Re: chord shapes. In response to those pointing out Koss's use of an A chord with his little finger on the thick E string, I'm aware that's how he used to play it live (on the few pieces of visual evidence available...) but having listened to the isolated guitar parts pretty extensively in preparation for this video, I'm 99% certain that's not what is on the record. For one, his live version is an amalgamation of the 2 recorded parts, rhythmically and in terms of chord choice. Also, I'm just not hearing that extra A note underneath either of the chords on the track. I may be wrong but either way, the fact that so many commenters are insistent that the key to this riff lies in the 5th fretted B and E strings is rather indicative of the confusion around this riff - Koss's live A chord didn't go near either of those notes 🤷🏻♂️
Exactly. How he got the studio sound we all grew up hearing in our brains, with two tracks, was not able to be reproduced live. So the few videos of him playing don't tell you how he got the studio sound. And then there was Hendrix.
@@benbarclay5546 geez, all these years I thought it was a Les Paul Jr.? It sounds so ballsy! But you're right Ben. Felix Pappalardi said that Clapton's guitar on Disraeli Gears didn't sound like that in the studio. It was only after it was mixed and pressed on vynil. Besides this iconic riff, particularly it's tone, Cream's studio is sound still drives me nuts!
Interesting that he chose that particular fingering for the live version don’t you think? It would appear to imply that was his is mind at least the dominant part of the chord shape he was thinking about, just guessing really but very interesting nevertheless
PREACH - dude you did your homework and NAILED the 2 rhythm parts from the album. Zeppelin did things like this all the time too, and then adapted it slightly differently live. The people commenting about this don't understand the simple nuance of having those intertwined chords at almost the same volume. Also - a big part of it is the overtones and the "illusion" of certain notes that having it layered like this will imply.
Great lead guitarist Paul Kossoff with a great band FREE he left us far to soon he was a unique talent and so was Andy Fraser the bassist in FREE. R.I.P. MY FRIENDS AND THANKS FOR EVERYTHING.
There aren't many classical trained musos nowadays... they believe Hendrix or Clapton is the Be & End all of rock . All classical trained musos of the past brought something unique and special to Rock.
As a drummer, I love having this degree of knowledge on tap. It really helps my already abundant appreciation for great guitar techniques. I express to my drum students that a great drummer knows all the other instruments parts. Tutorials such as this go a long way towards my own appreciation, and deepen my love. Thanks
You are so right.. me and a band mate played multiple instruments well. We both connected big time. Once we were jamming loud and proud just the two of us. No vocal on the cover and me on drums..we were so tight with each other that we both agreed we could “hear” the other parts in the tune though they were not present at the moment. We both “heard” the vocals too.. though nobody was singing..When you get that tight with the group it’s just gonna be successful most all the time.
paul kossof was amazing back in the 70s and amazing now even after nearly 50 years still noone can get close to his sound .very unique just like hendrix srv and all time great jeff beck. rip kossof.
After decades of listening to this song, (mostly in mono, I'll admit) the idea that there were two guitar tracks never occurred to me. After one re-listening, I was convinced. Although I'm a bassist, Kossoff remains as a very special player, in my estimation. "Molten Gold" is a particular favorite. Very well done, and thanks!
A big thanks. I'm a Boomer, and always loved this tune back in the day... great groove. When I picked up guitar, I tried to copy this, got close but I didn't have the listening skills to hear what was going on... I since got involved with other genres, and never really got back into this song.... until now... bravo!
In my opinion, NOTHING beats his solo on the original studio version of "Fire and Water"! Not even when he performed it live afterwards, he could never duplicate what he did in the studio the day he recorded it--the sound is like hot, molten lava streaming down a volcano--you first hear it after Rodgers says "and now my heart--is breaking", and you're llike, "HOLY MOTHER OF LES PAUL! WHAT IS THIS?" The stars must have been in pefect alignment that day for him to record the most searing, dramatic, trail of feedback and sustain, and TEARS ever to be put on tape in the history of rock music!
Jasper Blench Stop equivocating Jasper and tell us what you really think.I'm kinda partial to the mind-blowing guitar riffs of "Tie a Yellow Ribbon 'Round the Old Oak Tree"myself.Often immitated,never equalled.
Vintage equipment is the heart of the songs guitar sound, and watching the original video of the band playing the song, Paul's all in, passion is a key ingredient ,as well... Put it all together,and rock on!!!
This song was a huge inspiration for me loving and later playing the drums, such a simple beat but that base drum has that funky beat to it that drives the song along. This song came out before I had much money to buy music so every time it came on the radio, I stopped everything and listened with a joy that just doesn't happen much anymore. When this sound was new and I was 12, it was a receipt for loving music. This was my favorite for a long, long time.
I played bass in a Minneapolis cover band 51 years ago, playing this song. It's one of my favorites. The guitarist actually played his part on the 5th fret, on an SG. The sound was as good as it gets. I never was able to figure out the actual guitar part completely until recently. Your video put the icing on the cake. It's not the 1st time I've watched it. The bass part was fun to play as well.
