Guitar Teacher REACTS: THE WHO "Eminence Front" LIVE (Toronto 17th Dec 1982) 4K

[Music] [Music] [Music] ladies and gentlemen dealer's choice today i've been uh researching cover tunes crowd killers as i call them you know songs that tend to work um for any demographic when i played in band uh in the cover band scene here in baltimore the crowd killer it was a staple so no matter if you were playing a wedding or a bar mitzvah or if it was a it was like a black church audience or you were playing like a country hoedown or you were playing some type of it doesn't matter right the crowd killer is like no matter who you are no matter who you are you as soon as it hits you're like oh yeah let's put the beer down let's go let's go so i wanted to show you one that we all know and love this is the who doing eminence front and this is from toronto 17th december 1982. hit the button it's actually not very odd at all oh and if you're unfamiliar with this channel i will start and stop this thing and show you some key takeaways on the guitar and also talk about the band so if you were to cover this with your band what you should keep an eye out for it's not your typical reaction channel regardless of the type because i don't know what to call what's hard is making it feel hard that's it you can't understand what i'm saying what's hard is making it feel hard and as soon as you hear that keyboard part man listen to it again let it come in it's actually not very hard at all [Applause] what's hard he's making him feel hard he can't understand what i'm saying [Music] by the way we're an f minor seven here right that little keyboard thing root fifth flat seven right [Music] i know it's not exact i know your keyboard is out they're gonna say no no no it actually is i understand but the sound you're hearing f minor seven but the third right this is distinctly not in that high part and and not including that minor third or major third it's like it's not clear but you know it's not this because you can tell when he starts doing the keyboard lines that it's all that's your basic vibe but that [Laughter] [Music] i'm just saying maybe you don't have a keyboard you might want to get that part but that's a part you must get [Music] proud kilt no matter who you are it works [Music] all right couple things i want you to listen for again if you're in a cover band in your area right things you have to nab because they make the song what it is first obviously your progression your f right to c now here's the thing it is f minor seven right to c so this is a one two six but the key here is this six right it's not c major it's c major seven this i mean sorry c sharp i misspoke please forgive me so it is not c sharp major it's c sharp major seven why is that important because this this not this this is prominent this tag right here is the link that connects those two and makes that floaty thing happen so that's the first thing to note now you're gonna have to get that now you hear him double tag it now in the in the in the recorded version he doesn't go right it's just [Music] but in this one you hear him go double tag and you got to get the scratch you don't have it if you don't have the scratch now why does this work in f this is flat 7 to root right so f so [Music] and then when it goes to the c sharp that's your root and so what is this major third nine major third so that's why it works this is flat seven to root and then major third petal from the nine that's why it works and then there's two other parts the keyboard now i want you to listen for this you distinctly hear this [Music] now you can get fancy with it and try to get the double stops right and imply that which is which is kind of feisty right [Music] but it is in there so listen to how those three things mesh right there [Music] and then of course the giant thunderous bombs on the base by john huge all right now listen i'm gonna go back to the drop again and i want you to listen for all these parts listen for the keyboard you got the track underneath listen to him push the button listen for that push listen to pete you know that the double tag with the the scratch in there john dropping huge bombs at roger seemingly inaudible here but listen tell all those things they're simple they're specific and they make one giant ocean of thunderous sound take it in gotta do the dance listen to that base [Music] gotta get the scratches [Music] so maybe you don't have keys right maybe you just have two guitars you know or maybe you have three guitars you can get all those parts but in these crowd killers like this i'm telling you this is the difference this is the difference when you go and see a good cover band and you're like wow this is really really strong versus just like yeah they're you know they know the tune oftentimes you don't you don't hear especially if you don't have keys someone nabbing those those complementary keyboard parts with it getting the scratches that go with it and the big bass bombs like it's it's it takes all of it it's all it's all important in a song like [Music] did you this that bass [Music] [Applause] look at that face [Music] so p pete's playing a lot of i i have forgotten this over the years but pete took a lot of chances as an improviser uh he plays all kinds of wild stuff like yeah i get it like we're in the neighborhood of you know f minor i get it i understand all that but if you listen to you listen to the overall vibe of what he's what he's doing he's sliding in and out sometimes he's right on the attack sometimes he's sloppy behind it like i've seen other versions of him playing this where he starts he starts playing like some open major chords with this and lets it ring out he was a very confident and loose player but just came up with the amazing parts it was an amazing composer he certainly gets the credit he deserves it's just it's always good to be reminded of things like this listen i just can't stress this enough listen to how much the keyboards are pushing this along i'll stop hitting the [Music] button [Music] can't forget [Music] they forget [Music] dude you hear john and twistle he he waits he waits you just get the single cannon shot all the way up to like two minutes and 40 seconds and then he just starts running all over the place and it is huge and funky and filthy and it just pops and then you see then obviously the harmonies come in you know it's just that you know that you know flat seven