How To Write An AC DC Song

You want a song that hits like a fist of thunder and lodges in the skull like a catchy bruise. You want raw riffs, lyrics that are simple and filthy in the best way, vocals that bark like a gladiator, and a groove that makes air guitars mandatory. AC/DC wrote songs that sound obvious the second they arrive. That is not magic. It is craft. This guide gives you the exact tools to write an AC/DC style track you can play loudly while your neighbors plot revenge.

Everything here is written for artists who want results fast. We will cover riff construction, classic chord choices, groove and tempo, guitar tone and amp tricks, vocal approach for both Bon Scott era and Brian Johnson era, lyric themes, structure that keeps momentum, arrangement, recording tips, and practical writing drills. We will explain every term and acronym so you do not nod like you understand then Google later. You will leave with a song plan and exercises you can apply tonight.

What Makes AC/DC Sound Like AC/DC

AC/DC sounds like a compressed, no nonsense translation of the blues into stadium rock. Their songs feel like a fistraised promise. There are recurring choices you can learn and use.

• Riff first songwriting where a guitar figure carries the identity.
• Power chords and open chords that hit hard and leave space for the lead to sing above.
• Simple chord movement usually rooted in I IV V blues moves or modal shifts that emphasize groove over complexity.
• Guitar tone that is raw, mid forward, crunchy, and loud. Think tight mids and a thick low mid presence.
• Call and response vocals with gang shouts and simple repeated hooks.
• Lyrics about big simple ideas like sex, rebellion, work, and travel told with physical details and big titles.
• Relentless tempo and pocket with drums that lock to a steady backbeat and bass lines that follow the groove.

Signature Elements You Must Know

Power chord explained

A power chord is a two note chord consisting of the root and the fifth. Sometimes the octave is added. It is not a full major or minor chord because it lacks the third. That absence gives the tone a neutral but heavy quality. In notation write E5 rather than E major or E minor to show a power chord.

Pentatonic scale explained

The pentatonic scale is a five note scale widely used in blues and rock. For example A minor pentatonic contains the notes A C D E G. It is a shorthand toolbox for riffs and solos. Many AC/DC solos are built from the minor pentatonic with a few major blues scale notes added for color.

BPM explained

BPM stands for beats per minute. It is a way to describe tempo. Many AC/DC songs sit between 100 and 140 beats per minute depending on whether the feel is stompy or urgent. TNT grooves around 120 BPM and Highway to Hell sits near 116 BPM. Choose a tempo and stick to it hard.

Double tracking explained

Double tracking means recording the same guitar or vocal part twice and panning left and right to create a wider sound. AC/DC used double tracked rhythm guitars with small performance differences to create thickness. Do not try to correct tiny timing variations away. Those imperfections are part of the vibe.

Pick the Right Key and Tonal Palette

Many AC/DC songs live in open keys that work well for guitars. Common keys include A, G, E, and D. Why these keys? They are guitar friendly. They allow low open strings to ring and make power chords easy to move. If you are writing for a singer, pick a key where the chorus can be sung with power on the upper chest voice. If you aim for a Bon Scott style delivery pick a key where the singer can be ragged and aggressive. If you prefer Brian Johnson style pick a key that supports a higher cut glass scream on the chorus lines.

Relatable scenario

You are in a cheap rehearsal room with one lamp and three beers left. The guitarist plays an open E chord and flips their wrist into a crunchy rhythm. The singer tries a line and hits a note that makes everyone grin. That open E becomes the rest of the night. Keep it practical. Keys should feel natural to the musicians and dangerous to the vocalist.

Riff Writing Recipe

AC/DC riffs are often deceptively simple. They use a small set of moves repeated with timing variations and dynamic accents. Here is a method to create a riff that could plausibly belong on an AC/DC record.

1. Choose a root note. Pick E, A, D, or G for guitar friendly playability.
2. Pick a small rhythmic cell. A three or four note motif repeated with emphasis on beats two and four or on the downbeat gives a stomping feel.
3. Use power chords plus a singleton lead note. Add a doubled octave or a bluesy passing note for personality.
4. Halt for space. Leave a beat or half a beat of silence to make the attack feel heavier.
5. Repeat with minor variation. Move the motif up a whole step or change one note to create progression without complexity.

