A to B to me on the recording. I think you are right Mike! It’s southern roots music and improv live is part of the deal. Everything came from the church and fields and is movable
I’ve noticed a lot of musicians play their music slightly differently live and that must be what’s going on here. I love analyzing little details like that great video! 🤘
Wow! I hate to admit it, but you're absolutely right. The studio version does seem to start on the A. In some live versions, the Bb. I was luck enough to have seen them at Knebworth in '76, when we had one of the hottest summer's ever. I'm that 14-yr old kid at the back somewhere, dying for a pee LOL. So I've re-watched that live performance many times and always heard the Bb on it, which I was right about, but my bias must have clouded my judgement whenever I heard the studio version. I've just done pretty much the same as you, cut it up and put it under the microscopes of Transcribe and Sound Forge, and sure enough, he does seem to play from the A. One lives and learns. Thanks. :)
yep I was there lucky enough for me and my gf to be in the video of skynard right down at the front..(albeit briefly..) great day out. saw floyd there too
I play it open A to B and have since I started playing it in the early 80s. So if that's not right, well, I don't care. LOL. I still play that song live every week to this day.
I don't know why people get so precious about things like this when even the artist changes the way they play it live, best not to stress it and just play how you like the sound. For beginners there's also nothing wrong with tweaking so it's easier to play but still captures the essence of the song.
Don't forget the multiple guitars in the original recording are mixed close to each other so there are multiple guitars playing simultaneously, making it hard to pick out which guitar is playing what part at any time in the song. Play it both ways and mix it together and you'll have the answer lol
It's definitely an A, you can totally hear it especially if you slow it down. But what's funny about this whole thing is that you studied that one note after entering it into the Hardron Supercollider utilizing Einstein - anonian theoretical principles but in the end it's like, well, which one do you like the way it sounds more? It's so subtle, you can just do whichever you think is cool. I seriously cracked up at the amount of thought you put Ito that. Now, the question is, how does The Four Horseman fit into this?
Metallica were working on the Four Horseman. Dave Mustaine jokingly played Sweet Alabama and Lars said something along the lines of, " That's awesome. Let's use that as the clean section!"
Did you not watch the video of Ed where he explains that on the album he played the open A but later when playing live he wanted to spice it up and played the Bb?
@@TheArtofGuitar I asked before I even finished the vid, like a jackass . I could have sworn it was in the Marty interview! I can't remember man, Ed was pretty active on social media so it could have been anywhere!
@@TheArtofGuitar I just watched the video with Marty and when they start jamming the chorus section together EVERY time it comes to that riff Ed plays it A to B.
A to B for sure. And I also think you're right about the Bb simply being a slight mod after playing the same song 10 billion times. That extra changeup adds a little spice.
Great video...I love the deep dive! When you played it A to B it sounded correct to me, and when you play it B flat to B it sounded like "Hey Hey what can I do", so that should prove it beyond a shadow of a doubt!
Me and every guitar player I've ever met and heard play that song uses an open A? Am I calling ed king a liar? No But I do agree with what you said about the How the song may have changed Since it was first recorded The recording is definitely an A note.
Hey there, I’ve been in a Skynyrd tribute band before and you’re right on both accounts, I bet if you rolled through the entire track you’d find at least one instance of the Bb. Touches like this are all over Skynyrd’s tunes, I think their early material was SO well rehearsed that they would mix up little things like this to keep things fresh. Ed was also a master of Easter egg riffs. Check out the third inversion rhythm part in whiskey rock a roller. Cheers 🍻
I definitely think you are right. And yes, sometimes musicians change how they play things over the years. I was recently watching a George Lynch video where he shows you how to play "Mr. Scary" but I was surprised that a lot of what he was doing in the video was very different from how he played it on the album, which was, of course, the version I was learning. But I already knew that he plays that one differently live (as he was the only live guitarist, while there were 4-7 guitar tracks at a time on the recording) and it has been nearly 40 years. It's still weird though.
