During the 1950s in southern California, a young man and his father were working side by side, continuing the time-honored human tradition of passing down skills from father to son. In this particular case, it wasn’t about how to rebuild the carburetor of a ’56 Buick or crafting model rockets, but building ukuleles and banjos. Little did Bernardo Chavez Rico, the young man in this case, know how much of an effect these moments in his life would ultimately have on us, the guitarists of the world. He quickly caught the bug and by the time he was of age, had opened his own repair shop and luthier business.
It was a modest startup, with Rico spending most of his time working on acoustic and Spanish guitars, and building his own designs (these were originally branded “BC Rico” and the 300 or so that have survived are some of the most highly sought-after guitars out there). Eventually, after repairing a neck for legendary axeman Bo Diddley, Rico decided it was time to chase his dream. B.C. Rich was christened in 1967, specializing in acoustic guitars. By the time 1969 rolled around, he set his sights on electric guitars, producing some of the most unique, iconic shapes the guitar community had ever seen.
To celebrate the 40th anniversary of Rico’s influence, B.C. Rich’s handcrafted division has decided to release the four instruments featured in Rico’s earliest catalogs from the ‘70s: the Bich, Eagle, Mockingbird, and the elusive Seagull. Each instrument is limited to 40 pieces, in a tribute to the number of years the company has been producing electric guitars. They all feature beautiful, lightweight koa wood bodies, exclusive electronics, and the neck-through construction techniques that Rico pioneered decades ago.
How Does That Eagle Fly?
Compared to some of the designs that B.C. Rich has given us, the Eagle is relatively modest. The concept was originally taken from the Seagull, which has the same lower bout as the Eagle, but without the Eagle’s sharp upper cutaway (the Seagull has a rounded upper bout with a point that is affectionately referred to as a “sternum horn”). Removing it from the case, the first thing that surprised me about this Eagle was how amazingly light it is. I got the same reaction from several people, making them guess the weight before picking it up—all of them in amazement. The body’s lower edge fits comfortably on the thigh, and is very well balanced, due to the neckthrough construction.
The grain matching is impeccable. At first glance, the Eagle looks like one solid piece of wood, on all sides. Closer examination reveals that it is actually three pieces, but I really had to look hard for it. Grain matching is difficult enough on two-piece tops, but can be exceedingly hard to do when the middle piece is part of the neck itself. I like the fact that they kept the finish simple and understated, which really shows off the craftsmanship of the guitar.
Before I delve into the tonal aspects of the 40th Anniversary Eagle, I also have to mention the neck. This is flat-out one of the best feeling necks I’ve ever played, period. I’m normally a fan of fatter necks, such as a ’58 Les Paul profile, but B.C. Rich got the thin profile perfect with this one. There was no drag when running through fast, single note licks that covered several frets, and itfelt very substantial in my hand when digging into riffs. Neck feel is certainly one of the fussiest things a player can harp about, and for me, this one just had it. I wish that I could put it on my ’78 Les Paul Custom!
Plugging In After realizing that I’d been ogling the thing for about twenty minutes without even playing a note, I eagerly plugged the Eagle into a Marshall 2555 100-watt head, which was running into a Bogner 4x12 cabinet with four Celestion Vintage 30s. The Marshall is what Slash’s signature amplifier was eventually based on (it’s the predecessor to the famed Silver Jubilee), and has a great, snappy midrange and tight low end. Sound-wise, the Eagle is not a dark-toned guitar. Lots of players equate B.C. Rich with the hardest of metal tones. While they do make some fantastic instruments for that genre, those in the know have been aware for years that they offer some incredible classic rock tones. Such is the case with this particular Eagle, equipped with DiMarzio Dual Sound pickups and an extensive switching system.
The Dual Sound pickups included on the Eagle were originally a collaborative effort between Bernie Rico and Larry DiMarzio to offer the first 4-conductor pickups. These pickups are passive, but designed to work with an active circuit preamp, which add 20dB of boost. When the preamp is activated by means of a mini-switch, the resulting boost can be controlled by the rotary gain pot (middle knob after the volume and before the tone). The preamp can also increase the gain when the Varitone is used, to compensate for the resulting cuts in frequencies with certain settings.
When set for active operation, they provided a huge boost in gain and volume through the Marshall setup I was running. While the active setting did provide a lot of great, liquidy gain tones, some amount of the detail and snap was lost. Quite frankly, it can be overpowering. I enjoyed the passive setting much more, which allowed the brighter, detailed tonal nature of the guitar to shine through. The pickups can also be switched to either series or parallel from two mini switches near the rear tone pot. I really enjoyed the sound of the neck position in parallel coupled with the bridge in series mode. It allowed for some great sounding arpeggiated intro pieces from the rear position, then some thick, raunchy riffing when quickly switching to the bridge. The last component in the circuit is the 5-way Varitone switch controlling preset tone filters, which offers changes in the sound from the subtle to extreme. I found that combining some of these settings with the active position engaged helped tame the sound, making it more controllable.
