[CHARLIE PICKETT STRUMMING ON A GIBSON LES PAUL JUNIOR]

PATRICK OGLE: Now this is a Junior.

CHARLIE PICKETT: This is a Junior. This is, again, you know, a pretty new guitar. To me, I call this two P90's on a stick because it costs twice as much as the one P90 on a stick. This is a $700 guitar when I got it. It came in TV Yellow and this red. You know, you got the cool big headstock and everything, but, you know, you don't get any kind of good wood as far as I know, but, you know, I don't think for P90s it matters. I think, as a matter of fact, you know, sometimes that if you were put or to have P90s in a Les Paul body with the hardwood, it might be actually too much. I like the fact that this guitar decays a little bit. If you're wide open of course, it's not going to decay. It's going to roll into feedback but, you know, string decay is not something to be avoided. It's to be used, you know. Who wants the sound and the string to roll on forever and ever? I don't, but I use this one as sort of my main guitar right now, you know, when I go traveling.

This is just two P90's on a stick, like I said, and it's the simplest.

[CHARLIE PICKETT PLAYS A FEW LICKS ON THE GIBSON LES PAUL JUNIOR]

I just -- It's a simple guitar. The fact that this one is farther away from the bridge and it's a hot P90, you just get so much fine, fine overtone on it that it, you know, it just makes transport yourself. You don't care about -- you don't think about anything other than that tone is rolling on and what can you make happen next, and you know, it's got, obviously, it's double cutaway and it goes way up to the top but, you know, that's where it be kind of territory that I don't want to get into very often.

PATRICK OGLE: I figured, you know, I could get by with a five-fret guitar.

CHARLIE PICKETT: That's right. That's about me. Because I play slide, I got to get to here, you know.

Peter produced our record in '87, the last one, and you know he was there more than we were. It wasn't like a thing like I'll show up and do the last mix or I'll approve the last mix. Peter was there before we were. He plays the microphones. He said when performances were good enough to keep and when they weren't, and but we didn't like interfere with this in any way. I mean, you know, he wasn't saying try this or try that or extend this song one more chorus or anything like that. By then, I wasn't writing that. I was a little bit tired. I want some writing as good as I probably could have but I think that that had been written out when I was about 33 but at the same time it's the best sounding record we did and I think the title song, "In the Wilderness", it's just one that we're all proud off, you know. I think the best stuff is a pretty good compilation because, you know, as years go by you say, "Well, I'm not so happy with that record, and it's that song," you know. This one is 19 songs, and it it's just got everything that I love on it without that much dropoff from the best song to the worst song.