Example riff idea in words

Play an open E power chord for two beats palm muted. Release and play a single open low E note held for a beat. Hammer onto the A power chord. Let the high E ring for a short call. The repeat is the identity. Simplicity creates recall.

Chord Progressions That Drive

AC/DC uses basic progressions. Think of the blues but with a stadium sized snarl. Use moves like I V IV or I IV V in a diatonic context. Add modal color by borrowing a minor chord from the parallel key for one bar to create a dark lift into the chorus.

Progression templates you can steal

• I for two bars then IV for two bars then I for two bars then V for two bars
• I for one bar then flat VII for one bar then I for two bars then IV for two bars. The flat VII chord gives rock punch without jazz complexity.
• Open string drone under moving power chords. Keep the low string ringing as a pedal tone to glue the riff.

Remember that chord name is fine. You do not need to complicate with inversions. The band relied on strong root motion and groove to do the heavy lifting. Your job is to write something that is undeniable when played loud.

Groove and Pocket

Groove is a technical word that simply means the way the drums, bass, and rhythm guitar lock together. AC/DC grooves are simple but precise. The drummer plays straight time with an emphatic snare on two and four. The bass follows the root of the guitar riff and adds small fills at section ends. The guitars play tight staccato or ringing chords depending on the part.

Practical tips

• Keep the kick drum steady and direct. It is not about complexity. It is about a heartbeat the crowd can clap to.
• Snare should be punchy and slightly on top of the beat. If you want a classic feel push the snare a few milliseconds ahead of dead center for aggression.
• Bass should be locked to the kick. Use short notes in verses and longer sustained tones in choruses to increase perceived power.
• Timing matters more than speed. Slight tightness between kick and guitar creates a machine like feel.

Vocal Approach: Bon Scott Era Versus Brian Johnson Era

Both singers are raw, raspy, and charismatic but they serve different characters.

Bon Scott style

Bon sounded sly, playful, and sometimes dangerous. His phrasing was conversational and he loved a story detail. If you write like Bon aim for lyrics that feel like a drunk friend telling a glorious anecdote. Leave room for laughter and snarl. Use phrasing that places words in a loose spoken rhythm rather than a perfectly quantized metric.

Brian Johnson style

Brian is a high voltage shout. He attacks the melody with grit and tension. If you aim for Brian sing from the chest with a forward vowel focus. Choose keys that let you hit big upper chest notes without choking. Keep chorus lines short and scream friendly. Think of the chorus as a call to arms that the crowd will shout back.

Vocal performance tips

• Warm up the voice before you attempt the top end. Do sirens and chest voice slides.
• Record multiple passes. The first messy take can have real magic. Keep it.
• Leave space for gang vocals. They create the arena effect where the crowd completes the hook.

Lyrics That Fit the Brand

AC/DC lyrics are direct and often cheeky. Titles are short and blunt like a billboard. Themes include streetwise sex, bad attitudes, nightlife, danger, trucks, engines, and lines about working hard then playing harder. The trick is to be concrete and loud rather than poetic and coy.

Write like this

1. Start with a title that can be shouted back. One to three words is ideal. Examples: TNT, Highway to Hell, Back in Black.
2. Build verses with images. Use a single physical object to anchor each verse. Example object: leather jacket, broken guitar, open road, engine smoke.
3. For the chorus use a repeated hook phrase that is easy to sing after one listen. Repeat it two or three times in the chorus with a short shout conclusion.
4. Use call and response where a line is sung and the band or a group answers with a shout or a chant.

Real life scenario

You are at a diner at two a.m. and overhear a trucker telling an impossible story about a busted engine and a one night stand. Write that verbatim but cleaner. Use the grit and leave the subtlety at home.

Arrangement Essentials

AC/DC arrangements are economical. A part enters and leaves to create shape. They do not rely on studio effects to cover weak songwriting. The band introduced and removed texture to give the chorus more gravity.

