Chords for How To Play AC/DC's "You Shook Me All Night Long" on Drums
Tempo:
123 bpm
Chords used:
Dm
Ab
Eb
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hey everybody in drum land, this is Charlie Waymyer coming at you loud and live from the
Percussion Institute of Technology studio in sunny Hollywood, California.
Today we're going to be talking about one of my favorite drummers, Phil Rudd, and his
playing on the ACDC song, You Shook Me All Night Long.
Phil's genius lies in his simplicity.
He doesn't play a lot of notes, but his parts have a lot of conviction, a lot of attitude.
That's what really drives all of ACDC songs, and that's what makes Phil Rudd the ultimate rock drummer.
Phil's drum parts complement the music perfectly.
He leaves a lot of space for Angus' guitar parts and Brian Johnson's vocals, which tend
to be quite busy.
A perfect example of this is the groove on the verse of You Shook Me.
Now pay attention to the space in the part.
He's not exactly playing the rhythm that the guitar is playing, but rather a rhythm that
goes around it, and it sounds a little like this.
Now this sounds like a very simple drum pattern, and technically [Dm] it is.
But drums are all about groove, and what makes this groove so well is how he plays it.
The part by itself, without the fill factor, would sound like this.
[Ab]
But Phil lays back on the and of three, and on beat four with the backbeat.
This creates a nice, fat groove.
On the other hand, he uses the hi-hat to drive the groove.
This creates forward motion, helps push the groove along, which sounds like this.
Now in the chorus, he really opens up the groove, playing what is commonly known as
the money groove, which is the bass drum on beat one and three, the snare drum on beat
two and four.
And Phil occasionally plays a pickup note on the bass drum on the and of four, leading
into the downbeat.
So the chorus groove sounds like this.
The simplicity of this groove, and the attitude and conviction that he has behind it, really
drives the chorus home.
Again, he's not overusing crashes.
He's using them to accent the guitar parts.
And at the very end, the fill that he plays to get back into the verse groove, he doesn't
even use a crash.
He just goes [Eb] [A] right back to the hi-hat, which is really nice.
It just slides right back into that verse groove.
In the first half of the solo, Phil uses the bass drum to accent the guitar and the bass part.
Once again, it's a simple pattern that perfectly complements the music, and it goes like this.
Rock and roll is not about how many notes you play.
It's about how you play them.
And this is why Phil Rudd is the master.
And if you want to be a rock and roll drummer, you better listen to Phil.
This is Charlie Waymyer signing off from the PIT Studios.
See you around.
Percussion Institute of Technology studio in sunny Hollywood, California.
Today we're going to be talking about one of my favorite drummers, Phil Rudd, and his
playing on the ACDC song, You Shook Me All Night Long.
Phil's genius lies in his simplicity.
He doesn't play a lot of notes, but his parts have a lot of conviction, a lot of attitude.
That's what really drives all of ACDC songs, and that's what makes Phil Rudd the ultimate rock drummer.
Phil's drum parts complement the music perfectly.
He leaves a lot of space for Angus' guitar parts and Brian Johnson's vocals, which tend
to be quite busy.
A perfect example of this is the groove on the verse of You Shook Me.
Now pay attention to the space in the part.
He's not exactly playing the rhythm that the guitar is playing, but rather a rhythm that
goes around it, and it sounds a little like this.
Now this sounds like a very simple drum pattern, and technically [Dm] it is.
But drums are all about groove, and what makes this groove so well is how he plays it.
The part by itself, without the fill factor, would sound like this.
[Ab]
But Phil lays back on the and of three, and on beat four with the backbeat.
This creates a nice, fat groove.
On the other hand, he uses the hi-hat to drive the groove.
This creates forward motion, helps push the groove along, which sounds like this.
Now in the chorus, he really opens up the groove, playing what is commonly known as
the money groove, which is the bass drum on beat one and three, the snare drum on beat
two and four.
And Phil occasionally plays a pickup note on the bass drum on the and of four, leading
into the downbeat.
So the chorus groove sounds like this.
The simplicity of this groove, and the attitude and conviction that he has behind it, really
drives the chorus home.
Again, he's not overusing crashes.
He's using them to accent the guitar parts.
And at the very end, the fill that he plays to get back into the verse groove, he doesn't
even use a crash.
He just goes [Eb] [A] right back to the hi-hat, which is really nice.
It just slides right back into that verse groove.
In the first half of the solo, Phil uses the bass drum to accent the guitar and the bass part.
Once again, it's a simple pattern that perfectly complements the music, and it goes like this.
Rock and roll is not about how many notes you play.
It's about how you play them.
And this is why Phil Rudd is the master.
And if you want to be a rock and roll drummer, you better listen to Phil.
This is Charlie Waymyer signing off from the PIT Studios.
See you around.
Key:
Dm
Ab
Eb
A
Dm
Ab
Eb
A
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ Hey everybody in drum land, this is Charlie Waymyer coming at you loud and live from the
Percussion Institute of Technology studio in sunny Hollywood, California.