Beautiful breakdown of one of the most iconic guitar phrases from back in the day! You nailed the studio recording. People are commenting after watching Kosoff playing it live - which doesn’t match up with the 2 guitar studio cut. Nice job on this.
I've listened to his music for years,he was an astounding rhythm. lead guitarist,left use too young,he capitalized on certain holding of notes,like david Gilmore of pink Floyd,he emphasizes certain note holding a bending them to his pitch perfect ear,KOSSOFF was an eccentric genius,his drug use and wanting to be alone, classic signals,his use of the gold top,his escape mechanism ,a true artist with the classic maladies,god rest his soul
And there it is the bullshit againn. UNDERRATED! Underrated by whom? Koss is highly acclaimed in the guitar world. One of the most influential guitarists. Underrated - what a dumb comment.
@@wmhhealth2018 Agree completely. Especially the earlier solos AC/DC did, and early live shows, you could hear Kossoff's influence in Angus's solo construction as well as the vibrato.
Tried to play 'Albatross' on an acoustic years ago. When I realised just how many guitars FM used, I could have cried! Great explanation and nice playing.
Brilliant deconstruction Chris. I could never figure out what I mostly assumed to be, in parts of the riff, a confusing strum after the opening A power chord and all the while not realizing it's two parts.
My first stop at your channel. I bought the record many years ago just for this song. Your breakdown is articulate and well researched. Your production is excellent. I think you nailed it and I am going to try it out. Thanks!
Actually one of the best Lessons using the chord patterns! Although Paul Kossoff played his "A " Chord with his pinky on the low E note 5th fret, a really hard extension. Your is easy and sounds great- Cheers!
I saw Paul Kossoff in 72 I stood 3 meters away by his stack for the whole 2 1/2 hour concert. It changed me forever, I have never seen a guitarist that comes anywhere near him, and that includes Clapton and Prince.
It changed you forever.. So you have hearing aids, right? Just kidding... Those plexi stacks are LOUD!! Lucky you! Wish I could have seen him live. I can only imagine the memory you have of that!
@@goneflying140 I was slightly to the left of him behind the stack on the stage. I along with a friend was only able to get “ the worst seats” . There was ten seats behind the band. My ears were ringing for three days after but that experience was unreal. Kossoff was the best guitarist I have ever seen in my life. Not a fast player but totally expressive in a way which I find hard to explain. He wasn’t playing the guitar he was piloting it, the music was flying, thats all I can describe it. The audience was whipped up into a frenzy. Almost mass hysteria. I have never experienced this since with any band. And no I wasn’t taking drugs. And do you know what really makes me sad........ he felt inferior to other guitarists around at the time as he felt they could play much faster. I just wish I could have told him to his face my thoughts to tell him he was actually superior. He had a touch which was impossible to teach anyone. He was totally natural. I sat around four feet away from him and it was the best seat in the house. I think the price of the ticket was around three pounds.
@@aliengrey6052 his touch was untivaled. Watch the live version of all right now on youtube and his vibrato and bends are absolutely insane. Never hesrd anything like it in my life.
I have wondered for 49 years why the live versions of "All right Now" by Free didn't quite sound the same as the original studio recording. The original recording has more "oomph" than live versions. Thanks for explaining it. Paul Kossoff must have been miming to the record on their first appearance on "Top of the Pops" as it sounds exactly like the record and you say it is two guitar parts. I saw them live at Bridlington Spa back in 1970. However I think Paul Rodgers vocal was "live". 224931
The riff that made me want a guitar at age 12. You nailed it sir. I never realized there were 2 tracks. No wonder I have never been able to get it to sound right... Thanks for sharing!!!
Thank you for sharing this deep dive into one of the most iconic guitar riffs even to open a song! Great work researching and demonstration - and explaining your reasons for what you are showing us. Fantastic video!
I saw Koss in Black Cat Bones, Free and Back Street Crawler and he is still the one for me. There are many fast and maybe more technically impressive but none can match the tone, the vibrato, and feeling. I think you nailed it Mr Buck, well done, now how about the chorus and solo (LP version of course )
Love this, it's the song that made me fall in love with Free as a youngster. I know this video was made a while ago but I'd love to see a breakdown of Free's Mr Big, it is so unusual, sparse but perfect.
Thanks for work you have done to explain such an iconic analog riff in a digital world. There will be debate as long as we all have different ears! You did a great job. Thanks
Easily my favourite song for riffs by one of my all time favourite guitarists performed by my current favourite guitarist! God dam that's a lot of favourites!
Good job Chris. Makes sense. I was 18 in early 1971 in Australia when I first heard this track. As far as I know they hadn’t played it on the radio here in Melbourne. The album Fire and Water blew me away
Really enjoyed that Chris. Great to have someone with good ears break this down so I can in turn learn and get better at hearing / playing ... Thanks 💛
Sounds really good, but surely it's well established Koss used his "big ol' A chord" with his little finger on the bass string's 5th fret. He describes this in his interview with Steve Rosen from early '76. Also I don't think there's any Leslie in there because that came later when he jammed with Rabbit in '71 during the KKTR sessions. Rabbit has described how that came about with the Leslies from his Hammond and how they got the techs to make up an adaptor to connect his guitar with. I think he may have blended amps, but my money is on there definitely being Marshalls in there. :-) None of that really matters though, you did a great job at making a very acceptable facsimile of the sound.