I learnt it as you did A to B but later watched that same video and realized it’s a jazzier sound going B flat to B and have done it that way ever since. Cool that you pointed this out. I don’t play that song much anymore but every now and then it gets thrown in the list. 🎸🤓🗽🙏🥓
Yeah we grew up in the no internet era and just played it like we heard it. It's really interesting knowing that he does it differently now. They both sound good to me but I never knew any other way besides the A. Love your channel btw.
Someone once played the intro chord to Hard Day's Night to George Harrison, George said, 'that's not it', and the guy said "Are your sure?" and George just stared at the guy for a second and said, 'pretty sure', and the guy said he'll always regret saying what he said.
Thanks for your work on this, you proved to me that it's an 'A' on the studio version. I saw the Ed King video quite some time ago, and I thought, "Well he should know..." But it didn't sound right, plus I don't think it 'feels' right. But I think your theory of the song 'evolving' during live performances explains what Ed was showing Marty. Maybe he'd been playing it with the Bb for so long he didn't recall when that happened....
I definitely hear A to B as well. When you played both versions back to back right at the end though, the B to Bb sounded reeeally close haha. I do still think A to B. It just sounds right. It's one of those things I think that can get all muddied in your brain, a little similar to when you say a word over and over again and it seems to lose its meaning.
When it comes to music, always trust your ears over your eyes - and in that case - since pitches don’t lie... it’s A->B. Having said that though, even Ed King decided to modify the recorded version at some point to suit his whim, and so should anyone else. Give it your own spin, reinvent it to suit your playing style if you like. It’s not a crime to alter things, esp. if they sound good to your ear. For example, I play the 3rd-to-last note of the phrase (just before the A->G pull-off) as a C instead of a B, simply because it’s less confining within the overall phrase shape... AND it sounds good to me. Experiment, this is art, not science :)
You answered your own question. He may play it with the B flat today for any of the reasons you mentioned, but it's an A on the recording. I've seen other examples like this. To the point where I regard artist demos (or observed playing) like exceptional tabs. They're likely spot on, but still tabs. If you want the album version, but what the artist is saying/doing seems different, A) trust your ear, and B) pick a lane. If you want to be faithful to the the album, identify and "undo" their tweaks. If you want to be faithful to a live performance, then do that. But don't get hung up wondering how they could differ. The line could have "drifted" on them over the years, they could have made deliberate changes (like this seems to be), they may not be able to play it like they used to, they could have modified how they play it for some technical reason (e.g. Stairway solo on the double-neck), etc... Point is, even "from the horse's mouth" isn't necessarily reliable.
When I learn a new song I always try to look at multiple versions of the song. I like to find small details like this and implement them in my playing. It can also send you down a path...
The record sounds like A to B. But the Bb sounds better, which is probably why Ed started playing it that way. I've recorded lots of songs that sounded great at the time, but over time, morphed into something "better."
Rudy Sarzo tells a great story of a fan coming up to Randy Rhoads and Rudy Sarzo with a guitar asking Randy about a guitar part and Randy didn't remember because they hadn't played it since recording it, so the fan casually took the guitar vack and proceeded to show RANDY the song! Can you imagine that?!?!!
I'm going to have to point out that when Sweet Home was recorded it was live in the studio, and on analog tape. We really can't rely on the quality of the original recording or any digital remasters from the originals.
As an old guy from the 60s and 70s era, I am always a bit surprised when people get hung up on something like that, as if there were a 'right' way to play rock and roll. Don't over-think it. They sure the hell didn't... if you have to work that hard to hear it, then it's likely not that important to the overall sound of the song, hence it's presence or absence is largely meaningless in the larger scheme of things, right? How many different ways did Hendrix play Voodoo Chile? All of them... each time. Pick one, pick 'em all, mix and match. It's only rock and roll, lol :) Keep it tight and it will be alright...
Scott Raines did a video on this awhile back. He plays in the Artimus Pyle Band and was friends with Ed King. He said the studio recording does start on A but Ed later started using Bb because he preferred the sound of it.
