My first electric was a Tiesco Del Ray I got for Christmas in 1967. I did get a Mattel Tiger guitar that was made of plastic and used a contact type pick-up. My brother and I each got one that XMAS so often times we’d use one of the pick-up’s as a vocal mic.

Those days’ electric strings were extremely limited in types and gauges available to young poor city folk like yours truly. I think I only remember Gibson, Fender and Black Diamond strings. This is before the Maestro Fuzz and the Vox Wha-Wha were available to the buying public like me. Back to pick-up’s!

With the limited info as to how the stars were getting THAT SOUND we just kept trying to learn guitar without how to magazines and poor sounding phonograph players playing 45’s on a tiny speaker. You could say there was no reason to discern between p/u’s.

In the mid 70’s I was already playing full time and knew about vintage Les Pauls and the legendary PAF pick-up’s that were installed in them. Around that time a N.Y. Co. was making a name for them selves as a replacement for your non- Gibson brand type (humbucking) pick-up, DeMarzio. I ended up buying one for my 76 Explorer. Mind you I owned since the mid 60’s, a late 50’s Epiphone symmetric cherry finish Coronet with a, I think someone called it a cobalt pick-up. It is referred to as the P-90, or soap bar single coil type pick-up. I loved that guitar and its sound. I just thought I should have a real vintage sounding guitar with a humbucking p/u installed. I also owned a Les Paul Deluxe with the mini humbuckers. It sounded great, I just thought it should have full sized p/u’s to sound and look right. To quote Ian Hunter in the mid 70,s, Rock guitarist’s seem to have this Gibson fetish, and I did! I wanted the look.

Gil Pini, the other Guitarist playing with me was using the DeMarzio super Distortion humbucking , and I for some reason didn’t feel good about it’s sound and feel, although it was touted as heaven sent sort of thing, especially for Marshall amplifiers back then (no master volume on the pre-amp stage). I eventually purchased a Super 2 p/u, because it had more bite. And to me, meant, it would cut through cleaner and not be as transparent in the mix. I even bought the Alembic ‘Hot Rod Kit for my 56 Les Paul Jr. (stupid) in 1976 or 77. That was supposed to be a good idea because it was hotter (better sounding) with a ceramic magnet to install, and since it was from Alembic (from California) and not some upstart p/u manufacturer it was the right thing to do. I didn’t think about the DeMarzio pick-up’s and I didn’t know that those pick-up’s used the ceramic magnets at the time.

As I started to record in major recording studios I’d learn to discern my sound. I didn’t have those how to magazines to hip me to that elusive vintage sound. Yet, I could hear my Gibson Explorer and my Les Paul Jr. distorting at all volume levels as well as attack approach. It just wouldn’t smooth out. I was puzzled. Still trying to connect the look with the sound, I stumbled through the maze for years.

Not having the patience, or the money to buy and compare p/u’s, I just tried to make a sound with what I had. I had all the right Pro equipment. Yet I was looking back, wagging the dog.

A good sound starts from the fingers, to the guitar to the P/u’s. If you don’t start there, you’re spinning in circles and you’ll end up with a transparent (fuzzy) sound without body and response. Your fingers are your tone generators. Not the amps or pedals. Those are tools to augment your expression. And if you learn anything about trouble shooting on the fly, you go down the line to find the problem with your sound or rig. The same goes for finding your sound. When establishing your sound you start with you, through the pick-up on down to the amp. With trouble shooting on stage, you should start with the amp and go down the line back to you. Which makes sense since you’ve established your rig set up, and you’re trying to fix what was working, you back track. If not, you’re spinning in circles, again!

So, I had a friend who made the point about how some pick-up’s play you and PAF’s don’t. I soon tried two 57 Classic pick-up’s installed on my 92 Les Paul Classic and what do you know? I had a sound that was tight on the bottom ringing on the top and honking clear / dirty mids when I played hard, and subtle soft tones when I backed off the and played lightly. I was in HEAVEN!! And the great thing that went with it was that, this same thing happened regardless of the volume setting on the guitar.

