More about: AC/DC

Everyone knows AC/DC, but there are as many incorrect assumptions about them as right. They’re Australia’s greatest export, although only one of them was born there, the rest hailing from Scotland and moving to the other side of the planet in their youth. 

They’re one of the biggest legends of heavy metal – although they always denied being metal, preferring rhythm and blues as a description, which is why they chose to sign to Atlantic, home of Otis Redding and Aretha Franklin. They’re heavy, certainly, but how many metal bands can fill a dancefloor like this lot?

They’ve seen many changes since debuting in 1976, not least the deaths of original singer Bon Scott after a night out in Camden in 1980 and the centrepiece of their rhythm section Malcolm Young some 37 years later, but yet somehow remain a constant presence on our turntables and airwaves. So, on the verge of the release of their tribute to Malcolm, this year’s Power Up LP, here are 11 underrated moments from their vaults….

'Jailbreak'

Don’t be confused by this song’s inclusion on the band’s ‘Jailbreak ‘74’ EP – unlike everything else on the EP it was actually penned in 1976 and was subsequently used to spearhead this collection of early cuts and Australia-only releases.  ‘Jailbreak’ is a taste of things to come though, with a spectacular Bon Scott vocal, Malcolm Young’s mountainous central riff and bovver-booted drums, with just a hint of 70s glam rock camp with its insistent handclaps and shaking maracas. And anyway, who needs expensive locations to make a great video?!!  They managed on what looks like the local municipal tip.

'Squealer'

Amazing to think that Dirty Deeds Done Dirt Cheap was shelved by the band’s label after recording in the mid-70s because of its apparently sub-standard production.  It does have a no frills sound that’s more classic rhythm and blues than metal, but shorn of the distortion and trickery that some of their other LPs have just mean that the simple, addictive grooviness of their rhythm section is even more apparent than usual here. Check the way this song gets stripped down to bassline and kick drum before building back up to riotous cacophony, it’s a delight.  

'Little Lover'

While there’s definitely no admission of anything illegal going on in this not exactly heart warming tale of romancing a – fully consenting we hasten to add - groupie, it is definitely worth adding “it was a different time” by way of context.  Worthy of inclusion for the moment when Scott reaches the last verse and sings “You had my picture on your bedroom wall / Next to Gary Glitter.”  Did they know something the world didn’t or was it just a lucky guess?!

'Gone Shootin’

A surprisingly lilting, reflective moment from the Bon Scott-fronted power circa the Powerage, whose heart has clearly been pushed close to breaking point by the departure of 'his baby’.  Not quite rock, not quite blues, definitely not metal, this is yet another side to this multi-faceted crew’s sound.

'Bad Boy Boogie'

If You Want Blood.. is one of, if not the, ultimate live album, capturing not only the sweaty energy of the Glasgow Apollo crowd, but also the odd bit of ad libbing and extended guitar flourishing that the studio albums don’t have time for. This version of ‘Bad Boy Boogie’ is a prime candidate as such, containing not only plenty of what we know lead guitarist Angus Young can do – namely the speedy fretwork soloing that made his name – but also a few moments where he chooses single notes and Sonic Youth-esque feedback in its place. Proper genius.

'Beating Around The Bush'

Delivered at breakneck speed – even by their standards - and blessed with one of their meanest signature riffs yet, this cut from the Highway To Hell album seems to have been left behind when it comes to the legacy of the Bon Scott era. We can’t see why, when it’s the sound of a band truly hitting top athletic form, begging the question of what they’d have done next if Bon Scott hadn’t tragically died in South London in February 1980. On this evidence, it would been spectacular.

'Givin’ The Dog A Bone'

AC/DC don’t immediately strike you as being animal welfare fans, so it’s all the more surprising to find this tale of canine care from the Back In Black album.  We’re sure the Fido in question was delighted. But seriously, with so many hits on this muti-million selling album, it’s hard to pick an underrated moment, but if there was one it is probably this celebratory eruption of tongue in cheek testosterone.

'Breaking The Rules'

It would be an exaggeration to call For Those About To Rock (We Salute You) the band’s reggae album, but their love of, ahem, herbal assistance did lead to a few slow, skanking tracks like its cannon-firing title track. ‘Breaking The Rules’ from the same LP is another fine example of the band proving to be just as rocking in slow motion as high speed.

'Landslide'

With Back In Black and For Those… coming just before it, it was perhaps inevitable that 1983’s Flick of the Switch wouldn’t hit the same commercial heights as its predecessors. But it has its moments, like this rough and ready 12-bar romp that has way more energy than a band on its eighth internationally released LP should exhibit.

'The Furor'

With producer Rick Rubin joining in on production duties and longtime drummer Phil Rudd back in the fray after a decade long hiatus, Ballbreaker is a return to form for sure. But also Rubin can be heard stretching them sonically, concentrating less on overpowering overdrive and collective momentum. There is even, arguably, a touch of country music to this effort, mainly centred around nimble guitar picking. John Peel once famously described The Fall as being “Always the same, always different,” but the comparison works just as well with AC/DC.

'Shot In The Dark'

It’s not quite busy as usual, what with the passing of integral riff builder rhythm guitarist Malcolm Young, but with Brian Johnson back in the vocal saddle, the AC/DC machine rolls on apparently unchanged with Malcom’s nephew Stevie Young now a permanent fixture in the line up. Built around a crafty, cheeky guitar riff and an irresistibly boogie-centric foundation of bass and drums, and coming with a double entendre obvious enough to feature in a Carry On film, it’s just the taster for forthcoming long player Power Up we’d been hoping for.  

More about: AC/DC