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Speaker 1: Welcome back everybody to these Surely You Can't Be Serious

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podcast For those about to rock, we salute you. We

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are here to take on the second part of the

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Appetite for Destruction versus Back in Black episode. Jason, how

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are you doing?

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Speaker 2: It's been along. I'm glad to be back. Yes, I'm

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let loose from the noose. Thanks kept me hanging about.

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Speaker 1: Well, I'm just understruck, so let's start rocking the free world.

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Speaker 3: Hello everybody, and welcome to the Surely You Can't Be

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Serious Podcast, discussing and debating the iconic and the forgotten

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of eighties and nineties pop culture.

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Speaker 1: With your co hosts James D.

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Speaker 3: Graves and Jason Collivin.

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Speaker 1: We are here today to talk about the ACDC album

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Back in Black. Last week we talked about Appetite for

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Destruction by Guns N' Roses, and once we're done with

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going through today's episode, we will give you our final

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judgment as to which album we think is the best. Jason,

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do you know what you're gonna pick? Yet?

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Speaker 2: I do know what I'm gonna pick. I do know

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what I'm gonna pick. This was a really fun episode

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to put together because I mean, you and I went

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back and forth. We had to find two worthy opponents.

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Speaker 1: Right, we've got Evander Holyfield and Mike Tyson face to face.

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Here we go. That's who's gonna bite somebody's ear off.

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Let's do it, man, Let's yeah, all right, we're gonna

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jump right in. So we're talking today about ac DC,

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who has a unique history. They started off and got

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famous with a singer that was not the singer for

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Back in Black.

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Speaker 2: They went through a couple of singers before they got

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to the singer Back in Black. When they started out,

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initially they had this guy named Dave Evans, Yeah, Dave

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and Mark Stone and uh, the guy for the police

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need to form this band called Missus, you know.

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Speaker 1: Yeah, yeah, so Dave Evans was the guy. They had

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had a guy or two before that. But I'll rewind

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just a little bit. You know, we gave you the

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story of the Van Halen Boys history and with this band.

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There's no question that Malcolm and Angus Young are the

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backbone of the band. They're the founders of the band.

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They're the consistent and so some interesting things about them.

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You know, this is regarded as an Australian band, but

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most of the members the core members anyway, were transplants.

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They were immigrants from Scotland. Bond Scott, who ultimately became

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the lead singer, came over in the fifties, and Angus

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and Malcolm came over with their family. In nineteen sixty three.

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Scotland had had what was called the Big Freeze, which

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was like the worst winter on record, and so everybody

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was kind of miserable eight feet of snow, and their

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dad sees a advert on the telly, as they say,

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and it's given, you know, financial help for somebody who

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wants to travel down to Australia, and so he and

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another family member's travel down there. And it's down there

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that their older brother, George starts a band that within

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just like six months or so has a reasonably popular success.

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And the boys see his fame and they're like, hey,

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I think we could do that.

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Speaker 2: Their brother, George was a member of the band called

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the Easy Beats, who had a hit song in America.

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Speaker 1: Yeah, and they were inspired.

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Speaker 2: They're like, hey, our brother put together a couple of guys,

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made some music, and all of a sudden he's famous.

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Speaker 1: Yeah. I mean they came over there and they were

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they're poor, they were staying in a hostel. You know that.

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It was a meager means that they existed by. And

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then six months later they've got cameramen on their front

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doorstep wanting to take pictures of the new rock.

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Speaker 2: Star, their famous brother. That's right right. They grew up, though,

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in a musical family where they would sit around the

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piano and they would play songs, and for them this

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was normal behavior. They just assumed every family did these things.

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Speaker 1: Right, just kind of like reading. For them. Everybody just

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learned how to play something.

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Speaker 4: Yeah.

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Speaker 1: Angus's first instrument was actually a banjo that he strung

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as a guitar so that he could play it like

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a guitar. And he and Malcolm formed a couple of

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high school groups, separate groups, and eventually they decided, you

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know what, these groups aren't working out, but we do

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something together. And then George, the older brother, got home

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and they said, hey, we've started a band together, and

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he goes, I give that one two weeks.

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Speaker 2: These were two brothers separated by two years, and they

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constantly fought.

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Speaker 1: Yeah, And it's interesting to hear that two weeks for

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guys who ended up staying together from nineteen seventy four

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until Malcolm had to leave the band due to health issues. Yeah. Yeah,

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forty years.

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Speaker 2: It's a great run for them, great run for them.

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I think it's interesting where they got their name from

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their band name. Yeah, their sister Margaret had a sewing

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machine and she just made the comment something about her

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sewing machine and on the back of it has this

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little label that said ACDC. Yeah, basically heard that and

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he's like, and that's that's pretty good, you know, And

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that to them meant power and energy, and they thought, well,

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that's a pretty good name.

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Speaker 1: Yeah, we're electric. Not much longer, they're riding in a

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taxi cab and they tell the cabby their name and

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he's like, are you guys gay? Like what speaking.

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Speaker 2: Of their name? Yeah, So it really did just come

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from the back of a sewing machine. Everybody has tried

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to put different meanings for it.

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Speaker 4: Yeah.

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Speaker 2: I had heard all the rumors about how anti Christ

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Devil's Children or after Christ Devil comes all this sort of.

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They just thought it was pretty cool little electrical term.

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Speaker 1: You know. There's this thing that happened when we were

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kids where this guy in California was murdering people as

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the Nightstalker. As it happened. You know, the sheriff's office

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found a hat that he had left behind at one

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of the murder scenes and it happened to be an

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ACDC hat. The you know, the sheriff's office was like,

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we use that information to try to get people to go, hey,

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maybe I know who that is. You know, it's identifying.

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But the press took it and went an entirely different

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direction and try to make them into this demonic band

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and yeah, anti christ thing. It kind of dumb.

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Speaker 2: If you liked ac DC's music, you were suspected of

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being a serial.

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Speaker 1: Killer, right, yeah, But I mean, to be fair, they

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did have a lot of stuff that would have cost

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I mean, if I was a parent back in the

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eighties have been like, wait a minute, there's a guy

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with the devil horns and deviltale on this album and

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the songs the songs called what Highway to Hell?

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Speaker 2: Okay, no, right exactly.

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Speaker 1: I think they like to do things that were controversial

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and stir up excitement about themselves. I don't a new

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idea knowledge, No, And it's not a satanic band, right right.

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So the boys have their band, they go through a

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couple of singers, end up with Dave Evans for a

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little while, who's very much a glam rocker. He's putting

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on the makeup, he's got the spandex going on, and

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the guys are like, uh, this is not working out.

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I don't like this.

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Speaker 2: They didn't like the glam thing at all, but they

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did have a hit with him. Was called can I

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Sit next to You Girl? Yep, sounds like a Beach.

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Speaker 1: Boys too, but it was. Yeah. So they decide, we're

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tired to Dave. We want somebody else who can rock

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a little bit while they have been going through this experience.

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Bon Scott, whose name is given name is Ronald, but

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they called him Bond, which was short for Bonnie Scotland

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because he was from Scotland. From Scotland, right, and so

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he had a rough go of it. He's kind of

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like Axel, you know. He had he had some run

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ins with the law, maybe punched a cop in the

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face here and there, you know, like you do, right.

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And he had been involved with a couple of bands,

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one of which was named Fraternity.

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Speaker 2: He was in Fraternity, the Valentines and the Valentines.

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Speaker 1: Yes, he had been in those bands, but had kind

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of you know, reached the end, hadn't been much of

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a success, had played with some guys and done some tours,

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but really was just kind of at a low point.

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And one night in nineteen seventy four, gets in kind

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of a yelling match with someone in the middle of

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the night in one of the bands and drinks. I mean,

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he'd been drinking all day, which he did for most

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of his adult life, and jumped on a motorcycle and

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had a wreck that almost killed him.

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Speaker 2: That's right, that's right, very near to death.

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Speaker 1: At that same time, as he was recovering in the hospital,

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the boys are looking for a new lead singer for

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the band and somebody says, hey, you know what about

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having Bond Scott And they're like guy who drives with

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the van right right, when you do these things that

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you find that there's never a completely consistent history on

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exactly what happened. But basically Bond Scott had kind of

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acted as a van driver or roady for the band,

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played drums with him here and there, and initially the

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idea was suggested to him somebody, and I think it

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may have been George said he's too old, and I'm

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pretty sure that motorcycle accident has messed him up permanently.

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I don't think he's a good fit. And then Bond

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goes to see ac DC playing and he watches him

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and he's like, he wanted to join the band right away,

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but he was like, man, they're really young. I don't

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know if they're mature enough to handle me. But once

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they got together, they were immediately brothers. You know.

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Speaker 2: Angus At that moment when Bond wanted to join the band,

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Angus was only nineteen, Malcolm was twenty one, and bon

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Scott was twenty nine. So he's an older guy. He's

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been around the block a few.

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Speaker 1: Times, yeah, and a few times.

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Speaker 2: And he went to him and he's like, hey, give

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me a shot. You know, I think I can. I'm

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a better singer than the guy that's been traveling with

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you guys. You know, give me a shot. I can

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do this. Yeah, And then when he stepped in, man,

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it took off.

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Speaker 1: It was magic.

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Speaker 2: Okay, everybody, we're going to take a quick break. We'll

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be right back after this business.

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Speaker 1: And so yeah, kind of the rest is history for

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a time there. They put their first record out in

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nineteen seventy six.

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Speaker 2: That album is called High Voltage and actually that's the

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first international release. I think they had a couple of

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albums that were Australia only and they kind of combined

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those two to make an all star one called High Voltage,

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which was released. Most people are familiar with that one

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nineteen seventy six.

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Speaker 1: And it's it's interesting, you know, you look at the

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album covers, the center of attention is Angus, right, you know. Typically,

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I mean even with van Halen, David Lee Roth was

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in the front. I mean, Eddie was there, but it

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was you didn't have only the guitar player on the front.

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But Angus had done a heck of a job kind

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of developing this persona with a schoolboy outfit. This was

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the This is the other way. His sister was involved, right,

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that's it. That's right.

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Speaker 2: So his sister, Margaret, who came up with the name ACDC,

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also commented that Aegis still looked like a schoolboy, right,

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and he thought, well, heck, if I look like a schoolboy,

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I might as well still wear the schoolboy outfit.

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Speaker 1: He had been trying to find a stick. He had

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tried Superman parody called super ag and he had tried

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a spider Man and a Zoro outfit. But when he's

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a small man. Small he was young at the time anyway,

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I mean a young guy. But he's a small, young guy,

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and so the schoolboy outfit worked. It was kind of this, Hey,

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is there a little kid up there shredding the guitar

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right now?

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Speaker 2: I saw this. This is really interesting. Angus is five

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foot two, yeah, Malcolm is five foot three, yeah. Brian

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Johnson's only five foot five.

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Speaker 1: Yeah.

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Speaker 2: So the power that these guys put out. These guys

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are pint sized rockers, but they are awesome.

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Speaker 1: Yeah. They to kind of promote the schoolboy image. They

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told everybody that Angus was actually five years younger than

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he really was.

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Speaker 2: When you think about what I was doing at nineteen,

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I mean, he's touring the world doing all this crazy stuff,

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playing crazy guitar. He's a rock star.

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Speaker 1: All these guys were high school dropouts who became world touring,

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world changing rock stars.

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Speaker 2: Malcolm and Angus dropped out of high school exactly at

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fourteen years nine months, which is legally the minimum you

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can go to school. I'm out of here.

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Speaker 1: My school birthday is tomorrow.

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Speaker 2: That is math, Assimon, that you jumps are doing tonight,

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I ain't doing it.

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Speaker 1: So they became a pretty big hit in Australia, and

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then with the release of High Voltage they started to

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get some international success. It took them a little while

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to become a success in America, though.

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Speaker 2: It did they. I heard. One of the ways they

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did it was they would play anywhere, anytime, all the time.

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Ten people, five people, three hundred people, didn't matter. Their

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play and play and play and play and play. And

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that's something that the Beatles actually did in Hamburg. They

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would just play so much they got good at their craft,

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right and people they made a name for themselves.

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Speaker 1: Yeah, you and I have both read the book Outliers

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that talks about how the Beatles would play in that

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strip club in Hamburg, and it would they wouldn't have

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a half hour set, they wouldn't have an hour set.

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They would have an eight hour set in a strip club.

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So people aren't really looking at them, so they were like, Okay,

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we've got to find some music that's interesting for people

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to listen to because we're not the focus of the

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show here. And they got so much practice just as

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kids that by the time they hit America in nineteen

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sixty four, there were already experts in their craft.

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Speaker 2: So after High Voltage, they moved to London in nineteen

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seventy six in an effort to become international rock stars.

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Speaker 1: It's interesting, you know, to hear these guys talk because

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they don't sound Scottish, but they also don't exactly sound

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Australian either. That's funny because Brian Johnson at this time

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is playing in a band called Jordi, which refers to

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a group of folks who have a very unique style

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of speaking from the UK. If you've seen Britain's Got Talent,

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the two guys who are you know, off to the side,

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who like introduce people and stuff, those guys are both

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Jordy guys and it's that kind of the accent is

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intriguing to.

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Speaker 2: Me, you know, just kind of on that note, I

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read that. So these guys are short, they kind of

283
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look like truck drivers, They kind of talk funny. They

284
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had trouble getting into their own gigs sometimes because people

285
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didn't believe they were the rock stars that they are.

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They looked like just these average guys off the streets,

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the little scruffy you know.

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Speaker 1: Yeah, yeah they did. Bond was missing a few teeth

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as an older guy. I mean, he looks too old.

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They look too young. It's all very I mean, this

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guy's got tattoos and chest hair and this is supposed

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to be a lead singer for a rock band. I

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don't understand what's going on here.

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Speaker 2: So after High Voltage, also in nineteen seventy six, they

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release Dirty Deeds Done Dirt Cheap.

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Speaker 1: There Dune Dirt Cheap.

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Speaker 2: Yeah, but they don't stop there. In nineteen seventy seven

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they release another album, Let There Be Rock.

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Speaker 1: And the music was good and the music was loud.

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Speaker 2: Then in nineteen seventy eight, notice they're not taking any

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time off at all. They release Poweradge.

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Speaker 1: Album Tour, Album Tour.

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Speaker 2: It's just like the Van Halen episodes. We talked about

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lash Back if you haven't heard episode one of Van Halen.

305
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Then again in nineteen seventy nine, they released an album

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called If You Want Blood, You've Got It that was

307
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a live album.

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Speaker 1: All of those albums were produced by their brother, George.

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I guess he was the seasoned expert at the time

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that they started the band. But you know he's helping

311
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him out through this process and he's the older, wiser

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guy who can put these albums together. And make them

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sound good. Well.

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Speaker 2: Then in nineteen seventy nine, we have an album called

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Highway to Hell.

316
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Speaker 1: Yeah, this one was not produced by their brother Georgie.

317
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This one was produced by Langa Lega.