My experience was that the tone I got on full could be bright and tight with honk, and as soon as I backed off the guitar’s volume, the tone would take on a dark or dull shade. This meant I would spend a lot of time tweeking the blend between my rhythms (clean and crunch) and lead tones. Looking for each was a drag, and a waste of time!

I’m no tech. so I can’t and won’t waste your time with my take of their specs. I do know that there’s something about the combination of the enamel coated copper wire and the alnico magnets that give me a sound I can play with and use dynamics. It was soon after I started using the Gibson 57 Classic pick-up, that Gibson came out with their 57 Classic plus. This p/u was designed as a bridge p/u.

In the 50;s the gals at the pick-up dept. would wind these pick-up’s using an egg timer or something like that. Sometimes they’d be distracted and some pick-up’s would end up with more winds. Other times they would end up with less.

The p/u’s with more sounded hotter and when people started going for the tone, they’d notice the sound of certain pick-up’s compared to others. It wasn’t rocket science to come up with the idea to put one of those hot pick-up’s in the bridge position you would have a bright, tight, and honk’n lead tone where there wasn’t. And a whole new sub market in ‘vinatge pick-up’s ‘ came about.

Which brings us full circle, I use Gibson Pick-ups and I’m sure that the other brands quality alnico pick-ups are a good sounding product. I do know what sounds good to me and what I know from my experience. I’m a guitarist who’s been around the block and my ears have a sense as to what a pick-up should sound like, that’s what I go for all the time.

Make your self happy and keep the communication’s open!

Created in the late 19th century, country music has under gone many changes over the years. There are now many sub-genres to this type of music, with some of the sub-genres being commonly played on top 40 radio stations.

To understand country music, it is helpful to know about the instruments commonly associated with it. In country music, one of the most common instruments used is the fiddle (or violin). Some of these instruments can be expensive, but most are relatively inexpensive and are very easily transports since they tare light in weight and not overly large. When country music first ‘hit the scene’, the fiddle was practically the only instrument used as accompaniment. However, as the country music style became more popular, the addition of other accompanying instruments became normal. The banjo became popular in some country music pieces in the mid 1800s, while the guitar did not break into the country music scene until the early 1900s. Electric guitars did not become a regular instrument in country music until much later in the 50s. Other various instruments used in country music are the piano (introduced in the 1930s) and the drums (used since the 1960s). Rarely used, but distinctive sounding instruments are used in certain country songs: the accordion, the harmonica, and the washboards.

Country music has roots in several different styles of music. Its beginnings started with the settlers that came from Europe. During that time, many couldn’t read or write, so songs were created to pass history down from one generation to the next. Although country ballads have changed a great deal, going from the original songs about objective, though gruesome, events to more personal, subjective ballads without all the gore.

Today, the sound of country music can sometimes be very similar to other genres of pop and rock. Some country musicians, like Shania Twain, have many songs playing on stations that aren’t considered country. There are also musicians, like Sheryl Crow, who are considered pop/rock, but have songs popular on country stations.

17 th March 1978 was an unforgettable day for U2 as they got their first major break by wining a music talent contest on St. Patricks Day in Limerick . One of the judges of the contest was Jackie Heyden working for CBS Records. Observing the electrifying performance of the boys, he became an immediate fan of U2. It was Jackie Heyden who first took U2 to the studio for recording their debut demo. Although it was not so successful it was still a real confidence booster for the young men.

Their thrilling music and breathtaking performances soon managed to amass crowds of dedicated fans. Through the combination of devotion and passion they rose to be the most popular rock and roll bands of 80s. The zealous struggle of U2 allowed them to nab a respectable place in the music world during the era of synthesized pop and heavy metal music.

They launched their debut album in 1979 with the name U 2 three, which grabbed the top place in Ireland music charts. Later when it was released in England , it was a disappointing failure.

The next year was filled with extensive touring worldwide for the band. In a couple of years two of their albums were in the market, naming The Boy and October, and the boys were now recognized in Ireland . Nevertheless, U2 really hit the big time with the release of their album War, released in March 1983. The New Years Day single became chart topper in England .

U2 was on the flow and their records were selling like hot cake throughout the world. Their 7 th LP The Joshua Tree did record breaking selling in England and remained the big seller in 22 other countries. The fame of U2 was swelling uncontrollably and they amassed millions of dollars from world over.

