CONTENTS INTRODUCTION 4 PERFORMANCE NOTES 5 TABLATURE EXPLANATION 8 LET THERE BE ROCK 9 HELL AIN'T A BAD PLACE TO BE 21 WHOLE LOTTA ROSIE 29 HELLS BELLS 48 BACK IN BLACK 59 FOR THOSE ABOUT TO ROCK 67 SIN CITY 83 HIGHWAY TO HELL a1 ON THE CD The CO is split into two sections; section 1 (tracks 1-8) is the backing tracks minus lead guitar & vocals, while sex tracks 9-16) is the backing tracks with all guitar Parts added. so in addition to the written tab you can hear the rhythm, fills and solos as they should be played! Music arranged and produced by Stuart Bull and Steve Finch. Recorded at the TOTAL ACCURACY SOUNDHOUSE, Romford, England, Jamie Humphries: guitar, Mick Ash: bass. Adam Bushell: drums, Steve Finch: drums (on Sin City). Jamie Humphries plays Ernie Ball Musicman guitars and uses Cornford amps. Music transcribed by Jamie Humphries guitar workshops Professional Guitar Workshops Visit the Total Accuracy Audio Visual Experience at Wwww.jamtrax.comIntroduction THE TOTAL ACCURACY ‘JAM WITH...’ series is a powerful learning tool that will help you extend your stockpile of licks and fills and develop your improvisational skills. The combination of musical notation and guitar tablature in the book, together with backing tracks on the CD, gives you the opportunity to leam each track note for note and then jam with a professional session band. The track listing reflects some of AC/DC's most popular recordings, providing something for guitarists to have fun with and improvise with, as well as something to aspire to, The first eight tracks on the CD are full length backing tracks recorded minus lead guitar. The remaining tracks feature the backing tracks with the lead guitar parts added. Although many of you will have all the original tracks in your own collections, we have provided them in the package for your reference. The ‘JAM WITH...’ series allows you to accurately recreate the original, or to use the transcriptions in this book in conjunction with the backing tracks as a basis for your own improvisation. For your benefit we have put definite endings on the backing tracks, rather than fading them out as is the case on some of the original recordings. The accompany- ing transcriptions correspond to our versions. Remember, experimenting with your own ideas is equally important for developing your own style; most important of all, however, is that you enjoy JAM with AC/DC and HAVE FUN! One of the most influential rock bands of the past three decades, AC/DC was formed in Sydney Australia in 1973, by brothers Angus and MalcolmYoung, lead and rhythm guitar respectively. The Young family were no strangers to the music industry, with Angus and Malcolm's brother Alex, known as George Alexander, forming The Easybeats with guitarist Harry Vanda. They later formed a production team, Vanda and Young, who produced the early AC/DC albums. The original line up included Rob Bailey, Peter Clark, and vocalist Dave Evans. After the release of their first single, Can I Sit Next To You Girl?, the brothers relocated to Melbourne, and recruit- ed singer Bon Scott, Philip Rudd, drums, and Mark Evans, bass. In 1975 the band recorded their first album, and this was followed in 1976 by High Voltage, which showcased their hard-hitting mixture of blues and rock. The band were also making their name as a live act, with their high- energy performances. Angus would always perform dressed in a schoolboy uniform, which would become his trademark. In 1976 AC/DC moved to England, during the explosion of the punk scene. High Voltage was also released in the UK, and was followed by the now classic Dirty Deeds Done Dirt Cheap. 