• Intro with a signature riff or guitar figure. The first bars are identity bars.
• Verse with tight rhythm guitars and minimal fills. Keep the vocal upfront.
• Pre chorus if needed to build tension. Often a short drum roll or piano hit creates momentum into the chorus.
• Chorus wide with doubled guitars, gang vocals, and sustained bass notes.
• Solo placed after second chorus. Keep it melodic and tied to the pentatonic vocabulary used in the song.
• Final chorus big with ad libs and small instrumental tag to finish loud.

Guitar Tone and Gear Tips

You do not need vintage gear to get the vibe. You need a tone concept.

Tone concept

Think mid forward, slightly scooped highs, clear attack, and tight low mids. The signal chain often includes guitar to tube amp with a crunchy preamp setting, minimal modern digital processing, and a speaker cab mic close to the cone. Crank the amp a bit to make the power tubes bark. If you cannot crank, use a power amp emulator that mimics pushed tubes or record DI and reamp later through an amp simulator that models tube saturation.

Practical gear checklist

• Guitar with humbucking pickups for thick output or a single coil with a hot pickup if you prefer. Angus famously used Gibson SG models and used PAF style humbuckers.
• Tube amp or an amp modeler that does tube saturation convincingly.
• Thick strings. Heavier gauge gives punch and a fuller low end.
• Double track your rhythm guitars. Slight timing differences make the wide stereo image.
• Use a small amount of reverb for space but avoid long tails in fast riffs.

Soloing that Sings and Bites

Solve solos with pentatonic shapes and bold bends. Angus Young is a master of melodic economy. He uses short phrases, double stop bends, and memorable call backs to the riff. Do not show off by playing endless scales. Play strong, short phrases that sit in the listener memory.

Solo recipe

1. Start with a repeated motif based on the pentatonic box that matches the song key.
2. Use bends that reach just past the target pitch for grit. Let the listener hear the pitch wobble then settle.
3. End on a phrase that echoes the main riff or the chorus melody to tie the solo to the song identity.

Recording and Production Pointers

Production should serve the song. AC/DC records are raw but carefully captured. The energy is real in the room. Here are practical tips for a home or studio setup.

• Record a tight scratch drum or click to lock tempo if you plan to edit later. If you prefer live feel record the band playing together and accept minor bleed between mics to preserve vibe.
• Record rhythm guitars double tracked. Pan one left and one right. Keep timing close but not identical.
• Place the snare and kick in the center, the guitars wide, the bass slightly wider or under the guitars depending on the mix. Vocals should be upfront with a little plate reverb.
• Compression on drums and vocals works to glue the performance. Use moderate attack and medium release to keep transients and sustain.
• EQ guitars by cutting some low mids around 250 to 400 hertz if muddy. Boost upper mids around 2 to 4 kilohertz for bite.
• Leave headroom. AC/DC mixes hit hard but start with clean levels and then add saturation for warmth.

Practice Drills To Write Faster

Speed uncovers instincts. Use drills to conjure riffs and titles under pressure.

Ten minute riff drill

1. Set a timer for ten minutes.
2. Pick a root note and a tempo between 110 and 130 BPM.
3. Write one riff that repeats every four bars. Do not edit until the timer ends.
4. Pick the best two bars and loop them. Try two variations in the last two minutes.

Title and hook drill

1. Write five possible chorus titles in five minutes. Make them one to three words.
2. Pick the title that feels shoutable. Write a two line chorus where the title repeats twice.
3. Sing it loud and record a raw demo. If it makes you smile in the first listen you are close.

Before and After Lyric Lines

Showing you how to make a line more AC/DC appropriate.

Before: I love the way you make me feel every night.

After: You light the fuse and watch me explode at midnight.

Before: I am tired from working all day.

After: I punch the clock then punch the town running my engine loud.

Before: We had a wild night last weekend.

After: We burned the parking lot till the stars went blind.