Good chance it was tape phasing, where you copied the track on to a 1/4 inch half track and played it back with the original and dragging the tape slightly out of sync, creating that out of phase sound. Hence, Tape Phasing, which eventually brought about the invention of the Phaser.
Chris you got pretty close on that one. I'm one of those who prescribe to Koss playing a Selmer on those earlier free studio tracks. Am pretty sure it was a treble and bass head. As Koss used to work in Selmer shop he would have been very familiar with those amps and what they can do. Plus used to own a very early Croc skin Selmer Thunderbird twin 30 with KT88s and on the second channel that amp had the Koss sound more than any Marshall I've played. Oh and there is a very famous 60s guitar riff that was played through a thunderbird twin 30 even though everyone thinks or claims to know it was an ac30 😉😉 Keep up the good work!
I read your comment and thought "Oh Cool! I can find a vintage amp no one has ever heard of and emulate one of my favourite, if not THE favourite 70's guitar tone"! Then I search and find two on Reverb for just under $5,000 (NZD). Guess I'll just have to keep dreaming. Thanks for the insight though, this kind of information is pure gold!
That’s brilliant! Take it from a guitar player born in the 50s that is listen to that song 1 million times, and thousands of people copying it and never nailed the sound. Well done. Sun Amps very popular late 60s and early 70s, I wish I still had the stack that I had back then. Along with my heavily padded Kustom cabinet loaded with Jensen 10’s. Thanks Chris
Yeah, the second example is exactly how I figured it out 30 years ago and how I still play it. You might recognize the guitar in my hands on my avatar pic. The Beast! Did a bit of recording with Bernie in 2015. Such a nice guy. Treated me like family even though we never met until we flew over to the UK. A little trivia, The Beast belonged to Paul Kossoff at one time before Bernie got it.
Awesome! Kossoff was such a great player and musician. Super excited to see this episode dedicated to his legacy. Turns out I played a mix of the two guitar parts, still happy with it. Would be interesting to compare how Koss played it live.
Me too - more of an amalgamation of the two separate parts put together. Pretty happy with how it came out when playing it all these years. Saw Koss playing it live once & noticed his pinky on 6th string @ 5th fret (big fat, thick "A") during the A5 intro Chord Riff, as well as hearing it on live Bootlegs, etc. It sounded Big & Great, but nowhere near the Mystical studio version. Great Job BTW - Thanks much !
Kossoffs lh vibrato was a thing of awesome power and beauty. Don't forget that this track was also unique for one of the most iconic bass-lines ever in Rock music, by Andy Fraser . Who also wrote most of the song. Great days check out live version of this rock masterpiece Isle of Wight Rock Fest 1970. p
We’re have you been hiding mate lo. Free wrote some brilliant songs most you won’t see or hear on TH-cam I’ve got all there albums and there all good you can still buy there albums you won’t be sorry.
Hi Chris, great stuff as always. Lovely to see someone listening so closely and with such deep knowledge of late 60s gear. I fronted a successful tribute to Free, Free Again, for some years, though singing, rather than playing guitar. It might just be worth adding as a footnote to your video that of course this song was played by Koss live on far more occasions, and in many more contexts, than the one where it was recorded. Like most of Free’s songs, the studio version is a snapshot in a continuing process of development. Some people think that Koss sometimes added an A on the 5th fret of the 6th string to the A chord, for instance, as an alternative to the barre on the fifth fret of the 1st and 2nd strings. Before Free hit the big stages they played of course in smaller venues. I know a couple of people who saw them in many pubs. One of our guitarists, Dave Woods, found himself often in the situation of having to replicate Koss’s sound in a pub, or on a smaller stage, with (of course) no overdubs, Leslies or pedals. I think he came impressively close. And this as you know is the context where this song is now probably performed most often. Here’s an example: th-cam.com/video/_NvRciVj0Dw/w-d-xo.html
Really cool to see you go to town on such a classic riff and come up with some new and interesting insights! Love this riff too - instant stank face material!
His first solo album BSC is so fun to play along with Cut my teeth on that one along w Alvin Lee live Nothing better than playing along with your faves Cheers Chris good stuff 👍
I remember a story about the guitarist in English band Brinsley Schwarz (named after said guitarist). He adored Robbie Robertson and wanted to sound like him. He bought the same guitar, same amp, same strings possibly, and actually got to meet his idol. He had his set up and asked what made his sound so special. He picked up Brinsley's guitar with his setup and inevitably sounded exactly like Robbie Robertson. Sometimes, it's just the way you or they play. Paul Kossof is pretty unique
I identified hearing the difference between left and right channels on LP many years ago marvelling at the unique sound it gave the song. Power cords are the magic that provide the depth of a great guitar riff.