1977 saw the release of Let There Be Rock with the title track including one of Angus’ trade- mark aggressive blues/rock solos. This album also contained Hell Ain't A Bad Place To Be and the classic Whole Lotta Rosie. To promote the album, the band embarked on a tour, which was a great turning point in their career in the UK, with a legendary appearance at London’s Hammersmith Odeon. During this time Mark Evans left, and was replaced by Cliff Williams. 1978 saw the release of Power Rage, debuting the new bass player, and included Riff Raff and Sin City. It also produced the bands first UK hit single, Rock 'n’ Roll Damnation, plus an appearance on Top Of The Pops. But the bands biggest hit came later that year, with the release of the live album /f You Want Blood, You Got It. Highway to Heil was released in 1979, sold millions world-wide and included Touch Too Much, But disaster struck in 1980, with the untimely death of Bon Scott. Scott was found dead after a massive drinking binge. Replacing such a prominent figure In the band was not going to be easy. The band settled for UK vocalist Brian Johnson, formerly of 70’s band Geordie. The band struck back with the awesome Back In Black album, with the title track including one of the greatest riffs of all time. The album also included the epic Hells Bells, with that classic clang- ing bell intro, which became a major part of their live show. The album also included Have A Drink On Me, a tribute to the late Bon Scott. The album sold over 10 million copies in the US alone.1981 saw the release of For Those About To Rack (We Salute You). The title track included can- non explosions, which also became a big part of their live show. The band was drawing bigger crowds, and was fast becoming one of the top live acts around. In both 1981, and 1984 they played at the Donington Monsters Of Rock festival. 1983 saw Philip Rudd being replaced by Simon Wright. The band continued to tour, and release massive selling albums including Flick Of The Switch, Fly On The Wall, and Who Made Who, plus a top of the bill slot at the 1986 Rock In Rio festival in Brazil. In 1989 Simon Wright left, and was replaced by Chris Slade, who was later replaced by original drummer Philip Rudd. The band continued to release albums including Blow Up Your Video, The Razors Edge, Live, and Balibreaker, They also contributed a track to the 1993 movie Last Action Hero, The year 2000 has not seen the band slowing down, but instead a return to form with the release of the critically acclaimed album Stiff Upper Lip, proving that AC/DC are unrivalled in the heavy rock world. This book contains eight classic tracks spanning much of the bands career, so plug your SG into your Marshall, put on that old school uniform, and LETS ROCK! Performance Notes LET THERE BE ROCK The title track from the 1977 album, Let There Be Rock includes all the classic AC/DC ingredi- ent, heavy riffs, a solid groove, plus an aggressive solo. The main riff is based around the chords of E major, E5, AS, and GS. The guitar does not play during the first two verses, but is intro- duced during the third, This sang contains three solos, that use both A minor, (A, C, D, E, G, A), and A major penta- tonic scales, (A, B, C#, E, Fi, A), over the AS chord. The B minor pentatonic scale is used over the B5 chord, (B, D, E, F#, A, B). Once again Angus includes many classic blues/rock ideas, plus a classic rock 'n’ roll style riff, performed with a swung rhythm, over a straight groove, at the beginning of the second solo. The final solo includes some lead ideas that mix both major and minor pentatonics to form a hybrid pentatonic scale. The final solo concludes with some diad