Common Mistakes and How To Fix Them

• Too many lyrical ideas. Fix by choosing one big image or action per verse. Simplicity is the power here.
• Riff without groove. Fix by syncing the guitarist with the kick drum. Practice with a metronome and tighten the attack.
• Overproduced guitars. Fix by removing effects that smear attack. Use raw tone or subtle modulation only.
• Vocals that try to be pretty. Fix by singing with attitude and imperfection. Grit sells more than polish here.
• Long solos. Fix by editing to the best three phrases and repeating the best one for emphasis.

Songwriting Blueprint You Can Use Tonight

1. Set BPM to something between 110 and 130 depending on whether you want stompy or urgent.
2. Pick a key in E, A, D, or G. Tune the low E string to normal pitch for fullness.
3. Create a four bar riff using power chords and a single lead note motif. Make beats two and four count.
4. Write a short title that can be shouted. Make the chorus two lines where the title repeats.
5. Write verse one with one object and one action. Keep lines physical and short.
6. Build a simple pre chorus if you need lift. Then hit the powerful chorus.
7. Add a short solo using the pentatonic scale. Make it tastefully repetitive.
8. Record a rough demo. Double track rhythm guitars. Add gang vocals for the chorus.
9. Play the demo loudly. If people without prompts sing along you did your job.

Examples of Song Ideas and Titles

• Title idea: Full Throttle Heart
• Title idea: Streetlight Stomp
• Title idea: Midnight Chain
• Title idea: Leather and Lead
• Title idea: Engine Prayer

Pick a title and write two lines that explain the scene. Keep the chorus as a chant. Example for Full Throttle Heart

Chorus draft example

Full throttle heart. Full throttle heart. Burn the map and drive for the dark.

How To Make It Your Own While Keeping the Vibe

You can write in a style without copying. Use the ingredients but change the recipe. Keep the aggression and simplicity but use your own life details. If the band used trucks and engines, you can use motorcycles and late night trains. If the band used cheeky sexual metaphors, use a metaphor that fits your experience. The spirit is louder than exact words.

Relatable scenario

Maybe you grew up in a beach town not a coal town. Make songs about coastline runways, not diesel rigs. Keep the hard edges but swap imagery to match your story. People remember honest details more than accurate imitation.

Mix Ready Checklist

• Guitars doubled and panned wide
• Snare and kick punchy and center
• Vocals upfront with slight plate verb
• Bass sits under guitars but is audible on headphones
• Solo sits between guitars not above them
• Leave a mix headroom of 6 to 8 decibels before final limiting

Performance Tips

• Play the riff like you mean it. Attack the strings with your picking hand and keep the fretting hand relaxed for slides and bends.
• Move as a unit. The drummer and bassist should rehearse fills and stops so the band breathes together.
• Stage presence matters. A simple walk across the stage during the chorus sells the call and response.
• Teach the crowd a shout to answer the chorus. It creates a communal experience that feels massive.

Questions People Ask

Do I need a vintage amp to get the tone

No. You need a tone concept. Modern amp modelers and plugins can emulate tube driven saturation very convincingly. The important part is the settings and the performance. Use a warm mid boost and a tight low end. Record with clean signal and reamp if you can. Small differences in pick attack and timing matter more than whether the amp is from 1978.

What is a good tempo range

Choose between 110 and 130 BPM for a classic feel. Slower tempos below 100 can make the song feel sluggish unless you write a heavy groove. Faster tempos above 140 move toward punk energy which changes the character. Pick a tempo that allows the singer to attack the chorus without strain.

How do I write a chorus that people shout back

Keep it short. Make the title the first or last thing in the chorus. Use repetition. Keep vowels open and easy to sing. For example titles with ah or oh vowels are easier for a crowd to belt. Test the line by shouting it at lunch with friends. If it lands, record it fast.

Action Plan You Can Use Today

1. Open a metronome set to 120 BPM.
2. Pick an E or A chord and play a simple two bar riff until it feels locked.
3. Write a one to three word title that you can scream.
4. Draft a two line chorus that repeats the title twice and adds one defiant line.
5. Record a rough demo. Double the rhythm guitar. Add a crude gang vocal track for the chorus.
6. Play the demo loud. If someone hums the chorus after one play you have succeeded.

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