But nowadays I've done short jazz gigs with a small acoustic-electric flattop, cowboy with a 175, folk blues with a Gretsch single pup archtop, blues with my '70s Guild S100c SG clone, and lots of country, rock, country-rock and, if you will, Rockabilly, with a Dot. In retrospect I guess it's fine to do if that trips your trigger. I probably swapped a cupla three-four dozen electrics in the 70s to have guitars that I thought fit the style for different gigs with different groups. Yeah, folks use all kinds of guitars for all kinds of reasons. Needless to say, though, the appearance of the guitar wasn't exactly a major concern. Yeah, and Doc Watson played a Les Paul at an early point in his pickin' career, including fiddle tunes, before he went to flattops and the Gallagher acoustic. And I never knew anyone else who had a different perspective. Let's put it this way: When I was playing for money, I never bought a guitar for its pups - and I was playing more than a bit of rockabilly one way or another well into the '70s. It's not that there weren't differences, but rather that the preferences were just beginning - and more often in terms of perceived playability in gigs as opposed to pups per se. At least none of the pickers I knew in the regions where I was picking. Later came various solidbodies and semis.īut again, 'we' tended as young folks nowadays, to look toward new stuff that fitted what 'we' did, and the HBs worked just fine and almost nobody thought of the difference in the same way 'we' do now. Plenty of the 50s pickers adapted to whatever they were comfortable with, which included both single coil and HB pups.ĭon't forget too that their amps weren't all that powerful and that, as folks trained largely on acoustic guitars, they initially had a preference for full hollows many, if not most of those quickly adapted HBs. Playing rockabilly is, as was said above, a matter of attitude.

We've today a significantly different technology. It's not just single coils for heaven's sake.

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