce has always made no seceret of his no - nonsense approach & Hank & Brian have both stated that they certainly needed it at times. But....the main problem on the "T F Y Lovers" session was that Bruce's obsession with the fact that he wasn't in tune (in his mind at that point) was actually holding up the entire session. It's not known who finally said something (nor what it was - in all probability - nothing really ultra harsh) that finally made Bruce 'explode'. To be honest (although it's history now) I wouldn't imagine that it would have been either of the Brians....but probably Bruce's oldest / closest friend Hank. That's my theory anyway...not that it really matters.

Bests....Rob

[Fenderman]

I was wondering, what did Bruce do when he joined MWF in 1970 as John Rostill was no longer available to tune his guitars? Did he have someone else do it for him?

[Arpeggio]

An interesting point. I can only speculate that, as this was by now 6 years further on in time - maybe John Rostill (as he and Bruce kept in touch) had persuaded Bruce that his own 'tuning ear' was actually fine & Bruce believed in himself once again (refs: tuning). Or, of course, Bruce was wealthy enough to employ a guitar technician to do the job. Or (& I don't know) maybe there were types of guitar tuning devices beginning to be available by that time? Maybe Stuart Duffy (who spent time with the Shads / MWF in that era) could offer up some observations? Stuart? Did you ever witness Bruce tuning up during 1970 - 1973??

Bests....Rob

[GoldenStreet]

Otherwise there would surely have been many more fallings out with 'Sergeant Major' Bruce (his own term!!!). Bruce has always made no seceret of his no - nonsense approach & Hank & Brian have both stated that they certainly needed it at times.

Jet described Bruce as something of the sergeant major in the 1961 book The Shadows By Themselves, and there can be little doubt the Bruce expended considerable nervous energy in his attempts at achieving the very best results, such was his pride and professionalism in all aspects of the group's working life.

His slightly irritated tone at the studio banter during the lead in the alternative verson of All Day from the Shadows at Abbey Road collectors edition compilation (1997) suggests he would naturally assume the role of organiser-in-chief in his desire to get the job done with the minimum of fuss and frivolity.

Bill

[StuartD]

An interesting point. I can only speculate that, as this was by now 6 years further on in time - maybe John Rostill (as he and Bruce kept in touch) had persuaded Bruce that his own 'tuning ear' was actually fine & Bruce believed in himself once again (refs: tuning). Or, of course, Bruce was wealthy enough to employ a guitar technician to do the job. Or (& I don't know) maybe there were types of guitar tuning devices beginning to be available by that time? Maybe Stuart Duffy (who spent time with the Shads / MWF in that era) could offer up some observations? Stuart? Did you ever witness Bruce tuning up during 1970 - 1973??

Bests....Rob

HI Rob

They had tuners, probably Conn Strobe Tuners by then but John Farrar was a master musician and he would have taken care of that.

Regards

Stu

[Arpeggio]

Many thanks Stuart. When I got to know the Shads (slightly) from the late 1980s onwards - guitar techs (eg Mick Johnson) handled everything like that. But...I have been with Bruce quite a few times (over a 25 yr period) when he's picked up a guitar and tuned it (sometimes using an electronic tuner, sometimes by ear) & he was certainly very relaxed about it by then.

Bests....Rob

[Iain Purdon]

Thanks Rob. That prompts another question. The "tuning issues" surrounding the white Fenders which partly led to the white Burns. Were there real problems, such that Hank would also be unhappy, or was it predominantly Bruce's perfectionism in play?

[JimN]

Thanks Rob. That prompts another question. The "tuning issues" surrounding the white Fenders which partly led to the white Burns. Were there real problems, such that Hank would also be unhappy, or was it predominantly Bruce's perfectionism in play?

Have you ever known anyone to criticise a 1962 Stratocaster on the ground that it was hard to tune?