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Speaker 2: We love him. He produced Pyromania, He produced Hysteria. He

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00:15:41,279 --> 00:15:44,360
produced some albums by Celine Dion and Schneia Twain. He

320
00:15:44,399 --> 00:15:47,159
also did Heartbeat City by the Cars back in. Michael

321
00:15:47,200 --> 00:15:51,200
Bolton Michael Bolton, this guy knows how to make hits.

322
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Speaker 1: I mean, come on, yeah, he does, and he was

323
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Highway to Hell was one of the earlier ones that

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he had done, and he had not quite gotten to

325
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the state that he was at by the time Pyromania

326
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came under his control. But he was definitely a guy

327
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who knew what he was doing and was still meticulous

328
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and was still making hit albums.

329
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Speaker 2: Yeah. They would talk about how they get started about

330
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ten in the morning, and then they would come in

331
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and record and he would stay until three o'clock in

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the morning, just be a studio rat.

333
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Speaker 1: Yeah. Then just as things are taking off, they're on

334
00:16:24,080 --> 00:16:29,120
their meteoric rise. February nineteenth to be exact, nineteen eighty

335
00:16:29,759 --> 00:16:32,600
bon Scott goes out drinking with his friends, and bon

336
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Scott was always the guy who wanted to keep partying,

337
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who wanted to drink a little bit more, stay up

338
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a little bit longer. And he and the boys had

339
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gotten together just a few days before and they had said,

340
00:16:45,000 --> 00:16:46,759
here are some of the songs that you know, here's

341
00:16:46,799 --> 00:16:48,480
the music, some of the songs that were working on

342
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for our next album. He even played drums. There's a

343
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couple of demo tapes out there that have him on

344
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the drums on those songs. But he walks out the

345
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door and they say, just a couple more weeks, man,

346
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and we will have these songs ready for you to

347
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put lyrics to. And that was the last time when

348
00:17:06,160 --> 00:17:08,400
they saw him. He went out drinking with a friend

349
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of his, and you know, like I said, he wasn't

350
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a stranger to drinking. They had a good time, got

351
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home late that night or early the next morning, and

352
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he was sleeping it off, as they say, except that

353
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when the friend came out the next day he found

354
00:17:26,319 --> 00:17:28,279
him lifeless in the car.

355
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Speaker 2: Yeah. I mean, I don't want to get too graphic,

356
00:17:31,480 --> 00:17:35,000
but the story that I read up on was he

357
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passed out in a passenger seat. His friend leaned the

358
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chair back and put a blanket on him. Couldn't rouse him,

359
00:17:40,839 --> 00:17:42,880
couldn't bring him inside, so just let him sleep in

360
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the car, and overnight he aspirated some of his vomits

361
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and passed away that way. The death certificate says a

362
00:17:51,079 --> 00:17:54,240
cute alcohol poisoning death by misadventure.

363
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Speaker 1: And there are all kinds of conspiracy theories out there

364
00:17:57,160 --> 00:17:59,880
that we don't need to get into. We sure don't

365
00:18:00,079 --> 00:18:01,880
have the expertise to talk about that sort of thing.

366
00:18:01,920 --> 00:18:04,640
But the point is they're shooting up like a rocket

367
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and then suddenly the pilot's gone.

368
00:18:06,519 --> 00:18:10,480
Speaker 2: Yep, that's right. I do think it's interesting Bond had

369
00:18:10,599 --> 00:18:14,119
several lyrical ideas for the album, the unnamed album that

370
00:18:14,240 --> 00:18:17,319
was coming, that those ideas were abandoned in favor of

371
00:18:17,359 --> 00:18:20,880
Brian's lyrics. Yeah, but ACDC manager Ian Jeffrey claims to

372
00:18:21,000 --> 00:18:24,200
still have a folder that contains lyrics for up to

373
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fifteen songs that was going to be Back in Black.

374
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Speaker 1: Yeah. The boys are notified of Bond's death. They have to.

375
00:18:32,880 --> 00:18:35,279
I mean, his mom's still down in Australia and they're

376
00:18:35,319 --> 00:18:36,799
up in the UK, and they have to give her

377
00:18:36,880 --> 00:18:39,960
a call and let her know what's happened, and they

378
00:18:39,960 --> 00:18:43,400
go to the funeral. They are trying to figure out

379
00:18:43,440 --> 00:18:46,319
does the band continue on? What do we need to do?

380
00:18:46,759 --> 00:18:50,319
And it's actually Bond's father that says, Bond would want

381
00:18:50,319 --> 00:18:53,720
you to go on. He would want you to continue

382
00:18:54,000 --> 00:18:57,599
with ACDC and make it something great. And so they

383
00:18:57,640 --> 00:19:00,680
decide not to mope about. They decided to start playing

384
00:19:00,920 --> 00:19:03,640
and pick things back up where they had left them off.

385
00:19:03,839 --> 00:19:07,799
And then they start their search for not a replacement

386
00:19:07,880 --> 00:19:11,200
singer because you can't replace Bond Scott, but a new

387
00:19:11,279 --> 00:19:14,200
singer to be their front man. Okay, everybody, we're going

388
00:19:14,240 --> 00:19:16,559
to take a quick break. Please stay with us. We

389
00:19:16,599 --> 00:19:22,559
will be right back after these messages. So we know

390
00:19:23,000 --> 00:19:25,720
what happens. We know that Brian Johnson becomes the new

391
00:19:25,799 --> 00:19:27,920
lead singer. But do you know who the first person

392
00:19:28,000 --> 00:19:30,240
to recommend Brian Johnson to the band was?

393
00:19:30,759 --> 00:19:31,640
Speaker 2: No, who was it?

394
00:19:31,640 --> 00:19:34,759
Speaker 1: It was Bon Scott? Wow. So yeah, So we mentioned

395
00:19:34,799 --> 00:19:37,480
earlier that Bon Scott was in a few bands before

396
00:19:37,519 --> 00:19:40,920
he joined ACDC, and one of those bands was a

397
00:19:40,920 --> 00:19:44,279
band called Fraternity. Well, Fraternity used to do supporting gigs

398
00:19:44,559 --> 00:19:47,559
for this band called Jordy, which I mentioned just a

399
00:19:47,559 --> 00:19:50,480
bit ago, that had Brian Johnson as their lead singer,

400
00:19:50,680 --> 00:19:52,799
and they had had a little bit of success as well.

401
00:19:53,119 --> 00:19:56,720
But Bond Scott had seen them perform, and after seeing

402
00:19:56,720 --> 00:20:00,359
them perform, he came and told the young brother. He's like, oh, man,

403
00:20:00,400 --> 00:20:03,839
I wish you could have seen this guy. He was amazing.

404
00:20:03,880 --> 00:20:06,640
He was like little Richard, and Little Richard was Bond's

405
00:20:06,920 --> 00:20:10,759
favorite performer. He was like, he did this whole thing

406
00:20:10,839 --> 00:20:14,039
where he fell on the floor and was spinning around

407
00:20:14,119 --> 00:20:17,079
like he was in agonizing pain. It was amazing and

408
00:20:17,119 --> 00:20:20,119
he like sealed the deal. Like they came and like

409
00:20:20,279 --> 00:20:22,359
took him out in a wheelchair. It was. It was

410
00:20:23,119 --> 00:20:25,279
and I'm just you know, I'm kind of imagining I'm

411
00:20:25,319 --> 00:20:27,599
kind of imagining James Brown, you know, where they try

412
00:20:27,640 --> 00:20:29,599
to walk him off the stage and he goes back on.

413
00:20:30,839 --> 00:20:34,640
But as it turns out, Brian Johnson was actually he

414
00:20:34,680 --> 00:20:40,200
had appendicitis. He was actually rolling around the ground on pain,

415
00:20:41,839 --> 00:20:43,680
and they really did take him off to the hospital

416
00:20:43,720 --> 00:20:50,440
after it was over. But after Bond's passing, they had

417
00:20:50,480 --> 00:20:52,720
a fan that sent him a tape of Jordi and said,

418
00:20:52,759 --> 00:20:55,559
you guys should really look at this guy. And they're like, hey,

419
00:20:55,599 --> 00:20:58,359
isn't this the guy that Bond talked about, and then

420
00:20:58,440 --> 00:21:01,799
Mutt Lang, without knowing any of this, says, I think

421
00:21:01,839 --> 00:21:04,079
you guys should listen to Brian Johnson, and I think

422
00:21:04,319 --> 00:21:06,200
he's I think he'd be a really good fit for

423
00:21:06,240 --> 00:21:09,680
the band. And so by the time they started doing

424
00:21:09,720 --> 00:21:13,160
auditions with folks, he kind of was already the pick

425
00:21:13,160 --> 00:21:13,680
in their head.

426
00:21:13,960 --> 00:21:17,279
Speaker 2: That fan from Cleveland that mailed the album to the

427
00:21:17,319 --> 00:21:19,160
record company and said, you guys need to listen to

428
00:21:19,200 --> 00:21:22,039
this guy. If you're listening to this podcast, we want

429
00:21:22,079 --> 00:21:22,880
to hear from you.

430
00:21:23,880 --> 00:21:25,880
Speaker 1: Yes, we don't know your name, but.

431
00:21:25,920 --> 00:21:28,799
Speaker 2: Please hook us up on Facebook say I'm the guy

432
00:21:29,000 --> 00:21:31,960
contacted the record company on behalf of Brian Johnson.

433
00:21:32,079 --> 00:21:36,960
Speaker 1: So, Brian Johnson, I mean we talked about we talked

434
00:21:37,000 --> 00:21:41,279
in our episode about Journey, and you know, Steve Perry

435
00:21:41,400 --> 00:21:44,480
was working on a Turkey ranch when he got the

436
00:21:44,519 --> 00:21:46,279
call and said, hey, we want you to come see

437
00:21:46,359 --> 00:21:48,799
for Journey. But Journey was nobody at that point, you know,

438
00:21:48,839 --> 00:21:51,640
they were the leftovers from Santana. The guy who took

439
00:21:51,759 --> 00:21:57,160
over for Steve Perry was working at the Gap. He

440
00:21:57,279 --> 00:21:59,440
was working at the Gap when he got the phone

441
00:21:59,480 --> 00:22:01,799
call that hey, we'd like you to come be the

442
00:22:01,880 --> 00:22:06,039
lead singer for Journey. Well I've kind of got like

443
00:22:06,160 --> 00:22:13,200
a insurance now and dude, Journey Journey. Oh okay, yeah, okay,

444
00:22:13,200 --> 00:22:16,759
I'll come out. So when Brian Johnson gets the call,

445
00:22:17,000 --> 00:22:19,799
they don't tell him who the band is, and he's

446
00:22:19,880 --> 00:22:24,000
like and he's like, okay, well you want me to

447
00:22:24,039 --> 00:22:26,039
come down there, and you know, it's it's a bit

448
00:22:26,079 --> 00:22:27,920
of money. Can you at least give me the initials?

449
00:22:27,960 --> 00:22:31,599
And the lady who's talking to him on the phone goes, yes,

450
00:22:31,960 --> 00:22:44,519
the initials are A C, D C. He's still hesitant,

451
00:22:44,599 --> 00:22:46,599
you know, he's like, ah, man, I just don't even

452
00:22:46,640 --> 00:22:49,319
know that this is worth it, because he had kind

453
00:22:49,359 --> 00:22:51,559
of reached the end like so many, you know, so

454
00:22:51,599 --> 00:22:53,799
many of the guys that we've talked about. He's just

455
00:22:53,920 --> 00:22:56,079
kind of given up on the music industry and had

456
00:22:56,119 --> 00:22:58,279
started a little car repair place.

457
00:22:58,400 --> 00:22:58,599
Speaker 3: You know.

458
00:22:59,160 --> 00:23:04,559
Speaker 1: He's like, ah, no, no, you know, just fix and windshields, right, oh,

459
00:23:04,599 --> 00:23:10,000
think about it, gots why walls and so, as we

460
00:23:10,119 --> 00:23:15,240
mentioned in our Spaceball's episode, he happens to get another

461
00:23:15,359 --> 00:23:19,039
call near the same time that says, hey, we got

462
00:23:19,039 --> 00:23:21,960
a paying gig for you. Oh all right, how much

463
00:23:21,960 --> 00:23:25,039
does it pay three hundred and fifty pounds. Oh solid,

464
00:23:25,079 --> 00:23:33,960
what's it for Hoover Vacuum. So Brian Johnson thinks, Okay, well,

465
00:23:34,039 --> 00:23:36,160
I'm getting paid enough money that it makes it worth

466
00:23:36,160 --> 00:23:38,319
the trip down there. I guess I'll go ahead and

467
00:23:38,400 --> 00:23:42,279
audition for ac DC while I make my vacuum commercial.

468
00:23:42,400 --> 00:23:46,319
Speaker 2: I love the Human Vacuum Clinic commercial. It is amazing.

469
00:23:47,000 --> 00:23:49,480
It's no vacu in black, but I mean, you know, it's.

470
00:23:49,319 --> 00:23:57,680
Speaker 5: Good though, It's really good. It's a beautiful mover. And

471
00:23:57,759 --> 00:24:00,279
then he's got to go over and sing for ac

472
00:24:00,400 --> 00:24:02,960
and these guys are our world famous at this point,

473
00:24:03,160 --> 00:24:07,480
and he's petrified. He talks about sitting in a cafe

474
00:24:07,519 --> 00:24:10,680
across the street, too scared to go over, having a

475
00:24:10,680 --> 00:24:13,960
bit of tea and a and a biscuit or something,

476
00:24:14,000 --> 00:24:17,000
and the pastry's so crusty that he can't even eat it.

477
00:24:17,039 --> 00:24:21,319
And he's like a fit. I guess I better go

478
00:24:21,400 --> 00:24:24,839
do this, and just walks across the street. Well, meanwhile,

479
00:24:26,119 --> 00:24:29,240
Malcolm and Angus and the boys have been auditioning all

480
00:24:29,240 --> 00:24:33,599
these other lead singers and they are like, hey, where's Brian.

481
00:24:33,720 --> 00:24:35,759
He was supposed to be here like an hour ago,

482
00:24:36,440 --> 00:24:39,440
And somebody goes, oh, I think he's downstairs playing pool

483
00:24:39,480 --> 00:24:42,880
with the roadies, and they're like, well, okay, well at

484
00:24:42,960 --> 00:24:45,880
least he plays pool, and so they call him up

485
00:24:46,279 --> 00:24:49,559
and the first thing Malcolm does is hand him a

486
00:24:49,559 --> 00:24:51,839
beer and says, I'm sure you're thirsty, and he's like,

487
00:24:52,440 --> 00:24:54,839
I bet I could drain this thing right now, you

488
00:24:54,880 --> 00:24:56,759
know what, I think I will, and he drains the

489
00:24:56,799 --> 00:25:00,519
beer and they say, well, what do you What would

490
00:25:00,559 --> 00:25:04,839
you like to perform and he says it.

491
00:25:04,839 --> 00:25:07,640
Speaker 2: Was my Iicantina Turner is called Nutbush City.

