This song should be played with a heavy swing. That means, instead of playing the eighth notes evenly, you make the strong beats longer and the weak beats shorter. That might be a little confusing, but listen to the song and you will get a feel for it. The chorus at measure 26-42 is the most difficult section. The left hand plays a few bass runs to give the song momentum, while the right hand fills out the sound with punchy chords.
The key to learning this song is to make your left hand very smooth and steady. The right hand melody is fairly simple, so focus on an even left hand. At the same time, don’t let the left hand accompaniment cover up the right hand by being too loud. Finally, use the sustain pedal to help fill out the the sound.
This song is in 6/8 time, which gives it a triplet feel. Remember that there are 6 beats in each measure and every eighth note is one beat. Use the sustain pedal at measure 41 to help connect the left hand chords. Measure 57 should start softly and then gradually crescendo to measure 72.
In measures 1-8, the right hand is actually playing in octaves and filling in with chord tones at the same time. This is a common technique in piano, but it can be difficult if your hand isn’t used to stretching like that. Measures 50-57 should be practiced slowly at first and then gradually sped up. For this section, the left hand is written in the treble clef and does a lot of “filling in.” That means it plays mostly on the off beats and “fills in” the gaps of the right hand part.
This song is a combination of a few different rock/blues ideas that I’ve had in my head lately. I put in a “call and response” section at measure 37. I imagine the backup singers echoing the lead singer here. Keep the tempo upbeat throughout this song and pay attention to the articulations to really lock in the groove.