Generational talent is often the combination of a lot of things. Sadly, in most cases, these things are not very easy to determine. But in music, there’s a component that can shape, shift, limit or enhance the sound being produced: gear.

In that sense, there are many companies that pushed the boundaries of tech and knowledge in the music industry, just to create the perfect instrument, device, or achieve the perfect sound. Trying to name all of them would be impossible. But there’s one pedal company that created a bunch of effects that in my opinion, shaped the way people could make music.

That company is Electro-Harmonix (EHX).

They’re responsible for some of the most iconic effect pedals in the world. Pedals that helped to shape the way generations would create and listen to music from now on.

But a weapon itself its nothing without a soldier and a pedal itself is nothing without a player. And this post is also about them.

Without trying to sound an expert or claiming to have all the knowledge, I’m going to go through 4 EHX pedals and the players that used them to create the most beautiful artistic and spiritual expression ever: music. Also, in some sort of chicken or egg dilemma, I would like to know from you which was more important: did the pedal shape the player or was it the player that shaped the pedal? Read the post and let me know.

Big Muff Pi

From the get-go I have to say I’m not a prolific fuzz user; I only had a Big Muff XO version for a couple of months, that I ended trading for another pedal. But one thing is certain, fuzz is all over the music you can hear in the ’60s, ’70s and beyond. And, one more thing: it’s the granddaddy of gain pedals like distortion and overdrives, something that we all use and love.

Mike Matthews, the founder of EHX, and co-inventor of the Big Muff (Bob Myer was the person who created the circuit) came up with the first official pedal in 1969. It is said he experimented with the circuit made by Myer until he got that “sweet violin-like sound”. The first version is known as the “triangle” Big Muff, due to the placement of the knobs, and was the first commercial production batch. There’s a lot of interesting things and anecdotes about this pedal that I encourage you to read. I’ll put some links in the Resources section down below so you can check them out by yourself.

The Players

Here’s where things look pretty solid for the Big Muff Pi. Because of the when it was developed, and the style of music of the era it was commercialized, this pedal has a lot of legendary users.

Here are some of them.

Tony Peluso

A lot of people had no clue about this guitarist (myself included), but he is one of the protagonists of one of the earliest Big Muff documented studio recordings. He recorded the solo for The Carpenters’ hit song “Goodbye to Love” in 1972.

He used a “triangle” Big Muff version 1, with a Gibson ES-335 going direct into the recording board, no amp in between. I encourage you to listen to the song; even better, watch the video down below and take a look at Peluso’s face. It’s pure joy!

I know this is not the original studio version, but nonetheless, for a Carpenters’ song, it was pretty epic. After the song became a success, Richard Carpenter stated that they even received some hate mail, saying they had sold themselves out to hard rock. Big, big props to Tony and Richard for taking some risks and coming up with a great song.

Jimi Hendrix

A lot of rumors and misinformation have been around since the ’70s about Hendrix and his Big Muff. In principle, this happened because Mike Matthews incorrectly stated that this pedal was produced in 1971. As we all know, is a sad fact of life that Hendrix died September 1970, so the math doesn’t add up.

Luckily, there are numerous players (not only in the USA but all around the world) that stated they have acquired their units prior to this date. And as you already read above, the first commercial batch was released in 1969, so at least this makes sense.

Matthews always said that he saw Hendrix using one Big Muff in the recording studio. This claim could not be verified for a long time, but I think there are some clues about its veracity. The biggest proof is an interesting anecdote between Matthews and a guy named Henry, who was the boss of Manny’s Music Store in New York.

It is said Matthews stopped by at the store for some cables, and Henry yelled at him saying: “Hey Mike. I sold one of those new Big Muffs to Jimi Hendrix”.

I will remain a mystery nonetheless, how a pedal like the Muff would have impacted Jimi’s playing…

David Gilmour

If there’s a guitar player that’s always attached to the Big Muff Pi, it’s David Gilmour. As the iconic guitarist of Pink Floyd, he has to be hands down one of the most recognizable users.

It was pretty much the mid-’70s when he got his first taste of the pedal. This means that the unit was already more developed and the versions were distinguishable. The one he got (and still uses) is version 2 with the “Rams Head” at the bottom right corner. Later on, he added a label that reads “D.G. Original”.