NIGEL in Canada🇨🇦 here's a surprise? it was actually FREE's bass player Andy Fraser , who played guitar on the song All Right Now because Andy co-wrote it with Paul Rodgers Kossof did play the guitar solo
Cool lesson. I may be wrong, but I seem to remember seeing PK playing through an orange amp on one of the live performances. I'm sure like a lot of guitarists he probably switched up a lot on stage and used different amps. Always loved his tone and style.
Watched your video of Kossoff's guitar work on All Right Now with keen interest. Was wondering if you could do a video on Jeff Beck's solo on the Yardbirds' 65 studio recording of Shapes of Things, which is double tracked...............
Hi Chris. I think you will find that Paul plays the A note on the bottom E string with his little finger and actually mutes the open A string while playing the A chord. The video of Free playing All Right Now at the Isle Of Wight on TH-cam shows it clearly. Best regards.
Thank you. That was awesome. Free are one of my favorite bands from that era next to T.Rex. Just that sense of space and excellently crafted songs. Slow maybe, but I really dig that. Nice!
Love these deep dives and your perspective. Your videos are always very insightful and with amazing playing and tone, but this one really hit home. I love playing this song, and though we've all played this one for years, you're right it never sounds quite right. It's definitely one of those that can take forever to truly master, and I think you really nailed it! Thanks for showing the guitar rig settings too. Excellent job Chris, really nailed the playing intricacies and tone. Sounded Ace.
If you watch Paul playing on the video, you can clearly see him playing the A power chord with the pinky long reach to the A on the 5th fret on the low E and also the open A. It adds so much meat to the power of it in the live version.
Wow someone actually playing it right I’ve playing this song for 40yrs I play the one part the other guitarist plays the other and also the chorus cords are 2 parts.it’s been a subject for many on how this song is played and this is the right way.
Excellent a great shot at Koss's tone the other thing that makes his sound unique especially his bends was the gauge of his strings PK played with very heavy gauge strings, I once read many years ago by someone who had played his 59 standard that it was like trying to bend telegraph wires.
Re: chord shapes. In response to those pointing out Koss's use of an A chord with his little finger on the thick E string, I'm aware that's how he used to play it live (on the few pieces of visual evidence available...) but having listened to the isolated guitar parts pretty extensively in preparation for this video, I'm 99% certain that's not what is on the record. For one, his live version is an amalgamation of the 2 recorded parts, rhythmically and in terms of chord choice. Also, I'm just not hearing that extra A note underneath either of the chords on the track. I may be wrong but either way, the fact that so many commenters are insistent that the key to this riff lies in the 5th fretted B and E strings is rather indicative of the confusion around this riff - Koss's live A chord didn't go near either of those notes 🤷🏻♂️
Exactly. How he got the studio sound we all grew up hearing in our brains, with two tracks, was not able to be reproduced live. So the few videos of him playing don't tell you how he got the studio sound.
And then there was Hendrix.
@@benbarclay5546 geez, all these years I thought it was a Les Paul Jr.? It sounds so ballsy! But you're right Ben. Felix Pappalardi said that Clapton's guitar on Disraeli Gears didn't sound like that in the studio. It was only after it was mixed and pressed on vynil. Besides this iconic riff, particularly it's tone, Cream's studio is sound still drives me nuts!
Fascinating , is a les Paul studio actually used in the recording studio perhaps?
Interesting that he chose that particular fingering for the live version don’t you think? It would appear to imply that was his is mind at least the dominant part of the chord shape he was thinking about, just guessing really but very interesting nevertheless
PREACH - dude you did your homework and NAILED the 2 rhythm parts from the album. Zeppelin did things like this all the time too, and then adapted it slightly differently live. The people commenting about this don't understand the simple nuance of having those intertwined chords at almost the same volume. Also - a big part of it is the overtones and the "illusion" of certain notes that having it layered like this will imply.
Great lead guitarist Paul Kossoff with a great band FREE he left us far to soon he was a unique talent and so was Andy Fraser the bassist in FREE. R.I.P. MY FRIENDS AND THANKS FOR EVERYTHING.
Agreed, and we'll said!! Paul had the best vibrato, and played with such intensity. He was just amazing!
Both were brilliant players.
That riff is just as brilliant today as it was all those decades ago.
If ever I think of a Les Paul tune this is the first song I think of RIP Paul
Just imagine coming up with the secret sauce to that two-part super riff...Kossof was brilliant
The riff is brilliant…as is the analysis…good job!
Due to his classical guitar training (yes, indeed), Koss knew his chord inversions and how best to exploit these to his advantage.
There aren't many classical trained musos nowadays... they believe Hendrix or Clapton is the Be & End all of rock . All classical trained musos of the past brought something unique and special to Rock.
....and most of the classically trained musicians still playing nowadays have grounding on piano and/or organ....