The fact if the matter is this, .. when you're playing in a bar full of average people who are not musically inclined or keen, .. it really doesn't matter, especially if they're a few drinks into the night. They're not paying full attention, and it wouldn't matter if they were/are simply because they don't know. As long as what you're playing sounds close enough, they'll thoroughly enjoy it. Of course this isn't an excuse for musicians who deeply care and are passionate perfectionists, .. but if you're just in it mostly for fun and to make some money on the side.. let it rip and enjoy. I've witnessed many big bands play live and have always noticed everything different from a studio recording.. and if it sounds better or worse to my trained ears, and even if it seems intentional or a simple mistake. Sometimes a professional musician doesn't like the way certain parts of a song are recorded in studio, but they go along with it to get through the recording time, because they want to get out on the road. Another part of it comes from growing bored playing the same songs every day and night during a tour.. the monotony of it all, and you just need to change things up a bit just because. And at those moments, I even paid attention to the large crowds to see people's reactions and the vast majority of concert goers never even notice, they're just wrapped up and lost in the fun and excitement. It's all just part of the experience, and the joy of music.. it's all fairly fluid. Also.. a studio setting is completely different from a live setting (as you well know), .. and sometimes a piece, or even a small detail of a piece done in studio is easier to do in that environment because you have the time or whatever, but then when playing live you'll switch to an easier method of getting the same or close to the same sound, .. because you're on that stage for a while, no breaks and your hand/fingers can get really fatigued
Might just be me, but David Gilmour always seems to articulate "comfortably" in the chorus of Comfortably Numb differently live than when it was recorded.
And this is why music is amazing and why we love it and preforming live, moods change, how we play changes, what we hear changes. Grow and discover. With that Back in Black live has my ear all over. we all know E D A then the little lick however the second time around it does sound like a straight A when listening to a live performance. I saw them in 09 and tied to stay focus on Malcom but to this day idk and maybe the mystery is in the hands
I went through this exact same issue when I learned this for my current band. It was DEFINITELY recorded A to B and I found some live shows where you definitely hear it done A to B. I don't know when Ed started doing the B flat but it was well after the recording and the first tour.
So many songs evolved over time, and it’s entirely possible he started it as A to B and it morphed and that’s all he remembers lol Could also just be him exerting power that Ronnie Van Zant didn’t allow when he was alive. (Ronnie is well known for being the boss) lol
Scott Raines agrees with you about the A to B - check his Sweet Home Alabama - Wrong Note video. Even Gary Rossington shows A to B. Start at 19:00 min mark. Search for video Lynyrd Skynyrd - Gary, Rickey, Sparky show us how to play SWEET HOME ALABAMA from creator Nono L.
It would be interesting for you to take a look at the version from the live LP from the 1970s. I also think Roger Fisher plays the part on Barracuda behind the "Sell me sell you" lyric differently now than he did on the record. I don't hear the chord lick at all on the original recording, although it is buried somewhat.
I like the space between the A and the B. The other way seems a bit compressed. But I think it would be fine to mix it up, to play variations as you go.
I also like to get the details correct where I'm capable, and as @Stephenguitar93 noted, Ed King cleared up the mystery in a different video (recorded version is indeed A to B), however, how deep we dive into the details will ultimately have little to no relevance to the average audience member, or does it?. I am not saying details don't matter, to the contrary, it's the level of the details. If you're spending a significant amount of time deciphering a solitary note that sounds good either way it's played, is it consequential to the desired result for the end listener? Will the dance floor erupt in chaos over a Bb? Artistic license or lack of preparation? I think the closer we can get to the original detail of a song adds authenticity, quality, and validation of a really good band and its players. It's also helpful to develop our musical ear and ability, but if the artist who wrote the song doesn't always play it exactly as it was recorded, and they hardly ever do, is the cover band responsible to hold up the mantle of the original recording? I can go either way ; )
Had to grab a guitar to be sure. But I grab the G chord then play A to B with my #1 finger just like any country hammer lick. And then I vary the rest of the lick as I feel fits. But that’s just my style. I can play note for note , but rarely do … ✌️
That reminds me of the mistake in the beginning of Ain't Talkin Bout Love by Van Halen. On the second pass he hits a note twice that is never reflected in transcriptions or official tabs.