492
00:25:07,440 --> 00:25:11,319
Speaker 1: Limits and so they hear him say that, and they're like, oh,

493
00:25:11,720 --> 00:25:14,359
thank god. Every other person that's been in here singing

494
00:25:14,440 --> 00:25:19,519
says smoke on the water. Yeah, okay, that's good. And

495
00:25:19,559 --> 00:25:22,599
so they do that and it goes pretty well, and

496
00:25:22,720 --> 00:25:24,920
so they say, well, what else have you got? And

497
00:25:25,559 --> 00:25:28,279
he he had put his band back together at that point,

498
00:25:28,359 --> 00:25:31,799
but they were just doing small club shows. But they always,

499
00:25:31,920 --> 00:25:37,480
as their closing song would play a whole lot of Rosie,

500
00:25:38,519 --> 00:25:40,519
and so he says, I can do a whole lot

501
00:25:40,519 --> 00:25:43,440
of Rosie. I'm like right on, and so they play it,

502
00:25:43,559 --> 00:25:48,559
he sings it and they know immediately this is our man.

503
00:25:51,440 --> 00:25:54,640
So They send him back home, and a little while

504
00:25:54,720 --> 00:25:56,559
later they're like, hey, can you come down for a

505
00:25:56,640 --> 00:26:00,960
second audition, And again he's like, guys, you know this

506
00:26:01,039 --> 00:26:03,799
is it's kind of expensive for me to come down there.

507
00:26:04,039 --> 00:26:06,519
And they find a way to get him down there.

508
00:26:06,880 --> 00:26:09,319
He sings with him again. That night, he stays at

509
00:26:09,359 --> 00:26:11,279
a hotel with one of the roadies, and the roadies

510
00:26:11,559 --> 00:26:14,039
roady guy is like, I think you got this man,

511
00:26:14,480 --> 00:26:16,759
and he's like, now he has no help. He has

512
00:26:16,839 --> 00:26:19,640
given up hope on this thing. He goes back home.

513
00:26:19,960 --> 00:26:24,440
He continues working on cars. He continues playing small gigs

514
00:26:24,480 --> 00:26:27,559
and says, oh, hey to his band at the time, says, oh,

515
00:26:27,640 --> 00:26:29,279
by the way, guys, I went and had a sing

516
00:26:29,319 --> 00:26:33,279
with ac DC And they're like, what, I had a

517
00:26:33,319 --> 00:26:36,680
sing with ac DC And they're like, oh cool. And

518
00:26:36,720 --> 00:26:38,759
then they go play and that was all the conversation

519
00:26:39,279 --> 00:26:42,440
that they had, you know. And then he gets a

520
00:26:42,480 --> 00:26:46,119
call on his dad's birthday. He was still he had

521
00:26:46,200 --> 00:26:48,880
gone back to living with his parents, came to the house,

522
00:26:49,200 --> 00:26:52,680
had bought his dad a bottle of whiskey for his birthday,

523
00:26:53,160 --> 00:26:55,920
but comes in and nobody's there and the phone rings

524
00:26:56,359 --> 00:26:59,720
and it's Malcolm Young and he says, so we're going

525
00:26:59,759 --> 00:27:01,680
to be leaving in a couple of days to go

526
00:27:02,119 --> 00:27:04,400
record this new album. Do you think you can make it?

527
00:27:04,519 --> 00:27:06,720
And he's like, are you serious?

528
00:27:08,079 --> 00:27:08,559
Speaker 2: Get it?

529
00:27:09,359 --> 00:27:12,279
Speaker 1: They get it? What do you mean? And he's like yeah,

530
00:27:12,319 --> 00:27:14,480
so we yeah, we're just thinking, you know, we got

531
00:27:14,519 --> 00:27:17,680
to leave pretty quick. So are you in? And he says,

532
00:27:18,599 --> 00:27:22,359
can you call me back in ten minutes? I just

533
00:27:22,400 --> 00:27:24,599
want to make sure that people that's nobody, that somebody's

534
00:27:24,640 --> 00:27:27,319
not screwing with me right now, you know that. Malcolm's

535
00:27:27,359 --> 00:27:30,279
like okay, hangs up the phone, calls him exactly ten

536
00:27:30,319 --> 00:27:38,039
minutes later and says okay, so can you go And

537
00:27:38,079 --> 00:27:44,359
he's like, yeah, yeah, okay, he's not using that language.

538
00:27:44,359 --> 00:27:46,480
He's using better language than that. He puts the phone

539
00:27:46,519 --> 00:27:48,920
down for a second, says the F word, gets back

540
00:27:49,000 --> 00:27:52,039
on and says, yep, I'll find a way to do it.

541
00:27:52,359 --> 00:27:54,279
And he then he hangs up the phone and he's like,

542
00:27:54,440 --> 00:27:56,960
I'm the only one here. So he pops the top

543
00:27:57,000 --> 00:27:59,039
on the bodily he bought for his dad because he

544
00:27:59,079 --> 00:28:02,279
figures out I needed, and he chugs himself a celebratory

545
00:28:02,359 --> 00:28:05,559
drink by himself, and in one week he is in

546
00:28:05,599 --> 00:28:10,519
the Bahamas with Mutt Lang and ACDC recording what would

547
00:28:10,599 --> 00:28:14,920
become one of the greatest albums of all history.

548
00:28:15,160 --> 00:28:19,519
Speaker 2: It's incredible. These stories are amazing. This is why nobody

549
00:28:19,559 --> 00:28:22,079
should ever give up on their dream. Steve Berry was

550
00:28:22,119 --> 00:28:25,440
working at a Turkey ranch, Brian Johnson was fixing windshields.

551
00:28:25,680 --> 00:28:28,920
One week later, he's in the Bahamas recording back in Black.

552
00:28:31,039 --> 00:28:33,799
Speaker 1: Okay, everybody, we're gonna take a quick break. Please stay

553
00:28:33,799 --> 00:28:36,759
with us. We will be right back after these messages.

554
00:28:39,160 --> 00:28:41,640
Speaker 2: All right. That is how the band came to be.

555
00:28:41,720 --> 00:28:44,079
Are we ready to dive in track by track on

556
00:28:44,119 --> 00:28:44,559
this one?

557
00:28:44,880 --> 00:28:48,119
Speaker 1: Yeah? And just real quick, just you know, briefly touch

558
00:28:48,160 --> 00:28:51,559
on the recording process. You know, it sounds really nice

559
00:28:51,599 --> 00:28:53,880
to be recording in the Bahamas. You know, we kind

560
00:28:53,880 --> 00:28:57,039
of talked about the police and their beautiful island that

561
00:28:57,079 --> 00:28:59,680
they were on as they were recording. It was not

562
00:28:59,759 --> 00:29:03,359
exactly that for the ACDC boys. It was a kind

563
00:29:03,400 --> 00:29:05,880
of a cement and mortar type of place. The only

564
00:29:05,960 --> 00:29:08,799
reason that they went to the Bahamas is because there

565
00:29:08,799 --> 00:29:12,759
were no recording studios available in the UK, and also

566
00:29:13,000 --> 00:29:15,519
it worked as a tax advantage to record down there

567
00:29:15,559 --> 00:29:18,519
instead of recording in the UK. This recording studio that

568
00:29:19,000 --> 00:29:22,400
they had was run by this old Bahama lady who,

569
00:29:23,799 --> 00:29:25,880
in addition to giving them a room with a table

570
00:29:25,920 --> 00:29:28,519
and a lamp on the table, gave them a stick

571
00:29:29,079 --> 00:29:31,519
it's like a harp like a fish harpoon stick to

572
00:29:31,519 --> 00:29:33,440
put by the door. And she said, you got to

573
00:29:33,480 --> 00:29:37,039
be careful. Sometimes at night, these wild Haitians have come

574
00:29:37,119 --> 00:29:42,319
down and try to rob you. Okay, this is not

575
00:29:42,359 --> 00:29:45,759
the Bahama, this is not the Bahama vacation I was expecting.

576
00:29:47,079 --> 00:29:50,920
But again, you know, you put all these circumstances together

577
00:29:51,000 --> 00:29:53,599
and somehow you come out with Back in Black.

578
00:29:54,200 --> 00:29:57,480
Speaker 2: Amazing. All right, So Back in Black has released July

579
00:29:57,599 --> 00:30:01,839
twenty fifth, nineteen eighty. Talk briefly about the cover.

580
00:30:02,359 --> 00:30:03,640
Speaker 1: Okay, okay, Yeah.

581
00:30:04,000 --> 00:30:08,200
Speaker 2: First of all, the title back in Black was a

582
00:30:08,200 --> 00:30:10,839
phrase that Malcolm Young had in his head for a while,

583
00:30:10,880 --> 00:30:13,079
but he knew in his brain this is what I

584
00:30:13,079 --> 00:30:15,920
want the album to be called back in Black YEP,

585
00:30:16,160 --> 00:30:18,880
as a tribute to Bon Scott. The cover of the

586
00:30:18,920 --> 00:30:22,920
album is all black, with just some basic white outlined

587
00:30:23,039 --> 00:30:25,599
letters saying ACDC back in Black.

588
00:30:26,000 --> 00:30:28,599
Speaker 1: Yeah. The boys had wanted it to be just straight black,

589
00:30:28,640 --> 00:30:31,960
and the record company was like, not okay with that,

590
00:30:32,359 --> 00:30:35,839
but if you'll just put your name in white lettering,

591
00:30:36,160 --> 00:30:39,319
that's fine. Yep, okay, So are we ready to do this?

592
00:30:39,480 --> 00:30:42,160
Let's do yes, let's jump in. I'm excited about this

593
00:30:42,200 --> 00:30:46,359
first song. I listened to this album again today, cranked

594
00:30:46,359 --> 00:30:49,839
it up, pumped my fist as I drove home. So

595
00:30:50,359 --> 00:30:52,400
the first song on the album.

596
00:30:52,200 --> 00:30:53,759
Speaker 2: Is Hell's Bells.

597
00:30:54,039 --> 00:30:59,240
Speaker 1: Okay. So we've talked before about how Mutt Lang puts

598
00:30:59,240 --> 00:31:02,720
these albums together, their brick by brick, and this first

599
00:31:02,920 --> 00:31:07,880
song is such an awesome layering of sounds because you

600
00:31:07,920 --> 00:31:10,559
start off with that bell, you know, and there's a

601
00:31:10,599 --> 00:31:12,039
story behind the bell I'll get to in a minute.

602
00:31:12,160 --> 00:31:14,799
You've got that bell and it's it's all you hear.

603
00:31:14,880 --> 00:31:17,000
It's like here are you coming to church? What's going

604
00:31:17,039 --> 00:31:20,319
on here? And then on your right speaker, it lays

605
00:31:20,359 --> 00:31:23,480
down that first guitar, you know, layer one bell, Layer

606
00:31:23,519 --> 00:31:27,480
two guitar, Malcolm's guitar is over there, and then layer

607
00:31:27,559 --> 00:31:31,920
three you get just little snippets of Angus's guitar coming in,

608
00:31:32,000 --> 00:31:33,839
you know, just little bits that's over here on the

609
00:31:33,839 --> 00:31:38,839
west speaker. In this incredible job of using the stereo

610
00:31:38,960 --> 00:31:42,920
to its full advantage and then the drums come in

611
00:31:43,079 --> 00:31:47,519
Layer four and you're like yeah, yeah, and then it

612
00:31:47,680 --> 00:31:50,279
all comes together face comes in, which is I mean,

613
00:31:50,319 --> 00:31:52,519
the bass on almost all of their songs is just

614
00:31:52,559 --> 00:31:56,000
that straightforward boom boom boom boom boom boom boom boom,

615
00:31:56,400 --> 00:31:58,000
and it is.

616
00:31:58,319 --> 00:32:24,960
Speaker 2: Amazing or a great start for the album. And like

617
00:32:25,000 --> 00:32:30,640
you said, it's layer intensifies builds to this great rocking song.

618
00:32:30,799 --> 00:32:34,960
Speaker 1: Yeah. And so there are literally thousands of ac DC

619
00:32:35,160 --> 00:32:38,559
fans that, I mean, within a matter of just a

620
00:32:38,599 --> 00:32:41,519
few months have learned the lead singer to their band

621
00:32:41,559 --> 00:32:46,160
has just died, and six weeks later learned they've already

622
00:32:46,160 --> 00:32:47,759
got a new guy. And I mean it's just I

623
00:32:47,759 --> 00:32:51,039
could I mean, this is akin this to like, you know,

624
00:32:51,119 --> 00:32:53,799
your your parents get divorced and then one of them

625
00:32:53,880 --> 00:32:57,440
has a you know, girlfriend or boyfriend in a month

626
00:32:57,480 --> 00:32:59,960
and a half. You're just like, oh, what's what's going on?

627
00:33:00,000 --> 00:33:02,839
And this isn't right? And so the question is, you know, like,

628
00:33:03,200 --> 00:33:05,920
how are the fans going to react to this new guy?

629
00:33:06,599 --> 00:33:09,880
And are they I mean, if this album is dedicated

630
00:33:09,920 --> 00:33:12,039
to Bond Scott, is it going to be some sort

631
00:33:12,079 --> 00:33:17,319
of you know, sappy sentimental tribute, but they don't do

632
00:33:17,440 --> 00:33:21,319
that at all. They give, they give, they give that

633
00:33:21,440 --> 00:33:23,680
ominous tone in the and the even the guitar has

634
00:33:23,759 --> 00:33:27,400
kind of an ominous feel to it. But it's the

635
00:33:27,440 --> 00:33:30,119
song is Hell's Bells, which is kind of a nod

636
00:33:30,279 --> 00:33:33,880
to for whom the bell tolls, You know there's it's

637
00:33:33,920 --> 00:33:36,640
come up several times, but the saying is ask not

638
00:33:37,000 --> 00:33:39,759
for whom the bell tolls, It tolls for thee. And

639
00:33:40,079 --> 00:33:44,000
the idea is, don't worry about the dead, worry about yourself,

640
00:33:44,079 --> 00:33:47,000
worry about your life. And that's exactly what they do

641
00:33:47,039 --> 00:33:50,119
with this album. They say or Bond would not have

642
00:33:50,200 --> 00:33:53,039
wanted us to play some sappy ballad. He wouldn't have

643
00:33:53,079 --> 00:33:57,119
wanted some song you know about him. He would have

644
00:33:57,200 --> 00:33:59,960
wanted us to kick ass. And that's what we're gonna do.

645
00:34:00,039 --> 00:34:02,559
Speaker 2: A few episodes ago, we talked about Jonathan Kane when

646
00:34:02,559 --> 00:34:04,839
he wrote Faithfully by a Journey, he had kind of

647
00:34:04,839 --> 00:34:09,039
a supernatural experience where that song, he says, God gave

648
00:34:09,039 --> 00:34:12,000
it to him and just sort of supernaturally came through

649
00:34:12,079 --> 00:34:13,679
him out of his hands and he just wrote it

650
00:34:13,719 --> 00:34:15,480
down on a piece of paper, just flowed out of him.

