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Murray Engleheart - AC-DC - Maximum Rock 'n' Roll

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AC-DC - Maximum Rock 'n' Roll


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AC-DC - Maximum Rock 'n' Roll


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In memory of Peter Wells - Murray

For Ascar and Sydney - Arnaud

Cliff Williams, Phil Rudd, Brian Johnson, Malcolm Young and Angus Young - VH1,
Uncut, London.


The story went something like this. Jerry Lee Lewis knew something was wrong. He understood
not exactly what, but it looked like a couple of spectators in one of the VIP boxes
attracted more attention than himself. The Killer endured the increasing
Disregard of his person as long as he could, then he threw the audience a typical one
Killer look - and poured off the stage. Nobody was more disappointed with this than that
prominent couple on top of the rank - John Lennon and Yoko Ono. Since it was important to Lennon
To restore proper respect rank he and Yoko went down to Lewis
Wardrobe. There Lennon fell on his knees in a reverent pose in front of his hero and shouted:
Jerry Lee Lewis! The real king of rock and roll! Over the past thirty years
Malcolm Young and his brother Angus, the crazy guitarist in the school uniform, too
Dedicated to the task of sharing the musical legacy of Lennon and Lewis with the
Balancing legacies of Gren like Chuck Berry and Little Richard - and
then to chase the sonic result through a booming loud amplifier system. With
With this sound and a total of more than 150 million albums sold, AC / DC has succeeded
good sex, adventures under the influence of alcohol, fights, weddings, funerals,
Rides in hot sleighs or meetings with a tattoo artist between Brussels and Brisbane,
Montreal and Manchester and millions of other places on the globe for the right one
to provide background music. And with that, AC / DC didn't just manage one
to become a great rock band, but a global cultural institution. From day one it was
it is this particular musical bond between Malcolm and Angus that is almost without words
worked, their meticulousness, their self-confidence and their downright Swiss precision in
Timing and groove that cast a spell over the fans. Your legacy consists of one
endless catalog of thundering guitar riffs they created first with Bon Scott and then
with Brian Johnson to full bloom. Above all, it's the moments between the
Chords - the pauses for breath, if you will - that have become their trademark.
As Steve Marriott of Small Faces and Humble Pie once said to guitarist Chris
Turner, who later played for Rose Tattoo: It's the breaks that really rock. And so is
so did AC / DC, which ironically enough originally wanted to call themselves The Younger Brothers
- after the outlaws in the Wild West who wandered the Prrie with Jesse James for a while
pulled - and then had to find out that Turner of all people already had this name
had secured. But what is its secret elixir? How did they manage to turn rock music into one
to make a true, even if at first seemingly simple and completely pure art form,
Which additives, preservatives and short-lived music trends simply bounce off? Why
Do you manage to keep going while many of your contemporaries fell under the wheel? How
it happened that AC / DC could look on with disdain, like their many critics one
capitulated after the other? This is also so difficult to understand because the
The Young Brothers do not match their role as rock stars either visually or in terms of behavior. It
It's a bit like finding out that the measly guy is in the poorly seated one
Clothes and those centimeter-thick glasses that you meet every morning on the bus
Reality is a successful prize boxer who has women by his side. There will be children
named after them, sometimes with every imaginable detail, as with the boy who
officially named Angus Malcolm George (George after the older brother of the
Youngs, the former member of the Easybeats and mentor of the band). And as the parents of the
Combination of first names to add a receipt at the end - what a brilliant one

Birth register entry - the registrar in charge probably got nervous jerks.