I learned to play this from tablature form the Guitar world magazine way back and yes it was transcribed as you played it so I am pretty sure that is the way it was on the original recording but yes the Bb does sound better and maybe Ed King kinda evolved playing it that way
Question. In the most recent version of the group, how is it played? Is it played A to B or Bb to B? Since the guitarist playing it would not be the original guitarist and the group wants to keep things correct.
Definitely A to B, but since I don’t know theory, I have a question. Is this song in G Major, or D? I figure it resolves in G, therefore it’s technically in G Major.
Friends, we must remember that it was the 70s, everything was recorded to tape, and it's more than possible that the tape speed got sped up or slowed down to match the pitch of other things that were being mixed together, while nobody but the producer was looking. Ed King may well have told exactly how he played it. It's most likely that something got pitched up or down about a tone to work with the vocals.
Funny how you call @2:48 the "Jaws Theme" and play a major 2nd interval, where it's actually a minor 2nd interval in Jaws. Based on that I thought you might have gotten the "A" note wrong, but I hear it as well on that recording.
It's amazing how what seems to be a rather simple riff, can end up being so complex and yet, a little hazy! I'm still perplexed (and have yet to find a video of it played correct "to my ear") the riff at 0:12 into Led Zeppelin's The Rover. I can't figure it out.
Recording is A but the B flat sounds better, Maybe after they recorded it Ed was kickin himself saying I shoulda played the b flat and not the damn A but they were stuck with it
It is an A note. If you look up Skynyrd playing in the 70s, you can actually see them playing the notes on the 2nd fret. I've been playing since 1994 and never once heard or seen anyone using a Bb note in that riff.
I definitely hear A to B
I definitely agree! 😊
No you don't. ITS A# to B.
I think Ed King who wrote it would know. And he says it's A# to B I don't care what his software says
A to B to me on the recording. I think you are right Mike! It’s southern roots music and improv live is part of the deal. Everything came from the church and fields and is movable
I’ve noticed a lot of musicians play their music slightly differently live and that must be what’s going on here. I love analyzing little details like that great video! 🤘
5:51 was not expecting Karen Carpenter in a Lynyrd Skynyrd video 🤣
If you're having trouble hearing what it is....
Turn it up
🤣🤣🤘🤘
Love discussing the details in these classic songs! I hear A too
Wow! I hate to admit it, but you're absolutely right. The studio version does seem to start on the A. In some live versions, the Bb. I was luck enough to have seen them at Knebworth in '76, when we had one of the hottest summer's ever. I'm that 14-yr old kid at the back somewhere, dying for a pee LOL. So I've re-watched that live performance many times and always heard the Bb on it, which I was right about, but my bias must have clouded my judgement whenever I heard the studio version. I've just done pretty much the same as you, cut it up and put it under the microscopes of Transcribe and Sound Forge, and sure enough, he does seem to play from the A. One lives and learns. Thanks. :)
yep I was there lucky enough for me and my gf to be in the video of skynard right down at the front..(albeit briefly..) great day out. saw floyd there too
I play it open A to B and have since I started playing it in the early 80s. So if that's not right, well, I don't care. LOL. I still play that song live every week to this day.
I agree with you Mike and have also always played it like that.
I don't know why people get so precious about things like this when even the artist changes the way they play it live, best not to stress it and just play how you like the sound. For beginners there's also nothing wrong with tweaking so it's easier to play but still captures the essence of the song.
Don't forget the multiple guitars in the original recording are mixed close to each other so there are multiple guitars playing simultaneously, making it hard to pick out which guitar is playing what part at any time in the song. Play it both ways and mix it together and you'll have the answer lol
It's definitely an A, you can totally hear it especially if you slow it down. But what's funny about this whole thing is that you studied that one note after entering it into the Hardron Supercollider utilizing Einstein - anonian theoretical principles but in the end it's like, well, which one do you like the way it sounds more? It's so subtle, you can just do whichever you think is cool. I seriously cracked up at the amount of thought you put Ito that. Now, the question is, how does The Four Horseman fit into this?
