Hi Bruce, thanks very much for that. I guess you were taken by Peter's playing on this as I was. Hard to believe someone about 25 years old could take BB's song and add so much to it. The tones, the pace changes are brilliant, but then to do it "off the cuff" live. If you get stuck, let me know & I'll do my best to help.
@@colinyoung9943 Love this masterpiece. Been listening to it pretty much at least once a day for 50 plus years. I was lucky to see some of the greats live in their prime. Cream and Paul Butterfield come to mind. Bloomfield I think was the best. If you like this energy please explore Mike Bloomfield. If your not familiar with his work. Get ready for a life changing experience with the Blues. So again, thanks for your hard work with breaking this song down. By the way Im a fledging player, started taking guitar lessons 11 years ago when I retired at 64. I practice at least 2 hrs most days. Still pretty shitty but I love it so much. All Blues for sure.
@@bruceheadrick9469 Hi Bruce, I do know of Mike Bloomfield's work - although probably not as well as I should. Paul Butterfield's a new name on me, I'll check him out. Keep up the practice and keep playing for yourself. If you do that - you may not be able to notice your playing improving, but it will be. I found getting recording software (Cubase in may case, but there's loads of others) and listening to what and how you play is really revealing. Good luck and do let me know how you get on.
My favourite from Peter , what a solo that is to try and put down , well done Colin . Every time I listen to this I am amazed at the skill that Peter had
Thank you Ron. It's pretty special isn't it. Something seems to have happened to me and this masterpiece as I've gotten older. When I was younger I wondered how Peter played with that feel - and way better people than me did too (BB King is on record). Then I reached an age when I realised he was doing all that at an age when I could barely string a riff together. I also went through a period of being nonplussed by that playing and that sound with so little tech (A Les Paul with a neck like a baseball bat apparently, straight into a Marshall JTM45, I believe). I always thought the Peter was a good vocalist - but on this night he was a truly great one. I wouldn't attempt to put vocals over this and I can't think of anyone that could "sell" such a dark song in the way he was able to. Nowadays; I often think how did Hendrix hear his version of All Along the Watchtower in Dylan's version. But it's even more astounding to think: how did Peter get to this point - live don't forget - from BB King's version. That's way above my paygrade! A lot of reflection there...and I hope its not too introspective!
You’re welcome. There’ll be nuances in the play that the tab doesn’t capture - you can’t bottle what Peter had. Feel free to comment if anything doesn’t fit. I played the whole thing through as it’s tabbed and I think it’s accurate - but the author is never as good as the reader and finding the errors! Enjoy, it’s a beautiful piece. The closing bends on the final section of the solo remind me of Don’t Fear the Reaper. You’ll know when you get to it.
Hello Mr Kite. How are you getting on with the tab? The reason I ask is that I'm about to move on to something else and I still have the whole piece pretty much at my fingertips at the moment. Once I stop playing it with some regularity, it'll take a little while to get back on top of it again. So if there are any bits you're unsure about or you think need clarifying let me know. If you just use the time base on the tab to identify any sections that might need clarifying.
You're welcome - Nice Gibson LP Junior. If you have any trouble with it I'll try to clarify any parts that seem unclear - there are some fairly rapid licks in there. I found the software Slowgold invaluable, as it allowed me to split the main solo into four more manageable passages and slow them down virtually without limit. You still have to learn the piece at the recorded tempo, of course! Have fun.
Ah that's great Robert. Obviously, I did it because I desperately wanted to play it myself. But it's so nice that others want to as well and it's been of some help. I really appreciate your kind words
Hi, SH35. My pleasure, it's great that other people want to play it too - and it sounds like you've verified the accuracy. I'm sure odd glitch will be there in what I've written, but it's a comfort to know that it's close enough for people to work around the inevitable "typos". Nice motor - I thought it was an Elan 2+2 at first, but on closer inspection the tail is much shorter, closer to a Porker. I'm going for a Toyota GR86.
Wow that work with incredible difficulty and attention. Sometimes I also try to transcribe a few pieces and do a job like that, I guess how long it took you. Congratulations.
Thanks, it was tricky. I found it helpful to use a software package call Slowgold, which allows you to import the original recording and then slow it down virtually without limit. The package also allows you to loop sections. Both of these features are really helpful in tackling fast or indistinct sections. The live recording of this track is a case in point and would have been much more difficult without this. It actually makes you a bit more confident about resolving the occasional suspicious note! You can then decide whether to reproduce it faithfully - or not. I recorded it on Cubase 10.5 Pro - the current version at the time and I still haven't upgraded. I hope that helps.