Then there is the Danish stripper who only works on AC / DC songs, the fan out
Melbourne, who overcame his alcohol addiction by wearing headphones for a week
Listened to the Powerage album at full volume, and the Los Angeles radio station, the one
For a long time, the so-called AC / DC ramming hour was on the program: a broadcast in honor
of the language that kept calling to let me know which song the Australian she was listening to
Had sex. Allegedly, everyone should even be in the tombstone of Doors singer Jim Morrison
Carved names of the classic AC / DC line-up led by Bon Scott. This
The book traces the history of the band from the early days when AC / DC was still heavily under
were influenced by the Easybeats, about the legendary time with Bon and his death in February
1980, the new beginning with Brian Johnson, the groundbreaking album Back in Black up to
Legendary status that the band enjoys today. Originally the book project was started around
to provide a deep insight into the history of AC / DC. And during our work
we realized that there is a much greater need for this book than we could have imagined
to let. AC / DC don't give too many interviews, and when they do with journalists
speak, they often ask the same questions that have been asked since the band started
Answered hundreds of times. Yes, it's true that AC / DC on its own isn't that much
tell, but they have often shown that they are extremely open and honest (from
apart from the countless jokes and jokes), if the right question comes up.
Apparently, however, only a few journalists are even able to reach this level of openness
want. And so it happens that you can read hundreds of AC / DC interviews (of a few
Apart from exceptions; the Australian journalist Christie Eliezer, for example, mediated
many remarkable insights) and then only two or three facts smarter than
before. In a way, this has a lack of depth in the coverage of the band
made our work a little more difficult, but at the same time clearly showed us how important
our book is ultimately. As for AC / DC itself, suffice it to say that the world
is a place that can easily get out of whack. One would become something so basic
how to remove this band from the world would have been possible with serious social,
environmental and all other possible consequences. Just try for one
Moment to imagine life without AC / DC.
Murray Engleheart Arnaud Durieux

Around 1962-1963
Angus with the King of Carnaby Street, designer John Stephen, in his boutique
Lord John in London.

1st chapter
Hard plaster

In the mid-1960s, the stifling summer heat in North Queensland was

Australia's last pioneering territory, torturous enough as it is. But the mentality of the
The rural population posed a threat to the Easybeats and their support band, the Purple Hearts
that was far more fatal than possible heat stroke. Nobody liked strangers in these
Latitudes, certainly not those that looked like that. At some point it had to bang
come. It happened in Cairns while Hearts guitarist Barry Lyde aka Lobby Loyde
waited calmly for a hamburger. A local who is getting on in years
Troubled by the length of Lobby's hair, he jumped up and put a knife to his throat.
Fortunately, George Young and Harry Vanda from Easybeats were there. lobby
Loyde: George gave the wanker a headbutt. It's only half a meter
big but dude I tell you don't get in his way, the guy's a killer! He made
just buff, and Harry said, don't get up again! The guy has that too
nice and serene. Because Harry was also able to hand out some nice wrestlers.
George's motto - first k. o. suggest, then ask questions - was a course of action that he adopted
in his childhood and youth on the streets of the Glasgow suburb of Cranhill.
Cranhill owed its existence to a government initiative from the 1950s in which
Families from the tenements in downtown Glasgow are forced to move to a neighborhood further in
Were relocated east.

On the rocking horse: Malcolm and Angus with two of his cousins ​​in Glasgow beginning
the sixties.

This urban planning measure was carried out in a similar project in
Copied southern Germany, which was very successful there. In the Glasgow area
she failed miserably. The quarter developed into a ticking socio-political one
Time bomb, compounded by the fact that Cranhill was concerned with the infrastructure of
was completely forgotten by the authorities. In the sixties the streets were already from
Dominated gangs who attacked each other with razors. In this social environment
William Young (* 1910) and his wife Margaret (* 1915) raised eight children: Steven
(* 1933), Margaret (* 1936), John (* 1938), Alex (* 1939), William (* 1941), George (* 1946),
Malcolm (* 1953) and Angus (* 1955). The main industries of the city were
Steel production and shipbuilding, otherwise there was hardly any work. William, the actual painter
learned and worked as a floor mechanic during World War II, suffered greatly
the difficult situation. In order to be able to forget the reality, there was always music in the Young house.
Margaret, the adored only sister of the seven brothers, tried one
downright missionary zeal to familiarize her siblings with all kinds of blues and jazz
do. For example with the improvisational talent of Louis Armstrong, with R&B or the
early rock-n-roll recordings by Fats Domino, Little Richard and Chuck Berry. It took
not long before some family members started learning instruments on their own, started
from guitar, piano and saxophone to accordion and clarinet. John and Alex searched
First picked out the guitar, while Stevie started hammering on a piano accordion.
At the beginning of the sixties, Alex set out to prove his talent elsewhere: him
received an engagement in Germany, as a saxophonist and bassist with Tony Sheridan, whose
previous backing band that were then still unknown Beatles. That Alex is now
actually made self-employed as a musician strengthened the daydreams of George, who was already working as a
Fuballer had shown great talent. The Youngs were football fans and of course
stood by the Glasgow Rangers, who had a midfielder on their team in their fifties,
who was also called George Young. In 1961, the Rangers became the first Scottish team to achieve that
Final of a European competition, but lost in the final of the European Cup
Cup winner against Fiorentina. In the following years, however, the club fell on
trophy after trophy on home soil and won the Scottish one in 1964
Championship and the FA Cup. By that time the Youngs were already on the other side of the
Globe arrived. In 1963 the family was attracted by the immigrant bonus
Australian government for ten pounds sterling, moved to Sydney. The parents
also came to Australia in the hope of receiving the then eight-year-old Angus before that
keep from running into a car one more time, as he did on the streets of Cranhill
happened. In any case, little Angus marked his territory shortly after his arrival, as
he decorated the Sydney airport with the entire contents of his stomach. Although had
Australia has a reputation for always having sunshine and beautiful weather, but after the arrival of the
It rained for six weeks for the Youngs. Worse, the family had to be theirs
sparse accommodation in a transitional residence, the Villawood Migrant Hostel in the west of the
City, with numerous snakes and lizards, who desperately find a dry spot
looked for shelter. All of the youngs were homesick, and one evening broke too
William and Margaret in tears. But that moment only strengthened the family ties
more. Everyone was now determined to have a successful new life in their new home
start. William had another concern. He not only had more of the move
Opportunities for work hoped for, but also relied on some of his sons from the
musical career aspirations that they had recently cherished. This assumption
should turn out to be a misjudgment. Because rock and roll was when the youngs were in
Australia arrived, already established there. The spark had already jumped in 1955 when Die

Seed of Violence, a film about rebellious youth gangs, had opened in theaters. The
Soundtrack featuring Bill Haley's classic Rock Around The Clock and His Comets
could be heard, transformed rather dignified cinemas into dance halls. And then they came
Rockn Roll heroes in person. In January 1957, Haley popped in
Australia on, in October Eddie Cochran, Gene Vincent and Little Richard, and as the music
by Elvis Presley and, in January 1958, a tour of Jerry Lee Lewis and Buddy Holly
And the Crickets shook the red continent, there was no stopping England. Little
Richard, who was not satisfied with making one of his wild appearances, wrote
also history. During the flight to Australia the religious singer believed he could feel
How the plane was held in the air by angels. Then the Russian Sputnik satellite
appeared in the night sky over Sydney, he was convinced that the light was a hint from God.
In response, he announced that he was leaving the rock business in order to make a living in the
To dedicate services to God. The lush clunk that he brought into port the next day
Sydney cast to prove how serious he was with his faith lies there to this day
somewhere in the mud. Apart from that, there were also Australian rockers, for example the
popular Johnny OKeefe, and they all hated William Young deeply. George escaped
none of that. The now almost 18-year-old had just started rocking with a lot of talent
Roll to play his guitar. Then, in July 1964, the Beatles came and set it all up
the head. For George, the dormitory the family lived in offered more options than there were
would have suspected at first glance. It was a great advantage that he was old enough now
to go out alone, and in a very short time he managed to make numerous musical contacts in
to button his neighborhood. There was a common room and a dining room in the dormitory,
therefore it was easy to get in touch with other people. First they met to make music
in the laundry room. George soon teamed up with two young Dutch guys, Dingeman Vandersluys (a bass player, later known as Dick Diamonde) and Johannes
Vandenberg (Harry Vanda, guitar) - as well as with the Englishman Stevie Wright (vocals), the
was a little younger than George and lived in the Villawood neighborhood. George's first meeting
and Wright would have been tough rather than hearty since Wright was George first
Brother of a boy he had recently fought with. George, however, denied having
to have to do with the matter, although he sure knocked the lightly built Wright down without any problems
if he'd been stupid enough to really make him angry. The first appearances
the band took place, without major advertising, at events that were under the humorous
Motto Wogs And Rockers were running. The term wogs, a swear word for foreigners,
alluded to the origins of the families in the dormitory. In the end, the band was just missing
another decent drummer. Another Englishman, Gordon, took over the post
Snowy Fleet, who was eight years older than the youngest of his colleagues. Than the youngs themselves
Having settled in, they moved to Burwood, which is closer to Sydney. One place at one
large railway line, which offered better prospects for work and schooling. Stevie Wright,
George, who by now had a close friendship, also moved in with the family.
Wright: I thought it was great to join the big Young clan. They shared
like their love. It was in this cosmos that the early Easybeats songs were created. Through the
The move also increased the band's radius of action. With the help of Allan
Kissick, who ended up acting as manager, got a number of concerts in town
organized. The band took off - even if mostly seafarers on shore leave and
Locals felt that not only were they too loud, but they also lasted far too long
Hair. The Easybeats exploded because they had similarly good intuition as the Beatles
or owned the kinks. It was easy for them to see what was trending at the time. After only
a few months ago Mike Vaughn offered them to take over the management. The band said