The interesting thing about this is how he got the pedal. It was actually introduced to him by his sound technician, Phil Taylor, in 1974. Over the years, Gilmour acquired more units, but in the end, he always got back to the first one. Regarding this, Taylor himself stated that they once had 6 Big Muff pedals in a row, with identical outward appearances. The issue? They all sounded different! He then realized some components were not the same even between pedals of the same version. I think that was one of the main reasons for the aforementioned label.

That Gilmour Solo

So where’s the hype on all this? For sure, Gilmour is a great musician, and his guitar solos are known for being precise and very melodic. Add to that the character, strength, and sustain of the Bigg Muff Pi and you have the perfect combo. And that’s precisely what happened.

During 1979 Pink Floyd, released an album called The Wall. It’s one of their most famous creations and featured one heck of a song: “Comfortably Numb”. Gilmour played two solos during the song, and as you can expect, he did that using his Big Muff Pi. His rendition was epic and up until today, the solo is considered one of the greatest ones ever recorded (#4 of Guitar World’s “100 Greatest Guitar Solos”).

Writing about Gilmour and his gear would be impossible in just a few paragraphs and I’m not an expert on this subject. I will put some links in the Resources section so you can further read about these topics; they’re very interesting for sure.

Billy Corgan

For me, the history involving Billy Corgan, The Smashing Pumpkins and the Big Muff has to be one of the most peculiar and interesting events around this pedal.

As you may know, Corgan is the frontman of the aforementioned band, that he and the guitarist James Iha founded in 1988. But it was 1993 when they had their breakthrough album: Siamese Dream. What’s so important about this one? The Big Muff was all over it.

Here’s the history behind it. The Pumpkins and a band called Catherine shared the same rehearsing space. One day, Corgan was there during one of the rehearsals and got caught into the immense fuzzy, strong, distorted sound effect being played. He asked the band members about it and they showed him a pedal: all the three guitarists of the band had a Big Muff.

With that info, Corgan went to the music store and got the pedal (I think it was a used one, I have to further check this). But there’s something interesting that has to be mentioned. Corgan didn’t get a regular Big Muff, he ended up with a very special version.

A Happy Accident

This version is normally the one called V4 and was built around 1976 and 1978. So, what’s the difference? Typical Big Muffs consists of a circuit with transistors and 4 gain stages. This circuit is responsible for the legendary tones, players tend to cherish and pursue. To cut costs, EHX decided to create a new version that used operational amplifiers (Op-amps) instead of classic transistors; it also had one less gain stage.

Even though you can still hear the Big Muff there, some players were quick to identify the differences. This lead to mixed feelings about this one. It is also said that only a few thousand of them were made, so they were “rare”.

Now imagine this: from all the possible Muff versions out there, which one do you think Corgan got? I’ve already given the answer in the previous paragraphs, but yes, exactly. The Op-amp version! The funny thing is that he didn’t know about this; he just listened to something he liked and then tried to replicate the experience by getting the pedal. He could have ended with a more classical Muff and maybe, the outcome could have been completely different.

As you can expect, the V4 Muff got some love after that and suddenly became a very sought after (and pricey!) pedal. It was now attached to the “Siamese Dream” wall of sound.

Fast forward into the future, EHX decided to make a re-issue of it. The result: Op-amp Big Muff Pi. This pedal was introduced in 2017 and had very good reviews. I will put a link on the Resources section where you can watch Corgan himself fiddling with it and sharing some thoughts and memories about the Pumpkin’s sound.

Other Notable Users:

Here’s a list of some other notable users of the Pi:

• Carlos Santana.
• Jack White (The White Stripes).
• Dan Auerbach (The Black Keys).
• John Frusciante (Red Hot Chili Peppers).
  • For a more comprehensive list click here.

Electric Mistress

For me, the Electric Mistress has to be one of the most legendary pedals made by EHX. This flanger machine was introduced to the world in 1976. It is said it was the first unit that players could use live (like a pedal) so it was a big deal. As you can imagine, these claims are also held by some other companies that were around that time (like MXR and ADA), but for now, let’s just leave it like that.

This pedal was designed by David Cockerell; the same guy responsible for the first ever multi-effects unit, the Synthi Hi-Fli. But in 1978, just a year after his market introduction, Howard Davis from EHX made some design tweaks and the company started selling the second version of the pedal, called “Deluxe Electric Mistress”. So, from the get-go, there were two versions now. Instead of fully backing up the new and improved unit, EHX decided it was a good idea to keep both in the market, an interesting marketing move.