651
00:34:15,800 --> 00:34:21,159
Something similar happened to Brian Johnson on Hell's Bells It's supernatural.

652
00:34:21,440 --> 00:34:25,639
He's not a believer, but something weird happened to him

653
00:34:25,639 --> 00:34:27,679
and he talks about it. He said, I don't believe

654
00:34:27,719 --> 00:34:30,880
in God or heaven or hell, but something weird happened.

655
00:34:31,000 --> 00:34:33,199
He was in his room. He said, I'll never forget.

656
00:34:33,320 --> 00:34:35,920
I just started to write and never stopped, and it

657
00:34:36,119 --> 00:34:38,360
just flowed out of my hands. I thought that was

658
00:34:38,360 --> 00:34:40,719
a really interesting story. Did you know that there's an

659
00:34:40,719 --> 00:34:52,280
ac DC all female tribute band called the Hell's Bells Elles.

660
00:34:53,199 --> 00:34:56,320
Speaker 1: No, but I did know that there's a bluegrass band

661
00:34:56,480 --> 00:35:00,639
tribute to ACDC called HAC Dixie. You're only you.

662
00:35:03,280 --> 00:35:03,480
Speaker 4: Good?

663
00:35:04,280 --> 00:35:07,320
Speaker 1: That's good. So he came up with the lyrics to

664
00:35:07,400 --> 00:35:10,599
this one midway through the recording of the album. He

665
00:35:10,679 --> 00:35:13,599
did a majority of, if not all, of the lyrics

666
00:35:13,679 --> 00:35:16,079
in this album, which is kind of a big deal.

667
00:35:16,079 --> 00:35:18,519
I mean, they auditioned him to sing, but they didn't,

668
00:35:18,599 --> 00:35:20,039
you know. They just were like, hey, can you write

669
00:35:20,199 --> 00:35:25,519
the lyrics? And I guess you know it's writing an

670
00:35:25,719 --> 00:35:28,760
entire album's worth of lyrics is a daunting task, and

671
00:35:28,840 --> 00:35:31,000
he had done quite a few songs and was just

672
00:35:31,119 --> 00:35:34,320
kind of out of ideas and was stressing about it,

673
00:35:34,400 --> 00:35:39,039
and Mutt Lang just I guess, gets gets the feeling

674
00:35:39,159 --> 00:35:41,440
and goes so he goes by his room and says, hey,

675
00:35:41,440 --> 00:35:43,920
you know, Brian, are you doing all right? He's like, man,

676
00:35:43,960 --> 00:35:47,599
I'm just I'm out of ideas, and like, as he

677
00:35:47,719 --> 00:35:54,159
says it, lightning strikes yep, right, and then of course,

678
00:35:54,440 --> 00:35:56,880
you know they're in the Bahamas where you get tropical

679
00:35:57,199 --> 00:36:03,280
weather just instantaneous, and so the lightning strikes and there's

680
00:36:03,320 --> 00:36:10,280
this really loud thunder cut that comes through, and Lang says, God,

681
00:36:10,320 --> 00:36:12,920
do you hear that thunder? And Brian just kind of

682
00:36:12,920 --> 00:36:15,239
with his head down says, yeah, it's a rolling thunder.

683
00:36:15,840 --> 00:36:20,159
And Mu's like what he says, rolling thunder. That's just

684
00:36:20,199 --> 00:36:22,559
what they call it in the UK. It's a rolling thunder,

685
00:36:22,840 --> 00:36:27,760
and Much says, write that down right. And then as

686
00:36:27,800 --> 00:36:33,840
they're talking that, this torrential downpour happens, and so in moments,

687
00:36:34,119 --> 00:36:37,199
you know, you talk about that divine inspiration. In moments

688
00:36:37,239 --> 00:36:39,559
he goes from I can't think of anything to the

689
00:36:39,599 --> 00:36:43,840
first lines of his song I'm a rolling thunder, a

690
00:36:43,880 --> 00:36:47,039
pouring rain coming on like a hurricane.

691
00:36:47,480 --> 00:36:50,320
Speaker 2: That's great, man, that's awesome. Okay, So here's something that

692
00:36:50,400 --> 00:36:52,960
Hell's Bells means to me. All right, and we talked

693
00:36:52,960 --> 00:36:54,840
about this in our Major League episode. But I'm a

694
00:36:54,880 --> 00:36:59,280
baseball fan, right right. River Hoffman was a relief pitcher

695
00:36:59,599 --> 00:37:02,840
for the same Diego Padres in the nineties, and every

696
00:37:02,840 --> 00:37:06,159
time he took the field, they played Hell's Bells as

697
00:37:06,199 --> 00:37:10,840
an intimidation to the other team. Right, okay, So for me,

698
00:37:11,159 --> 00:37:14,079
Hell's Bells signifies Trevor Hoffman's coming on the field and

699
00:37:14,079 --> 00:37:17,880
he's going to shut everybody down. However, this was one

700
00:37:17,920 --> 00:37:21,800
of the first they call it entrance songs for baseball players.

701
00:37:22,039 --> 00:37:25,440
Oh yeah, they got this idea from when Ricky Vaughan

702
00:37:25,559 --> 00:37:28,559
took the field and they played wild thing in Major League.

703
00:37:28,599 --> 00:37:33,360
Speaker 1: So flashback to a Major League episode. That's great. So, yeah,

704
00:37:33,440 --> 00:37:36,400
the you know the line You're only young, but You're

705
00:37:36,440 --> 00:37:39,719
gonna die. I mean, there they are these, I mean,

706
00:37:39,719 --> 00:37:41,760
it comes up in a few of the other songs.

707
00:37:41,800 --> 00:37:45,559
There are these references to death and drinking that are

708
00:37:45,599 --> 00:37:49,519
not in any way sentimental, despite the fact that a

709
00:37:49,599 --> 00:37:52,360
month and a half earlier their lead singer had died

710
00:37:52,519 --> 00:37:54,039
because of drinking too much.

711
00:37:54,199 --> 00:37:59,039
Speaker 2: Right, Basically, every single ACDC song is about either sex, booze,

712
00:37:59,159 --> 00:37:59,480
or rock.

713
00:37:59,719 --> 00:38:00,000
Speaker 1: Yeah.

714
00:38:00,199 --> 00:38:02,239
Speaker 2: I mean, that's it's there, that's what they do.

715
00:38:02,679 --> 00:38:05,800
Speaker 1: Yeah. Well, I don't know if Brian Johnson was inspired.

716
00:38:05,960 --> 00:38:08,480
I don't know if like if Bond Scott was speaking

717
00:38:08,519 --> 00:38:11,199
to him from beyond the grave or if he just went,

718
00:38:11,360 --> 00:38:14,039
you know what. Bonn had a lot of success with innuendo.

719
00:38:14,360 --> 00:38:15,880
Let me see what I can do with that.

720
00:38:16,320 --> 00:38:20,239
Speaker 2: I'm gonna run with that. I think I got this. Yeah,

721
00:38:20,320 --> 00:38:22,880
all right, let's talk about the actual bell sound.

722
00:38:23,360 --> 00:38:25,880
Speaker 1: Yeah, so they needed a bell. You know, they've they've

723
00:38:25,880 --> 00:38:27,519
got this idea that the bell is going to be

724
00:38:27,519 --> 00:38:29,519
the perfect way to start the album, the perfect way

725
00:38:29,519 --> 00:38:32,880
to start the song. And they can't get a good

726
00:38:32,960 --> 00:38:35,559
bell sound. And somebody says, why don't you just go

727
00:38:35,599 --> 00:38:38,000
to the church it's down the road and just use

728
00:38:38,079 --> 00:38:39,960
that bell, And so they're like okay, and so they

729
00:38:40,000 --> 00:38:42,920
take their recording equipment and they go to record the bell,

730
00:38:43,679 --> 00:38:47,079
and every time they rang the bell, all these pigeons

731
00:38:47,119 --> 00:38:49,239
that are sitting in the around the bell would take

732
00:38:49,239 --> 00:38:52,480
off flying and you had the sound of flapping wings

733
00:38:52,519 --> 00:38:55,400
on your recording of the bell. Yep, Like okay, So

734
00:38:55,639 --> 00:38:58,079
we wait for the bell to quiet down. It's finally

735
00:38:58,159 --> 00:39:00,840
quiet again. They hit the bell and by that time

736
00:39:00,880 --> 00:39:03,159
all the pigeons had come back and there's flapping all

737
00:39:03,199 --> 00:39:06,880
over again, like well, balls, this is not going to work.

738
00:39:06,920 --> 00:39:10,840
Speaker 2: So they have to have a bell custom made, right, yeah, yeah,

739
00:39:10,880 --> 00:39:13,519
So they have a bell, a two thousand pounds cast

740
00:39:13,920 --> 00:39:17,639
bronze bell made by John Taylor. It's a replica of

741
00:39:18,039 --> 00:39:24,639
the Dennison bell in the Carolyn Tower at Lowborough War Museum. Okay,

742
00:39:24,639 --> 00:39:26,800
I can't if I mispronounced that. I'm really sorry. I've

743
00:39:26,800 --> 00:39:31,519
never been here. But when they recorded the sound effect

744
00:39:31,800 --> 00:39:35,760
for the bell, they used fifteen microphone because the acoustics

745
00:39:35,800 --> 00:39:37,880
of the bell, you never know where the sound is

746
00:39:37,920 --> 00:39:41,079
going to come from, right microphones. And then when they

747
00:39:41,119 --> 00:39:43,440
got the sound that they wanted, they slowed it down

748
00:39:43,480 --> 00:39:46,840
to half speed. It gives it that real ominous boom.

749
00:39:47,519 --> 00:39:51,400
Speaker 1: Oh nice, Okay, that's awesome. Well, and then of course

750
00:39:51,519 --> 00:39:55,239
after they produced the album, they went on tour and

751
00:39:55,280 --> 00:39:57,440
they took the bell on tour with them and they

752
00:39:57,440 --> 00:40:01,519
would start every show by lowering that bell down and

753
00:40:01,639 --> 00:40:06,280
Brian Johnson would slam it with a hammer as or

754
00:40:06,400 --> 00:40:08,559
you know. Sometimes he would even run and jump and

755
00:40:08,639 --> 00:40:11,079
ring the thing, but it was It was a great

756
00:40:11,119 --> 00:40:14,079
stage prop that they had made just by needing to

757
00:40:14,119 --> 00:40:17,000
have the sound for the album You're Keeping Drag at Home.

758
00:40:17,079 --> 00:40:22,280
Speaker 2: There's thirteen bell tolls, four before the music starts and

759
00:40:22,400 --> 00:40:23,719
nine after all.

760
00:40:23,840 --> 00:40:27,320
Speaker 1: Right, Okay, I did not count the bells.

761
00:40:28,000 --> 00:40:30,280
Speaker 2: Okay. The next song on the album is Shoot the Thrill.

762
00:40:45,639 --> 00:40:47,480
Speaker 1: So in just a bit, we're going to talk about

763
00:40:47,599 --> 00:40:50,920
Back of Black, which was the intro song for Tony

764
00:40:50,960 --> 00:40:54,519
Stark in iron Man one, and then for iron Man

765
00:40:54,559 --> 00:40:56,960
two they used Shoot the Thrill.

766
00:41:06,679 --> 00:41:11,960
Speaker 2: It's so freaking good. This song is awesome.

767
00:41:12,320 --> 00:41:14,480
Speaker 1: Yeah, it kicks a whole lot of butt, and it's

768
00:41:14,480 --> 00:41:19,119
got the sexual inuendo in there and the dangerousness. You know,

769
00:41:19,840 --> 00:41:21,960
is this a real gun? Are we talking about a

770
00:41:22,000 --> 00:41:28,280
male gun? Probably a little double entre picked up on

771
00:41:29,320 --> 00:41:30,280
those euphemisms.

772
00:41:30,440 --> 00:41:32,719
Speaker 2: Yeah, so you touched on it. You're right. This for

773
00:41:32,840 --> 00:41:35,079
my family. I mean, I know this song from Back

774
00:41:35,119 --> 00:41:38,280
in Black, but my boys recognize it as basically iron

775
00:41:38,280 --> 00:41:41,840
Man's theme, right, So when he enters in iron Man two,

776
00:41:41,920 --> 00:41:44,840
they play Shoot the Thrill. They also play this in

777
00:41:44,880 --> 00:41:48,280
the original Avengers when iron Man enters. Brian Johnson was

778
00:41:48,320 --> 00:41:52,199
explaining the inspiration for this song. He talked about how

779
00:41:53,199 --> 00:42:00,079
this is about suburban neighborhood board housewives who get in

780
00:42:00,119 --> 00:42:04,199
to extramarital affairs and too much narcotics.

781
00:42:04,840 --> 00:42:06,880
Speaker 1: Yeah, the girls who want the bad boys.

782
00:42:07,119 --> 00:42:10,239
Speaker 2: This song, interestingly enough, was never released as a single

783
00:42:10,559 --> 00:42:12,760
and no video was ever made for it.

784
00:42:13,360 --> 00:42:16,320
Speaker 1: Yeah, that's crazy, because this song is amazing. It was

785
00:42:16,400 --> 00:42:18,599
made to be a single. I can't figure out why

786
00:42:18,639 --> 00:42:20,760
they would not have done that. I'm with you.

787
00:42:20,840 --> 00:42:23,440
Speaker 2: This is one of the best songs on this album.

788
00:42:23,519 --> 00:42:24,639
It's a five star song.

789
00:42:25,039 --> 00:42:27,880
Speaker 1: But I mean, as I understand it, I think radio

790
00:42:27,880 --> 00:42:31,960
stations played every single song on this album at some point,

791
00:42:32,320 --> 00:42:34,679
like it's just not it was whether it was a

792
00:42:34,679 --> 00:42:37,760
single or not. The radio stations recognized this album is

793
00:42:38,559 --> 00:42:39,639
full of hits.

794
00:42:39,920 --> 00:42:42,440
Speaker 2: Yes, I mean DJ's definitely lashed onto this song and

795
00:42:42,480 --> 00:42:45,320
played it anyway despite not being released as a single.

796
00:42:45,519 --> 00:42:48,880
All Right, this song's amazing. I love it. Five stars.

797
00:42:48,960 --> 00:42:52,400
Song moving on track number three is a song called

798
00:42:52,679 --> 00:42:59,000
what do You Do for Money? Honey? Okay, So, some

799
00:42:59,039 --> 00:43:02,079
of the lyrics on the song talk about calling out

800
00:43:02,119 --> 00:43:05,039
gold diggers and saying that he will not be set

801
00:43:05,119 --> 00:43:07,320
up by the women who are after his.

802
00:43:07,320 --> 00:43:09,199
Speaker 1: Gold a gold digger song.

803
00:43:09,480 --> 00:43:11,519
Speaker 2: It's a gold digger song. It's a good song. It's

804
00:43:11,519 --> 00:43:12,280
not a great song.

805
00:43:13,760 --> 00:43:17,199
Speaker 1: That's hard song. Yeah, No, I love this song. Okay, Yeah,

806
00:43:17,199 --> 00:43:17,880
it's a good one.