Thank you for the great tabs and good work I appreciate so much. Good idea for you is to post it on the net like ultimate guitar maybe you can get something from it, thank you again
Thank you for this! Is there any way to get a pdf or file of the tab? Just seeing if i could practice it without youtube. Im willing to pay. Especially if its in a tab or guitar pro or powertab
Hi Kenneth, you're welcome. Yes there is. If you have Win 10 play the vid up to the point where the tab sheet you're interested in appear, press pause and then capture the screen image of the tab with the Windows Snip & Sketch tool. Then paste the image into something like powerpoint. If you don't have the Snip & Sketch tool, just capture the whole screen image by pressing the PrtScn (Print Screen) key on your keyboard and then paste the captured image into something like powerpoint (using the Ctrl+v keyboard keys). Makes sense?
@@heeroyuy13 Top notch! It's now a while since I did this (haven't played it for about a year, I'd guess). Do let me know if you get stuck - if my brain can't remember it, my fingers probably will!
Hi Ben, Thanks. This is probably a good place to start for more generic info: happybluesman.com/sound-like-peter-green/ In my case I used a Boss GT-6 effects processor which has an in-built eq setting called "Twin Clean" on Bank 76 - obviously meant to sound like a Fender Twin with plenty headroom. I believe Peter did use a Fender Twin around that time - although he's best known for the Marshall JTM45 and later Orange Matamps. I believe Boss offer a bit of software that deciphers the actual setting of a saved sound on its GT-X processors, but I don't have it. Once you're into the solo I click in the overdrive with Drive and Level settings of 30% & 50%, respectively. For the final part of the solo I have the Wah on but pushed fully down - using it as a treble boost really. I plugged the stereo output from the Boss GT-6 into channels 1 & 2 of a Steinberg UR44 audio interface and recorded using Cubase Pro 10.5. Inside Cubase I added Chorus and reverb - the latter using RoomWorks SE. For the final part of the solo I also used Studio EQ to pull the top end down a bit - because when I was mixing it I decided I'd I overdone it with the Wah treble boost! I'm afraid this is all very specific to my set up - which is the way of things these days - but I hope that helps. I'm happy to expand on any of this if it has helped. One final thing; when I play through my Irving Amplification combo (a hand-built amp which is similar to a Marshall Bluesbreaker) - instead of through the UR44/Cubase set up - I get pretty much the same sound (amp setting of Bass 6, Middle 5, Treble 4, Gain 7), so I think the most influential part of the set up is probably the basis of the Clean Fender Twin sound and the effects come on top. As I understand it; this is very much the approach adopted by Gilmour - a clean base sound and then layer the effects over that.
@@greenmanalishi6963 No problem. Quite a while! I really can't remember because I kept thinking I'd got it, and then when I came back to parts I thought were sorted - I'd discover they weren't. Most of those times I'm pretty sure I'd played it right at the time, but then tabbed it wrong! Some of those runs Peter did are both long & pretty damned fast! I'd guess six months working on it perhaps 6-8 hours a week in 2-hour stints. I was actively listening to the track, quite intently, going to and from work every day, figuring bits out my head to try in the evening. Sounds pretty obsessive doesn't it, and I really thought I wouldn't get it finished at one point.
@@colinyoung9943 impressive it’s good to know I’m not the only person who obsesses over this track and especially Meastro peter Green. This is probably his most difficult number so bravo . Not an easy task. Do you play in a band?
@@greenmanalishi6963 Thank you very much for that. It was something I wanted to do for my own purposes and I figured if I couldn't find it out there, maybe I could put it out there. I have played a bit in the past, but not for years. I just tend to work on songs and enjoy recording stuff on Cubase these days.
I have been waiting 20 years for these tabs. Thank you very much for your hard work.
Hi Bruce, thanks very much for that. I guess you were taken by Peter's playing on this as I was. Hard to believe someone about 25 years old could take BB's song and add so much to it. The tones, the pace changes are brilliant, but then to do it "off the cuff" live. If you get stuck, let me know & I'll do my best to help.