The Final Mojo The 40th Anniversary Eagle was inspired by the renowned designs and construction techniques worked out by Bernie Rico decades ago, and it is a fitting tribute to the man who helped pioneer a movement in the industry. The solid construction, smooth fit and finish and massive array of tones are all useful and unique, but the intrinsic brightness of the guitar might turn off some players. In addition, the hefty price tag is a major deciding factor. However, if you’re in the market for the cream-of-the-crop among what B.C. Rich has to offer and you have the capital, I highly recommend that you give the 40th Anniversary series a try. Finding one might prove to be just as difficult as tracking down an original, as they made only 40 of each, so now might be the time to try and find one before they’re all gone.
Buy if...
you’re looking for the best of B.C. Rich, and have always wanted one of the original Rico-issued instruments. Skip if...
very expensive is not on the list of things you’re looking for in a B.C. Rich, and you’d prefer a darker tone. Rating...
An immersive reverb with a carefully selected palette of other secondary fx and features that extend a strong foundational reverb tone to new perspectives of creativity.
3 modes offer luxurious options for exploration like a rotating room effect, adjustable up and down octaves and modulation that can be triggered dynamically. The Deity is also packed with extensive controls for the most impactful parameters for each effect to insure that every great sound is deeply adjustable where it counts.
DECAY - Sets the Length of the reverb trail. Set to zero in order to eliminate the reverb and get the modulation to effect your clean signal instead.
TONE/OSC Tone control (LPF) - for the Reverb trail. When set to zero (counter clockwise), a slow oscillation begins that sounds as if you're spinning slowly. At this setting, the Low Pass Filter is Self Oscillating from zero to max at a rate of 4 seconds per cycle.
MIX - Pans between 100% dry and 100% wet signals. In order to get more pronounced modulation set it beyond 12 o'clock. Use it to isolate the clean signal from the Reverb or to blend in your clean signal with the additional octaves.
PRE DELAY - Changes the size of the perceived space/room. At minimum, it makes the reverb come in immediately after you pick a note. (This control also helps in keeping the reverb trail out of the way of your dry signal, making it sound clearer).
SENTIENT MODE - Deeply immersive reverb with added modulation. A cross between tremolo and filter. Control the modulation with your playing dynamics or by using the LFO controls.
DEPTH/LFO - Determine how deep the modulation effect will be. When this knob is set to max, the LFO is initiated and the depth is maxed. The rate of modulation can now be set by the sense/rate knob.
SENSE/RATE - Determines how sensitive the Deity will be to your playing dynamics. When knob 2 is set to LFO, the sense/rate controls the rate of the modulation.
ETHEREAL MODE - Heavenly reverb with added choir-like octaves and independent octave volume controls.
OCTAVEDOWN - controls octave down volume.
OCTAVEUP - controls octave up volume.
FOOTSWITCH - To choose between True Bypass & Buffered Bypass with Trails, hold the footswitch for 3 seconds. The LED will indicate the switching method by blinking in Red for Trails/Blue for Bypass.
Relay True Bypass - (A more reliable, more durable footswitch)
Sam Fender shares a moment with his saxophonist and childhood friend, Johnny "Blue Hat" Davis, at London's O2 Brixton Academy in September 2021.
Photo by Linda Brindley
The British songwriter traversed the bleak thoroughfares of his past while writing his autobiographical sophomore album, Seventeen Going Under—a tale of growing up down-and-out, set to an epic chorus of Jazzmasters and soaring sax.
British songwriter Sam Fender hails from North Shields, England, an industrial coastal port town near the North Sea, about eight miles northeast of Newcastle upon Tyne. Fender grew up in this small village, which he calls "a drinking town with a fishing problem." He lived there with his mother on a council estate, a type of British public housing. This is the mise-en-scène for Sam Fender's coming-of-age autobiographical new album, Seventeen Going Under. On the album's cover, a photograph shows Sam sitting on a brick stoop.
"That was a back lane that I used to go down and smoke weed when I was about 15 with a bunch of tearaways," Fender says in his regional "Geordie" accent. "That back lane leads into this estate called Meadow Well, which was an estate that had 80 percent unemployment where we grew up. There was a lot of riots there back in the '90s. It was practically on fire for the whole of 1991. Parts of it were just a wasteland for teenagers, and that's where we used to go and sit and hang out and stuff."