ideas, performed with a fast sixteenth note rhythm, The song concludes with more classic rock licks played over a free time ending. This song was recorded with Gibson, and Gretsch guitars, and Marshall amps. HELL AIN'T A BAD PLACE TO BE This track can also be found on the 1977 release Let There Be Rock. The songs intro uses the chords of G5, D/F#, and AS5, with the chords being left to sustain. The main verse riff uses the chords of 47, A6, plus an A octave played as diads on the A and D strings. The part should be performed with a tight and punchy feel, so the rests are very important. In contrast, the chorus uses the chords of D5, G5, E major, and A5 played with a power sustaining sound. The main solo uses both the A minor, and A major pentatonic scales, (A, C, D, E, G, A), (A, B, C#, E, F#, A). This solo shows Angus in fine form, with plenty of aggressive blues/rock licks, that include wailing string bends and fast pentatonic runs. This song was recorded with the Gibson, Gretsch guitars, and Marshall amps combination.WHOLE LOTTA ROSIE Possibly AC/DC's most famous, and most imitated riff, this track can be found on the Let There Be Rock album, and is always a favourite in their live set. The main riff, is based on a chord idea, that uses the chords of C5, D5, and A5 against the open A string. This is doubled with the riff being played as single notes. The verse riff continues this theme, performing the riff as a sin- gle note line, with chordal embellishment using the AS chord. The chorus has a looser feel, and includes the chords of F major, D5, and G5. The solo is based mainly around the scales of A minor pentatonic, (A, C, D, E, G, A), A blues, (A, C, D, Eb, E, G, A), A aeolian, (A, B, C, D, E, FG, A), and A dorian, (A, B, C, D, E, F#, G, A). There is a lot to digest here, with Angus fusing rapid pentatonic licks, with fast modal single string picking runs. Angus also includes a large helping of aggressive Chuck Berry style string bending, and classic rock ’n’ roll licks. Angus also executes some fast double stop ideas, plus a descending chromatic line during the free time section at the end of the song. This song was recorded with the Gibson, Gretsch, and Marshall setup. HELLS BELLS This classic AC/DG track opens with a haunting clanging bell, that introduces a chord arpeggio sequence, based around A minor. The riff concludes with the chords of C5, and G/B. The verse riff is based around AS, D5, and E5, and is performed as tight punchy power chords. The cho- tus uses the same riff found in the intro section. The main lead solo kicks off with some bluesy double stop ideas, that use notes from A minor pentatonic, (A, C, D, E, G, A), and A dorian, (A, B, CG, D, E, F#, G, A). The solo contains many of Angus’ blues style licks, played with an aggressive edge. The solo shifts over the D6 riff, and uses notes from D minor pentatonic, (D, F, G, A, C, D), and D major pentatonic, (D, E, F#, A, B, D). The A minor pentatonic scale is reintroduced over the ES chord. The song concludes with a melodic figure based around A minor pentatonic, plus more of Angus’ signature licks, This song was recorded with the Gibson, Gretsch and Marshall combination. BACK IN BLACK The title track from the 1980 album, this track features one of the most famous riffs all time. The tiff is based around the chords of E major, D major, and AS, with a short lead fill, using notes from E minor pentatonic, (E, G, A, B, D, E). The riff concludes with a chromatic fill, that uses the B note as a pedal tone. The chorus features the chords of AS, E5, B5, B5/A, GS, and D5, that sustain over a solid bass and drum groove. The chomus concludes with the chords of