one that's the you know over to the go to the flat three that's your melody uh you know for your hook or whatever but when he starts going up to the the high c parts that oh what c sharp i keep keeping speaking why why am i doing this why am i doing this it's because i'm excited i'm a very excitable boy you know that listen to that face man [Music] won't you come and join us [Music] that change what this is what i mean about the compositional side that change is ridiculous so we're in f let me make sure this is in the screen f minor seven right which of course is g sharp i know it's not end harmonically correct a flat a flat major triad over f so what do they do they they hammer on to that a flat from again if we're talking key centered from our e flat which would be like your flat seven ish [Music] and then move down [Music] so all major triads a flat e flat e flat b flat and then do it again and back up but when you come back up here you got to make sure you get that lead back up to that root if you hammer back on the that it doesn't resolve and pull back to the f because right after you get there it's right to the [Music] and you got to get that so just whatever you do you got to get the and make sure everybody in your band is on the same page because you've got to pull that ear back to f because that is a ridiculous little change that happens you got your dress and listen to the keys move all over it right he jumps to the five he is selling the crap out of this seat that's a true scene it went to c sharp before true c listen to that five they save it three minutes and 45 seconds to get a five [Music] chord [Music] they don't finish the bar you gotta grab it right check this out [Music] isn't the whole vibe captured right the whole vibe of the song that you're putting on a front right people forget that you're hiding come dressed to kill you know all these different scenarios but you're hiding you're not dealing with your stuff and you know it right look at him doesn't he look at the audience like like he is the subject of this song amazing [Music] [Applause] [Music] people forget [Music] feminism [Music] yeah doing the audiation matching the pitch with his voice [Music] [Music] is [Music] [Music] come on [Music] i'm [Music] [Music] who is that keyboard player who is that keyboard player tim gorman drums kenny jones uh yeah when you play crowd killers to a bunch of different crowds and you work in a working cover band you really figure out if you're conscious about it why hits or hits and why hooks or hooks and you can and you start identifying over time what makes the great songs great in this example right it's it's it's the one minor to the flat six major seven if you want to call it that that's your basic thing ridiculous bridge we're not even talking about the bridge relative major like whatever um it's just i would never come up with something like that but i'm not pete townsend um but the dual keyboard parts that one f minor seven where it's the one five flat seven as like the the under track right so you gotta have that because you don't have the tune if you have that then on then stacking pete townsend's part with the scratch where it's flat seven to root over the f and it's major third um sorry it's nine in major third over that c sharp uh that's the connection point that's the little catch there and then the keys the second keyboard part or if roger would play it or if you didn't have a keyboard part uh and you were just playing with the track nabbing that boom like all the all the that that complementary thing where you accentuate the b right or sorry sorry i keep misspeaking the c or b sharp if you want to be n harmonically correct over that c sharp major 7 right that is the other bond that connects that flat six chord that that is the other bond in between those and then obviously your melody stems from uh f minor uh and then you just deliver the crap out of it because you believe it to death and you're the who and you get to and you get to you know be the to walk and do that um i implore all of you really really crowd killers learn them think about think about what are the songs like don't stop believing right like what are the songs that always work regardless of venue and demographic what are they what is it about them that makes them a complete and total hit and hook no matter whom you're playing for put words to it this is the theory this is these are the rhythmic elements this is the melodic this is what they're singing about figure it out and internalize it and you're going to be changed for the better i can't tell you how much i grew as a musician from having to do a hundred plus dates a year cover gigs to many different audiences and and but choosing to say this is a learning ground for why hits or hits why hooks or hooks and it's the simple things like that like what is the connection point between those two songs you got it the mid-range right that that e flat to f and then you have it in that high part where it's that c that connecting that keyboard part right that i'm telling you that's the real stuff and if you can find yourself a bass player to sound like john and twistle man you know chain him up in the basement don't let him out that's it ladies and gentlemen thank you so much for watching thanks for liking and subscribing and if you'd like to support the channel and you're curious about my lessons my courses and my step-by-step curriculum that i've created and the community that is guitargate i'd invite you to click the first link in the description i'd love to be your online teacher makes all this free stuff on youtube possible and it's just a group of really passionate music fans that are trying to motivate and inspire everybody to pick this thing up every day and keep it in your hands that's it have a fantastic day fired up

Channel: Michael Palmisano

Views: 91,157

Keywords: guitar, guitar lesson, prs guitars, paul reed smith, Guitargate, reaction, guitar reaction, the who, Eminence Front, the who reaction, eminence front reaction, eminence front guitar lesson, how to play eminence front on guitar, the who live, the who eminence front reaction, pete townsend reaction, roger daltry reaction, john entwistle eminence front bass lesson, john entwistle, the who guitar lesson, Eminence Front (Toronto 17th dec 1982), rock guitar, the who guitar, react

Id: Ht3gpKW-8_w

Length: 23min 46sec (1426 seconds)

Published: Thu Apr 15 2021