Nothing lasts forever and this pedal was produced until 1982. One of the main reasons for this is that EHX faced its first bankruptcy that year. Still, once everything settled down, EHX could go back into production mode, and the pedal was once again on the market.

If you’re interested in the different versions of this pedal as well as some more anecdotes, go to the Resources section where I’ll put some links where you can find more info.

The Players

In my book, I have one player that stands from the rest (maybe my book is really short, I don’t know…), but after some research, I’ve found some notable users connected to this pedal. So here they are.

David Gilmour

Again, Mr. Gilmour had to hit the stage with this one. And there’s also a big reason why he should be here: he’s one of the early users. You can spot the pedal on his board as early as 1976, the same year this pedal was being sold.

Gilmour was known for having a V2 Electric Mistress. This is the version that still came in the “Big Muff” enclosure. This pedal is famous because of three main things: it was chorusy, noisy and had a noticeable volume drop when engaged.

So, how did Gilmour coped with all these issues? Well, rumor has it that Pete Cornish (the famous British effects designer) did some modifications to the pedal, so the noise and the volume drop wouldn’t be an issue. I think this theory makes total sense although I cannot 100% confirm it. If you happen to know more about this, just leave a comment!

He used the pedal during the 1977 Animals tour, and it was an important piece of this sound in 1978 solo album. It was also featured a lot in the upcoming Wall tour between 1980 and 1981.

Up until this day, it still an important piece of his board, you can see the pedal in his home studio in Hove, UK.

Andy Summers

Along with Gilmour, Summers has to be one of the most prolific Electric Mistress users, and he’s my favorite. I have a weird story with The Police, so maybe that has to do add to the favoritism.

I was in Chile in 2012 during the Easter holidays and it was the first time I was not going to spend this time of the year with my family. To make some things cheaper, I stayed in a hostel instead of a traditional hotel.

So, long story short, the hostel had a common area where you could always listen to some music. In fact, most of the time, there was already something being played through their equipment. Does anyone have a wild guess about what was being played all the time? Yes, it was The Police!

I was already acquainted with some of their songs, but somehow being there “forced” me to listen. And slowly but surely, a better appreciation for Summer’s minimalistic and textural playing started to make an impression on me.

One Does Not Simply Play Message In A Bottle…

So, after all that, I started digging for more information. I wanted to learn how to play “Message In A Bottle”. I wanted to do those classical “Bring On The Night” arpeggios. But then I realized that learning the chords was just not enough: it was time to find the effects he was using.

I dare you to look for some chorus pedals demos on YouTube. I’m quite sure one of the most played guitar riffs for demonstrating the pedal will be “Message In A Bottle”. I think this is the case because chorus is always related to one of the cornerstone effects of Summer’s playing. This was confirmed (kind of) by Summer’s itself on an interview made by Guitar Player:

The next thing I got was a chorus, and that, along with the Echoplex, became very characteristic of the Police sound. I probably got up to four pedals taped to the floor before I could afford a custom Pete Cornish pedalboard with a MuTron, a couple of fuzz boxes, an envelope filter, chorus units, and phasers, all of which I’d combine with the Echoplex.

The Great Discovery

I also thought that he relied on a chorus pedal for his ethereal and washing sounds. But the truth is, he actually used a Flanger! Specifically, the Electric Mistress by EHX. I’ve watched some videos on where he actually stated he used a flanger effect; sadly I couldn’t find all of them. I did find though an old interview from the early ’80s by Jules Holland. You can hear him saying at the very beginning of the video “that’s the flanger”. Take a look:

He also shows all the effects being used to play Message In A Bottle, helping to solve the mystery around it. I encourage you to watch the material because it’s really enlightening about his guitar playing.

Sadly, I have to say I don’t know the exact version of the Electric Mistress he used. My best guess is that it has to be a V3 or V4 unit. These were the ones being released in 1978 and 1979 respectively. I’m basing all this on the fact that Reggatta de Blanc, one of the band’s most famous albums, was from 1979. This material featured the hit songs “Message In A Bottle” and “Bring On The Night”, which had the flanger effect all over them.

