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 multistringed mandolin-like instrument from Parral, Mexico, and I put it to good use on ‘Nationwide.’ If you listen closely, you can hear close-miked 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. We had more than a few paper-clip nights over the years. The 220 setting doesn’t work very well outside of the 220 countries, as I can tell you from experience. ![]() ![]() I must, however, advise anyone fortunate enough to find one to beware of the variable power plugs. They still retain a distinctive, rich, enjoyable tone and are well worth owning. I ran them through cabinets with those Greenback speakers. I had four of those babies, and they were my main road amps for years. “That Marshall amp, which was a trusted friend through the first six records, was an import brought over by Jeff Beck’s at-the-time tech. The opening part was played on what we used to call ‘the mystery setting’ in the dark days before the existence of the five-way toggle switch, when finding that perfect ’tweener required dedication. Pickup-setting differentials account for the different tones. That fuzz sound in the lead and in the front and back end of the composition is just pure tube distortion. ![]() “That is straight guitar into amp: a 1955 Strat with a stop tailpiece through a 1969 Marshall Super Lead 100.
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