807
00:43:18,800 --> 00:43:21,440
Speaker 2: It's hard to maintain the shoot to thrill back in

808
00:43:21,559 --> 00:43:25,000
black Hell's Bell's level of songs throughout, but.

809
00:43:25,679 --> 00:43:27,800
Speaker 1: Well they come back. But yeah, they come back with

810
00:43:27,920 --> 00:43:30,360
kind of their punching intensity that they had from their

811
00:43:30,360 --> 00:43:33,280
previous albums. On this one, I mean, it explodes out.

812
00:43:33,280 --> 00:43:35,440
Whereas the other ones were a bill this one is

813
00:43:35,800 --> 00:43:38,199
immediately in your face, bam bam.

814
00:43:38,320 --> 00:43:41,000
Speaker 2: Yeah. I like it. I definitely like it. Track number

815
00:43:41,000 --> 00:43:44,440
four is a song called Given the Dog the Bone.

816
00:43:45,119 --> 00:43:47,519
It's gonna be hard to remain family friendly as we talk.

817
00:43:47,440 --> 00:43:53,400
Speaker 1: About this one. So is it giving the dog or

818
00:43:53,440 --> 00:43:57,039
bone or given the dog a bone? I got given

819
00:43:57,320 --> 00:43:59,880
It will appear differently, like I think on the album

820
00:44:00,039 --> 00:44:02,599
it was g I v E N, but then like

821
00:44:02,679 --> 00:44:07,320
on iTunes, it's g I v I N and it

822
00:44:07,360 --> 00:44:10,280
has appeared as g I v I n G in

823
00:44:10,320 --> 00:44:11,159
certain spots.

824
00:44:12,360 --> 00:44:15,880
Speaker 2: Either way, as I can best tell, this is a

825
00:44:15,920 --> 00:44:19,679
song about going to the store buying a milkbone for

826
00:44:19,719 --> 00:44:22,880
your dog. I don't know this song. I saw it

827
00:44:22,920 --> 00:44:29,440
described as a very spinal tap esque.

828
00:44:28,559 --> 00:44:30,800
Speaker 1: You're saying, you're saying, there's a lot of subtlety going

829
00:44:30,840 --> 00:44:31,760
on here, Is that right?

830
00:44:33,719 --> 00:44:37,960
Speaker 2: There's some description that leads you to believe certain things.

831
00:44:38,199 --> 00:44:41,440
So I don't know, what do you think about this one?

832
00:44:42,760 --> 00:44:45,000
Speaker 1: This one is okay for me, But it wasn't. It

833
00:44:45,079 --> 00:44:47,079
wasn't something that I want to come back and listen

834
00:44:47,119 --> 00:44:48,320
to over and over again.

835
00:44:49,039 --> 00:44:52,480
Speaker 2: Here's the thing, in all honesty, here's the thing. If

836
00:44:52,480 --> 00:44:56,320
you like one ac DC song, you probably like almost

837
00:44:56,360 --> 00:45:01,880
all a CDC songs because there's very similar. It's heavy guitars,

838
00:45:02,519 --> 00:45:08,559
it's sex, booze and rock. It's pretty simple rock, you know,

839
00:45:09,039 --> 00:45:11,480
right in your face. Some are just better than others,

840
00:45:11,559 --> 00:45:12,039
you know what I mean.

841
00:45:12,800 --> 00:45:17,320
Speaker 1: She's no Mona Lisa, she's no Playboy star, but she'll

842
00:45:17,360 --> 00:45:21,559
send you to Heaven then explode you to Mars. I

843
00:45:21,599 --> 00:45:27,719
really I don't know what he's talking about there. He's

844
00:45:27,800 --> 00:45:33,079
talking about doing ugly chicks sorry, family friendly. He's talking

845
00:45:33,079 --> 00:45:36,039
about having an ugly girlfriend or something. I don't know.

846
00:45:36,079 --> 00:45:38,840
Speaker 2: Oh, well, she'll send you to Mars. It's okay.

847
00:45:38,880 --> 00:45:40,639
Speaker 1: This is this is this is kind of like a

848
00:45:40,719 --> 00:45:42,719
whole lot of rosy Part two.

849
00:45:43,000 --> 00:45:46,559
Speaker 2: Nice, good reference, right there. Okay, good song, not a

850
00:45:46,599 --> 00:45:49,920
great song. Good song all right? After giving the Dog

851
00:45:50,000 --> 00:45:52,960
a bone, that brings us to a song called let

852
00:45:53,000 --> 00:45:54,679
Me Put My Love into You.

853
00:45:57,320 --> 00:45:59,559
Speaker 1: I'm still I'm lost. What do we think we mean

854
00:45:59,639 --> 00:46:00,559
here on the well?

855
00:46:00,599 --> 00:46:02,719
Speaker 2: You know I have love to give, and so let

856
00:46:02,800 --> 00:46:03,840
me put it into you.

857
00:46:03,960 --> 00:46:05,599
Speaker 1: Let me put it on the line.

858
00:46:05,920 --> 00:46:06,480
Speaker 3: This song.

859
00:46:06,760 --> 00:46:08,559
Speaker 2: Okay, I've been waiting to talk about this.

860
00:46:12,239 --> 00:46:18,159
Speaker 1: Oh my gosh, let me cut your cake with my knife.

861
00:46:19,480 --> 00:46:20,639
Oh my goodness.

862
00:46:20,880 --> 00:46:24,880
Speaker 2: All right, So this song has the distinction of being

863
00:46:25,039 --> 00:46:31,559
on the Parents' Music Resource Center list of the Filthy fifteen.

864
00:46:32,039 --> 00:46:33,119
Have you heard about this list?

865
00:46:33,719 --> 00:46:35,800
Speaker 1: Yeah? This is the Tipper Gore thing right this?

866
00:46:35,920 --> 00:46:36,119
Speaker 2: Yeah?

867
00:46:36,159 --> 00:46:39,599
Speaker 1: Really, like all the stor senator wives got together and said,

868
00:46:39,599 --> 00:46:42,159
these songs are profane, these.

869
00:46:41,960 --> 00:46:43,800
Speaker 2: Songs are awful for our youth.

870
00:46:43,960 --> 00:46:44,199
Speaker 3: Yeah.

871
00:46:44,480 --> 00:46:47,880
Speaker 1: So her husband's off inventing the internet and she's complaining

872
00:46:47,920 --> 00:46:49,920
about ACDC song. What's going on there?

873
00:46:50,119 --> 00:46:53,280
Speaker 2: Okay, so here's the Filthy fifteen. You ready for this?

874
00:46:53,719 --> 00:46:53,920
Speaker 1: Yeah?

875
00:46:53,960 --> 00:46:56,960
Speaker 2: So let Me put my Love into You? Okay, we

876
00:46:57,079 --> 00:47:00,960
get it. It's about sex and probably not great for

877
00:47:01,000 --> 00:47:04,480
fourteen year olds to be saying that you know at home.

878
00:47:04,599 --> 00:47:08,119
But here's the I was just curious about who else

879
00:47:08,199 --> 00:47:11,320
was on this list, right, So, just some other songs

880
00:47:11,320 --> 00:47:13,920
that you may have heard. A song called Darlin Nikki,

881
00:47:14,079 --> 00:47:18,360
a song called Nasty Girl by Vanity Sugar, Walls by

882
00:47:18,400 --> 00:47:21,079
Sheena Easton. So far, we got three in a Row

883
00:47:21,079 --> 00:47:25,199
by Prince, right high and Dry by def Leppard. We're

884
00:47:25,199 --> 00:47:29,199
not Gonna Take It by Twisted's sister. What yeah, rebellion

885
00:47:29,280 --> 00:47:31,599
type of attitudes, violence, I think that one.

886
00:47:31,679 --> 00:47:33,840
Speaker 1: No, but yeah, yeah, that's a stretch right there.

887
00:47:34,000 --> 00:47:38,960
Speaker 2: Well wait, she Bop by Cindy Lauper. What that song's about? Masturbation?

888
00:47:39,239 --> 00:47:39,800
Speaker 1: Okay?

889
00:47:40,119 --> 00:47:43,679
Speaker 2: And then finally Dress You Up by Madonna.

890
00:47:44,239 --> 00:47:46,199
Speaker 1: I think they were going more for a look than

891
00:47:46,239 --> 00:47:48,079
an actual context of the song.

892
00:47:48,159 --> 00:47:51,519
Speaker 2: Here the Filthy fifteen. That's just a portion. Now some

893
00:47:51,599 --> 00:47:54,880
of those you're like, some of these styles, I'm like, whoa, Yeah,

894
00:47:54,880 --> 00:47:56,920
I definitely see what that's on there. But do you

895
00:47:56,920 --> 00:47:58,760
have anything more to say about let me put my

896
00:47:58,760 --> 00:48:01,559
love into you. I can crack up every time I

897
00:48:01,599 --> 00:48:01,960
say that.

898
00:48:02,119 --> 00:48:05,039
Speaker 1: From what I understand is that all of those songs

899
00:48:05,119 --> 00:48:07,280
actually got a boost in ratings when they got put

900
00:48:07,320 --> 00:48:08,199
on the Filthy fifteen.

901
00:48:09,000 --> 00:48:11,920
Speaker 2: Oh yeah. One of the songs is by Motley Crue,

902
00:48:11,920 --> 00:48:14,119
and Vince Neil was like, that was great for us.

903
00:48:16,280 --> 00:48:18,599
Speaker 1: Wait wait, wait, these songs are dirty. Let's listen again.

904
00:48:21,119 --> 00:48:23,199
Speaker 2: Okay, So after let Me Put My Love Into You,

905
00:48:24,239 --> 00:48:27,360
that ends side one of Back in Black.

906
00:48:27,920 --> 00:48:29,920
Speaker 1: Push Stop It.

907
00:48:30,039 --> 00:48:34,719
Speaker 2: Ejecked flip it over, Back in Press Play.

908
00:48:35,840 --> 00:48:38,159
Speaker 1: I mean, honestly, at this time, at this point, you're

909
00:48:38,199 --> 00:48:39,760
probably flipping the LP over.

910
00:48:39,960 --> 00:48:42,480
Speaker 2: In nineteen eighty, you probably are flipping the LP. You're

911
00:48:42,480 --> 00:48:43,679
probably about.

912
00:48:43,280 --> 00:48:46,119
Speaker 1: That you you might even be flipping the A track over.

913
00:48:49,840 --> 00:48:52,400
Speaker 2: I had this on tape. Quick funny story about Back

914
00:48:52,440 --> 00:48:54,880
in Black. So I was on a ski trip with

915
00:48:55,119 --> 00:48:58,079
five of my high school buddies plus an adult. To

916
00:48:58,199 --> 00:49:01,400
make sure we didn't get in too much trouble, so

917
00:49:01,440 --> 00:49:04,119
I asked my buddy, Chris Bauer, friend of the show's

918
00:49:04,199 --> 00:49:07,039
Chris Bauer, good friend of mine. His nickname was Bomber.

919
00:49:07,039 --> 00:49:10,840
Everybody called him Bomber. So anyway, at about nine pm

920
00:49:10,880 --> 00:49:13,079
we're driving out to Colorado, I asked him. I said, hey,

921
00:49:13,079 --> 00:49:15,159
can I borrow your Back in Black tape? Because everybody's

922
00:49:15,159 --> 00:49:18,440
got their headphones on their tape players. He's like, yeah,

923
00:49:18,480 --> 00:49:19,519
I'll give it to you when I'm done with it.

924
00:49:19,559 --> 00:49:21,679
I'm like, all right, great. So I fall asleep at

925
00:49:21,679 --> 00:49:23,360
three o'clock in the morning. He whacks me on the

926
00:49:23,360 --> 00:49:26,239
forehead with Back in Black and I'm like, what are

927
00:49:26,239 --> 00:49:28,119
you doing, dude. He's like, you want to borrow the tape.

928
00:49:28,159 --> 00:49:29,679
I'm like, I didn't want you to whack me in

929
00:49:29,679 --> 00:49:31,880
the forehead and wake me up. And Alm was at

930
00:49:31,920 --> 00:49:33,360
a fist fight in the car on the way up

931
00:49:33,400 --> 00:49:33,960
to Colorado.

932
00:49:34,079 --> 00:49:37,119
Speaker 1: So this is why you had your mom confiscate his

933
00:49:37,199 --> 00:49:37,679
other tape.

934
00:49:37,760 --> 00:49:45,400
Speaker 2: Right, that's right, that's right, all right side to first track.

935
00:49:47,280 --> 00:49:49,599
It's a song Back in Black.

936
00:49:53,159 --> 00:49:56,639
Speaker 1: Oh, now I have to think of it. Oh, something's

937
00:49:56,760 --> 00:49:59,960
just happened. Somebody scattered this song. I'm gonna have to

938
00:50:00,039 --> 00:50:03,960
look this up now. Okay, So forgive me for interrupting

939
00:50:04,039 --> 00:50:07,360
this awesome song for just a second, but somebody scattered

940
00:50:07,400 --> 00:50:10,280
the song and I'm gonna put it on so.

941
00:50:10,360 --> 00:50:12,960
Speaker 6: Well, and uh, you know, I've got the notoriety came

942
00:50:13,000 --> 00:50:14,119
from the the A C.

943
00:50:14,320 --> 00:50:14,559
Speaker 4: D C.

944
00:50:14,760 --> 00:51:25,719
Speaker 6: Which I really took sale, which is the.

945
00:50:55,159 --> 00:50:58,800
Speaker 1: Okay, So this song is very memorable to me for

946
00:50:58,880 --> 00:51:02,119
a couple of reasons. Number One, this is a song

947
00:51:02,199 --> 00:51:05,119
that we would cover this in my band. We did

948
00:51:05,159 --> 00:51:08,679
this song and I don't know why I was dumb

949
00:51:08,760 --> 00:51:11,920
at this particular point, but my drummer just had to say, Okay,

950
00:51:12,039 --> 00:51:14,280
just wait until I hit the cymbol twice before you

951
00:51:14,320 --> 00:51:16,719
come in. Okay, and we play in and then it's

952
00:51:16,760 --> 00:51:19,920
gonna go all that's gonna be real quiet, and then

953
00:51:19,960 --> 00:51:21,920
you come in after that. I'm like, okay, I'll get

954
00:51:21,920 --> 00:51:23,159
it right this time. I promise.

955
00:51:26,039 --> 00:51:27,880
Speaker 2: This song is the best song on the album. This

956
00:51:28,000 --> 00:51:32,400
song blows me away. The guitars are so hooky, gorgeous,

957
00:51:32,800 --> 00:51:36,239
crunchy rock. Love it. Malcolm actually had the phrase we

958
00:51:36,280 --> 00:51:38,400
talked about that he had the phrase in his head

959
00:51:38,440 --> 00:51:41,239
back in Black and he had the riff for the

960
00:51:41,320 --> 00:51:44,440
song before they really had the song. This was a

961
00:51:44,480 --> 00:51:47,039
warm up exercise, kind of like how we talked about

962
00:51:47,159 --> 00:51:50,079
last week with Slash and Sweet Child of Mine. He

963
00:51:50,079 --> 00:51:52,840
would do this as a warm up exercise.

