Golf instruction is ever-evolving, but the best advice stands the test of time. In Timeless Tips, we highlight some of the greatest advice teachers and players have dispensed in the pages of GOLF Magazine. Today we look back to our November 1982 issue for some driving tips from Calvin Peete. For unlimited access to the full GOLF Magazine digital archive, join InsideGOLF today; you’ll enjoy $140 of value for only $39.99/year.
There may be no golfer in the history of the game who hit the ball straighter off the tee than Calvin Peete. In 1983, Peete led the Tour in driving accuracy, hitting a 84.5 percent of his fairways, or 9 percent more than the next straightest driver and about 22 percent straighter than Tour average.
For the entire decade of the 80s, Peete ranked either first or second on Tour in fairway accuracy percentage each season. His “worst” mark during that stretch came in 1980 when he hit “only” 78.74 percent of fairways.
Amid that stretch of insane accuracy off the tee, Peete joined GOLF Magazine to share some of his secrets. Check them out below and implement them yourself. You’re sure to hit more fairways if you do.
Peete’s keys to hitting more fairways
Everyone calls me a straight ball hitter, but in reality they’re wrong. I just hit a lot of fairways. I think that the straight shot is the hardest shot you could try to hit. That’s why I always like to think that I’m working the ball from left to right or from right to left.
To keep the ball in the fairway, I always work it within the fairway. I never want to set up so that the shot will start toward trouble — there’s the risk the fade or draw won’t materialize. I also never set up using the edge of a bunker as a target, for example. Instead, say, on a fade, I’ll choose an area that’s left center of the fairway, align my body squarely for that area, then fade the ball back to the center.
If you have good body control, I believe you can learn to hit any shot you want. The first and most important control factor is tempo. You have to find your best tempo and play within it. If you get too fast, you will be inconsistent because you won’t make solid contact. What actually controls tempo is the left side. That’s why I key on the left side in my swing; the right side merely supplies the power at the correct time on the downswing.
I also believe that for accuracy you can’t have too many parts of the body moving at the same time. For example, when I set up to the ball, I establish an angle in the back relative to the ground. I try to keep this angle constant throughout the swing — then I avoid dipping or raising the body. You’ll notice, too, that I don’t exaggerate the leg action. I put more emphasis on the upper part of the body than on the lower part. If you have the proper knee flex at address, and the proper balance and shoulder turn, the legs will automatically work. “Drive the knees” and other such lower body thoughts are a good plus for power, but they’re not necessary for accuracy.
The proper grip is also high on my list of essentials. First, it must be versatile enough so that I can release the club early to draw the ball or release it late to fade the ball. I once used a very strong grip and was very erratic. Seven years ago, I decided to move both hands to the left, into a position where both palms were square to the target. I found it easier to work the ball. And also, with my hands square, it was far easier to take the club back square.
In the takeaway, I key on moving the club straight back from the ball and keeping it as low to the ground as possible. I keep my left arm as extended as I can (I broke my left elbow as a kid and this is as “straight” a left arm as I can get) and try to use the shaft as an extension of my left arm and shoulder. I keep the left wrist square — no twisting the club open or closed.
At the top, my weight has shifted to my right foot. However, I don’t really think about it, because, since I start for a driver with about 60 per cent of the weight on the right foot, I find that by keying on a full turn of the shoulders I get all the weight shift I need. To avoid swaying to the right, I keep my left heel down.
Another reason I don’t allow my left heel to lift in the backswing is that it creates enough of a coil in the lower body so that my legs automatically lead the downswing. The pull creates the leg action in the entire left side that brings the club down to the release point. Because of my “automatic” leg action, I feel the first downward move in my shoulders, even though I know from looking at the photographs that it starts in the legs.
A key move I make for control starts at the top of the backswing; | lead the club into the downswing with my left wrist. At the top, my left wrist was in line with the top of my left forearm. In Photos 4, you can see that the left wrist has bowed out a little. The move is similar to the one made by Ben Hogan — his “supinated” left wrist — and serves the same purpose. The left wrist leading puts the left wrist in such a strong position that it will never break down at impact.
I can release hard, soft, early or late and not worry about losing the power out of my left side. This move is particularly important for me because my left arm is much weaker than my right arm; I have to make certain the right side is kept under control.
The release occurs roughly from. I say “roughly” because, as I’ve said, I release the club late to fade the ball and a little earlier for a draw. The photographs here show a fade, which is my “pressure” shot, the one I’d go with if I had to hit the ball well. You can see the action clearly — my right hand has not passed the left and the clubface is a little open even though the photos were taken immediately after impact. If I were hitting a draw, my right hand would have passed over the left and the clubface would be somewhat closed.