without realizing what a good deal they'd gotten with it. Vaughn knew that
aspiring producer Ted Albert of J. Albert & Son, son of Alexis Albert, who served as
respected citizen not only socialized in the better circles of Sydney, but also on
was at home on the international stage and was knighted in 1972.The Albert family
belonged to the company Commonwealth Broadcasting, which owns the Sydney radio station
2UW, and the Albert office building on King Street in the business district. Besides
She ran the most successful music publisher in Australia by far. Seen in this way, there was
Hardly a more important pair of ears in the area than Ted Albert's. Just a few days after
a private audition at the 2UW Theater, Albert brought the Easybeats into the studio to join in
record them. In March 1965 Albert Productions released the first single,
For My Woman, written by Stevie Wright and George Young, which on little
There was a positive response. The second single, however, Shes So Fine, released in May, took hold
immediately at the top of the charts. The radio scene in Melbourne, on the other hand, was struggling
with discovering the charm of the band. So a showcase was organized for them
City transmitter. But there was trouble. Some local workers started during the gig
taunting the band for their looks. Apparently they didn't notice that they were using the
Fire played. Stevie Wright: Some of the guests called us fagots and stuff,
and at some point I got a shock from behind. I went to the boys and said: There has
someone just pushed me! George was maddened. We went to the guys over
really just wanted to talk to them, but they attacked us. So George kicked one of them
between their legs and immediately afterwards sent a second one to the boards. The music
So wasn't the only thing the Easys had in common with the Kinks and The Who, the
were also known for their notorious outbursts of anger. But despite the incident it took
Melbourne the band kindly. Even more so, as elsewhere in the whole country spread
the Easy Fever here too. George Young's experience as Shes
So Fine conquered number one in the charts and in Australia the wild answer to Beatlemania
broke out, shaped his relentlessly harsh attitude towards the music industry.
That's where all the nonsense started, George said in an interview with Glenn A. Baker for the
Australian Rolling Stone in July 1976. We didn't really play anymore. We
just tried to meet the demand () we went out and ripped off our half hour,
although no one could hear what we were playing. Performing at the Festival Hall in Brisbane
in December 1965 in front of 5000 crazy fans lasted less than 15 minutes. Then she stepped
Police and let the hall evacuate. Outside the hall was the band's taxi from
Surrounded by hysterical fans who dismantled everything that found their way to theirs - increasingly
horrified - idols barred. But there were other experiences too. For example overwhelmed
at a gig at a club in Bankstown, southwest of Sydney, a couple of regulars
the band and tried to give the musicians a new haircut. Georges youngest
Brother Angus got the female Easybeats fans up close when he one day
came home from school and found that the house was being besieged because a magazine was dying
The Youngs' address was printed. The police had completely cordoned off the property.
Angus, who could not be held back, ran once around the block, jumped at the neighbor
Over the fence and reached the parental home. However, he hadn't noticed that you were him
followed, and only a few seconds later a screaming horde of girls ripped the door open
Fishing and trampling the tiny teenager down. The experience, including the one that followed
The evacuation of the house by the police was unforgettable. The police had the Easys and the
Also needed Purple Hearts on their North Queensland tour, but probably would have
the officials felt as irritated and threatened by the appearance of the bands as they did
Rural population. Lobby Loyde: After a gig, all [band members] were at the