@@colinyoung9943 Love this masterpiece. Been listening to it pretty much at least once a day for 50 plus years. I was lucky to see some of the greats live in their prime. Cream and Paul Butterfield come to mind. Bloomfield I think was the best. If you like this energy please explore Mike Bloomfield. If your not familiar with his work. Get ready for a life changing experience with the Blues. So again, thanks for your hard work with breaking this song down. By the way Im a fledging player, started taking guitar lessons 11 years ago when I retired at 64. I practice at least 2 hrs most days. Still pretty shitty but I love it so much. All Blues for sure.
@@bruceheadrick9469 Hi Bruce, I do know of Mike Bloomfield's work - although probably not as well as I should. Paul Butterfield's a new name on me, I'll check him out. Keep up the practice and keep playing for yourself. If you do that - you may not be able to notice your playing improving, but it will be. I found getting recording software (Cubase in may case, but there's loads of others) and listening to what and how you play is really revealing. Good luck and do let me know how you get on.
My favourite from Peter , what a solo that is to try and put down , well done Colin .
Every time I listen to this I am amazed at the skill that Peter had
Thank you Ron. It's pretty special isn't it. Something seems to have happened to me and this masterpiece as I've gotten older. When I was younger I wondered how Peter played with that feel - and way better people than me did too (BB King is on record). Then I reached an age when I realised he was doing all that at an age when I could barely string a riff together. I also went through a period of being nonplussed by that playing and that sound with so little tech (A Les Paul with a neck like a baseball bat apparently, straight into a Marshall JTM45, I believe). I always thought the Peter was a good vocalist - but on this night he was a truly great one. I wouldn't attempt to put vocals over this and I can't think of anyone that could "sell" such a dark song in the way he was able to. Nowadays; I often think how did Hendrix hear his version of All Along the Watchtower in Dylan's version. But it's even more astounding to think: how did Peter get to this point - live don't forget - from BB King's version. That's way above my paygrade! A lot of reflection there...and I hope its not too introspective!
Collin , thank you so much for the hard work! Super cool!
You’re welcome. There’ll be nuances in the play that the tab doesn’t capture - you can’t bottle what Peter had. Feel free to comment if anything doesn’t fit. I played the whole thing through as it’s tabbed and I think it’s accurate - but the author is never as good as the reader and finding the errors! Enjoy, it’s a beautiful piece. The closing bends on the final section of the solo remind me of Don’t Fear the Reaper. You’ll know when you get to it.
Hello Mr Kite. How are you getting on with the tab? The reason I ask is that I'm about to move on to something else and I still have the whole piece pretty much at my fingertips at the moment. Once I stop playing it with some regularity, it'll take a little while to get back on top of it again. So if there are any bits you're unsure about or you think need clarifying let me know. If you just use the time base on the tab to identify any sections that might need clarifying.
Wow. You are the man to decode that. Amazing. Thank you!
You're welcome - Nice Gibson LP Junior. If you have any trouble with it I'll try to clarify any parts that seem unclear - there are some fairly rapid licks in there. I found the software Slowgold invaluable, as it allowed me to split the main solo into four more manageable passages and slow them down virtually without limit. You still have to learn the piece at the recorded tempo, of course! Have fun.
@@colinyoung9943 thank you! Yes those are some quick notes
Thank you Collin, for these tabs, Amazing work great transcription thank you🙏🙏
Ah that's great Robert. Obviously, I did it because I desperately wanted to play it myself. But it's so nice that others want to as well and it's been of some help. I really appreciate your kind words
goddamn that saved me hours of work, great transcription thank you!!!
Hi, SH35. My pleasure, it's great that other people want to play it too - and it sounds like you've verified the accuracy. I'm sure odd glitch will be there in what I've written, but it's a comfort to know that it's close enough for people to work around the inevitable "typos". Nice motor - I thought it was an Elan 2+2 at first, but on closer inspection the tail is much shorter, closer to a Porker. I'm going for a Toyota GR86.
@@colinyoung9943 GR86 is amazing, have fun!
Wow that work with incredible difficulty and attention. Sometimes I also try to transcribe a few pieces and do a job like that, I guess how long it took you. Congratulations.
Thanks, it was tricky. I found it helpful to use a software package call Slowgold, which allows you to import the original recording and then slow it down virtually without limit. The package also allows you to loop sections. Both of these features are really helpful in tackling fast or indistinct sections. The live recording of this track is a case in point and would have been much more difficult without this. It actually makes you a bit more confident about resolving the occasional suspicious note! You can then decide whether to reproduce it faithfully - or not. I recorded it on Cubase 10.5 Pro - the current version at the time and I still haven't upgraded. I hope that helps.