G5, and D5. EpiBemcn RA eer The solo features many of Angus’ classic blues/rock licks, and is based mainly around E minor pentatonic, E blues scale, (E, G, A, Bb, B, D, E), and E dorian, (E, F#, G, A, B, C#, D, E). The solo concludes with a descending figure, that also includes the open first string. The outro includes a riff based around E dorian, with a chromatic figure that uses the B note as a pedal tone. This riff is transposed into A dorian, (A, B, C, D, E, F#, G, A), and uses the same fingering as the previous riff, with the E note used as a pedal tone during the chromatic line. The song concludes with an outro solo, with Angus playing more blues/rock style licks, using the same scales found in the main solo. This song was recorded with a Gibson SG, and Gretsch guitars, through Marshall amps.FOR THOSE ABOUT TO ROCK The title track from the 1981 album, and a crowd pleaser at live concerts, with the help of large firing cannons around the stage! The song kicks off with a triad figure played on the top three strings, with the open B string throughout. This part is performed with the fingers, with the vol- ume backed off slightly. Guitar two includes chord ideas using B5, G5, D/F# and E. The main ‘iff is introduced when the band kicks in, with powerful chords, and fills. The verse is based around a chordal riff that uses the chords of BS. DIA, A, and E major, and G5. Once again, the use of space is important in this riff, so the rests are very important. The chorus uses the same chords and fills found in the intro. The solo is classic Angus, with fast runs, and wrenching bends. Scale choice includes both A minor, and A major pentatonic , (A, C, D, E, G, A), (A, B, O#, E. F#, A), plus the A blues scale, (A, C, D, Eb, €, G, A). During the final chorus Angus outlines the stabbing chords, with some unison bends, The final solo is played over a double time rhythm figure, with playing more high octane blues/rock ideas with a mixture of A minor, and major pentatonic scales. The song concludes with chords performed with a fast tremolo thythm pattem. This song was recorded with Gibson and Gretsch guitars, and Marshall amps. SIN CITY Taken from the Pawerage album, this track opens with a short riff based around E minor penta- tonic, (E, G, A, 8, D, E). The main riff follows, and contains the chords of ES, B5, D5, and A5. The verse riff is based around the same chords, but is performed with a tight, punchy feel. Angus’ playing is pretty sparse during the verse, outlining the chords with only one or two notes. The pre-chorus uses the chords of A5, and BS, played with an open, and aggressive feel. The chorus uses the same riff found in the intro. The solo kicks off with a fast sixteenth note pedal tone figure, that uses notes from D major, and uses the open top E string as a pedal tone, (D, E, F#, G, A, B, C#, D). The solo also includes licks based around E minor pentatonic, (E, G, A, B, D, E), plus E dorian, the second mode of D major. As well as the usual rock/blues style ideas, Angus also includes a fast chromatic legato line, that pull off to the open G string. The song concludes with the riff found in the intro. This song was recorded with Gibson and Gretsch guitars, with Marshall amps. HIGHWAY TO HELL Another classic AC/DC track. This famous riff uses the chords of AS, D/F#, and AS, with a tight and punchy rhythm. The rests between the chord changes are vital in performing this riff cor- rectly. The ES chord is included as a build to the chorus. The chorus includes yet more punchy chordal ideas, and includes the chords of A5, D5, G5, and D major, played with plenty of power. The solo section is intraduced with the