_ Today we're going to be talking about one of my favorite drummers, Phil Rudd, and his
playing on the ACDC song, You Shook Me All Night Long.
Phil's genius lies in his simplicity.
He doesn't play a lot of notes, but his parts have a lot of conviction, a lot of attitude.
That's what really drives all of ACDC songs, and that's what makes Phil Rudd the ultimate rock drummer.
Phil's drum parts complement the music perfectly.
He leaves a lot of space for Angus' guitar parts and Brian Johnson's vocals, which tend
to be quite busy.
A perfect example of this is the groove on the verse of You Shook Me.
Now pay attention to the space in the part.
He's not exactly playing the rhythm that the guitar is playing, but rather a rhythm that
goes around it, and it sounds a little like this. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Now this sounds like a very simple drum pattern, and technically [Dm] it is.
But drums are all about groove, and what makes this groove so well is how he plays it.
The part by itself, without the fill factor, would sound like this. _ _ _ _ _ _ _
_ _ _ _ _ [Ab] _ _ _
_ _ _ But Phil lays back on the and of three, and on beat four with the backbeat.
This creates a nice, fat groove.
On the other hand, he uses the hi-hat to drive the groove.
This creates forward motion, helps push the groove along, _ which sounds like this.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Now in the chorus, he really opens up the groove, playing what is commonly known as
the money groove, which is the bass drum on beat one and three, the snare drum on beat
two and four.
And Phil occasionally plays a pickup note on the bass drum on the and of four, leading
into the downbeat.
So the chorus groove sounds like this.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ The simplicity of this groove, and the attitude and conviction that he has behind it, really
drives the chorus home.
Again, he's not overusing crashes.
He's using them to accent the guitar parts.
And at the very end, the fill that he plays to get back into the verse groove, he doesn't
even use a crash.
He just goes _ [Eb] _ _ [A] right back to the hi-hat, which is really nice.
It just slides right back into that verse groove. _ _
In the first half of the solo, Phil uses the bass drum to accent the guitar and the bass part.
Once again, it's a simple pattern that perfectly complements the music, and it goes like this. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ Rock and roll is not about how many notes you play.
It's about how you play them.
And this is why Phil Rudd is the master.
And if you want to be a rock and roll drummer, you better listen to Phil.
This is Charlie Waymyer signing off from the PIT Studios.
See you around. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ Hey everybody in drum land, this is Charlie Waymyer coming at you loud and live from the
Percussion Institute of Technology studio in sunny Hollywood, California.
_ Today we're going to be talking about one of my favorite drummers, Phil Rudd, and his
playing on the ACDC song, You Shook Me All Night Long.
Phil's genius lies in his simplicity.
He doesn't play a lot of notes, but his parts have a lot of conviction, a lot of attitude.
That's what really drives all of ACDC songs, and that's what makes Phil Rudd the ultimate rock drummer.
Phil's drum parts complement the music perfectly.
He leaves a lot of space for Angus' guitar parts and Brian Johnson's vocals, which tend
to be quite busy.
A perfect example of this is the groove on the verse of You Shook Me.
Now pay attention to the space in the part.
He's not exactly playing the rhythm that the guitar is playing, but rather a rhythm that
goes around it, and it sounds a little like this. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Now this sounds like a very simple drum pattern, and technically [Dm] it is.
But drums are all about groove, and what makes this groove so well is how he plays it.
The part by itself, without the fill factor, would sound like this. _ _ _ _ _ _ _
_ _ _ _ _ [Ab] _ _ _
_ _ _ But Phil lays back on the and of three, and on beat four with the backbeat.
This creates a nice, fat groove.
On the other hand, he uses the hi-hat to drive the groove.
This creates forward motion, helps push the groove along, _ which sounds like this.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Now in the chorus, he really opens up the groove, playing what is commonly known as
the money groove, which is the bass drum on beat one and three, the snare drum on beat
two and four.
And Phil occasionally plays a pickup note on the bass drum on the and of four, leading
into the downbeat.
So the chorus groove sounds like this.
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ The simplicity of this groove, and the attitude and conviction that he has behind it, really
drives the chorus home.
Again, he's not overusing crashes.
He's using them to accent the guitar parts.
And at the very end, the fill that he plays to get back into the verse groove, he doesn't
even use a crash.
He just goes _ [Eb] _ _ [A] right back to the hi-hat, which is really nice.
It just slides right back into that verse groove. _ _
In the first half of the solo, Phil uses the bass drum to accent the guitar and the bass part.
Once again, it's a simple pattern that perfectly complements the music, and it goes like this. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ Rock and roll is not about how many notes you play.
It's about how you play them.
And this is why Phil Rudd is the master.
And if you want to be a rock and roll drummer, you better listen to Phil.
This is Charlie Waymyer signing off from the PIT Studios.
See you around. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _