Discussion in 'General Music' started by PermissionToLand, Apr 12, 2019.
Here is a pic of what i found in the pup cavities..
On the intro lick, he's pulling off the 7th to 5th fret, while Angus actually never hits the 5th fret, he does a very slick slide from 9th to 7th and immediately goes to the 7th on the D string. That's another thing I recall most tab books getting wrong, and it totally ruins the groove of the lick.
Another subtle detail that makes or breaks a riff, is the short rest in Girl's Got Rhythm, between the repeats of the 7th fret on the D string. That's what gives the riff it's unique groove and nobody ever gets it right. I'll upload a video when I get a chance.
Would you also agree that Angus plays those double stops on 5th and 7th frets before finishing with the C/A power cords on Have a Drink?.. the classic Ang/Mal mix.. ?
Let me go listen again... okay, so Angus does the double stops every time except the last, where he joins Mal with the open chords to give it that triumphant closure. That's how I've always played it. Mal does the open chords every time.
Here's a quality video with isolated stereo tracks so you can hear it:
Forget about the check, we'll get hell to pay!
I just played the song.. TOTALLY hear it now.. he does the slide and then a pause where your brain fills in the ghost "5th fret C note on G string" then continues with the 7th fret D string.. WOW.. actually never heard that before.. does give it more groove.. the other way is sterile..
Rock in Rio vid is the best one for live.. interesting how he fingers the pedal notes on the A string with the notes on the D string 4th, 5th and 7th fret.. I usually just use my pointer on 4th and middle on 5th and pinky on 7th.. Angus hold tight on 5th position and rolls back to 4th.. then back to 5th.. and then uses ring finger on 7th.. just less moving parts..
I better get back to work.. lol
This is one of the better lessons on Girls Got Rhythm I have seen.. he totally has the pause there.. and seeing both parts side by side is more than welcome..
Yeah, I get the same implied ghost note, too. I had to really listen to it multiple times, slowed down, to be sure.
Wow, you're right. I finger it the same way you do. IDK why Angus plays it that way, especially when moving around like he does, I would want to keep my hand anchored in the same spot to avoid mistakes.
He actually has the pause in the wrong place, it goes between the two 7th fret notes on the D string, and it's incredibly quick. It's really less of a pause and more just lifting your finger off the fret between the notes. He has it right for Malcolm, which is what probably threw him off; they both pause at different places in the riff. Another little detail that most people who think AC/DC is simple have no idea about!
I think this thread has new life ..as it should..the beauty of playing styles.. I got hooked on ACDC in college..as a local band in the mid 80's in PA played entire sets of Bon material..could not get enough..hell ain't a bad place to be..riff raff and let there be rock and Rosie we're favs
The band was named "Harpo" and they played some of the more challenging solo songs of the Bon years..even the lead guitar played a tiger striped charvel with JCM 800..he killed the solos..spot on..
Just dug out a tribute mag from guitar world written in 2006 with older published articles. Seems the writer had a sit down with Angus to describe some of his songs and how people butcher them at times especially with tab.. nothing monumental.. but Angus does confirm that intro to FTATR is only on G and E strings (no open B) and he picks the G while fingering the E string. He told the writer the other way would be too F*ing hard.. lol.. also that Hells Bells was originally writen on acoustic in key of E.. much darker but Brian could not sing it.. using open E string and playing 7th and 5th position on A and D strings..
One last bit is he does confirm the weird fingering on HTH on D/F# base.. as using fingers #2, 3 and 4 before using 2 and 4 on the G cord. I cant play it that way.. his preference..
Second last fun fact.. on Thunderstruck.. George Young complained that the other strings we jangling a bit and showing up on tape so George had Angus tape all but the B string for recording..
What a coincidence, I was just jamming to FTATR! Possibly their most sophisticated album. Mutt really pushed them and it shows.
Really, no b string at all? I never played it open though, I fretted at the 12th. I also didn't know it was hybrid picked. Let me listen... damn, it's true! He seems to be palm muting the picked g string and that's why it sounds softer, like it's being plucked. It definitely adds some space without that b note, making that unaccompanied intro sound even more gaunt and grandiose. I love picking up these kind of little details!
By "the other way being too hard", I think he must mean hybrid picking AND plucking the b note. Because just plucking all three would be the same or easier.
Jeez, Hells Bells in E?! Man, I wish I could have heard that. I'm also surprised they wrote anything on acoustics. You never see them with one, even behind the scenes. There is something to acoustic playing, even of an electric, that seems to bring out creativity. All my best ideas have come from my acoustic or playing solid/semi-hollow acoustically...
I'm confused by the finger numbering there, isn't 5 the thumb? Or is that 1 and the index is 2? In the HTH music video (which is mimed, so not definitive but most likely similar to how it was recorded), he seems to use the index, ring and pinky for the F#/D and then move the ring up to the low G note and keep the pinky in place. Weird way to do it. I think I usually use only my index, middle and ring. But I never dug into HTH much, I prefer the more challenging stuff like Beatin Around the Bush. Now there's a riff everyone gets wrong and I'm so stoked I've finally nailed the groove on. The verse riff is tricky too.
I have heard the Thunderstruck one, and it makes sense, you get other strings picking up vibrations created by the one that is being played and without being muted, they will start ringing. That's a good recording solution. For live performances, he must mute the other strings with his hand.
PTL, very sorry.. had a rough weekend.. I made the edit.. D/F# base he is using 2nd, 3rd and 4th fingers for that cord (most people hook the thumb) or use the move the 3rd finger to capture the low G note on the G cord (like i do).. It does not feel comfortable to me not to use my 1st finger there.. They talked about his lifting left hand pressure and palm muting on HTH to get good silence between cords. Here is a quote " FIGURE 5 shows you exactly how Angus fingers both the D/F# and G5 chords in the HTH riff. Notice how his fingering of those 2 chords facilitates quick easy switching from one to the other, with everything pivoting around the ring finger, placed on the B string at the third fret" OK i dont get that.. i am thinking he meant ring finger B string 2nd fret...??
That makes sense to me. I play the D/F# with my index, middle and ring fingers. When shifting to the G the ring finger stays on the B string 3rd fret and pivots so I can get my index on the 6th string 3rd fret. Neither of those chords would use the note on the B string 2nd fret (C#/Db).
Yes that is the way I play it too.. most comfortable for me.. I cant get used to using 2,3,4 on those chords and lifting the finger on the B string (3rd finger) and then placing it back down.. my lack of hours of practice I guess.. I don't mind firing my 2nd finger up and back to change between those chords.. but then again.. angus is 5'2.. 125 lbs.. he does things his way..
Last night I was tinkering with Hells Bells in E.. using the same positions but moving a string up on the open E, A and D strings.. really does sound darker.. more like a Sabbath song..
I have been struggling with a song from FLICK.. (House is on Fire).. The intro riff I think is a slide on the D string 3-5 fret and playing the open G and 3rd fret B string.. Angus does not always slide the first note. some times he stays put and just plays that G note without sliding it.. the part I get confused on is the next section.. sliding back to the 1st position sliding that G back to F on the D string followed by what I think is him playing the double stop open G and 1st fret B string?? followed by a pause or a muted chug and the same open G/1st fret B and ending with what I hope is 3rd fret D and G strings?? I should try listening to his part better.. perhaps Mals part is confusing me a bit..
also the chorus.. when Brian starts "This House is on Fire" I believe to be open G chords with some sort of an "F" note put in there on the "on" part that he is singing and back to the open G? Could these be power chords G and F just sliding them back and forth like they finish this section with B flat slide to C power chord on the A string?? I am confused.. I love this song.. only one vid exists of them playing it live.. any tabs that exist on this song are totally off base..
I think what he meant was that as the writer suggested he would have to keep the B string clean most of the time while he was slightly muting the G string picking parts.. I also used to play the B string 12th.. was a bit of a cramped finger exercise.. but it does open up wider and quite easy to play leaving out the B all together.. If you dont have this issue they have one on ebay for $5.. search for Guitar World Presents #78.. its an interesting read as it has compilations from 1990's-2006..I am glad i dug this out of the archives.. A few tab sin there as well i enjoy seeing someones take on things..
Andy Aledort usually does a good job and i think he does "you Shook Me" and " "HTH".. they also tab Dirty Deeds, Its a Long way to the Top and Thuderstruck.. but the articles are great.. if we can believe in Angus' own words.. also fun is the full page ad on the back for a Marshall stack 1959SLPX with 2 x cabs for $ 3329 and the Angus Young sig SG (with vibrato) for $ 1849.00.. one loud combination in FEB 2005..(issue date).. seems you can still get the older AY SG for about that price used now..
Just found some great info on HTH that Atlantic Records pushed the boys to get a new producer as George and Vanda made records too rough for America. Their first American tour was for Kiss and Gene loved them, in fact everyone who they opened for in the early days said they outperformed them every night. Def Leopard credits them for homing their showman skills and even Van Halen in 1978 said " we have to follow those F*ING guys?"
Eddie Kramer was slotted as the original producer of HTH but after insisting they play a cover of "Gimme some Lovin'"..they fired him. At the time their manager was sharing an apartment in NYC with Mutt Lange and decided to give him a go. According to Malcolm, if they had known Mutt worked with the Boomtown Rats..they would have fired him too.. the rest is history.
I did not know that Mutt sang backing vocals on half the songs and that "Touch too Much" was insisted upon and produced to be poppy by Mutt..ACDC never liked it but it turned out to be one of their better played songs. And if I don't mind saying one of Angus' more iconic solos to date..short but sweet and memorable.
Angus' Ebony SG Custom is killer, do you think it' s gold hardware ?
It is quite possible that this is the vintage 1970 SG custom Angus had "originally Walnut" where he took the middle pickup out and yes it had gold hardware as he rarely changed anything. If you re-watch the youtube "ACDC: rig rundown" this may be the now "black" former 3 pickup discussed.. and yes.. the gold bridge and tune-o-matic are there and now rubbed nearly completely back to silver, but still noticeable.. I love the look of an SG custom.. I just feel the middle pickup gets in the way when I pick.. those dark cherry Classic Customs of mid 2000's are sweet.. white pickguard.. as are the newer black customs with 2 PUPS.. If I had my choice.. it would be a custom with 2 pickups.. but in nickel hardware... not a fan of the gold as it looks like a museum piece at times..
I'm still not following how you're numbering the fingers. Is the thumb 1st or 5th?
He is definitely palm muting between chords.
Great song, very underrated.
Angus slides up to the 5th fret G for the first instance, but just strikes the G the second time (for the whole song) while Mal slides up to the G both times throughout the whole song. In fact, let me just tab this out for you, that's easier...
The chorus has always been hard for me to make out what's going on, listening closely to the studio and watching live, I think I've got it. Angus does play one note differently live though. I prefer the studio version.
Hopefully this is public so you can see it:
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