As a drummer, I love having this degree of knowledge on tap. It really helps my already abundant appreciation for great guitar techniques. I express to my drum students that a great drummer knows all the other instruments parts. Tutorials such as this go a long way towards my own appreciation, and deepen my love. Thanks
You are so right.. me and a band mate played multiple instruments well. We both connected big time. Once we were jamming loud and proud just the two of us. No vocal on the cover and me on drums..we were so tight with each other that we both agreed we could “hear” the other parts in the tune though they were not present at the moment. We both “heard” the vocals too.. though nobody was singing..When you get that tight with the group it’s just gonna be successful most all the time.
The same with guitarists too, man. Gotta know ALL the parts, so you know where yours fits. Part of being a well rounded musician, I reckon.
paul kossof was amazing back in the 70s and amazing now even after nearly 50 years still noone can get close to his sound .very unique just like hendrix srv and all time great jeff beck. rip kossof.
Absolutely.... and I will rip all those guys! 😎 There goes my hero...
One of my favorite classic rock songs of all time!
Love his solo on ‘Woman’ and the basic riff on ‘I’ll be Creeping.’
After decades of listening to this song, (mostly in mono, I'll admit) the idea that there were two guitar tracks never occurred to me. After one re-listening, I was convinced. Although I'm a bassist, Kossoff remains as a very special player, in my estimation. "Molten Gold" is a particular favorite.
Very well done, and thanks!
Oh I agree, molten gold was beautiful
A big thanks.
I'm a Boomer, and always loved this tune back in the day... great groove.
When I picked up guitar, I tried to copy this, got close but I didn't have the listening skills to hear what was going on... I since got involved with other genres, and never really got back into this song.... until now... bravo!
The lovely growl of a Les Paul. It never gets old, even if it is!
Well said!!
In my opinion, NOTHING beats his solo on the original studio version of "Fire and Water"! Not even when he performed it live afterwards, he could never duplicate what he did in the studio the day he recorded it--the sound is like hot, molten lava streaming down a volcano--you first hear it after Rodgers says "and now my heart--is breaking", and you're llike, "HOLY MOTHER OF LES PAUL! WHAT IS THIS?" The stars must have been in pefect alignment that day for him to record the most searing, dramatic, trail of feedback and sustain, and TEARS ever to be put on tape in the history of rock music!
Jasper Blench Stop equivocating Jasper and tell us what you really think.I'm kinda partial to the mind-blowing guitar riffs of "Tie a Yellow Ribbon 'Round the Old Oak Tree"myself.Often immitated,never equalled.
Great comment!
Probably the best breakdown of that riff I've heard.
Nicely done, been playing for over 40 years and I have missed those subtle nuances with the main riff.
....thanks
Loved his playing. Such a tight player that slipped in and out of different rhythms, Songs Of Yesterday is a gem!
Vintage equipment is the heart of the songs guitar sound, and watching the original video of the band playing the song, Paul's all in, passion is a key ingredient ,as well... Put it all together,and rock on!!!
This song was a huge inspiration for me loving and later playing the drums, such a simple beat but that base drum has that funky beat to it that drives the song along. This song came out before I had much money to buy music so every time it came on the radio, I stopped everything and listened with a joy that just doesn't happen much anymore. When this sound was new and I was 12, it was a receipt for loving music. This was my favorite for a long, long time.
I played bass in a Minneapolis cover band 51 years ago, playing this song. It's one of my favorites. The guitarist actually played his part on the 5th fret, on an SG. The sound was as good as it gets. I never was able to figure out the actual guitar part completely until recently. Your video put the icing on the cake. It's not the 1st time I've watched it. The bass part was fun to play as well.
Andy was 14 when the record was released.
These are awesome videos. I suggest "Rebel Rebel". Lots of stuff going on with that sound. Might be a particularly fun one.
Great. The reverb slight delay track also sounds like the effect used for Steve Millers song called Jungle Love
Thanks!
I've been trying to nail this riff for 45 years.
I've gotten close but I believe this is it
Me too and I am 60
Been playing 35 years, still love learning, cheers bud.
Beautiful breakdown of one of the most iconic guitar phrases from back in the day! You nailed the studio recording. People are commenting after watching Kosoff playing it live - which doesn’t match up with the 2 guitar studio cut. Nice job on this.
Really nicely done Chris! I've loved that tune for decades, and never heard some of those "nuances", so THANKS for this video! CHEERS!
A most underrated guitarist. He left us too young. RIP.
I've listened to his music for years,he was an astounding rhythm. lead guitarist,left use too young,he capitalized on certain holding of notes,like david Gilmore of pink Floyd,he emphasizes certain note holding a bending them to his pitch perfect ear,KOSSOFF was an eccentric genius,his drug use and wanting to be alone, classic signals,his use of the gold top,his escape mechanism ,a true artist with the classic maladies,god rest his soul
Leslie Harvey (Stone the Crows)same all over...Greetings from Greece
riiiiiiiight. underrated? what's his rating again? 🙄
“Underrated” is the most overused word on the internet. And applying it to Paul Kossoff’s guitar playing is absurd.
Kossoff one of the most minimalist brilliant guitarist of our time ..so underrated.