964
00:51:53,199 --> 00:51:59,880
Speaker 1: Okay. So title track right, dedicated to Bond Scott and

965
00:52:00,599 --> 00:52:03,280
one of the lyrics in this song is forget the

966
00:52:03,320 --> 00:52:07,760
hearse because I never die. I love it. I mean,

967
00:52:07,800 --> 00:52:10,960
this is the perfect tribute to Bond Scott, right.

968
00:52:12,480 --> 00:52:16,079
Speaker 2: Yeah, it's basically saying Bond, your spirit will live on,

969
00:52:16,400 --> 00:52:19,000
your legacy will live on. I thought it was interesting

970
00:52:19,280 --> 00:52:21,960
they were talking to There was an interview with Brian Johnson.

971
00:52:22,039 --> 00:52:23,760
He was talking to Mojo magazine in two thousand and

972
00:52:23,840 --> 00:52:27,559
nine when they said, can you write lyrics? They gave

973
00:52:27,639 --> 00:52:29,400
him the music for this song, and he's like, well,

974
00:52:29,440 --> 00:52:31,519
I'll give it a try, and they said, here's the deal.

975
00:52:31,719 --> 00:52:34,960
The only thing is it can't be morbid. It has

976
00:52:35,039 --> 00:52:38,119
to be for Bond, and it has to be a celebration.

977
00:52:38,519 --> 00:52:40,559
So he thought, okay. So that's when it came up

978
00:52:40,559 --> 00:52:44,840
with you know, nine Lives, Cat's Eyes abusing every one

979
00:52:44,880 --> 00:52:49,440
of them and running wild, and the boys really really

980
00:52:49,519 --> 00:52:51,840
enjoyed it, and they thought it was a great tribute to.

981
00:52:51,840 --> 00:52:56,039
Speaker 1: Bond, perfect tribute, and it was a perfect tribute for

982
00:52:56,119 --> 00:52:59,719
the fans to hear as well for them to go, okay,

983
00:52:59,719 --> 00:53:00,719
this as one of us.

984
00:53:01,119 --> 00:53:01,599
Speaker 2: Yeah.

985
00:53:02,159 --> 00:53:04,000
Speaker 1: And I think it worked. I think it totally worked.

986
00:53:04,000 --> 00:53:07,159
I think the fans embraced Brian Johnson. I don't I mean,

987
00:53:07,199 --> 00:53:10,199
there's I'm sure there's a there's a a section of

988
00:53:10,199 --> 00:53:12,159
folks out there that were like, I don't really care

989
00:53:12,239 --> 00:53:18,199
for a CDC. After Bond died, probably a really small contention. Yeah.

990
00:53:18,280 --> 00:53:21,039
Speaker 2: The vocals on this are incredible.

991
00:53:21,639 --> 00:53:22,079
Speaker 1: Yeah.

992
00:53:22,119 --> 00:53:25,320
Speaker 2: For me, this is Brian Johnson at his best right,

993
00:53:25,440 --> 00:53:30,320
And it's that perfect singing scream you know. I mean

994
00:53:30,320 --> 00:53:33,239
we talked about when Nirvana did it, but it's just

995
00:53:33,320 --> 00:53:37,599
that perfect oh, that full emotion that sounds great.

996
00:53:38,239 --> 00:53:41,800
Speaker 1: Yeah, and you know it's they have I won't I

997
00:53:41,840 --> 00:53:44,719
won't say it's I mean that their voices are not

998
00:53:44,840 --> 00:53:48,159
the same, but if there's a similarness to them, I mean,

999
00:53:48,199 --> 00:53:51,360
he can pull off the Bond Scott songs right right.

1000
00:53:51,480 --> 00:53:53,960
He can. He can sing Highway to Hell and still

1001
00:53:54,039 --> 00:53:58,440
kill it. But just you know, the voice. Bond Scott's

1002
00:53:58,559 --> 00:54:01,760
voice was a gravel voice, right I read he actually

1003
00:54:02,559 --> 00:54:06,199
his early morning ritual was to gargle with honey and

1004
00:54:06,360 --> 00:54:10,960
red wine and that kept his voice nice and raspy.

1005
00:54:14,199 --> 00:54:18,920
And then Angus described Brian Johnson's voice as what somebody

1006
00:54:18,960 --> 00:54:22,920
sounds like if you dropped a truck on their foot.

1007
00:54:23,920 --> 00:54:27,599
He's got a screech, you know. Brian Johnson has got

1008
00:54:27,719 --> 00:54:33,119
a higher pitched screaming style to his voice, but it

1009
00:54:33,239 --> 00:54:36,000
fits with the ACDC style perfectly.

1010
00:54:36,079 --> 00:54:38,400
Speaker 2: What a great tribute. This album came out five months

1011
00:54:38,480 --> 00:54:43,880
after Bond's death and this wonderful, amazing song, and it's

1012
00:54:43,880 --> 00:54:45,679
a tribute to Bond. I will tell you this. This

1013
00:54:45,760 --> 00:54:48,199
is a cool thing that I found. Kurt Cobain was

1014
00:54:48,239 --> 00:54:51,079
given a guitar on his fourteenth birthday, and the first

1015
00:54:51,079 --> 00:54:53,440
song you learned to play was Back in Black. Okay,

1016
00:54:53,679 --> 00:54:57,559
if you're a movie fan, you'll recognize this from Iron Man.

1017
00:54:58,119 --> 00:55:04,679
You called Grudge Match, Mega Mind, Karate Kid, the remake, eh,

1018
00:55:05,039 --> 00:55:08,880
the one we don't talk about, Okay, School of Rock

1019
00:55:09,159 --> 00:55:12,039
and the Muppets. The Muppets, not the Muppet Movie, not

1020
00:55:12,119 --> 00:55:13,559
the Great Mumpet Caper. The Muppets.

1021
00:55:13,559 --> 00:55:18,760
Speaker 1: Oh, the Muppets from like twenty eleven. Okay, yeah, so.

1022
00:55:19,679 --> 00:55:22,719
Speaker 2: Okay, all right, So we're done with Back in Black,

1023
00:55:23,440 --> 00:55:27,920
starting off side to with an amazing song. Then we

1024
00:55:28,079 --> 00:55:31,239
follow that one up with You Shook Me All Night Long.

1025
00:55:46,480 --> 00:55:56,320
Speaker 1: She is the best song.

1026
00:55:56,440 --> 00:56:01,840
Speaker 2: Now, I can't really argue. The two songs are freaking amazing.

1027
00:56:01,920 --> 00:56:05,000
Speaker 1: Back to that, yeah, I can remember. I can remember

1028
00:56:05,039 --> 00:56:09,360
as a kid, the same cousins that as a seven

1029
00:56:09,440 --> 00:56:12,280
year old I went and saw my first three sets

1030
00:56:12,320 --> 00:56:16,480
of boobies in the movie theater. When I became a teenager,

1031
00:56:16,559 --> 00:56:19,599
I think I was probably fourteen when I went out

1032
00:56:19,599 --> 00:56:23,360
to see them again and they had they had CDs,

1033
00:56:23,440 --> 00:56:26,199
and they had a really large CD collection. They were musicians,

1034
00:56:26,880 --> 00:56:31,440
and among the CDs was Van Halen one. So that's

1035
00:56:31,480 --> 00:56:33,599
how I got introduced to Van Halen One, which we

1036
00:56:33,639 --> 00:56:35,920
talk about in which I still say is my favorite

1037
00:56:35,960 --> 00:56:39,480
Van Halen album to this day. And then also Back

1038
00:56:39,480 --> 00:56:44,039
in Black and I made the best mixtape that has

1039
00:56:44,079 --> 00:56:48,519
ever existed in the history of mixtapes, using all of

1040
00:56:48,559 --> 00:56:54,119
their CDs. But I was a collectic in my tastes,

1041
00:56:54,159 --> 00:56:58,679
and so were they. And so now every time I

1042
00:56:58,760 --> 00:57:02,079
hear you Shook Me all night long when the song ends,

1043
00:57:02,440 --> 00:57:05,840
I really expect Crazy by Patsy Klein to come on

1044
00:57:08,480 --> 00:57:09,360
that trade. Man.

1045
00:57:10,000 --> 00:57:13,800
Speaker 2: We got that mixtape mixed up in your head.

1046
00:57:13,920 --> 00:57:18,320
Speaker 1: Pavlovian Spot, because that was what was next on the mixtape,

1047
00:57:18,320 --> 00:57:21,239
and I listened to it eight million times. So I

1048
00:57:21,360 --> 00:57:23,599
just that's what I expect. Be weird for Pandora to

1049
00:57:23,639 --> 00:57:24,159
do that, though.

1050
00:57:25,400 --> 00:57:30,039
Speaker 2: Okay, here's an interesting thing for you. When I discovered ACDC,

1051
00:57:30,239 --> 00:57:32,920
it was in nineteen eighty six when they came out

1052
00:57:32,960 --> 00:57:35,840
with the album Who Made Who, which was the soundtrack

1053
00:57:36,079 --> 00:57:38,320
for Maximum over Drive.

1054
00:57:38,639 --> 00:57:39,400
Speaker 1: Right, right.

1055
00:57:39,440 --> 00:57:42,519
Speaker 2: This is Stephen King movie with Emelia Estebez.

1056
00:57:42,840 --> 00:57:43,440
Speaker 1: It's terrible.

1057
00:57:45,320 --> 00:57:49,239
Speaker 2: It was terrible, but the soundtrack was amazing. So it

1058
00:57:49,320 --> 00:57:52,320
had all a CDC songs and one of them was

1059
00:57:52,400 --> 00:57:54,440
you Shook Me All Night Long along with Hell's Bells.

1060
00:57:54,760 --> 00:57:56,800
So they pluck some from Back in Black, and that's

1061
00:57:56,800 --> 00:57:59,119
how I discovered this song. What I really like about

1062
00:57:59,119 --> 00:58:01,039
this song is when it's art, you have the guitar

1063
00:58:01,320 --> 00:58:04,800
and then as you continue on on the left side

1064
00:58:04,920 --> 00:58:08,159
of your stereo and then it comes in with like

1065
00:58:08,239 --> 00:58:09,239
the twinning guitar.

1066
00:58:10,199 --> 00:58:12,480
Speaker 1: YEP. They bounce it back, they pan it back and forth.

1067
00:58:12,519 --> 00:58:13,079
It's awesome.

1068
00:58:13,239 --> 00:58:17,679
Speaker 2: Yeah, it's a great effect. This song reached number thirty

1069
00:58:17,800 --> 00:58:19,679
five on the US Hot one hundred.

1070
00:58:20,079 --> 00:58:22,599
Speaker 1: Yeah. This was the first single off of the album.

1071
00:58:23,239 --> 00:58:25,679
Speaker 2: YEP, released August ninth, nineteen eighty.

1072
00:58:26,119 --> 00:58:29,199
Speaker 1: So Brian Johnson came up with this song because of

1073
00:58:29,360 --> 00:58:32,199
all of the posters of American girls that were in

1074
00:58:32,239 --> 00:58:36,239
the Bahamas, and I guess somehow he was thinking about

1075
00:58:36,239 --> 00:58:38,000
his old car shop at the same time he was

1076
00:58:38,000 --> 00:58:41,320
thinking about those girls. Because she was a fast machine,

1077
00:58:41,440 --> 00:58:42,559
she kept her mooter clean.

1078
00:58:43,760 --> 00:58:45,840
Speaker 2: She was the best damn woman that he'd ever seen.

1079
00:58:48,320 --> 00:58:50,440
I did hear and we're talking about writing the lyrics

1080
00:58:50,440 --> 00:58:53,360
to this. He uh, the line she told me to come,

1081
00:58:53,400 --> 00:58:54,519
but I was already there.

1082
00:58:54,880 --> 00:58:56,119
Speaker 1: Oh my gosh.

1083
00:58:56,280 --> 00:58:58,800
Speaker 2: He thought he pushed it too far on that one,

1084
00:58:58,840 --> 00:58:59,440
and they were like.

1085
00:58:59,400 --> 00:59:02,039
Speaker 1: Nope, sounds yep. Best line on the album. Really.

1086
00:59:04,599 --> 00:59:06,960
Speaker 2: You know who else has a version of the song?

1087
00:59:07,000 --> 00:59:09,440
Should I A Twain and Celine Dion?

1088
00:59:09,719 --> 00:59:12,079
Speaker 1: Yeah? That was like one of the worst covers of

1089
00:59:12,079 --> 00:59:12,519
all time?

1090
00:59:12,719 --> 00:59:25,480
Speaker 4: Give me a second, all right?

1091
00:59:25,559 --> 00:59:28,159
Speaker 2: So you Shook Me All Night Long was placed at

1092
00:59:28,239 --> 00:59:31,480
number ten on VH one's list of the one hundred

1093
00:59:31,480 --> 00:59:33,000
Greatest Songs of the eighties.

1094
00:59:34,199 --> 00:59:37,880
Speaker 1: So I heard. I haven't verified these yet, but I

1095
00:59:38,039 --> 00:59:42,360
heard that there were some copies of the single that

1096
00:59:42,400 --> 00:59:46,599
were pressed incorrectly and they accidentally put shake a Leg

1097
00:59:46,679 --> 00:59:49,000
on there instead of Shook Me All Night Long.

1098
00:59:49,599 --> 00:59:53,079
Speaker 2: Yeah, I heard about that. That cool collectors item.

1099
00:59:53,440 --> 00:59:56,639
Speaker 1: Yeah apparently it's Yeah, it's tough to get, but they're yeah,

1100
00:59:56,639 --> 00:59:58,360
it's collector's item, they're expensive.

1101
00:59:58,960 --> 01:00:01,559
Speaker 2: Yeah, Shake a Leg nearly as good a song as

1102
01:00:01,559 --> 01:00:02,480
You Shook Me On a Long?

1103
01:00:02,719 --> 01:00:03,320
Speaker 1: No, not a bit.

1104
01:00:04,280 --> 01:00:06,880
Speaker 2: Okay, listen to this. I got this cool story VH

1105
01:00:06,960 --> 01:00:08,239
one series pop up video.

1106
01:00:08,280 --> 01:00:11,320
Speaker 1: You remember that ah VH one the pop up video.

1107
01:00:11,440 --> 01:00:13,679
I have not thought about that in a long time. Okay,

1108
01:00:13,719 --> 01:00:15,400
go ahead, all right.

1109
01:00:15,519 --> 01:00:19,079
Speaker 2: So, according to VH one's pop up videos, the video

1110
01:00:19,239 --> 01:00:21,880
for You Shook Me All Night Long featured a mechanical bowl,

1111
01:00:22,360 --> 01:00:27,599
with a woman playing Johnson's lover riding the mechanical bowl.

