No’ to ‘From Russia With Love’ and ‘The Dove’ to ‘Deadfall.’ Everyone was a great experience. I worked on many of John Barry’s films, from ‘Dr. How many of these were you involved with? John Barry also wrote the music to so many major Hollywood movies. The ability to read music was an essential as the Seven had many artists to accompany. Barry asked me to join the Seven when the Seven got their first big Television Series. The group was featured on Paul Anka’s first UK tour where I met John Barry whose Seven were backing Anka. Through a chance meeting with bass player George Jennings, I joined the Bob Cort Skiffle Group. After that it was a case of meeting the right people, being in the right place at the right time and able to do what was required for any recording I was booked for. My recording career took off following those recordings. When I joined the John Barry Seven in 1958, the ‘Plus Four’ made up of four violins on the Adam Faith recordings and the Stringbeat album, introduced me to four of the biggest fixers (contractors) in London. How did you get into session playing and tv/film music? He certainly influenced my rhythm guitar playing. I used to listen to the big band records a lot and always listened for the guitar – like Freddie Green in the Count Basie Orchestra. King and others were yet to influence UK guitarists. The influences of James Burton, Scotty Moore, B.B. Charlie Christian, Barney Kessel and Tal Farlow were three of the very few that were heard in the UK. When I first picked up a guitar in 1951, age 14, there were few guitarists to be influenced by, especially in the UK. Who was your inspiration when you were getting started with guitar? Read on to hear more from the man himself: You may be forgiven for thinking that Vic reached for a well-known brand of solid body for that surf-like twang, but he coaxed, or perhaps forced might be a more accurate description, that tone from his trusty Clifford Essex Paragon De Luxe archtop, equipped with a DeArmond sliding pickup.Īnd the amp he used? Nothing less than the original tone machine – a VOX AC15! Indeed, it was Vic who played what must be one of the world’s most famous guitar riffs that dark and mysterious guitar lick from the original James Bond theme, first recorded in 1962 for Dr. And whilst you may not know his name, you will almost certainly have heard his very distinctive work. Vic has worked with many of the greats including Tom Jones, Shirley Bassey, Dusty Springfield and Cliff Richard to name but a few – the list really is almost endless. A man whose playing ability and music sight reading skills earned him recording credentials that most musicians would donate limbs to have adorn their own CV. Vic Flick, a name that sounds like it was invented for a character in a 50’s rock ‘n’ roll movie, is in fact the name that christened a very real guitar legend. #VICK FLICK SERIES#This item was featured on the History Channel series "Pawn Stars".The Man with the Golden Guitar Tone – Vic Flick Accompanied by additional parts, a document listing the numerous songs it was played on, and a hardshell case. The original switch has been changed to a 5-way switch. The neck dates are 10/61, indicating October of 1961, and the potentiometer codes are 3046134, indicating the 34th week of 1961. It has been refretted, and a new nut has been installed. This guitar was played by Flick on numerous popular recordings, including “Ringo’s Theme (This Boy)” from the classic Beatles film "A Hard Day’s Night" (Proscenium Films, 1964) both the score and the Shirley Bassey theme song for the hit James Bond thriller "Goldfinger" (Eon Productions, 1964) “Downtown” by Petula Clark “Shout” by Lulu “It’s Not Unusual” by Tom Jones and was even sampled in FatBoy Slim’s 1998 hit “Rockafeller Skank.” This guitar was originally factory Olympic White, but was later repainted non-factory white. TER A 1961 Fender Stratocaster, Olympic White, owned and played by guitarist Vic Flick.
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