To end this section, I will recommend you to get the 2006 DVD called “Andy Summers: Guitar”. In it, he discloses some of his playing techniques and shares some thoughts and ideas about this playing style.

Other Notable Users:

• John Frusciante (Red Hot Chili Peppers).
• Robin Trower (Procol Harum).
• Paul Gilbert (Mr. Big).
• Alex Lifeson (Rush).

Small Clone

According to the guys from AnalogMan, this chorus pedal has to be one of the best ones ever being made. I think most people will agree.

You may be wondering, where’s the magic behind it? I would say it’s a combination of things, but for sure, simplicity has to be one of them. It’s just a simple circuit with one big knob for controlling the rate. Want to add some depth? Well, there’s no additional knob for that! It’s a tiny switch that’s either on or off. It doesn’t get less complicated than that.

The original units were manufactured around 1979. The pedal continued being produced until 1983 when as mentioned before, EHX had to face bankruptcy. After this period, some reissues came into the market. Like many other of their pedals, there are some differences between versions and that adds to the whole charm of this chorus pedal.

Also, you will notice there are two main “versions” of the original production batch: one says Mini Chorus and the other says Full Chorus. According to the people from EHX, both versions share the same circuit and components. That being said, the Mini Chorus versions are apparently the earliest ones being produced.

The Players

I’m pretty sure there are a couple of Small Clone distinctive players, but one is the leader of the pack: Kurt Cobain.

Kurt Cobain

You don’t have to like Grunge to know about him or Nirvana. Songs like “Come As You Are” and “Smells Like Teen Spirit” are by now considered classics. They also represent the style and motto of that movement (for Grunge purist this may be questionable, but anyway…). And of course, they have the Small Clone as one of their most recognizable effects.

Cobain was never very close to his gear. He was known for destroying pawn shop guitars and buying his first acoustic for around 31 bucks. Even when the first fruits of the band labors came (translation: money), he would still not spend a lot of dollars on his instruments; he eventually found love with Fender’s Mustang guitars, but that’s another story.

There was one exception though: his effects pedals. Around 1990, he bought a Small Clone, and this little piece of gear never left his board. In fact, he was known for using this chorus pedal every time he could. It was also essential for the overall sound of Nevermind, which has to be the most successful record of the band. To some extent, this was allowed by Butch Vig, the producer of that album. On an article featured in Guitar World, he declared:

That’s making the watery guitar sound you hear on the pre-chorus build-up of `Smells Like Teen Spirit’ and also `Come As You Are,’

Know Your Clone

Regarding the version of the pedal he used, there’s actually concise information about it. As you already read, the original batch of this pedal was produced between 1979 and 1983. Like many other analog modulation effects, the Small Clone used BBD chips. Here’s the peculiarity: EHX didn’t always use the same brand of chips.

Some pedals had a Panasonic MN3007 chip and some pedals had a Reticon SAD1024 one; from the two, the SAD1024 is the rarest to find. And guess what, coincidently, this is the version Cobain had. He used this pedal on the Nevermind recording, during the band’s tours and of course, on the famous MTV Unplugged presentation. It is said the SAD1024 version is also more watery (yep, that’s the same word Vig used to describe the effect of the pedal) and that it also adds a slight boost to the signal.

Like some sort of ending to this section, it has to be mentioned that Cobain also used an EHX Poly Chorus, especially for the In Utero record. It has a funny little story behind it, and I recommend you to read it here. Also, you will find some links in the Resources section, where you can further dig some more info about Cobain’s gear.

Other Notable Users:

• I’m finding a hard time finding other notable users. If you happen to know a couple of them, share your knowledge in the comments section. It will be highly appreciated.

Memory Man

This pedal has to be one of EHX’s most iconic creations. It is also a legendary hero among delay units. Up to this day, analog delays are always compared to the sound of the Memory Man; it’s the gold standard of the industry.

Like many other great devices from EHX, this pedal was first introduced in 1976. The idea behind it was simple: to offer an alternative to the usual big, mechanical, delay units of that time. According to Matthews, this was the first ever solid state delay unit. As expected, this claim is difficult to prove. But one thing is certain: if it wasn’t the first, it was one of the earliest analog units in the market.

The original device was designed by Irwin Kornfeld and it was very simple, consisting only on three knobs, a boost switch and two outputs (Direct/Echo). It had approximately 300 milliseconds of delay time.