Metallica were working on the Four Horseman. Dave Mustaine jokingly played Sweet Alabama and Lars said something along the lines of, " That's awesome. Let's use that as the clean section!"
@@davidzamora9973 I know that's why I made that comment but for anyone that doesn't know about that, davidzamora9973 is correct!
You are the surgeon of licks, hands down.
Did you not watch the video of Ed where he explains that on the album he played the open A but later when playing live he wanted to spice it up and played the Bb?
Well obviously not! 🤣
@@TheArtofGuitar I asked before I even finished the vid, like a jackass . I could have sworn it was in the Marty interview! I can't remember man, Ed was pretty active on social media so it could have been anywhere!
No worries man, makes perfect sense that he'd toss in the Bb later.
@@TheArtofGuitar I just watched the video with Marty and when they start jamming the chorus section together EVERY time it comes to that riff Ed plays it A to B.
Pick the A , hammer on the B flat and the slide it up to B .
You animal! 🤣👍
Yup this is it
I was gonna say play both notes at the same time.Play the open A and the Bb on the E string.
But nah,just play the open A.
Mind ... blown ... 😱
I agree, A to B sounds correct but Bb to B sounds right
A to B for sure. And I also think you're right about the Bb simply being a slight mod after playing the same song 10 billion times. That extra changeup adds a little spice.
You got it right the 1ST time Mike!
I never heard B flat. I wouldn’t have thought this would even be a controversial topic.
Had to look up my personal tabs, and yeah, A to B. I trust my own ears over what others try to tell me in rehearsals. :)
With 3 or 4 legendary players in the band they probably played it every which way and it sounded amazing
Great video...I love the deep dive! When you played it A to B it sounded correct to me, and when you play it B flat to B it sounded like "Hey Hey what can I do", so that should prove it beyond a shadow of a doubt!
Me and every guitar player I've ever met and heard play that song uses an open A? Am I calling ed king a liar? No But I do agree with what you said about the How the song may have changed Since it was first recorded The recording is definitely an A note.
I just have to commend you on how thorough you are 🙏🏻 no doubt it’s an A now
Hey there, I’ve been in a Skynyrd tribute band before and you’re right on both accounts, I bet if you rolled through the entire track you’d find at least one instance of the Bb. Touches like this are all over Skynyrd’s tunes, I think their early material was SO well rehearsed that they would mix up little things like this to keep things fresh. Ed was also a master of Easter egg riffs. Check out the third inversion rhythm part in whiskey rock a roller. Cheers 🍻
I definitely think you are right. And yes, sometimes musicians change how they play things over the years. I was recently watching a George Lynch video where he shows you how to play "Mr. Scary" but I was surprised that a lot of what he was doing in the video was very different from how he played it on the album, which was, of course, the version I was learning. But I already knew that he plays that one differently live (as he was the only live guitarist, while there were 4-7 guitar tracks at a time on the recording) and it has been nearly 40 years. It's still weird though.
I learnt it as you did A to B but later watched that same video and realized it’s a jazzier sound going B flat to B and have done it that way ever since. Cool that you pointed this out. I don’t play that song much anymore but every now and then it gets thrown in the list. 🎸🤓🗽🙏🥓
Yeah we grew up in the no internet era and just played it like we heard it. It's really interesting knowing that he does it differently now. They both sound good to me but I never knew any other way besides the A. Love your channel btw.
Someone once played the intro chord to Hard Day's Night to George Harrison, George said, 'that's not it', and the guy said "Are your sure?" and George just stared at the guy for a second and said, 'pretty sure', and the guy said he'll always regret saying what he said.
Thanks for your work on this, you proved to me that it's an 'A' on the studio version. I saw the Ed King video quite some time ago, and I thought, "Well he should know..." But it didn't sound right, plus I don't think it 'feels' right. But I think your theory of the song 'evolving' during live performances explains what Ed was showing Marty. Maybe he'd been playing it with the Bb for so long he didn't recall when that happened....
