“She’s sure fine looking, man. Wow, she’s something else!” That’s the
Eddie Cochran lyric that came to mind when I first laid eyes on the
Harden Switchblade. It oozes tail fins, chrome, and custom-car culture.
It’s the cool kid on the block with a duck tail and a leather jacket listening to the gritty sounds of Link Wray. Blending retro-cool and classic American-modern design, this guitar is unique and fresh. Harden
guitars (as well as amplifiers and overdrive pedals) are handmade in
a little shop in Chicago. Every aspect of this guitar, from the body to
the handwound pickups, is made to order. You pick the wood and the
details you want, as well as finish color and number of pickups. On
their website, Harden proudly states, “We are dedicated to making
guitars and related items the old-fashioned way.”
BY DOUG ROBERSON
Under the Hood
Our review instrument resembles a maverick Les Paul with a cocky
attitude. It’s fairly heavy and obviously built for strength and durability.
The solid, single-cutaway body appears to be made of three pieces
of mahogany with a maple cap. The neck is glued to the body at the
17th fret, but the single cutaway allows full access to the entire 22
frets. The neck is also mahogany, and the fretboard is of rosewood.
The appointments are very creative. A stylish faux tortoiseshell pickguard accentuates the body curves. The handmade pickup looks like
something out of a ’50s sci-fi movie, and it’s mounted on a plate that’s
shaped somewhere between a rectangle and a trapezoid. The chrome
tailpiece looks handcrafted as well, with a convex center that tapers
down at the ends. A distinctive chrome piece is mounted right where
your arm would create wear on the guitar finish. Pretty smart detail.
Target-shaped fretboard inlays give the axe a pop-art vibe, and the
headstock logo is most unusual—a V-shaped chrome triangle with an
“H” cut out of the middle and filled with faux tortoiseshell.
The instrument’s single Volume and Tone pots sit on an oblong
chrome plate. The knobs—which look like they came from an old
guitar amplifier or radio—complement the overall design. The Tune-o-matic-style bridge and Wilkinson tuners are probably the only stock
parts on this guitar.
I plugged the Harden into my trusty reissue Fender ’ 65 Deluxe Reverb.
The “C”-styled neck was easy to grip and invited me to dig into some
riffs. With a clean amp setting, this guitar kicks up some grit and a dirty
tone—think Danelectro, Airline, or National. It has a Link Wray bite that
cuts through with clarity and character. The tone also reminded me of
a smoking bluesman from Chicago’s south side—like Hubert Sumlin