Friday, February 16: AC/DC, "Squealer"
R.I.P. Ronald Belford "Bon" Scott (1946-1980), Malcolm Young (1953-2017)
Before they blew the doors off with Let There Be Rock, AC/DC was a much slinkier and gnarlier affair. Yes, they had a way with hooks and groove from the beginning, but there was also a seediness that, while never totally disappearing, did seem to get sanded away a bit and replaced with more mischievous good cheer. But “Squealer” gave off real menace, beginning with its lurching backbeat and ominous chords and extending to Bon Scott’s threatening whisper and a chorus that wasn’t so much chanted as coughed and belched. This sounded especially unwashed, even for AC/DC, and actually lent some credence to the perception that these guys really were hooligans that quite possibly worshiped Satan. It was unkempt and shaggy, and not inconsequentially one of the last times they would sound quite this squalid, since just one year later they would tighten up considerably and begin a remarkable hot streak.
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Phil Rudd, Bon Scott & Malcom Young / AC/DC / Bill Graham's "Day on the Green" - July 23, 1978 - Oakland Coliseum - Oakland, CA
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AC/DC "Let There Be Rock"
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Angus on the Black Ice Tour, 2008. They still had the original unit in tact. Bad ass.
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AC/DC
1979 Highway To Hell phot session
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Friday, August 11: AC/DC, "Down Payment Blues"
R.I.P. Ronald Belford "Bon" Scott (1946-1980), Malcolm Young (1953-2017)
Powerage was fundamentally no different from any other AC/DC record, but it was also somehow the one album in their voluminous discography that wasn’t quite as immediate, not as quick to embed in everyone’s bones. As a result, it was initially considered a bit of a disappointment, and to this day remains one of their more neglected entries. But that same borderline impenetrability made Powerage the AC/DC album most ripe for rediscovery, and indeed as time passes it has increasingly become a dark horse favorite among the fanbase, to the point where many consider it among their absolute best, if not actually the best. And “Down Payment Blues” illustrated the album’s particular idiosyncrasy as well as anything else: it didn’t have the skull-smashing hooks and choruses AC/DC were becoming known for, but it had that classic primal groove that steadily insinuated its way into the bloodstream, not to mention steady and simple but absolutely perfect rhythm guitar from Malcolm Young. Bon Scott maybe sounded a little more casual than usual, but still had his inimitable swagger, and of course Cliff Williams and Phil Rudd were perfectly locked in. “Down Payment Blues” just kept moving along without changeup or dynamics, but a sudden time change would’ve been jarring and beside the point. No, the point of the track was straight up rock and roll with an edge, and on that level it succeeded magnificently.
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