1112
01:00:28,000 --> 01:00:28,760
Speaker 1: Yeah, I remember that.

1113
01:00:28,880 --> 01:00:32,079
Speaker 2: During the filming, she accidentally jabbed herself with a spur.

1114
01:00:32,320 --> 01:00:35,079
The roadie who came to her aid married her.

1115
01:00:35,119 --> 01:00:35,800
Speaker 1: A year later.

1116
01:00:36,039 --> 01:00:39,559
Speaker 2: Ah and Hanka's young gave them a mechanical bull as

1117
01:00:39,599 --> 01:00:40,480
a wedding present.

1118
01:00:44,400 --> 01:00:45,119
Speaker 1: That's awesome.

1119
01:00:45,320 --> 01:00:47,280
Speaker 2: How about that? That's all right?

1120
01:00:47,559 --> 01:00:48,000
Speaker 1: We done what?

1121
01:00:48,159 --> 01:00:49,079
Speaker 2: You Shook Me All Night Long?

1122
01:00:49,400 --> 01:00:49,679
Speaker 1: Yes?

1123
01:00:50,559 --> 01:00:53,360
Speaker 2: Okay, two amazing songs back to back.

1124
01:00:53,960 --> 01:00:58,599
Speaker 1: Next, No, that's not it. Okay, sorry sorry.

1125
01:00:58,360 --> 01:01:00,519
Speaker 2: No, no, no, no, have a drink on me.

1126
01:01:13,719 --> 01:01:19,920
Speaker 1: Again. I just love it that. Hey, let's sing songs

1127
01:01:19,960 --> 01:01:20,599
about drinking.

1128
01:01:20,960 --> 01:01:23,280
Speaker 2: I know we just lost our buddy to drinking, so

1129
01:01:23,599 --> 01:01:24,280
have a drink on me.

1130
01:01:24,719 --> 01:01:29,840
Speaker 1: Yeah, And I mean it's perfect. It's exactly what. It's

1131
01:01:29,960 --> 01:01:33,039
kind of their toast to him, right right, It's like, hey,

1132
01:01:33,239 --> 01:01:36,000
you brought us here, thank you, we're having a drink

1133
01:01:36,039 --> 01:01:36,519
on you.

1134
01:01:36,559 --> 01:01:39,400
Speaker 2: Seriously, they don't see Bond's death as a PSA. They

1135
01:01:39,480 --> 01:01:41,920
just see it as a celebration to continue doing what

1136
01:01:41,960 --> 01:01:42,400
we're doing.

1137
01:01:42,480 --> 01:01:44,599
Speaker 1: So lived life to the fullest.

1138
01:01:45,000 --> 01:01:48,760
Speaker 2: Okay, have a Drink on Me. Awesome song, not quite

1139
01:01:48,800 --> 01:01:50,519
at the level as Back and Black and You Shook

1140
01:01:50,519 --> 01:01:52,880
Me on It Long. Just another great song on this album.

1141
01:01:53,360 --> 01:01:55,840
Speaker 1: So honestly, this one is one of my least favorites

1142
01:01:55,880 --> 01:01:58,119
on the album. I know that this is one that

1143
01:01:58,199 --> 01:02:00,400
the fans. Yeah, I know, this is one of the

1144
01:02:00,440 --> 01:02:02,159
ones that fans love it. And it's not bad. I

1145
01:02:02,199 --> 01:02:04,960
don't hate it or anything, but this is not one

1146
01:02:04,960 --> 01:02:06,280
that I get excited about.

1147
01:02:06,360 --> 01:02:09,880
Speaker 2: Okay, So you and I talked earlier this week. There

1148
01:02:09,920 --> 01:02:13,039
are songs like my personal songwriting. This is a turn

1149
01:02:13,119 --> 01:02:15,280
it up song, this is a let it ride song,

1150
01:02:15,400 --> 01:02:16,440
or this is a skip song.

1151
01:02:17,280 --> 01:02:19,639
Speaker 1: Yeah, I'm gonna I mean, I'm probably gonna fast forward

1152
01:02:19,639 --> 01:02:20,119
through the song.

1153
01:02:20,360 --> 01:02:21,480
Speaker 2: Okay, you got me?

1154
01:02:21,920 --> 01:02:22,840
Speaker 1: Sorry man, I.

1155
01:02:22,800 --> 01:02:26,360
Speaker 2: Love the song, all right, So that doesn't for have

1156
01:02:26,400 --> 01:02:26,760
a dream.

1157
01:02:26,760 --> 01:02:28,519
Speaker 1: I'm okay.

1158
01:02:28,679 --> 01:02:29,199
Speaker 2: Now we're on.

1159
01:02:29,239 --> 01:02:33,960
Speaker 1: Shake a Leg, yes, which I think you know. Whenever

1160
01:02:34,159 --> 01:02:38,320
Angus Young plays and he does a crazy, crazy show anyway,

1161
01:02:38,880 --> 01:02:41,840
but he has this stick that he does that is

1162
01:02:41,920 --> 01:02:45,320
totally a chuck Berry knockoff where he kind of does

1163
01:02:45,360 --> 01:02:48,840
the duck walk and he's kicking his leg out there

1164
01:02:48,960 --> 01:02:52,519
and it's this goofy, crazy thing. And every time I

1165
01:02:52,559 --> 01:02:54,920
hear this song, I'm like, we're talking about Angus, right,

1166
01:02:55,000 --> 01:02:56,199
this is Angus shaking.

1167
01:02:55,960 --> 01:03:00,519
Speaker 2: His leg exactly exactly on that note, I read this

1168
01:03:00,639 --> 01:03:02,840
really involves Bond. But one of the things that Angus

1169
01:03:02,960 --> 01:03:05,199
used to do was he'd get on the shoulders of

1170
01:03:05,280 --> 01:03:07,960
a roadie, right, and he'd play in the crowd. The

1171
01:03:08,000 --> 01:03:10,320
roady would carry him around the crowd and he's, of course,

1172
01:03:10,320 --> 01:03:12,280
he's five foot two, he's this little shrimpy guy and

1173
01:03:12,280 --> 01:03:15,400
he's playing this killer guitar. And then the roady would

1174
01:03:15,400 --> 01:03:18,119
bring him back up on stage. He'd put him up

1175
01:03:18,159 --> 01:03:21,920
on Bond's shoulders and he'd play on Bon's shoulders, right.

1176
01:03:22,000 --> 01:03:25,400
But if he got a bad saddle, he would say, me, balls,

1177
01:03:25,480 --> 01:03:26,679
me balls, put me down.

1178
01:03:30,679 --> 01:03:32,840
Speaker 1: That's awesome, all right.

1179
01:03:33,039 --> 01:03:35,960
Speaker 2: So shake a Leg is an awesome song too. It's

1180
01:03:36,000 --> 01:03:38,000
a good song. We talked about how this was printed

1181
01:03:38,039 --> 01:03:40,519
on some of the You Shook Me All Night Long singles,

1182
01:03:40,800 --> 01:03:43,440
and that has become a collector's edition. It's it's a

1183
01:03:43,440 --> 01:03:46,360
good song. I mean it's it's not the world's best song,

1184
01:03:46,440 --> 01:03:46,960
but it's good.

1185
01:03:47,039 --> 01:03:51,320
Speaker 1: Yeah, yeah, what you're feeling on again, this is you know,

1186
01:03:51,400 --> 01:03:55,079
the you pointed out that there's not a lot of

1187
01:03:55,320 --> 01:03:58,960
variation in the sound in these songs, right, right, and

1188
01:03:59,119 --> 01:04:03,320
so some of them, I mean, the great thing is

1189
01:04:03,320 --> 01:04:05,400
is that they're great songs. So if you're gonna repeat

1190
01:04:05,400 --> 01:04:08,599
something great, that's good. They're all fists pumping, they've all

1191
01:04:08,639 --> 01:04:12,679
got that solid, punchy guitar that you know, doesn't have

1192
01:04:12,760 --> 01:04:16,079
the reverb. It's just bump butt up right there in

1193
01:04:16,119 --> 01:04:19,440
your face. But some of them don't sell me the

1194
01:04:19,480 --> 01:04:22,800
way that others do. And if I'm listening to that

1195
01:04:22,880 --> 01:04:25,159
and I'm thinking, okay, this is the this is the

1196
01:04:25,199 --> 01:04:27,639
seventh time I've heard this kind of sound and it's

1197
01:04:27,719 --> 01:04:29,360
not just blowing me away, that's time.

1198
01:04:29,559 --> 01:04:31,639
Speaker 2: On that note, you're exactly right. There's not a lot

1199
01:04:31,679 --> 01:04:33,840
of variations. So if you like one song, you probably

1200
01:04:33,880 --> 01:04:35,800
like most of them. Some of them strike you're a

1201
01:04:35,840 --> 01:04:38,719
little bit stronger than the others. But notice, so far

1202
01:04:38,840 --> 01:04:40,039
there have been no ballads.

1203
01:04:40,320 --> 01:04:40,519
Speaker 1: Right.

1204
01:04:41,400 --> 01:04:43,639
Speaker 2: So, I don't know if you heard this story, but

1205
01:04:44,239 --> 01:04:47,599
at the time the production company, the producers came in

1206
01:04:47,639 --> 01:04:49,440
and basically put their foot down and said, you guys

1207
01:04:49,440 --> 01:04:51,679
have got to come up with a ballad. Your your

1208
01:04:51,719 --> 01:04:56,360
peers are writing ballads that are selling their albums like crazy.

1209
01:04:56,400 --> 01:04:58,199
You guys got to come up with a ballad. And

1210
01:04:58,239 --> 01:05:01,000
they said, we don't know how I do it, Like,

1211
01:05:01,039 --> 01:05:03,760
we don't know where to start. We've never done one.

1212
01:05:04,480 --> 01:05:06,639
And so the producers are like, all right, here's what

1213
01:05:06,679 --> 01:05:11,000
you do. Think about your last girlfriend, write some lyrics down.

1214
01:05:11,320 --> 01:05:12,639
We'll send in the guy to help you.

1215
01:05:12,760 --> 01:05:13,119
Speaker 1: All right.

1216
01:05:14,079 --> 01:05:16,679
Speaker 2: So after this they kind of gave it the good

1217
01:05:16,679 --> 01:05:19,719
old college try, and when the producers came in to

1218
01:05:19,760 --> 01:05:25,119
listen to the results, they just got up, shook their head,

1219
01:05:25,480 --> 01:05:27,519
walked out of the room and said, you guys, just

1220
01:05:27,599 --> 01:05:28,599
keep doing what you're doing.

1221
01:05:32,519 --> 01:05:35,440
Speaker 1: That's that's good. That's good. Yeah. I don't know. I mean,

1222
01:05:36,079 --> 01:05:37,920
I don't know what I would do if I heard

1223
01:05:37,920 --> 01:05:41,480
a ballad from ac DC. I can't. It just would

1224
01:05:41,519 --> 01:05:42,360
be wrong, right.

1225
01:05:42,440 --> 01:05:43,920
Speaker 2: It just doesn't go together.

1226
01:05:44,000 --> 01:05:48,159
Speaker 1: Yeah, it'd be like Celine Dion singing an ac DC song.

1227
01:05:48,960 --> 01:05:53,880
Speaker 2: Exactly exactly, like putting mayonnaise on a steak. I mean,

1228
01:05:54,039 --> 01:06:01,079
just yeah, yeah, all right. So the last song on

1229
01:06:01,119 --> 01:06:03,119
the album is a song called rock and Roll ain't

1230
01:06:03,159 --> 01:06:03,800
noise pollution.

1231
01:06:04,480 --> 01:06:09,400
Speaker 1: So I've said, now, hey, I've heard the same song,

1232
01:06:09,679 --> 01:06:11,639
you know, the same style of song over and over.

1233
01:06:12,239 --> 01:06:15,119
This is one where I was getting to that point.

1234
01:06:15,280 --> 01:06:18,760
But I was then I was like, who hey, this

1235
01:06:18,880 --> 01:06:22,440
is different, this is bluesy, this is more kind of

1236
01:06:22,519 --> 01:06:26,320
I'm grooving here a bit. And you got Brian Johnson,

1237
01:06:26,840 --> 01:06:30,280
who apparently Mutt Lang just told him, hey, just just

1238
01:06:30,320 --> 01:06:33,039
say something over this. I just need something, you know,

1239
01:06:33,199 --> 01:06:35,719
so that I know that your microphone's working or something

1240
01:06:35,800 --> 01:06:38,119
like that. And so Brian Johnson does this kind of

1241
01:06:39,039 --> 01:06:43,239
preacher esque kind of speech to the working man, and

1242
01:06:43,519 --> 01:06:44,280
but left it on.

1243
01:06:44,519 --> 01:06:47,159
Speaker 2: Hey you there, all you middle men, throw away your

1244
01:06:47,199 --> 01:06:50,320
fancy clothes while you're out there sitting on a fence,

1245
01:06:50,519 --> 01:06:53,360
So get off your ass, come down here. Rock and

1246
01:06:53,440 --> 01:06:56,880
roll ain't no riddle man. To me, it makes good,

1247
01:06:57,320 --> 01:06:58,400
good sense.

1248
01:06:58,960 --> 01:07:02,960
Speaker 1: Yeah this song, Yeah, I mean, on an album full

1249
01:07:03,480 --> 01:07:06,039
of great music, this song might be number two for me.

1250
01:07:06,239 --> 01:07:09,760
I really really dig this song a lot. They throw

1251
01:07:09,920 --> 01:07:13,719
you a curveball at the end. They finish with something

1252
01:07:13,800 --> 01:07:16,400
that is unique, and it's not so unique that you're like,

1253
01:07:16,400 --> 01:07:19,480
what is this? It's still ac DC the guitar still

1254
01:07:19,480 --> 01:07:21,719
comes in here in a little bit, and it still

1255
01:07:21,800 --> 01:07:24,800
kicks some major butt. But it has got a groove

1256
01:07:24,960 --> 01:07:28,800
to it that the other songs don't have. Not that

1257
01:07:28,840 --> 01:07:30,679
they're bad, it's just that they don't have that kind

1258
01:07:30,679 --> 01:07:32,000
of groove that this one has.

1259
01:07:32,480 --> 01:07:35,599
Speaker 2: Okay, So I love hearing that from me. This song

1260
01:07:36,000 --> 01:07:40,559
starts out slow, but it has a building power and

1261
01:07:40,639 --> 01:07:44,079
it comes full tilt. This is a great, great song

1262
01:07:44,119 --> 01:07:45,880
for me on the album as well. This one blows

1263
01:07:45,880 --> 01:07:49,079
my skirt up, as you would say. But this song

1264
01:07:49,199 --> 01:07:51,960
is similar to or some Sugar on Me. We talked

1265
01:07:51,960 --> 01:07:55,400
about when we covered Hysteria that Mutt Lane got to

1266
01:07:55,440 --> 01:07:57,800
the end and said, all right, guys, we've got some good,

1267
01:07:58,039 --> 01:08:01,960
really good solid songs here. Need one more, right, right.