And there it is the bullshit againn. UNDERRATED! Underrated by whom? Koss is highly acclaimed in the guitar world. One of the most influential guitarists. Underrated - what a dumb comment.
Brilliant Chris. You nailed it! After all these years of playin' it.... Finally!!
I guarantee this man inspired more people to play guitar in England in the late 60s and early 70s than Clapton,Page and Beck put together among others
Inspired Angus and Malcolm Young, apparently, as they said they liked Free, and you can hear the influence in their early stuff especially.
@@chriscampbell9191 Angus' vibrato is identical to Koss.
@@wmhhealth2018 Agree completely. Especially the earlier solos AC/DC did, and early live shows, you could hear Kossoff's influence in Angus's solo construction as well as the vibrato.
Why do you think that?
Me included!
Tried to play 'Albatross' on an acoustic years ago. When I realised just how many guitars FM used, I could have cried!
Great explanation and nice playing.
I've been looking for this since I was 15 years old. Thank you!
Brilliant deconstruction Chris. I could never figure out what I mostly assumed to be, in parts of the riff, a confusing strum after the opening A power chord and all the while not realizing it's two parts.
My first stop at your channel. I bought the record many years ago just for this song. Your breakdown is articulate and well researched. Your production is excellent. I think you nailed it and I am going to try it out. Thanks!
Actually one of the best Lessons using the chord patterns! Although Paul Kossoff played his "A " Chord with his pinky on the low E note 5th fret, a really hard extension. Your is easy and sounds great- Cheers!
Very nice detective work bro! Looking at this song in a whole new way now, thanks!
I saw Paul Kossoff in 72 I stood 3 meters away by his stack for the whole 2 1/2 hour concert.
It changed me forever, I have never seen a guitarist that comes anywhere near him, and that includes Clapton and Prince.
It changed you forever.. So you have hearing aids, right? Just kidding... Those plexi stacks are LOUD!! Lucky you! Wish I could have seen him live. I can only imagine the memory you have of that!
@@goneflying140 I was slightly to the left of him behind the stack on the stage. I along with a friend was only able to get “ the worst seats” . There was ten seats behind the band. My ears were ringing for three days after but that experience was unreal. Kossoff was the best guitarist I have ever seen in my life. Not a fast player but totally expressive in a way which I find hard to explain. He wasn’t playing the guitar he was piloting it, the music was flying, thats all I can describe it. The audience was whipped up into a frenzy. Almost mass hysteria. I have never experienced this since with any band. And no I wasn’t taking drugs.
And do you know what really makes me sad........ he felt inferior to other guitarists around at the time as he felt they could play much faster. I just wish I could have told him to his face my thoughts to tell him he was actually superior. He had a touch which was impossible to teach anyone. He was totally natural. I sat around four feet away from him and it was the best seat in the house.
I think the price of the ticket was around three pounds.
@@aliengrey6052 What a fantastic story!
@@aliengrey6052 his touch was untivaled. Watch the live version of all right now on youtube and his vibrato and bends are absolutely insane. Never hesrd anything like it in my life.
I have wondered for 49 years why the live versions of "All right Now" by Free didn't quite sound the same as the original studio recording. The original recording has more "oomph" than live versions. Thanks for explaining it. Paul Kossoff must have been miming to the record on their first appearance on "Top of the Pops" as it sounds exactly like the record and you say it is two guitar parts. I saw them live at Bridlington Spa back in 1970. However I think Paul Rodgers vocal was "live". 224931
Paul Kossoff was An Amazing musician. .....Very nice Explanation and Demonstration.
Absolutely brilliant breakdown of this track’s guitar parts.
The riff that made me want a guitar at age 12. You nailed it sir. I never realized there were 2 tracks. No wonder I have never been able to get it to sound right... Thanks for sharing!!!
Very interesting! Definitely explains why it's so hard to replicate
Thank you for sharing this deep dive into one of the most iconic guitar riffs even to open a song! Great work researching and demonstration - and explaining your reasons for what you are showing us. Fantastic video!
YES !!! GENIUS. How you figured this out is pure perfection.
Totally neat! Brilliant ears you have.
I saw Koss in Black Cat Bones, Free and Back Street Crawler and he is still the one for me. There are many fast and maybe more technically impressive but none can match the tone, the vibrato, and feeling. I think you nailed it Mr Buck, well done, now how about the chorus and solo (LP version of course )
I am insanely jealous
Love this, it's the song that made me fall in love with Free as a youngster. I know this video was made a while ago but I'd love to see a breakdown of Free's Mr Big, it is so unusual, sparse but perfect.
great, i could never tell what was actually going on with this , many thanks for the analysis .
Thanks for work you have done to explain such an iconic analog riff in a digital world. There will be debate as long as we all have different ears! You did a great job. Thanks
Easily my favourite song for riffs by one of my all time favourite guitarists performed by my current favourite guitarist!
God dam that's a lot of favourites!
Check out Rory Gallagher...