About a mile from that stoop is the Low Lights Tavern, where Fender tended bar after high school, and it's also where he played his music in the early days. Fender's manager, Owain Davies, first heard him play guitar there in 2013 in the corner of the pub. Davies immediately took Fender on as an artist, telling U.K. music industry trade paper Music Week: "He's just an undeniable talent, he's hard to ignore."
Sam Fender - Seventeen Going Under (Official Video)
Indeed, Fender's lyrics stop you in your tracks. These are from the title track of Seventeen Going Under:
I was far too scared to hit him
But I would hit him in a heartbeat now
That's the thing with anger
It begs to stick around
So it can fleece you of your beauty
And leave you spent with nowt to offer
It makes you hurt the ones who love you
You hurt them like they're nothing
After hooking up with Davies, Fender doubled down on gigging and writing, gaining fans and traction, and eventually won the 2018 BRIT Critics' Choice Award before releasing his first album, Hypersonic Missiles, in late 2019. Taking a slow-burn route of building a following for six years before releasing a full-length likely contributed to that album instantly having wings, debuting at No. 1 on the U.K. Albums Chart. Fender's sound and identity as an artist coalesced, with his songwriting skills bucking pop formula. "Hypersonic Missiles" weaves a love story in between musings about "feeding the corporate machine" and "kids in Gaza being bombed." In "Dead Boys," Fender vulnerably grieves fallen mates, victims of the male suicide epidemic in Northern England. Jangly Jazzmasters and epic, chorus-drenched solos play a lead character through it all.
Thematically, Fender, who is 27, gazed outward on Hypersonic Missiles, but he goes deeply inward on Seventeen Going Under. It's literally the soundtrack of his adolescence. "It's mainly about self-esteem, growing up, and the political landscape of England, and how that affects the Northeast and how the Tories basically alienate my hometown and the people that live there," he says. These songs of tribulation are resonating strongly with Britons, and landed Fender another No. 1 album in the U.K. when Seventeen Going Under came out in October 2021.
TIDBIT: Seventeen Going Under was recorded at Wor House (Sam Fender's studio) in North Shields, England, and Grouse Lodge in Ireland. It was mixed by Craig Silvey (Arcade Fire) and produced by Bramwell Bronte.
"I feel like it's my first proper album," says Fender. "The first record was a hodgepodge of songs written over six years. Some of the songs were written when I was 19. I was a baby when I wrote some of the songs on that album. Whereas this is a collective piece of work written over the course of two years. And I feel like it's more cohesive as a piece of work. I think it has continuity. I think it has a sound."
The album might've turned out completely different if not for the pandemic, which resulted in a prolific writing period for Fender, who was forced to quarantine. "I've got a health condition, which affects my immune system, so I had to stay in the house. I was alone, so there was a lot of reflection, a lot of looking back at the past," he recalls. "I was doing therapy at the same time to try and get my head screwed on, and I ended up dissecting my whole childhood in therapy. And then learnin' about the reason why I was the way I was; the reason why I was reacting to things in certain ways; the reason why my relationships weren't goin' well; the reason why I wasn't being the most savory character or not being my own ally. I was kinda making life hard for myself."
And so, this reckoning unfolds throughout 11 tracks. The title song documents a dark time when Fender's mother was battling health issues and couldn't make ends meet. It's a banger that cuts right to the struggle of feeling helpless as a teenager—being old enough to know what's going on but being too young to fix anything.
Sam Fender's Gear
"I like a Jazzmaster through a Fender Twin," says Sam Fender. "I like a bit of compression, just to kind of give you that bite, and I love an old Electro-Harmonix Small Clone, just the original cheap chorus pedal."
Photo by Laura Brindley
Guitars
Fender American Pro Jazzmaster 1959 Fender Jazzmaster Fender Stratocaster Martin 000X1AE Takamine acoustic (gift from Elton John)
Amps
Fender '65 Twin Reverb
Fender '65 Deluxe Reverb
Fender '68 Custom Deluxe Reverb
Strings
D'Addario EXL115 Nickel Wound (.011–.049)
Effects
Electro-Harmonix Small Clone
Electro-Harmonix Small Stone Phase Shifter
Electro-Harmonix Green Russian Big Muff Pi
Electro-Harmonix Holy Grail Nano
Electro-Harmonix Memory Man
Electro-Harmonix POG2
Electro-Harmonix Stereo Polychorus
Fulltone OCD
Origin Effects Cali76 Compact Deluxe
Mooer Yellow Comp
Strymon BigSky Reverberator
Boss RE-20 Space Echo
Way Huge Red Llama 25th Anniversary Overdrive
Gamechanger Audio PLUS
"Spit of You" is about his dad and the complicated relationships between sons and fathers. "Me and my dad had a five-year period where we didn't get on very well," Fender shares. "He lived in a different country. As things have progressed with my career, we started hanging out a lot more. It's about a father and son's relationship and the inability to talk about anything other than DIY, music, or alcohol. If anything, it's a just declaration of love for my old man. And funny enough, it's his favorite song."