Back exit armed with microphone stands, nulla-nullas [Aboriginal clubs] and everything

possible stuff, and waited for the doors to open. Because half the city was
appeared to beat us up. So that we could even get to the truck
we had to get through in the truest sense of the word. When I think back
I'm getting really sick now. There was almost always scuffle when we came out of such clubs
wanted out. The band delivered other hit singles, for example that of Vanda and Young
wrote Wedding Ring, which appeared in August 1965. The album Easy followed in September.
After the second album, Its 2 Easy, was released in Australia in March 1966
had come, they thought about exporting the Easy-Fever to the USA.
First they arranged a contract with United Artists, and according to some rumors there was even one
Scheduled to appear on the influential Ed Sullivan Show. A casual remark by the
Beatles producer George Martin was interpreted by the media as if he wanted to go to the
Easys overrun - everything seemed to fit together perfectly. Even the Rolling Stones in the
They played in Australia for the second time in February and were caught up in the enthusiasm. Keith
Richards spoke of the band with great admiration. But then seemed a trip to
London is more important than conquering America.

Stars in strips: The Easybeats - George Young, Harry Vanda, Dick Diamonde, Snowy
Fleet, Stevie Wright, in London in 1966.

In July 1966, shortly after their arrival in London, the Easybeats experienced one evening in the
Marquee, how The Move dismantled the store and the hearing of those present
laid in ruins. Faced with such competition, the journey seemed arduous
from the other end of the world rather pointless. Nevertheless, they took Albert to the Abbey with Ted
Road Studios on. Then United Artists sent them producer Shel Talmy, who
had worked with The Who and the Kinks. The following sessions, which also take part
the pianist Nicky Hopkins, a later companion of the Stones, were not involved at first
particularly exciting. That changed after an afternoon at the cinema. The supporting film from
a French doo-wop band, the Swingle Singers, inspired George and Harry
to the riff and backing chorus of a song that was later called Friday On My Mind
received. Meanwhile in Australia in October Stevie Wrights and George Young's Sorry
published. This title showed the public what most insiders already knew
knew: George was a hell of a good rhythm guitarist. Lobby Loyde: No matter what the people
Also say about the way of playing rhythm guitar: It was George. It was his style, so played
nobody else in the world. George just had that certain something that made the
Rhythm itself wrapped around the beat. George was always aware of that. He played totally offensively. He was
always been the damn engine. He broke through like a semi-trailer. That something
honed Friday On My Mind appeared in the UK in October 1966, one month
later - at the same time with the album Volume 3 - also in Australia and in May 1967 in the USA.
It became a huge hit worldwide. Harry Vanda saw the song as a simple one
Stroke of genius, if only from a guitarist's point of view: I think that's the only one
The really awesome thing we've ever done is the damn riff of Friday On My Mind.
It sounds like one guitar, but there are two. People often ask: how do you manage
that of going up and down at the same time? Well, someone plays part of the riff and
Let it go on, and the other then plays against it. But it sounds like it is
just a guitar. That's why people always come and want to know how to do it. I
always answer: professional secrecy. Friday On My Mind went live for the first time on the very first
Introduced the band's gig in the UK. It was November 13, 1966 in the Saville
Theater owned by Beatles manager Brian Epstein. The atmosphere there was, however
anything but relaxed. We looked into the audience and saw the Rolling Stones and the
Beatles in the front row, Vanda told journalist Christie Eliezer from the magazine
Beat, and we almost shit our pants! Friday On My Mind was one of them
A brilliant achievement by Vanda and Young that it turned out to be almost impossible to find a worthy one
To write successor. A European tour with the Rolling Stones in March 1967 offered
Opportunity to take off some pressure. But it also brought more stress than the bands
for example at Vienna Airport with 13,000 fans and a 500 strong
Police force were received. In May, when in Europe the album Good Friday and in the
USA Friday On My Mind appeared, they returned to Australia and it was
It was obvious that the Easy Fever hadn't let up a bit. At the end of the tour, in short
before it should go to the USA for the first time, drummer Snowy Fleet announced his departure. He
was replaced by Tony Cahill, who previously drummed for the Purple Hearts. Cahill's first
The performance in Scotland turned out to be a baptism of fire, because here, too, it became apparent that the band was disregarded