I definitely hear A to B as well.
When you played both versions back to back right at the end though, the B to Bb sounded reeeally close haha.
I do still think A to B. It just sounds right.
It's one of those things I think that can get all muddied in your brain, a little similar to when you say a word over and over again and it seems to lose its meaning.
Good call with the live-tested variation Mike. If I’m first I hope I added more than ‘first’
Wait - is the second guitar playing under that note or does it come in a few notes later? It could be throwing a wrench into things 🤔
I gotta believe you're correct. A to B on the recording. I've been playing it the same way you do for 40 years...but the B flat does sound cool...
When it comes to music, always trust your ears over your eyes - and in that case - since pitches don’t lie... it’s A->B. Having said that though, even Ed King decided to modify the recorded version at some point to suit his whim, and so should anyone else. Give it your own spin, reinvent it to suit your playing style if you like. It’s not a crime to alter things, esp. if they sound good to your ear. For example, I play the 3rd-to-last note of the phrase (just before the A->G pull-off) as a C instead of a B, simply because it’s less confining within the overall phrase shape... AND it sounds good to me. Experiment, this is art, not science :)
You answered your own question. He may play it with the B flat today for any of the reasons you mentioned, but it's an A on the recording. I've seen other examples like this. To the point where I regard artist demos (or observed playing) like exceptional tabs. They're likely spot on, but still tabs. If you want the album version, but what the artist is saying/doing seems different, A) trust your ear, and B) pick a lane. If you want to be faithful to the the album, identify and "undo" their tweaks. If you want to be faithful to a live performance, then do that. But don't get hung up wondering how they could differ. The line could have "drifted" on them over the years, they could have made deliberate changes (like this seems to be), they may not be able to play it like they used to, they could have modified how they play it for some technical reason (e.g. Stairway solo on the double-neck), etc... Point is, even "from the horse's mouth" isn't necessarily reliable.
It's the tone of the guitar, the Amp and effects used, and the analog recording techniques. It's a Bb
That's the video I was telling you about, the Ed King with Marty.
When I learn a new song I always try to look at multiple versions of the song. I like to find small details like this and implement them in my playing. It can also send you down a path...
The record sounds like A to B. But the Bb sounds better, which is probably why Ed started playing it that way. I've recorded lots of songs that sounded great at the time, but over time, morphed into something "better."
Ed King has done videos available on YT showing every nuance he played in this song, of which there are many.
I hear A to B, but man that Bflat sure sounds good.
Rudy Sarzo tells a great story of a fan coming up to Randy Rhoads and Rudy Sarzo with a guitar asking Randy about a guitar part and Randy didn't remember because they hadn't played it since recording it, so the fan casually took the guitar vack and proceeded to show RANDY the song! Can you imagine that?!?!!
I'm going to have to point out that when Sweet Home was recorded it was live in the studio, and on analog tape. We really can't rely on the quality of the original recording or any digital remasters from the originals.
Went through the same process as you and got the same result. Definitely an A note.
As an old guy from the 60s and 70s era, I am always a bit surprised when people get hung up on something like that, as if there were a 'right' way to play rock and roll. Don't over-think it. They sure the hell didn't... if you have to work that hard to hear it, then it's likely not that important to the overall sound of the song, hence it's presence or absence is largely meaningless in the larger scheme of things, right? How many different ways did Hendrix play Voodoo Chile? All of them... each time. Pick one, pick 'em all, mix and match. It's only rock and roll, lol :)
Keep it tight and it will be alright...
Scott Raines did a video on this awhile back. He plays in the Artimus Pyle Band and was friends with Ed King. He said the studio recording does start on A but Ed later started using Bb because he preferred the sound of it.
Great video…, a million know-it-alls should watch this…
Same thing happened in one of the riffs in Angel of Death by Slayer
The fact if the matter is this,
.. when you're playing in a bar full of average people who are not musically inclined or keen,
.. it really doesn't matter, especially if they're a few drinks into the night.