Not all the songs chew over familial dynamics. Fender dissects his own communication and romantic failures on "Get You Down," and there's externally pointed angst on the album's two political tracks: the rebellious anthem "Aye," which pokes and prods around class/wealth disparity, and "Long Way Off," which Fender says sounds like "a Bond movie theme" with its grandiose instrumentation.
"It's got 164 tracks of audio," Fender says of the latter. "It just built and built and built and became this huge orchestral track. It's about political polarity and how I feel a lack of identity with any of the political parties currently in my country. I think it's quite a unanimous feeling in a lot of places at the moment. A lot of working-class people in England feel displaced by it all, and in my hometown as well. It was written around the time when all the Trump supporters were storming the capital building. We're a long way off from sorting out the mess the world is in."
“It’s such a refreshing rehash of ’80s music. It makes me think that a lot of the sounds in the ’80s that sound jarring and cheesy, I feel like it was just because it was the early days with synthesizers and them sorts of guitar sounds.”
All of the songs were written by Fender, who played guitar, bass, piano, Hammond organ, synthesizers, glockenspiel, mandolin, and harmonica inside the North Shields studio he built by necessity during that time. The album has horns and strings across it, and Fender also wrote the string arrangements, though he didn't play those parts himself. His five band members, most of whom he grew up with—drummer Drew Michael, guitarist Dean Thompson, bassist Tom Ungerer, guitarist and keyboardist Joe Atkinson, and saxist Johnny "Blue Hat" Davis—play on the album as well. It was produced by Thom Lewis, aka "Bramwell Bronte," Fender's longtime collaborator who also produced Hypersonic Missiles.
Fender has a homespun grit much like his idol Bruce Springsteen, whose working-class ethos and songs from the heartland resonated with Fender at an early age. (The Boss connection has earned Fender the nickname of "Geordie Springsteen.") Fender's sound has a tinge of throwback and noticeable nods to his influences (cough, cough, sexy saxophone solos), but the magic lies in how he connects on so many levels with cinematic arrangements, bull's-eye lyrics, and sincere delivery. The songs are a baring of the heart, a showcase of human struggle.
His father and older brother (nine years his senior) are also musicians who gigged around town, obviously influencing Fender's journey down the troubadour road. "I got a guitar when I was 8 and started mucking around with it then. By the time I was 10, I was starting to get quite proficient," Fender shares. "And then as I got older, I realized at school there was always a couple of kids that could shred, and could really, really play. And I just thought, I don't wanna spend the rest of my life learnin' guitar just to be that—I wanna make songs, ya know?" As a kid, he was obsessed with Slash, Page, and Hendrix. "Then my brother started showin' us Springsteen and all that. I loved Oasis and all the British stuff as well."
“I felt like it could be powerful and delicate and all the things in between. That’s when I started singing properly, is after hearing Jeff Buckley.”
Photo by Charlotte Patmore
But a gamechanger came when Fender was 14 and his brother gave him Jeff Buckley's Grace. "I always had quite a high voice for a tall … I'm 6'1," he says. "Normally that means you're, like, a baritone, but I'm, like, quite a high tenor. When my brother gave us Jeff Buckley, I was like alright, he does that, and it's rock 'n' roll, and it sounds cool. That means I can do this as well [laughs]. I felt like it could be powerful and delicate and all the things in between. That's when I started singing properly, is after hearing Jeff Buckley. I always wanted to have a voice that was, like, "rawr"—gruff 'n' stuff—when I was a kid, but then I realized, well, that's not really who I am."
Sonically, the War on Drugs is one of Fender's favorite bands. Their impact on how he approaches crafting song parts can be heard in "Last To Make It Home," particularly the expansive guitar solo on the outro. "I had the Fender Twin up, like, so loud that my ears were bleedin', with my whammy bar," Fender says of recording that solo, "and whichever way I turned, I got that feedback. You get that sort of 'Champagne Supernova' endin'," Fender says. (WoD frontman Adam Granduciel had signed on to mix that track, but ultimately couldn't do it because he missed the master deadline for his own album.)
