its not just the 4/4 beat,, its the way he controls the vibration of the hi-hat in such a way, that he hits it exactly perfect when hihat vibrates back. hard to explain and describe but he hits the hihat 2 times for every 4/4 beat so it's practically 8/8 and that gives the hi-hat that smooth ride feel, very easily hearable in this mix. thanks for uploading!
This is something that slade just didnt have, he just didnt understand pocket and played right on top of the time while accenting the ands or playing all tne hihats notes at the same volume, he also would do the obvious thing and insert kick drum notes where phil would leave some space and keep the kick right in the pocket..his approach was amatuerish really musically. I remember going to see the ballbreaker tour and being blown away by the groove and swing the band had that wasnt there with simon wright or chris slade.. its not that they werent still great with those guys but they were soo locked tight with phil you couldnt not bob your head to it
Spot on. AC/DC with Rudd swings. Not so much with Slade. I kind of feel the same way with Steven Adler vs. Matt Sorum. GnR with Adler swings as well. Not a slam against Slade or Sorum; they just feel different, to me at least.
I remember an interview with Phil. The interviewer commented on his slightly swung, behind the beat feel. Phil said something like I play behind the beat because otherwise there’s no place for the music to go, is there? Not exactly sure what that means but it sure worked for him.
@@flamecolumnI can. It's a sound where no other exists. There are a lot of ghosts or ghost notes in rock and roll. Which really ain't a scientific puritan genre of music.
@@saulmorris9639 I definitely am... don't think I've ever seen a better opening to a concert, and Phil Rudd sets the tone with an awesome build up... ua-cam.com/video/6tdiMdj164w/v-deo.html
Absurdly boring! Slade made them go places, musically, from 90-92 where they hadn’t went before, making them play to their max, which suited them. This is just a fucking sleeping pill
@woodysdrums8083 You misspelt “He was different”. He has his own style and his own sound. His unique take on the songs made for an interesting contrast/alternative to Phil’s.
Phil rudd is a fucking machine
its not just the 4/4 beat,, its the way he controls the vibration of the hi-hat in such a way, that he hits it exactly perfect when hihat vibrates back. hard to explain and describe but he hits the hihat 2 times for every 4/4 beat so it's practically 8/8 and that gives the hi-hat that smooth ride feel, very easily hearable in this mix. thanks for uploading!
Powerage album really showed Phil’s talent and the rest of the band
That Hi-Hat gives it the swinging feel. Amazing!
That snare is like THUNDER. He just hammers the piss out of those drums. Most underrated drummer ever??
Jeezus, the guy is a fucking machine. I shook his hand once and it was like iron.
What a legend!
great drummer
The heart of AC/DC
Boys may be from Sydney but the heart comes from Melbourne 🤘🏼
❤love the rudder!
This is something that slade just didnt have, he just didnt understand pocket and played right on top of the time while accenting the ands or playing all tne hihats notes at the same volume, he also would do the obvious thing and insert kick drum notes where phil would leave some space and keep the kick right in the pocket..his approach was amatuerish really musically. I remember going to see the ballbreaker tour and being blown away by the groove and swing the band had that wasnt there with simon wright or chris slade.. its not that they werent still great with those guys but they were soo locked tight with phil you couldnt not bob your head to it
Spot on. AC/DC with Rudd swings. Not so much with Slade. I kind of feel the same way with Steven Adler vs. Matt Sorum. GnR with Adler swings as well. Not a slam against Slade or Sorum; they just feel different, to me at least.
I remember an interview with Phil. The interviewer commented on his slightly swung, behind the beat feel. Phil said something like I play behind the beat because otherwise there’s no place for the music to go, is there?
Not exactly sure what that means but it sure worked for him.
Wright was a good fit, Slade was awful
@@flamecolumnI can. It's a sound where no other exists. There are a lot of ghosts or ghost notes in rock and roll. Which really ain't a scientific puritan genre of music.
Chris Slade at Donington is unbeatable, infinitely better than Phil. Chris on the rock or bust tour sounded awful.
He's just a genius. I want to be the next Phil Rudd 🥁🤘🤘
Me too
Would love some isolated Phil Rudd from 1979... especially when they opened the set with "Live Wire"
i think your thinking of paris 1979
@@saulmorris9639 I definitely am... don't think I've ever seen a better opening to a concert, and Phil Rudd sets the tone with an awesome build up... ua-cam.com/video/6tdiMdj164w/v-deo.html
@@saulmorris9639could be anything from Colchester to Glasgow to Paris, y’know?
Odličan bubnjar
Phil is just totally integral to Acdc _ the others weren't
Relaxing...I go to sleep
Wow, is all I have to say.
ac/dc without Phil is another band.
Phill has the same importance as Angus for the band.
Absurdly boring! Slade made them go places, musically, from 90-92 where they hadn’t went before, making them play to their max, which suited them.
This is just a fucking sleeping pill
Then why did you listen to it if it's boring?
Hahahahaha Is this a fucking joke?? Slade the worst drummer to ever be in the band.... Phil is the heart of the band
Slade was great with manfred man but he sucked with ac dc.
He didn't necessarily suck but he was pretty good on the drums with acdc though such as thunderstruck and donnington
He was superb during Razors edge. He took them to a new level. With Phil the Donnington gig would not be that good
@woodysdrums8083
You misspelt “He was different”.
He has his own style and his own sound. His unique take on the songs made for an interesting contrast/alternative to Phil’s.