The song also contains some Hohner Clavinet, which was owned by one of our famous Memphis pals, Carlos De Marlos. “The song’s tail end alternates between three distinct effects created by two pedals: an Echoplex doubler and a Maestro octave box alternating every third bar between having the octave up and the octave down. It was actually standard tuning cranked up a minor third, which remained quite playable thanks to the guitar’s short scale. The lead track was played on a custom-made, half-size, real short-scaled guitar tuned to G. “Joey loaned me a multi-stringed mandolin- like instrument from Parral, Mexico, and I put it to good use on ‘Nationwide.’ If you listen closely, you can hear closemiked mandolin-sounding rhythm accompaniment. He played on Lynn’s great hit record ‘We Got a Good Thing Going,’ which was covered by the Stones, and which was really one of the important recordings that shaped my understanding of where it was I wanted to go with my life. “We wrote this about the great Texas bluesman Joey Long, a Gulf Coast lead-guitar picker who appeared on a great number of wonderful records by the likes of Slim Harpo and Barbara Lynn. Some of the guitar sounds that appear to be doubled on the early albums are actually the byproduct of that oddball Cooper Time Cube.” That was a real left-field piece of gear which they had-and still have, I might add- in that studio. The sound waves actually take longer to travel, having to make these corners, creating a type of delay which is quite unlike the familiar sound of a digital delay. In a small rack-mounted can sits a small speaker, right up next to maybe 50 feet of one-inch rubber tubing, which is coiled, spring-like. This song was largely straight guitar to amp, but I also utilized a real odd, esoteric device called the Cooper Time Cube, which was a simplistic application of the complex world of physics. “‘Tush’ was Pearly Gates, my beloved Les Paul, played through the same Marshall Super Lead, and we sure enough did stop and enjoy the G tuning for the composition’s slide element. “The first three albums were recorded exclusively at the Robin Hood Studios outside of Dallas, and the special sound that always seemed to be accessible there was due in part to the fact that the equipment was nailed to the floor and nothing ever moved so you could always count on a sound.
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