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Vic Flick was born in Worcester Park, Surrey, in 1937. His passion for music began in his early teens when he joined a band led by his piano-playing father, which also featured his brother on saxophone and a neighbor on violin. Although he could already read music and play piano, he felt the band lacked a crucial element: a guitar. Consequently, he decided to learn the instrument. During the mid-1950s, the guitar was not yet the universal instrument it is today; it was mainly used as a rhythm instrument in big bands. Flick took only four lessons, but after many hours of listening to records and practicing, he quickly became skilled enough to join his father and brother in their band. His first professional experience was with Les Clarke and his Musical Maniacs at Butlin's Holiday Camp in Skegness. Following a winter of unemployment, interrupted only by occasional gigs, he reunited with his brother Alan. Together, they formed the Vic Alan Quintet and successfully auditioned for a summer season at another Butlin's camp, this time in Clacton. The resident bandleader, the well-known Eric Winstone, immediately recognized Flick as a rare talent—a young musician who could read music.
Soon, Flick was performing not only with his own quintet but also with Winstone's band during the entire Butlin's engagement. Impressed by Flick, Winstone offered him additional work for gigs and BBC radio broadcasts. Flick quickly gained a reputation for slick professionalism, technical skill, and a relaxed demeanor. It was no surprise when he was invited to join the Bob Cort Skiffle group as a replacement for guitarist Ken Sykora. When the Cort group landed a major opportunity as the support act for a JB7-backed Paul Anka on his nationwide UK tour in winter 1957, a meeting of musical minds was inevitable. Eight months later, Barry’s phone call inviting Flick to join the John Barry Seven changed his life forever. It was an offer he couldn’t refuse, and before signing, he was already deep into rehearsals for a 20-minute spot at the Metropolitan. Five days after a successful debut, Flick made his first TV appearance on On Boy! as a full band member—the first of many.
The guitar became a hallmark of the band's performances and recordings for EMI's Columbia label at Abbey Road Studios. Studio 2 was a frequent workplace, and Flick often felt as if he lived there due to the demanding schedule. He fondly recalls recording “Hit And Miss,” which became the signature tune for the BBC’s early Saturday night pop show, Juke Box Jury. He also remembers recording “Walk Don’t Run,” where Barry aimed for a guitar sound distinct from the American original by the Ventures. To achieve this, Flick used a Bigsby tremolo arm attachment to create a sustained vibrato effect. Since he didn’t own one, he borrowed it from session guitarist Eric Ford. Flick still believes the take chosen—one that later reached the Top Ten—was the one where he may have overused the tremolo.
Recording the John Barry album Stringbeat marked another milestone in his career. The guitar featured prominently across the fifteen-track album, and Flick’s talent was noted by several violinists on the session who also worked as orchestra contractors. This exposure led to heavy demand for his session work with other artists, which became so time-consuming that he left the John Barry Seven in 1963, after leading the band on stage for several years.
Flick also honed his composing skills, and when session work tapered off in the late 1970s, he turned to arranging and writing for TV and film. He collaborated with composer Richard Robbins on projects for James Ivory and Ismail Merchant. His solo work included scores for Autobiography of a Princess and Sir Ivor. His biography, Vic Flick, Guitarman, was published in August 2008.
Vic Flick married Judy in 1960, and they have two children. The couple reside in Las Vegas, Nevada.