1268
01:08:02,039 --> 01:08:05,800
So initially they only had nine tracks for Back in Black,

1269
01:08:05,880 --> 01:08:08,440
but they thought they needed one more song. So Mutt

1270
01:08:08,480 --> 01:08:10,800
Lane said, all right, guys, get to work. Angus and

1271
01:08:10,840 --> 01:08:14,960
Malcolm wrote this song. The music for the song in

1272
01:08:15,039 --> 01:08:16,239
about fifteen minutes.

1273
01:08:16,680 --> 01:08:17,640
Speaker 1: Yeah, it's incredible.

1274
01:08:18,000 --> 01:08:20,159
Speaker 2: Yeah, and then it caps off this album so good.

1275
01:08:20,239 --> 01:08:22,680
Speaker 1: Yeah. So I'll say this before we get into our

1276
01:08:22,720 --> 01:08:26,039
final judgment. They had a formula that they put into

1277
01:08:26,079 --> 01:08:28,439
play here, Yes, and that formula worked.

1278
01:08:28,920 --> 01:08:30,880
Speaker 2: Oh yes, it still works.

1279
01:08:31,000 --> 01:08:34,319
Speaker 1: It really does. And the songs they last the test

1280
01:08:34,359 --> 01:08:36,800
of time. This album is a great album.

1281
01:08:37,439 --> 01:08:39,600
Speaker 2: Okay, everybody, we're gonna take a quick break. We'll be

1282
01:08:39,680 --> 01:08:47,000
right back after these messages, I.

1283
01:08:46,920 --> 01:08:48,920
Speaker 1: Think at this point, unless we got more to talk about,

1284
01:08:49,079 --> 01:08:51,880
it's time to jump into final judgment. Let's do it. Okay,

1285
01:08:51,920 --> 01:08:53,359
I'm gonna let you go first this time.

1286
01:08:54,159 --> 01:08:56,399
Speaker 2: Okay, Before I get to final judgment, I did want

1287
01:08:56,399 --> 01:09:00,119
to bring up something really quick. These two albums that

1288
01:09:00,119 --> 01:09:03,439
we're comparing are similar, and they're both rock on blues

1289
01:09:03,439 --> 01:09:09,039
bassed rock. They both have that screechy, strong guitar, strong vocals,

1290
01:09:09,520 --> 01:09:12,680
really turn it up, your pump your brains out type

1291
01:09:12,720 --> 01:09:18,000
of music. But these are both all time best selling albums.

1292
01:09:18,159 --> 01:09:19,239
Speaker 1: Okay, yep.

1293
01:09:19,800 --> 01:09:23,840
Speaker 2: Now, for whatever reason, it's difficult to pin down an

1294
01:09:23,880 --> 01:09:28,720
exact number on album sales. I have seen acdc's Back

1295
01:09:28,720 --> 01:09:31,520
and Black listed as high as number two on all

1296
01:09:31,560 --> 01:09:32,560
time sales.

1297
01:09:33,199 --> 01:09:37,560
Speaker 1: Just behind Michael Jackson's Thriller. Highest for a band.

1298
01:09:37,800 --> 01:09:41,279
Speaker 2: Yes, this one has it at number seven overall, with

1299
01:09:41,399 --> 01:09:45,600
Appetite for Destruction at number thirteen. So one of the

1300
01:09:45,640 --> 01:09:48,399
things that really can't be disputed, is that Guns Rose's

1301
01:09:48,439 --> 01:09:52,520
Appetite for Destruction is the best selling debut album of

1302
01:09:52,560 --> 01:09:56,319
all time. Yes, okay, all right, So when I go

1303
01:09:56,359 --> 01:09:58,760
to final judgment, here's what I'm weighing. I've got to

1304
01:09:59,239 --> 01:10:02,760
what I would consider front to back. Every song on

1305
01:10:02,840 --> 01:10:06,520
it is a non skipper for me, twelve tracks, no filler,

1306
01:10:07,000 --> 01:10:11,880
all killer, back in Black. Back in Black is the

1307
01:10:11,960 --> 01:10:17,079
same way, It's shorter. Okay, Now, then, in my estimation,

1308
01:10:17,399 --> 01:10:21,680
Appetite for Destruction is a better album, partially because it

1309
01:10:21,720 --> 01:10:24,560
has more tracks. But we had never heard Guns of

1310
01:10:24,640 --> 01:10:26,800
Roses before. So I'm going to give ACDC a little

1311
01:10:26,800 --> 01:10:28,720
bit of a break here. They get a little bit

1312
01:10:28,760 --> 01:10:32,479
of grace because this is their seventh album and they

1313
01:10:32,520 --> 01:10:35,520
did this six weeks after they lost their lead singer.

1314
01:10:35,680 --> 01:10:39,319
So I'm not discrediting Back in Black at all. The

1315
01:10:39,359 --> 01:10:44,000
accomplishment of Back in Black is incredible under those circumstances.

1316
01:10:44,119 --> 01:10:46,520
But for me, if you put a gun to my head,

1317
01:10:46,560 --> 01:10:48,600
the first one I'm getting out of my tape deck

1318
01:10:48,800 --> 01:10:50,479
is Appetite for Destruction. What do you think?

1319
01:10:52,279 --> 01:10:57,199
Speaker 1: Okay? So here's my thought. We've got two bands, and

1320
01:10:57,239 --> 01:10:59,560
the last time that we talked, I said, hey, you know,

1321
01:11:00,079 --> 01:11:02,800
what do you think the difference is between hard rock

1322
01:11:02,840 --> 01:11:05,920
and heavy metal? And you had kind of an idea

1323
01:11:06,159 --> 01:11:09,319
and I shared what my thoughts with you were. But

1324
01:11:09,960 --> 01:11:12,920
as we're going through this process, we're we're examining a

1325
01:11:12,920 --> 01:11:15,840
lot of music, right, I mean, we've we've listened to Journey,

1326
01:11:15,920 --> 01:11:20,239
We've listened to the Police, We've listened to def Leppard,

1327
01:11:20,279 --> 01:11:23,279
We've listened to Van Halen, we've listened to Nirvana, we've

1328
01:11:23,319 --> 01:11:26,800
listened to Pearl Jam. And as I'm going through this

1329
01:11:26,880 --> 01:11:29,239
and I'm trying to you know, I'm looking at these

1330
01:11:29,319 --> 01:11:33,880
musical categories and I'm and you know, is this alternative music?

1331
01:11:34,000 --> 01:11:37,359
Is this hard rock? Is this heavy metal? Is this

1332
01:11:37,720 --> 01:11:42,319
something entirely different? What is this? And something that spoke

1333
01:11:42,359 --> 01:11:45,399
to me about both of these bands, they both said

1334
01:11:45,399 --> 01:11:47,600
the same thing when people would try to paint them

1335
01:11:47,600 --> 01:11:50,119
into a corner, like are you metal or are you

1336
01:11:50,199 --> 01:11:53,560
hard rock? They both said the same thing. We play

1337
01:11:53,680 --> 01:11:57,079
rock and roll, yeah, and that's it, like, and that's

1338
01:11:57,119 --> 01:11:59,520
the you know, it's the lyric to the Billy Joel song.

1339
01:11:59,640 --> 01:12:02,039
Is the thing it's screaming in my head. It's all

1340
01:12:02,119 --> 01:12:05,119
rock and roll to me, right, Yeah, I mean I

1341
01:12:05,520 --> 01:12:07,640
realize that there are some folks who hate on some

1342
01:12:07,720 --> 01:12:09,960
of the bands that we have talked about in the

1343
01:12:10,000 --> 01:12:11,880
past because of what they did to some of the

1344
01:12:11,880 --> 01:12:14,840
bands that we're talking about right now. But it's all

1345
01:12:14,920 --> 01:12:18,239
rock and roll. Ultimately, it is all rock and roll.

1346
01:12:18,279 --> 01:12:20,800
And I love rock and roll. And right now you

1347
01:12:20,840 --> 01:12:23,479
can't get a good rock and roll song from anybody

1348
01:12:23,520 --> 01:12:26,399
that I can find. I'm waiting for that comeback. I'm

1349
01:12:26,399 --> 01:12:29,640
waiting for the I'm waiting for the ACDC of the

1350
01:12:29,640 --> 01:12:32,680
two thousands to show up, where the Van Halen or

1351
01:12:32,760 --> 01:12:35,159
the Pearl Jam, whoever it is it's going to show

1352
01:12:35,279 --> 01:12:38,000
up and say, guys, we're going to start rocking the

1353
01:12:38,000 --> 01:12:44,039
free world again. I'm ready for that. So what ACDC

1354
01:12:44,199 --> 01:12:49,199
did was pure simple rock. They had that formula. You

1355
01:12:49,279 --> 01:12:53,760
have a punch guitar, you have loud drums, and you

1356
01:12:53,960 --> 01:12:59,199
have euphemistic lyrics that are about the basics of sex,

1357
01:12:59,279 --> 01:13:02,199
drugs and rock and roll. Man, I mean, that's sex, booze,

1358
01:13:02,239 --> 01:13:04,479
and rock and roll. Whatever you want to say. And

1359
01:13:04,560 --> 01:13:08,760
so they they set a standard. I mean, Back in

1360
01:13:08,800 --> 01:13:12,680
Black has set the standard for what playing rock and

1361
01:13:12,760 --> 01:13:15,359
roll in the eighties means. And so they're there at

1362
01:13:15,399 --> 01:13:20,680
the beginning of the eighties, setting the standard. And yes,

1363
01:13:21,439 --> 01:13:25,479
it's great. It is unarguably one of the best albums

1364
01:13:25,560 --> 01:13:30,960
of all time. But because they're so dedicated to their formula,

1365
01:13:31,560 --> 01:13:35,359
there's a lack of variation that you have that you

1366
01:13:35,439 --> 01:13:38,720
get from other albums, and that you specifically get from

1367
01:13:38,720 --> 01:13:44,800
Appetite for Destruction. Appetite is good old rock and roll,

1368
01:13:45,239 --> 01:13:47,920
hard rock rock and roll, whatever you want to call it.

1369
01:13:48,479 --> 01:13:51,479
But they've they have a little bit of a ballad

1370
01:13:51,520 --> 01:13:54,800
that comes in from time to time. They've got a

1371
01:13:54,960 --> 01:13:58,079
variation in their sound. They use a talk box here

1372
01:13:58,119 --> 01:14:01,600
and there, and with the doing all of those variations,

1373
01:14:02,000 --> 01:14:05,159
they not only give you variety, but they maintain some

1374
01:14:05,279 --> 01:14:08,920
kick butt tunes. And so I have to say I'm

1375
01:14:08,960 --> 01:14:11,479
on the same page with you. I think Appetite wins

1376
01:14:11,479 --> 01:14:15,960
the day. It doesn't sold as many albums, it probably

1377
01:14:16,000 --> 01:14:19,560
doesn't have as many diehard fans. But when I'm putting

1378
01:14:19,600 --> 01:14:22,920
them on the scales, as you say, if I decide, okay,

1379
01:14:23,039 --> 01:14:25,119
I got two tapes I can pick before I walk

1380
01:14:25,159 --> 01:14:27,479
out the door, I'm gonna pick Appetite.

1381
01:14:27,760 --> 01:14:29,760
Speaker 2: Something that would be a complete oversight if we don't

1382
01:14:29,800 --> 01:14:33,520
mention Brian Johnson when he had to step away from

1383
01:14:33,520 --> 01:14:36,359
ACDC for a little bit. Yeah, we filled in for him.

1384
01:14:36,720 --> 01:14:41,600
Axel Rose, Axel Rose and Guns and Roses you sent me.

1385
01:14:41,920 --> 01:14:43,680
They play a whole lot of rosie.

1386
01:14:43,920 --> 01:14:47,199
Speaker 1: Yeah. So when they first when they first came out,

1387
01:14:47,279 --> 01:14:52,520
Melody Maker described them as a week ACDC. You know.

1388
01:14:52,800 --> 01:14:57,760
Speaker 2: And here's the other thing. ACDC has given us thirty

1389
01:14:57,840 --> 01:15:01,319
years worth of great music. Forty forty years with the

1390
01:15:01,359 --> 01:15:01,920
great music.

1391
01:15:01,960 --> 01:15:03,760
Speaker 1: Well, if they did it first in seventy six, it's

1392
01:15:03,800 --> 01:15:05,079
nearly forty five.

1393
01:15:05,800 --> 01:15:10,439
Speaker 2: Gosh, that's incredible. Yeah, so they keep a CDC has

1394
01:15:10,520 --> 01:15:14,000
been pumping out music for decades.

1395
01:15:14,479 --> 01:15:15,119
Speaker 1: Yeah.

1396
01:15:15,520 --> 01:15:17,279
Speaker 2: Now not all of it is Back in Black or

1397
01:15:17,319 --> 01:15:17,960
Highway to Hell.

1398
01:15:18,439 --> 01:15:20,520
Speaker 1: No, some of the day I don't.

1399
01:15:20,319 --> 01:15:21,399
Speaker 2: They have any songs on it.

1400
01:15:21,439 --> 01:15:24,800
Speaker 1: But yeah, but they still even in you know, even

1401
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in their fifties, they were making some hits.

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Speaker 2: Oh yeah, absolutely. Guns and Roses on the other hand,

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you know, I keep waiting and waiting and waiting, and

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it's just not going to happen.

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Speaker 1: So I think that Appetite will continue to stand the

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test of time. I think Back in Black will continue

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to stand the test of time. They're both albums that

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you can go back to over and over again, and

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I think without Back in Black, there there is no gni,

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there is no appetite for destruction. So you got to

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give you got to give them that consideration. But it's

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a hard choice. These are definitely two major contenders. But

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we'd love to hear from you, guys, tell us what

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you think.

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Speaker 2: For me, this is appetite by a nose, But tell

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us where we're at. If you're all the way back

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in Black, or if you hate appetite, if you hate

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access voice, or if you think bon Scott was the

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man in Back and Back and everything after that was terrible,

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01:16:25,560 --> 01:16:26,319
let us hear from you.

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Speaker 1: Yeah. Well, you can catch us on Twitter at Shirley Podcast,

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01:16:30,600 --> 01:16:33,039
on Facebook at Shirley Podcasts, or if you want to

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send us an email. We respond to every single email

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01:16:35,760 --> 01:16:40,239
that we get, and that's shirleypodcast at gmail dot com.

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01:16:40,359 --> 01:16:43,279
We really appreciate all of the support that you continue

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01:16:43,319 --> 01:16:46,119
to give us. We're overwhelmed by how many people have

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reached out and given us their opinion on things. It's fantastic.

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We love it. So please join us in the debate

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01:16:54,680 --> 01:16:56,319
here and let us know what you think.

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Speaker 2: All right, Thanks everybody for listening. Check us out on

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01:16:58,720 --> 01:17:01,119
Facebook and Twitter. We will see you next time.

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Speaker 1: All music, images, and movie clips are used for the

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purposes of commentary and education in conjunction with the fair

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Use agreement under the US copyright law.