her name was anything but easy. Thanks to the long guitar cables, George
and Harry take care of unpleasant brawlers in the middle of the audience and often walked themselves
one to end scuffles between viewers. Compared to that, it went on
US tour in August 1967 became much quieter, although the band's popularity was theirs
had reached its absolute climax. In the later notorious punk club Maxs Kansas City in
New York's single Falling Off The Edge Of The World had pride of place in the
Jukebox. She was chosen again and again by an enthusiastic Lou Reed. And pope of the scene
Andy Warhol insisted on introducing himself to the band. Tried while doing this
the Easybeats to write anything that is at least in the beginning a similar quality class
like Friday On My Mind had. That alone was stressful enough for George. That the band then
in the meantime still experimented with different styles, even with lush
orchestrated ballads, upset him malos. From our point of view it was a classic mistake
he told Glenn A. Baker at Rolling Stone. We were a rock band, and why should
a rock band deal with this messy shit? Gradually the Easybeats got caught
under pressure, and the first cracks appeared in the band structure. That stayed with Young
Family association in Sydney is not hidden, nor is the increasing interest in
Drugs that were gradually becoming ubiquitous in the music industry. William came increasingly to
concluded that it was time for George to get a proper job with regular
Seek payment. And his conviction grew that his youngest sons, Malcolm and
Angus should do something different with their life than make music. The easybeats
released the album Vigil in Australia and Europe and Falling Off The in June 1968
Edge Of The World in the USA. In July, the anthemic single Good was released in Australia
Times, which was also decoupled in the UK and America in September. Wore here
Now the friendship with the Small Faces can be heard, because Steve Marriotts
characteristic grating voice shaped the accompanying song. According to rumors, Paul should
McCartney was so excited when he first heard the Good Times that he attended the
Parked at the next phone booth and called the BBC to see if the title wasn't right again
can play. George's brother Alex was working as a songwriter for the publishing house in London
of the Beatles label Apple and was asked if he wanted to be part of the Apple band that worked there
has just been launched. It should fill the void in popular music that the Beatles created
had left behind. John Lennon had the idea, the project - with Alex as George
Alexander got involved - baptizing grapefruit as a little bow to a book by Yoko
Ono. The Beatles helped get the project off the ground: The evening the band officially launched the
Introduced to the public was through the presence of Lennon, and McCartney
Ringo Starr and Rolling Stone Brian Jones. Rumor has it that John should
Lennon can be heard on the third grapefruit single Cmon Marianne. Together with
McCartney is said to have even produced the debut album Around Grapefruit. George had
a little less luck. He was getting more disappointed with the music business from week to week, and it was
a pleasant distraction for him, in London clubs like the Bag ONails ska music too
listen. The Easybeats hadn't lost their magic like the energetic single
St. Louis from 1969 proved, but it was the last group of a band that barely became a unit
was to recognize. That afterwards it was said that Brian Epstein had considered that for a while
To manage Easybeats - a development that certainly has a positive impact on the band's fate
would have influenced - now sounds like a staircase joke of history. Appeared in August
Friends, an album that mostly consisted of demos from Vanda and Young, because you
Polydor owed another record. The band was on the subsequent tour in September
without much fanfare, simply in jeans and a t-shirt on the go. Although the concerts were well attended,
but there was no longer any question of the hysteria that had raged two years earlier.

