My favourite channel for getting songs taught correctly. I been playing since the early 80s when you learned songs by tuning to the record and moving the needle over and over. I’m glad I am able to learn this way (by ear) but if I can get it taught by someone I will do that. Thx
I started playing mid 80s. My breakthrough was Guitar for the practicing musician magazine. They put everything in tabliture. Still remember when they had this song in a issue! We didn't need no internet!!!!!
Yeah, same here. I'm aged 57. I remember, aged 16, sitting in my bedroom with my Kay guitar, 5 watt amp, listening to Live at Leeds, trying to get a grasp of what Pete was playing. That album was a big part of how I evolved as a guitar player in my 20s, playing in Hard Rock bands.
I have to say this truly from my heart. Dude I have been around more than 30 Or 40 other channels that try to do what nobody can achieve with the ease clarity and great didactic you manifest. Your blessing no doubt. Thanks.
Fantastic lesson 👏 👌 I love the way you show every little nuance and how it's played. For has-beens like me, I never had time to learn these multi-impossible songs.
Theres so many hidden little 'gems" in this one song. Pete was like a cryptic chord wizard with taking those basic chords and making something incredibly unique....
Thank you- you are one of my favorite teachers, and I love your taste in which songs to select. I would love to learn a lot more of the songs on Live at Leeds, especially those versions. I'm having trouble finding lessons that walk through those as specifically as you do. Especially Magic Bus and Overture, but really any that you see fit to teach! Have a great day.
I believe he wrote it because a music critic loved pinball. The opening is one of the greatest in rock n roll. He plays with the B minor as well on “Going Mobile.”
I enjoyed this demonstration a lot! I've known how to play it for 50 years but your meticulous attention detail is fascinating; it takes off where other teachers and players would tune out. Btw, I had always thought that that electric guitar "Morse code" tapping pick on the B note on the 3rd verse sounded like a sort of military trumpet playing a staccato series of B's. It was a very intriguing and provocative choice for Pete to make as an accompaniment to the furious gypsy strumming on the acoustic. Maybe his own father's career as a trombonist (?) unconsciously inspired Pete to do it, as well as feature brass frequently on Who and solo recordings. Of course, Entwistle always had that French horn.
What a great song but that intro is incredible on the acoustic - soft and sweet before the onslaught! What a lesson - this rocks out. Much thanks for rekindling an oldie but a beauty. 👍👍👍 Pete Townsend was/still an aggressive player. 🤩
one of my first songs to learn back then (68..!!!)...very powerfull....great although..i'm not a "friend" of Pete Townsend......but that's another story... cheers and thanks for your detailed lesson...much appreciated..
This is cool. Awhile back I saw Greg Koch hawking a Gibson SJ-200 on RU-vid and he belted out some Zep and quite a few others (he's a monster player as you know). One of those songs was Pinball Wizard. The intro is great. I took a stab at it about a year ago and sorta gave up. I didn't try very hard; I've been playing for... 45+ years, coming up on 50 . However,... hmm... I think I'm going to have to give this another whirl. Love your videos man.
I've seen 2 videos where he plays the song at different positions on the fret board and with much less detail than what you just showed. Perhaps the raucous live versions are more raw than studio versions. There are a variety of variations in the words from time to time too. The nice part of some bands is varying from studio recordings. It enhances the live experience.
I think your explanation of the accents is a bit muddled. The first 4 accents are on every 3rd 16th note. The 16th note rhythm used in this song is used on dozens of rock, funk and Latin grooves, so well worth mastering. Also I would be wary of suggesting that aggressive is the way to go. To paraphrase from an old flamenco maestro, the real fire comes from clean and precise control of rhythm and accents, not brute force.