ringing chords of D major, and G5/D. The lead solo contains many ideas reminiscent of Chuck Berry's style of playing, and kicks off with some rock 'n’ roll style licks using A minor pentatonic, (A, C, D, E, G, A). The solo also includes some licks based around A major pentatonic, (A, B, C#, E, F#, A). This solo is pretty laid back by Angus’ standards, so attention should be paid to the Phrasing. The song concludes with more A minor/major pentatonic licks, plus some fast trills, and Pick scrapes over the free time ending. Once again this track was recorded with Gibson, and Gretsch guitars, and Marshall amps.Notation & Tablature Explained * Fur A Ful i e a 4| . ‘BENO: Seika the nets. BEND: Strike ta note BEND AND RELEASE: Strhe PRE-BEND: Bend the PRE-BEND AND RELEASE: and bend up a whole step tnd bead up a half step the note, bend up a aif step, ote up, than are Band up, she the note, (ee tres). (one tat. then releate the Bond, then refene i. st a CQuARTER-TONE BENO: UNISON BENO: Strike oth -—«‘TREMOLO'BAR BENDS: Stikatns _-HANMMER-ON: Stik the fet PULL-OFF: Sith the higher Bend hence igh cetes,then bandthe ewer note, snd push bariown dup rote, then sou the necond not, chen pl he ingr ot! mn note ap tote patho the by the amount nceated. Dy roving witht pking, wile keoing the ower Nignas ena coe trtted. SUDE: Slde the ager SLIDE- Side tothe fret WBAATO: The sting in vibrated ‘TAPPING: Mammar on tothe nals mark from De iret nate from a fe fate balow oF by replay banding and eeleseing with aT using the plcking hand, then pull the wecond. Gly the above, ‘nate with the fretboard harc afta the next nat, following the harm frat note ix struck, ertemels bar, ‘a of pulhat inthe normal way. ARTIFICIAL HARMONIC: ARTIFICIAL HARMON ‘PALM MUTES: Rest the paim of Fret the not, then usa the picking ‘Thetharmenic is prodvesd by using the pleking hand on the sings hard fer ta touch the sirng atthe the edge atthe picking hand numb oar the beige to produce a muted Postion shown in breekets and pluck to "pinch the string wht picking stlect Palm mains can apy to 8 with another finger. fray wit the pleetm. singte note or xnumber of peter (shown with 4 dashed fine)Let There Be Rock Words & Music by Angus Young, Malcolm Young & Bon Seott os : as E os ee re aA +s ~ re ie =a + == = "ons rr ee Pm | Sth ovine : 3 7 5 : Lear: a2 atr2 ‘With overdrive es ry x =: x r ee . | —$$_———.—»—9-— = * } 4 — or rl e — © Copyright 1977 J. Albert & Son Pty. Limited ior the world, Used by permission. All Rights Fleserved. International Copyright Secured,— man—— did - ot know owt all show — white maa had the schmalte— & + + * < Blick = man ad he No one knew what they was gon oma do. 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International Copyright Secured.= Bock in back — 1 hit the sat, ve been 100 Jong, Tm glad to te back Yes, fm Back inthe back of some a! Cadilc, umber one with a bullet, I'm a pow-er pack, Yes, Tua —_ ut = a\ Pp Gir2 continues sim, o — lone from the 20ote— feats kee me hang = ina bang wih the gang, they gota exes mel chy want h ; a! ———* 1 : SSS oe aid = ia Fae? z r woe aoe al : . } ‘ ey a of + = i 1 * 7 Jook- in’ at the sky ‘cause it's get- tin’ me high For=get the hearse, ‘cause I'll mev - er die. T gor feck on the wack and Tis beatin’ the flack, a0 bodys gon-na get ome on a-nobermp, = So = P at Soy : a ris ox $ ¥ Ful ® | * H ¥ 3 3 $ = : +—t—|-+ 7 60nine lives, cats ayes a+ bee in’ ev - ty one of them and nin-nin’ wild ‘Cause Tn loot atime now, Tm just making my play, doo ty to puch your tock, just get out = ta my, my way. 