@@dodibenabba1378 I like rory mate almost bought a hawk boost a few times too
Good job Chris. Makes sense. I was 18 in early 1971 in Australia when I first heard this track. As far as I know they hadn’t played it on the radio here in Melbourne. The album Fire and Water blew me away
Brilliant-both Kossoff and your deconstruction! Cheers!
Really enjoyed that Chris. Great to have someone with good ears break this down so I can in turn learn and get better at hearing / playing ... Thanks 💛
Sounds really good, but surely it's well established Koss used his "big ol' A chord" with his little finger on the bass string's 5th fret. He describes this in his interview with Steve Rosen from early '76. Also I don't think there's any Leslie in there because that came later when he jammed with Rabbit in '71 during the KKTR sessions. Rabbit has described how that came about with the Leslies from his Hammond and how they got the techs to make up an adaptor to connect his guitar with. I think he may have blended amps, but my money is on there definitely being Marshalls in there. :-) None of that really matters though, you did a great job at making a very acceptable facsimile of the sound.
Good chance it was tape phasing, where you copied the track on to a 1/4 inch half track and played it back with the original and dragging the tape slightly out of sync, creating that out of phase sound. Hence, Tape Phasing, which eventually brought about the invention of the Phaser.
I agree - NO Leslie on Koss' Studio Guitar. However, there IS one on the Hammond Organ at the end of his Solo, very subtlety mixed in
Top job. You are one of the few authentics.
Chris you got pretty close on that one.
I'm one of those who prescribe to Koss playing a Selmer on those earlier free studio tracks.
Am pretty sure it was a treble and bass head.
As Koss used to work in Selmer shop he would have been very familiar with those amps and what they can do.
Plus used to own a very early Croc skin Selmer Thunderbird twin 30 with KT88s and on the second channel that amp had the Koss sound more than any Marshall I've played.
Oh and there is a very famous 60s guitar riff that was played through a thunderbird twin 30 even though everyone thinks or claims to know it was an ac30 😉😉
Keep up the good work!
I read your comment and thought "Oh Cool! I can find a vintage amp no one has ever heard of and emulate one of my favourite, if not THE favourite 70's guitar tone"! Then I search and find two on Reverb for just under $5,000 (NZD). Guess I'll just have to keep dreaming. Thanks for the insight though, this kind of information is pure gold!
Not that close really.
Probably the best tutorial of this song out there. Thanks for posting!
Top 10 on my list for sure! One of my favourites to play. Buck/Kossoff all in no question.
What makes a riff tick.. great idea for a series, Chris. This was really interesting.
Koss is such a legend
That’s brilliant! Take it from a guitar player born in the 50s that is listen to that song 1 million times, and thousands of people copying it and never nailed the sound. Well done. Sun Amps very popular late 60s and early 70s, I wish I still had the stack that I had back then. Along with my heavily padded Kustom cabinet loaded with Jensen 10’s.
Thanks Chris
Yeah, the second example is exactly how I figured it out 30 years ago and how I still play it. You might recognize the guitar in my hands on my avatar pic. The Beast! Did a bit of recording with Bernie in 2015. Such a nice guy. Treated me like family even though we never met until we flew over to the UK. A little trivia, The Beast belonged to Paul Kossoff at one time before Bernie got it.
Man l this is the best ever. Thank you for listing the chords . And this extensive history lessons and your hours of time studying the tracks .
Wow, that is pure genius.
Fantastic breakdown. You nailed it. Free lives!!
Awesome! Kossoff was such a great player and musician. Super excited to see this episode dedicated to his legacy. Turns out I played a mix of the two guitar parts, still happy with it. Would be interesting to compare how Koss played it live.
Me too - more of an amalgamation of the two separate parts put together. Pretty happy with how it came out when playing it all these years. Saw Koss playing it live once & noticed his pinky on 6th string @ 5th fret (big fat, thick "A") during the A5 intro Chord Riff, as well as hearing it on live Bootlegs, etc. It sounded Big & Great, but nowhere near the Mystical studio version. Great Job BTW - Thanks much !
I've always wondered why I could never nail this song. Thanks, Chris. As always a great presentation.
Nice to see a young guy being into an old classic, and I mean Kossoff himself not all right now.
Kossoffs lh vibrato was a thing of awesome power and beauty. Don't forget that this track was also unique for one of the most iconic bass-lines ever in Rock music, by Andy Fraser . Who also wrote most of the song. Great days check out live version of this rock masterpiece Isle of Wight Rock Fest 1970. p
Loved the analysis. Thanks from Colorado.
This is one of the best tracks ever written!
Excellent! My favourite electric guitarist. Well done sir.
I can't stop listening to this band now that I have watched some live footage. That guitar rig he had needs a show all of it's own.
We’re have you been hiding mate lo. Free wrote some brilliant songs most you won’t see or hear on TH-cam I’ve got all there albums and there all good you can still buy there albums you won’t be sorry.