Thank you for the great tabs and good work I appreciate so much. Good idea for you is to post it on the net like ultimate guitar maybe you can get something from it, thank you again
No problem Danjan, I glad you found the tab useful. Thanks for the suggestion.
Thank you so much for this
You're welcome. Let me know if anything in the tab is unclear.
Thank you 🙏👌
You're welcome, Alexander. Have fun.
Omfg thanks you
Thank you for this! Is there any way to get a pdf or file of the tab? Just seeing if i could practice it without youtube. Im willing to pay. Especially if its in a tab or guitar pro or powertab
Hi Kenneth, you're welcome. Yes there is. If you have Win 10 play the vid up to the point where the tab sheet you're interested in appear, press pause and then capture the screen image of the tab with the Windows Snip & Sketch tool. Then paste the image into something like powerpoint. If you don't have the Snip & Sketch tool, just capture the whole screen image by pressing the PrtScn (Print Screen) key on your keyboard and then paste the captured image into something like powerpoint (using the Ctrl+v keyboard keys). Makes sense?
@@colinyoung9943 yes, thank you sir
@@heeroyuy13 Top notch! It's now a while since I did this (haven't played it for about a year, I'd guess). Do let me know if you get stuck - if my brain can't remember it, my fingers probably will!
Thanks sweet video, how do y have ur eq’s on ur amp?
Hi Ben, Thanks. This is probably a good place to start for more generic info: happybluesman.com/sound-like-peter-green/
In my case I used a Boss GT-6 effects processor which has an in-built eq setting called "Twin Clean" on Bank 76 - obviously meant to sound like a Fender Twin with plenty headroom. I believe Peter did use a Fender Twin around that time - although he's best known for the Marshall JTM45 and later Orange Matamps. I believe Boss offer a bit of software that deciphers the actual setting of a saved sound on its GT-X processors, but I don't have it. Once you're into the solo I click in the overdrive with Drive and Level settings of 30% & 50%, respectively. For the final part of the solo I have the Wah on but pushed fully down - using it as a treble boost really. I plugged the stereo output from the Boss GT-6 into channels 1 & 2 of a Steinberg UR44 audio interface and recorded using Cubase Pro 10.5. Inside Cubase I added Chorus and reverb - the latter using RoomWorks SE. For the final part of the solo I also used Studio EQ to pull the top end down a bit - because when I was mixing it I decided I'd I overdone it with the Wah treble boost! I'm afraid this is all very specific to my set up - which is the way of things these days - but I hope that helps. I'm happy to expand on any of this if it has helped.
One final thing; when I play through my Irving Amplification combo (a hand-built amp which is similar to a Marshall Bluesbreaker) - instead of through the UR44/Cubase set up - I get pretty much the same sound (amp setting of Bass 6, Middle 5, Treble 4, Gain 7), so I think the most influential part of the set up is probably the basis of the Clean Fender Twin sound and the effects come on top. As I understand it; this is very much the approach adopted by Gilmour - a clean base sound and then layer the effects over that.
@@colinyoung9943just now seeing this reply. Thanks for the info. How long did it take you to learn this by ear?
@@greenmanalishi6963 No problem. Quite a while! I really can't remember because I kept thinking I'd got it, and then when I came back to parts I thought were sorted - I'd discover they weren't. Most of those times I'm pretty sure I'd played it right at the time, but then tabbed it wrong! Some of those runs Peter did are both long & pretty damned fast! I'd guess six months working on it perhaps 6-8 hours a week in 2-hour stints. I was actively listening to the track, quite intently, going to and from work every day, figuring bits out my head to try in the evening. Sounds pretty obsessive doesn't it, and I really thought I wouldn't get it finished at one point.
@@colinyoung9943 impressive it’s good to know I’m not the only person who obsesses over this track and especially Meastro peter Green. This is probably his most difficult number so bravo . Not an easy task. Do you play in a band?
@@greenmanalishi6963 Thank you very much for that. It was something I wanted to do for my own purposes and I figured if I couldn't find it out there, maybe I could put it out there. I have played a bit in the past, but not for years. I just tend to work on songs and enjoy recording stuff on Cubase these days.