Next albums were Achtung Baby,1991, Zooropa,1993, Pop1997and their latest album How to Dismantle a Atomic Bomb,2004, which are still remembered by millions of rock music lovers.

There has been no deterioration in the fame of U2 till the present day. Several U2 concerts are still due during this summer in Spain, England, France, Italy, Holland, Switzerland and other European countries. Millions of fans are excited about these concerts all over the world, as can be judged by the fact that most of the tickets have been sold out.

U2 has been maneuvering the rock music scenario constantly for over two complete decades which is an achievement of sorts. They have chartered success on their own terms on both the artistic and business sides in the music industry. And it seems apparent to thousands of their fans that their sun of limitless fame might never set!

For More Information on u2 Latest events , please visit http://www.ticketnest.com/concert-tickets/u2

He recorded only 36 sides over a period of a couple of months between November 1936 and June 1937 in San Antonio Texas .These remarkable recordings still bring tears to the eyes of Blues aficionados the world over and shaped the face of the music of today.

The post-war Blues of Chicago owe a great debt to Robert Johnson and it is sad to think what might have been had he lived! In just a few short years he matured from a young black guitarist into a superstar of his day .The often repeated legend was perpetuated by his contemporaries that he sold his soul to the Devil in return for his amazing guitar techniques.

His story is one of hardship tinged with great success in his own locality of the Delta and women were said to be rendered helpless as he sang his compositions. His death at the hand of a jealous husband at the age of twenty seven robbed the world of one of Americas finest ever Musicians and Blues artists.

Years after his death in 1938, a photograph was unearthed, one of only two in existence. It shows not only his inimitable style of dress but quite remarkable slender fingers which helped him to achieve his unique mastery of the bottleneck guitar technique. He is pictured in a chalk–stripe suit which would have been somewhat overstated for a man in his position at that time .When I first saw that photograph the one thing above all else, that stood out were his beautiful long fingers that enveloped the guitar fingerboard and obviously caressed it as though it was a Woman helpless in his arms!

What about his subject matter… well nothing much has changed in the passing of time; the age old, painful process of unrequited love; of restless yearnings to move on down the line to pastures new; to unfaithful liaisons; and of course much sexual innuendo .

Robert Johnson’s skill as a poet of the time and place is absolutely unsurpassed in my estimation! For sure he borrowed words, phrases, and guitar licks from his peers, but moulded them into something quite unique that not only stands the test of time but has a relevance to today’s Rock music.

There cannot be any Blues Band on this Planet that has not been influenced by Johnson and his music and this is a testament to the greatness of the man! The list of recordings of Johnson’s songs by modern artists is endless and forms the backbone of the resurgence of the Blues in the early sixties in Britain and continues to this day! Most of the long lasting Bands of the R,n,B revolution of 62, 63, and on into the seventies have recorded several of Roberts songs. Notable amongst these would be The Rolling Stones, John Mayall’s Bluesbreakers, Cream, The Allman Brothers Band, Led Zeppelin, Eric Clapton, Elmore James, and many more. Johnson’s songs transcribed particularly well to the new Electric guitar line-ups of the fifties and on into the sixties. Probably one of the most popular of his songs, which I can’t imagine anyone not having heard in a modern format, is of course Crossroad Blues.

This song was recorded live at the Fillmore in San Francisco in 1968 by the great Eric Clapton and his two buddies, Jack Bruce on bass and stickman, Ginger Baker .This song also featured in Cream’s farewell concert at the Albert Hall in London in 1969. I doubt whether Johnson envisaged this treatment of his song when he wrote it or that his poetry would one day be the cornerstone of the Blues Revival of the Sixties.

It is a poignant end to his story that the great impresario John Hammond, who later went onto sign –up a young Bob Dylan in 1962, was just too late when he searched for Robert to appear in the momentous concert at Carnegie Hall in 1938. Robert Johnson was dead but his spirit and his music will live on for ever in the hearts and minds of the lovers of the music we call THE BLUES .

© Robin Piggott 2004 Key to the Highway Publications.