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Ny it ailif mil \ “ia ‘It => 7 mi at Aj : ft | ! EH “ : “tt : i tes |Add i ) i Alt AS = back ¥ = oS 5 + Gtr? as Solo Section (ge)-- 8. x uF == ra Fun PUL re . = | Bgl iH fie eee 141k hie te AE As ES as x ey : er ak 2 2 He ee eS a Ss a 2 : — re Sage ft e ue ey 5 1161151 — 3 me 51512-1512 4 — 0 ef eee | 2 =e 12 AIAH12-12 4212-12412} gl — AS 8 as ES rap ay wes of Bef ee Fi ul ose AE Isc rep may mfg ee dpeeee { Ff epee te as te \ fi Lt) ae Oe Gal) Tele Oude lpi ‘Fall, Fal, AS ES AS Or wt ae” GP we Ode”? OP “ee citar Ow — ozFor Those About To Rock (We Salute You) Words & Music by Angus Young, Malcolm Young & Brian Johnson 1125 vere wit trans 43—11—11 1111 4—12-—1 42 a © Copyright 1981 J. Albert & Son Pty. Limited for the worid, Used by permission. All Rights Reserved, International Copyright Secured,zg et et i tt tt ti tt eee oe —— a ioe a f . pene - = — = = a o = Sea 4 = = r n | = —E a | 0—10-—19- —19-—10—10- 14 — 16 A at At 14 tp eee ee tte oes soy = a a a he en| 1 —F 11 —11 at —— 11 1 tt —11——1" 4 o it oie Web 12 tt 12: 4 Baa Bs 421912121 —12§ 121: 1111 +t —md ] is Ei P - 4 ‘4 ce =, Hit —j— : Eg +e 5 8{d Add “tT q " tty ii SR a rom 14 _— Tre aly’s ae you. Pick up your bal | light lead yp your can ~ pon foc atwenty cone. ua aT For a z iy e 3 x "2 ° 7 al | >) Cy | 8 = 4 + 1 3 — 1 : x. —— : io) ———I ane 3 we a tute you,Ab sa = tote! gl Fil Fat Fat Pa FF IT, LT ce > — = ay —s = gt Ful Ful Ful Fut Ful | Fal Fuh Ful Fuk Fy ll Pl Fl ‘ he Po EE eee : ¢—1-—10—10- 10-10 1010101610110 10 — xe | A So i . cs Sao AS OA A os Ds AsO A os ps ni ou * ray a a vay a Jes y as Ds p fay Pp Ful noa 5 oe (W0th voeal ad tbs} ps a8 DA A Ze ray se I 19-10-1313 — 18 4 13—13-10—13— 1313-13 neooom2 © iS Fu rut y= = sige lee Fa Ful Pe ma way Py ral oh ruil Fuly--[e-> “ + : ™ } ms 7 Fly" “12> ick serapes and stds | t 4 42: “ti (¥2}—12" 42% Tit 40° ‘1 —10-— {16} Sy x "TU. ,on = for those. a = bout meopemwe you For those bout ray me Ra fame Fut Ful Fu rape tet J a ooom where the tights are bright—— to-night, Tm gon- na = = = cag 5 BS Ds AS ye copa & phe 7 yee 86 a” ‘te “ey? a? Yok “la —_ a ] @ ‘agon-na— burn you ba - by, PoP oP P PoP og 8) gt a D)of 2 RP LLP BDL euzsscaens 4D DD Pew | ¥ ff ———s— —.—} —— Sori-harm Sombnarm Naw \ sew et -— ata(20) 20 —$——17=17- 5 Be OF ra Pil Rete ed ae) be Te Fol o-, Ful Ful Fat - S181 2181212 —— 12, 4 — ak fot es at 15 a F rs —re—+——— ie 1 {0} {0} +0 11 Lad = ders and snakes, lad = ders give, snakes take, Rich spam, poor man, beggar = ran, ties, Aim’ got a bope in hell thats my belief Bap 83wheel, cut that spin that * frock and moll those ead -ed dice, cae e se 7 Gtr Zeontinues sim 8s aes ey 05% scopa fee #£ e fil co beidees = igh condi sien em om races ocopa Frotly ~ = = ==Highway To Hell Words & Music by Angus Young, Maicolm Young & Bon Scott With avanti ord 6 Di 5 ore Gs : = 3 = ! ) t- 2 2 = , BC = , ' ; DIFF 6 pF} as a = ’ ae — > — rt ——- = = vo S ' rs = 3-4 ao 23 3 ' ' & + + 3 = “3- = —— : — —— ’ m z = - - +- Liv + ita - 5y, tiv - in’ free, sea - son tick - et oon & stop sips, speed limit ae bod = y's goa = na © Copyright 1979 J. Albert & Son Ply. Limited for the world, 1 Used by permission, Ali Rights Reserved, International Copyright Secured.na spin, e 8 + 4—3-— 3 a 3 = 3 ;——_> 2 + * % & x f- = i x—1—x— é i + a don’t need chyma, a eC math + er —— pays) omy dues ply civ ina rook band i SI fen i, eee x — 5. = — rt a— e 23 = ? 3 3 3:3 « 3 3 3 3 — — 2 =o 2 1 4 —o_ Xi x st | i 3 a Ge in down par) time, my fiends are gon > na Hey mom ma fob ee Tm on my way the Lag I © E 5 % ® & — aE a0 92me OS PO PO OED Pe Oe Oy Ow Mee En OD Meo Oy On wna Mees ' co et 8 ie a: LIM ° Nit ' 3 | AE in z : Hy , avy 8 a : : 5 2 a . 3 lel | |e 2 3° 7aN 1815} ————12 PD 15415} 115) ——15—11512/00 (38974)