Hi Chris, great stuff as always. Lovely to see someone listening so closely and with such deep knowledge of late 60s gear. I fronted a successful tribute to Free, Free Again, for some years, though singing, rather than playing guitar. It might just be worth adding as a footnote to your video that of course this song was played by Koss live on far more occasions, and in many more contexts, than the one where it was recorded. Like most of Free’s songs, the studio version is a snapshot in a continuing process of development. Some people think that Koss sometimes added an A on the 5th fret of the 6th string to the A chord, for instance, as an alternative to the barre on the fifth fret of the 1st and 2nd strings. Before Free hit the big stages they played of course in smaller venues. I know a couple of people who saw them in many pubs. One of our guitarists, Dave Woods, found himself often in the situation of having to replicate Koss’s sound in a pub, or on a smaller stage, with (of course) no overdubs, Leslies or pedals. I think he came impressively close. And this as you know is the context where this song is now probably performed most often. Here’s an example: th-cam.com/video/_NvRciVj0Dw/w-d-xo.html
Really cool to see you go to town on such a classic riff and come up with some new and interesting insights! Love this riff too - instant stank face material!
I always felt there was something truly clever going on with that lick that was never cover banded quite right. Awesome job on that.
Very good S Chris Buck. Thanks. This track IS classic rock.
Hi, first time visitor here. This was great, subscribed.
Thanks! Always loved this song. Wasn’t sure about voicings but the two different guitar parts make it all come together.😊
Thanks for all your ideas. I've been struggling for so long to get close. Using other TH-cam chord recommendations I worked on amp and effects. 😊
Very clever and well explained. Fabulous result.
Rather pleased at your analysis of the chord shapes. I used to do a combination of both as I kept hearing different things - now I know why :)
Great video. I don't play a guitar, but I enjoy seeing a song or riff deconstructed in this way.
Holy crap never paid attention to that. Thanks and awesome video
His first solo album BSC is so fun to play along with Cut my teeth on that one along w Alvin Lee live Nothing better than playing along with your faves Cheers Chris good stuff 👍
"Tuesday Morning" - YEAH ! Great to play along with during your first Cup O' Cawfy or Tea. Really sets your Day right.
I remember a story about the guitarist in English band Brinsley Schwarz (named after said guitarist). He adored Robbie Robertson and wanted to sound like him. He bought the same guitar, same amp, same strings possibly, and actually got to meet his idol. He had his set up and asked what made his sound so special. He picked up Brinsley's guitar with his setup and inevitably sounded exactly like Robbie Robertson.
Sometimes, it's just the way you or they play.
Paul Kossof is pretty unique
I identified hearing the difference between left and right channels on LP many years ago marvelling at the unique sound it gave the song. Power cords are the magic that provide the depth of a great guitar riff.
NIGEL in Canada🇨🇦
here's a surprise?
it was actually FREE's bass player Andy Fraser , who played guitar on the song All Right Now
because Andy co-wrote it with Paul Rodgers
Kossof did play the guitar solo
Cool lesson. I may be wrong, but I seem to remember seeing PK playing through an orange amp on one of the live performances. I'm sure like a lot of guitarists he probably switched up a lot on stage and used different amps.
Always loved his tone and style.
Watched your video of Kossoff's guitar work on All Right Now with keen interest. Was wondering if you could do a video on Jeff Beck's solo on the Yardbirds' 65 studio recording of Shapes of Things, which is double tracked...............
Hi Chris. I think you will find that Paul plays the A note on the bottom E string with his little finger and actually mutes the open A string while playing the A chord. The video of Free playing All Right Now at the Isle Of Wight on TH-cam shows it clearly. Best regards.
Well spotted many thanks great stuff as ever best wishes
Thank you. That was awesome. Free are one of my favorite bands from that era next to T.Rex. Just that sense of space and excellently crafted songs. Slow maybe, but I really dig that. Nice!
Love these deep dives and your perspective. Your videos are always very insightful and with amazing playing and tone, but this one really hit home. I love playing this song, and though we've all played this one for years, you're right it never sounds quite right. It's definitely one of those that can take forever to truly master, and I think you really nailed it! Thanks for showing the guitar rig settings too. Excellent job Chris, really nailed the playing intricacies and tone. Sounded Ace.
Thanks for showing how this is played. I love watching Free live at the Isle of Wight. It was an awesome performance!👍😎🎸🎶
Nice analysis Chris. I never realized it was two parts!
I think you nailed it! I play a combination of both which sounds real close to it since we have a one guitar group. Cheers
If you watch Paul playing on the video, you can clearly see him playing the A power chord with the pinky long reach to the A on the 5th fret on the low E and also the open A. It adds so much meat to the power of it in the live version.
Love that song. You really nailed the tone 👍
Wow someone actually playing it right I’ve playing this song for 40yrs I play the one part the other guitarist plays the other and also the chorus cords are 2 parts.it’s been a subject for many on how this song is played and this is the right way.
Duane and dickey did it for years with the Allman Brothers to get that sound.
That was a very traditional way two guitars playing the part
Thanks for your dedication to detail Chris.
Excellent a great shot at Koss's tone the other thing that makes his sound unique especially his bends was the gauge of his strings PK played with very heavy gauge strings, I once read many years ago by someone who had played his 59 standard that it was like trying to bend telegraph wires.