The Fairest Of Them All…

In the following years, more versions were available, with added features and more delay time. I’m planning to write a whole article about the different renditions of this pedal, so I’m not going to extend this section very much. But so you have an idea, in total, we’re talking about 5 pedals in the Memory Man series (the original run).

That being said, there’s one Memory Man that stands above all others: the Deluxe Memory Man Echo/Chorus/Vibrato. Debuting in 1980, this device was the epitome of what analog delay should be. Plus, it had the world famous Panasonic MN3005 chips. It was designed by Howard Davis, who was the manager of Analog Circuit Design of EHX (what a great job title!), who also was responsible for some other great product designs, like the Deluxe Electric Mistress and Deluxe Big Muff.

The Players

You know him, your dad knows him, your grandma knows him, your favorite worship leader tries to copy him; there’s one player above all others that used the Deluxe Memory Man to create a signature sound: Dave Evans, better known as The Edge.

The Edge

There’s a lot of info about him all over the web, so I don’t intend to be repetitive. But yes, it has to be mentioned: The Edge (along with some other notable players) transformed the way a delay unit was used.

He was (and still is) an important reason why U2 sounds like… you know, U2. He contributed with their most iconic songs, both in terms of lyrics and composition. As you may already know, the later is the defining factor: his minimal/textural way of playing, filled with delay, helped to create the group’s signature sounds.

When asked about how he writes parts, he always expresses that there’s a lot of influence from Irish music on them. For instance, the open strings, with a combination of fretted strings to make drone-type sounds. Again, a minimal, but very smart way of playing.

To some extent, I think this has to be related with his personality; you can consider him as the shy bright kid in school that always looked things from a different angle. In fact, that’s one of the reasons he was nicknamed “Edge”.

As mentioned before, most of those minimal textural sounds are filled with repetitions coming from a delay pedal. I always thought that being the creative person that he is, he somehow managed to discover an echo unit, fiddle with it and come with those great riffs. But in reality, believe it or not, some credit has to be given to Bono.

The Best Loan Ever Taken

When they were recording some demos, Bono told him it might be a good idea to grab an echo unit and experiment with it. So Edge borrowed some money from a friend (give this guy a million dollars, please), an went to buy a Memory Man echo unit; according to him, it was very cheap. They wrote the songs “11 O’Clock Tick Tock” and “A Day Without Me” using the Memory Man, and sooner than later, it became an important piece for his guitar parts and ideas.

These songs aforementioned where from 1980, so my best guess is that he either got the first version of the pedal (Memory Man Solid State Echo/Analog Delay Line) or the second one (Memory Man Solid State Echo/Chorus). Those units were already introduced since 1976, so that’s why he might have gotten them cheap.

But he is famous for extensively using the best version of this pedal, the Deluxe Memory Man (DMM). From 1980 to approximately 1983, his main rig consisted of two DMM, two VOX AC30 amps, a Gibson Explorer and a Fender Stratocaster. This is the set-up you can hear on their first albums like Boy and October. It’s early U2, early Edge, but the sound and the delay in those early years, defined the character of the band as they are today.

I will finish the section here, but if you’re interested in knowing more about The Edge and U2 in general, you will find some links in the Resources section. In the meantime, check these two articles I wrote some time ago, by clicking here and here.

Other Notable Users:

• Ed O’Brien (Radiohead).
• Alex Turner (Arctic Monkeys).
• Chris Cornell (Soundgarten).

Some Final Thoughts

I’m pretty sure some big names were missing in the post and for that, I apologize. As I said before, I’m not an expert and music taste tends to be something personal. Nonetheless, I hope you’ve found this article useful and entertaining.

I didn’t realize this until now, but most of the gear mentioned here were created by EHX during the ’70s. I think that’s no coincidence. There were a lot of technical breakthroughs still coming from the late ’60s and people who lived during that decade often testify it was a very interesting and dynamic one. In terms of music, they say it still had a lot of character and soul.

My personal opinion is that these pedals helped somehow to shape music as we know it. I know it may sound over the top, but think about it. They were a key part in some of the most well-known songs over the last 6 decades.

But one question still lingers after reading all that, and that is, do you think your favorite guitar players could have achieved similar results with other pedals? Would a BOSS DM-2 still prove useful for The Edge as a Memory Man? Let me know what you think in the comments.