They're not paying full attention, and it wouldn't matter if they were/are simply because they don't know.
As long as what you're playing sounds close enough, they'll thoroughly enjoy it.
Of course this isn't an excuse for musicians who deeply care and are passionate perfectionists,
.. but if you're just in it mostly for fun and to make some money on the side.. let it rip and enjoy.
I've witnessed many big bands play live and have always noticed everything different from a studio recording.. and if it sounds better or worse to my trained ears, and even if it seems intentional or a simple mistake.
Sometimes a professional musician doesn't like the way certain parts of a song are recorded in studio, but they go along with it to get through the recording time, because they want to get out on the road.
Another part of it comes from growing bored playing the same songs every day and night during a tour.. the monotony of it all, and you just need to change things up a bit just because.
And at those moments, I even paid attention to the large crowds to see people's reactions and the vast majority of concert goers never even notice, they're just wrapped up and lost in the fun and excitement.
It's all just part of the experience, and the joy of music.. it's all fairly fluid.
Also.. a studio setting is completely different from a live setting (as you well know),
.. and sometimes a piece, or even a small detail of a piece done in studio is easier to do in that environment because you have the time or whatever,
but then when playing live you'll switch to an easier method of getting the same or close to the same sound,
.. because you're on that stage for a while, no breaks and your hand/fingers can get really fatigued
You are correct, the Bb is for the live version
Sounds like A to B to me but as fast as the lick is, it's not that noticeable either way. I find the A to B a little easier to play.
Might just be me, but David Gilmour always seems to articulate "comfortably" in the chorus of Comfortably Numb differently live than when it was recorded.
And this is why music is amazing and why we love it and preforming live, moods change, how we play changes, what we hear changes. Grow and discover. With that Back in Black live has my ear all over. we all know E D A then the little lick however the second time around it does sound like a straight A when listening to a live performance. I saw them in 09 and tied to stay focus on Malcom but to this day idk and maybe the mystery is in the hands
I went through this exact same issue when I learned this for my current band. It was DEFINITELY recorded A to B and I found some live shows where you definitely hear it done A to B. I don't know when Ed started doing the B flat but it was well after the recording and the first tour.
Just think about how many more notes have been changed by the artist over the years probably more than we all realize,
proly after recording he just thought B flat sounds better to him and kept it that way later on :P
Yep that's all it is.
So many songs evolved over time, and it’s entirely possible he started it as A to B and it morphed and that’s all he remembers lol
Could also just be him exerting power that Ronnie Van Zant didn’t allow when he was alive. (Ronnie is well known for being the boss) lol
It's A to B, case closed once you slowed it down. Case cemented when you brought it to Melodyne
Scott Raines agrees with you about the A to B - check his Sweet Home Alabama - Wrong Note video.
Even Gary Rossington shows A to B. Start at 19:00 min mark. Search for video Lynyrd Skynyrd - Gary, Rickey, Sparky show us how to play SWEET HOME ALABAMA from creator Nono L.
Sounds like A to me as well....but I do like the Bb version too. Like you said, bluesy.
I definitely like the B flat better but sometimes I play A to B flat which also sounds cool and gives a different sound as well.
A is correct, but Bb sounds better! :) Kind of country lick.
It would be interesting for you to take a look at the version from the live LP from the 1970s.
I also think Roger Fisher plays the part on Barracuda behind the "Sell me sell you" lyric differently now than he did on the record. I don't hear the chord lick at all on the original recording, although it is buried somewhat.
One thing about southern guitarists is we roll our notes. Try that.
In that Ed King clip he picks the A and it's a grace note from Bb to B.
I like the space between the A and the B. The other way seems a bit compressed.
But I think it would be fine to mix it up, to play variations as you go.
Hey Brother I'm Frome Alabama So No Matter How You Play It Sounds Good From Here
Deep dive is great. I think you have it right.