"I like Springsteen for the lyrics, and I love War on Drugs for the sound," Fender shares. "I think it's such a refreshing rehash of sounds we already know—it's such a refreshing rehash of '80s music. It makes me think that a lot of the sounds in the '80s that sound jarring and cheesy, I feel like it was just because it was the early days with synthesizers and them sorts of guitar sounds. I feel like the War on Drugs have refined it. It's beautiful and I think there's more to be looked down that avenue. That's why I'm quite chorusy-soundin'—I love that sound. It's nostalgic for me, even though I'm not from the '80s, I grew up in a house where that music was playing."
“I was doing therapy at the same time to try and get my head screwed on, and I ended up dissecting my whole childhood in therapy.”
Though his new album is bursting with layers upon layers of instruments, he undoubtedly has an ingrained sense of how to be impactful with just a guitar and his voice, which came from years of performing solo without a backing band. In a BBC Radio 1 Live Lounge concert in early 2020, Fender did a solo performance of Amy Winehouse's "Back to Black," fingerpicking the melody and bass line, while nailing a rather ambitious vocal. His thumb bounces between the 5th and 6th strings, while his other fingers create a harp-like effect on the melody. "It's a strange move, but once you start getting the muscle strength, it's a constant thing and it's quite hypnotic," he says.
Fender describes his songwriting method as "chop and change." He noodles on his Jazzmaster, does some fingerpicking, or switches to another instrument. "A lot of the times I write a lot of songs on piano and convert to guitar. So, I find the chords on piano sometimes and then I'll find interesting variants of the chords on the guitar to make it sound pretty." He likes to experiment with tunings as well. Seventeen Going Under is mostly in C# standard, though he did play around a bit with Nashville tuning and light gauge strings.
When conversation turns to a special guitar he just bought, Fender lights up. "I've finally treated myself and allowed myself to buy something that was expensive because there's always an air of guilt," he says. "I've been lucky, Fender's always given us stuff. I've always had loads of free guitars because I've always been sponsored by them. But when it comes to buying stuff, there's still a part of us that thinks I'm still living in the flat with my mum on a council estate, and I still feel like I can't. I'm like, "ooh, that's a lot of money." It's like a subconscious thing. I was always quite frugal. I was always scrimpin'.
Fender primarily plays Jazzmasters, but he strapped on a Stratocaster for "Will We Talk?" at Hole 44 in Berlin, Germany, on November 4, 2021.
"But I've just bought a ridiculous Jazzmaster. It's a 1959," he continues. "It's the second year of Jazzmasters, one of the very, very first ones. It's absolutely stunning. It's got a gold scratch plate, and it came with a packet of strings from 1959 from New Brunswick."
He explains his sweet spot for tone matter-of-factly. "I like a Jazzmaster through a Fender Twin. I like a bit of compression, just to kind of give you that bite, and I love an old Electro-Harmonix Small Clone, just the original cheap chorus pedal. I think it sounds great. And every other chorus pedal I put on I'm just like 'pfft whatever.' People go, 'try this boutique $300 fucking chorus pedal.' And I put it on and it's not as good as a Small Clone. Small Clone just sounds like a chorus. And it's one knob. It's idiot proof and I'm an idiot [laughing]. That's my go-to."
At the beginning of 2022, Fender will live in New York City while recording his third album at Electric Lady Studios, which is where he'd planned to make his second album before the pandemic made that impossible. He wrote 60 songs over the last two years, recording only 11, which means he has a good stash in his back pocket. The rest of 2022 he'll be headlining arena tours, as well as supporting the Killers on four dates in London and Dublin.
On the release of such a personal collection of music, Fender recently penned a letter to his 17-year-old self. In it, he tells young Sam not to be so serious. Present-day Sam's social media is light and carefree, with videos of him explaining how to make the best cuppa, eating jellied eels, and mini movies of strangers on the street with improvised voiceovers. So, it appears time has done the songwriter well. It's all in the new album, but 27-year-old Sam had this to say to 17-year-old Sam: "Art is the purest remedy for all internal conflict and you're taking a career in it. It's an honour to do what you will do, never forget that. You may feel alone currently but you will realise that your stories, when put to music, open up a side of you that actually helps people. A lot of these stories were originally about you but they belong to everyone, as everyone has their own, and they will be screamed back at you—from clubs and dive bars, even arenas. Some kid, 17, probably going through a boatload of similar shit that you experienced, will be front and centre, screaming these stories as if it's their last night on Earth."
Sam Fender - Live at Reading Festival 2021 Full Set
With two hit albums in the last two years but no touring because of the pandemic, Sam Fender was ready for Leeds Festival 2021. Witness one of his signature chorus-and-whammy solos at 12:50 on "The Borders" from 2019's Hypersonic Missiles.