As a final observation, I have to say that for some reason, it seems that these EHX pedals came into the right players, at the right time. Two worlds colliding for the sake of creating awesome music, perfect timing if you ask me. Aren’t you glad it happened?

Until the next time,

M.M

Image Credits

• Featured Image: https://www.flickr.com/photos/onefallinghope/
• 1: https://commons.wikimedia.org/wiki/File:Electro_Harmonix_Big_Muff_(cropped).jpg
• 2: https://commons.wikimedia.org/wiki/File:Jimi_Hendrix_%26_Noel_Redding.png
• 3: https://commons.wikimedia.org/wiki/File:David_Gilmour,_Madison_Square_Garden,_April_2016.jpg
• 4: https://commons.wikimedia.org/wiki/File:Billy_Corgan_in_1992.jpg
• 5: https://www.flickr.com/photos/onefallinghope/
• 6: https://commons.wikimedia.org/wiki/File:Andy_Summers_Atlanta_2.jpg
• 7: https://commons.wikimedia.org/wiki/File:Small_Clone_Chorus.jpg
• 8: https://commons.wikimedia.org/wiki/File:Kurt_Cobain_MTV_live_1993-12.jpg
• 9: https://www.flickr.com/photos/zeroy/
• 10: https://commons.wikimedia.org/wiki/File:The_Edge-U2_360-Toronto.jpg

Resources

• This is the best site concerning everything about David Gilmour. Check it out:
  • http://www.gilmourish.com
• All about the Big Muff in the following links. Users, history, models, you name. Hands down, the most comprehensive site about this pedal:
  • http://www.kitrae.net/music/big_muff_users.html
  • http://www.kitrae.net/music/big_muff_history.html
• Billy Corgan demoing the Big Muff Op-Amp on a Reverb interview. Great video:
  • https://www.youtube.com/watch?v=osbnob9ih-c
• To find more info about the Electric Mistress, just visit the metzgerralf.de site. Here are the links:
  • http://www.metzgerralf.de/elekt/stomp/mistress/electric-mistress-history.shtml
  • http://www.metzgerralf.de/elekt/stomp/mistress/index.shtml
• Here you’ll find info about the Electric Mistress and what David Gilmour used:
  • http://www.gilmourish.com/?page_id=80
• The epic Jules Holland interview with Andy Summers:
  • https://youtu.be/GuGFqLUaaE4
• Great article about Andy Summers during The Police years:
  • https://www.guitarplayer.com/technique/play-like-andy-summers-during-the-police-years
• Check Kurt Cobain’s gear and settings here:
  • https://spinditty.com/instruments-gear/kurts-settings
  • http://www.kurtsequipment.com/effectspage.htm
• Awesome info about the version and differences between the Small Clones (buried in the EHX forum):
  • https://www.ehx.com/forums/viewthread/5555
• Great video comparing the SAD1024 and the MN3007 Small Clones (it’s in Japanese, but it’s good):
  • https://www.youtube.com/watch?v=nHEbQtFSqiQ
• Maybe one of the best articles about Cobain’s gear and the history behind it:
  • https://www.guitarworld.com/gear/archive-definitive-kurt-cobain-gear-guide
• An interview from 1988 made by the Rolling Stones with The Edge:
  • https://www.rollingstone.com/music/music-news/on-the-outside-with-the-edge-204496/
• Check these links for info about the different Memory Man versions:
  • https://www.guitarplayer.com/gear/classic-gear-electro-harmonix-deluxe-memory-man
  • https://electroharmonix.vintageusaguitars.com/index.php?option=com_content&view=article&id=30:hows-your-memory-man&catid=13:electro-harmonix-articles&Itemid=45
  • https://reverb.com/news/thanks-for-the-memories-man-evolution-of-the-legendary-analog-delay
• You can check some interesting Memory Man settings here:
  • https://www.musicradar.com/news/the-fx-files-electro-harmonix-deluxe-memory-man
• The official website of Howard Davis, the designer of the Deluxe Memory Man:
  • http://www.howardmickdavis.com/WhoIAm.htm
• Anecdotical, but interesting reading about the Memory Man:
  • http://www.tinkercitymusic.com/gearheads/2017/4/20/the-king-of-analog-delay
• Probably, the most comprehensive site about the U2 discography:
  • https://www.u2songs.com/