I also like to get the details correct where I'm capable, and as @Stephenguitar93 noted, Ed King cleared up the mystery in a different video (recorded version is indeed A to B), however, how deep we dive into the details will ultimately have little to no relevance to the average audience member, or does it?. I am not saying details don't matter, to the contrary, it's the level of the details. If you're spending a significant amount of time deciphering a solitary note that sounds good either way it's played, is it consequential to the desired result for the end listener? Will the dance floor erupt in chaos over a Bb? Artistic license or lack of preparation?
I think the closer we can get to the original detail of a song adds authenticity, quality, and validation of a really good band and its players. It's also helpful to develop our musical ear and ability, but if the artist who wrote the song doesn't always play it exactly as it was recorded, and they hardly ever do, is the cover band responsible to hold up the mantle of the original recording? I can go either way ; )
Had to grab a guitar to be sure. But I grab the G chord then play A to B with my #1 finger just like any country hammer lick. And then I vary the rest of the lick as I feel fits. But that’s just my style. I can play note for note , but rarely do … ✌️
A to B is definitely correct but I do think the Bb sounds better
Ive always heard A to B , and still do.
That reminds me of the mistake in the beginning of Ain't Talkin Bout Love by Van Halen. On the second pass he hits a note twice that is never reflected in transcriptions or official tabs.
I learned to play this from tablature form the Guitar world magazine way back and yes it was transcribed as you played it so I am pretty sure that is the way it was on the original recording but yes the Bb does sound better and maybe Ed King kinda evolved playing it that way
I'm hearing A to B too.
The original recording sounds like open A to B, it’s what I hear and what I play but I suspect he has changed the way he plays it live.
I play it as a quick pull off Bb to A then B.
I saw that vid and was so shocked lol
A to B
The Bb is not in intro but is in the verse so King probably just started using it in intro too.
Question. In the most recent version of the group, how is it played? Is it played A to B or Bb to B? Since the guitarist playing it would not be the original guitarist and the group wants to keep things correct.
I hear an “A,” and I prefer it that way.
Definitely A to B, but since I don’t know theory, I have a question. Is this song in G Major, or D? I figure it resolves in G, therefore it’s technically in G Major.
I went through this over 25yrs ago.. it’s definitely A - B but I also like B - A better…
It is an A without a doubt, no question.
haha the notification bell sound
Friends, we must remember that it was the 70s, everything was recorded to tape, and it's more than possible that the tape speed got sped up or slowed down to match the pitch of other things that were being mixed together, while nobody but the producer was looking. Ed King may well have told exactly how he played it. It's most likely that something got pitched up or down about a tone to work with the vocals.
Not in this case, the original recording is in standard tuning.
And while we're at it, what is the opinion on "Your time is gonna come" and "Bring it on home"?
Bloody brain worms, you have put one in my head now thanks mate lol. Thanks for sharing your insight.
A to first fret bent slightly up to B? Melodyne kind of made it look like the B was slightly flat.
Funny how you call @2:48 the "Jaws Theme" and play a major 2nd interval, where it's actually a minor 2nd interval in Jaws. Based on that I thought you might have gotten the "A" note wrong, but I hear it as well on that recording.
When you slow it way down ,yours sounds right. At speed that half step is hard to tell the difference
It’s absolutely A to B on the recording. Live I think from time to time they used the Bb.
It's amazing how what seems to be a rather simple riff, can end up being so complex and yet, a little hazy!
I'm still perplexed (and have yet to find a video of it played correct "to my ear") the riff at 0:12 into Led Zeppelin's The Rover. I can't
figure it out.
What I hear also is... that the there's no pull-offs after the hammer-on. In the record version.
Recording is A but the B flat sounds better, Maybe after they recorded it Ed was kickin himself saying I shoulda played the b flat and not the damn A but they were stuck with it
There's only a few times in the verses where you can hear a Bb, and it does sound friendlier (less formal).
That lick starts on the A string beginning on the A# to B
It’s a to b for me. But, i also prefer the sound of the b flat to b
It is an A note. If you look up Skynyrd playing in the 70s, you can actually see them playing the notes on the 2nd fret. I've been playing since 1994 and never once heard or seen anyone using a Bb note in that riff.