Nevertheless, the Easybeats made a few convincing appearances. When she was in the second
October half arrived in Sydney, a few old friends attacked them at the gigs as
Support band under your arms: the Valentines with their two singers Vince Lovegrove and Bon
Scott. It was ironic that Scott was now doing better than his idol Wright's show
Stevie Wright himself. When the tour ended, the Easybeats threw in the towel. It stayed
Left George and Harry for the band debt of about $ 85,000
to come up. During the band's career there had been a number of bankruptcies when
for example a single in Canada appeared on two different labels and different titles
were sold exclusively to other record companies. It was later discovered that the
Gold record for Friday On My Mind that proudly with the youngs in the living room
actually contained the single Sorry. George and Harry returned in 1970
London back to where they spent the next few years in the seclusion of recording studios
withdrew that fascinated her so much. They formed an extremely creative team that was among the
produced various aliases, for example as Tramp and Moondance (1970),
Paintbox (1970-71) or Haffy's Whiskey Sour (also 1971). They were also at the 1971
last grapefruit single involved with Alex Young. In Europe their records were with
published with varying success. The last project she did during her stay in England
Starting in mid-1972, it was a fun collaboration with the former
Pretty Things bassist Alan Wally Waller (Wally Allen) doing the Marcus Hook Roll
Band called. The band was in a way a crazy idea from Waller, who during the
Sessions at Abbey Road Studios for supplying the bands with alcoholic
Refreshments was responsible. But after two singles - Natural Man in August 1972 and
Louisiana Lady in February 1973 - the party was over. When George in January and Harry in
When they returned to Australia in late 1973, they were surprised to learn that
Of all things, this project met with interest in the USA, where Natural Man was currently
had only appeared. After everything they'd experienced with the Easybeats, they didn't know if
they should laugh or cry. So they decided to finish what they did in London
had started. Waller took over the supply of drinks again, then also struck
George's brother Malcolm on guitar for the studio team in Sydney, with Angus also often performing
Place was. Harry Vanda: Malcolm took part because before that only I played guitar and George only
pounding on a bass. So we needed a drummer and a second
Guitarists. I also sang a little, as did George. They spent a month in the
EMI Studios in Sydney, supervised by sound engineer Richard Lush. The Briton had only lived since
several months in Australia, but already had impressive references since he
For example, he was the second sound engineer on the legendary Sgt. Pepper album of the Beatles
was. Lush loved Malcolm and Angu's skills. Richard Lush: I was amazed how
There was a lot of talent in these guys because they were basically just kids. I just thought wow
that's great! Especially with Angus. The 1973 emerged from the sessions
released album Tales Of Old Grand-Daddy, which was initially only released in Australia. It
initially caused further disappointments, because to George's great annoyance that showed
original cover an old man in a rocking chair, although the title of the album
actually goes back to the bourbon brand Old Grand-Dad - as a reference to the fuel,
who had ensured the right level of energy during the sessions. To add a little more salt
To sprinkle in the wound, the album came out, although the interest from the US was the real one
The reason for the recordings was that they only went into stores there after six years. It smelled like hell
the annoyance with the Easybeats. George was determined that his brothers would never have one
should take a bumpy road like him. But apart from that he uttered wise words
As for the future: one day, he told a magazine, a band will come

which will be as important to our society today as Dylan was to the sixties.
This band is going to blow us all away.

1971 Malcolm at Velvet Underground.

2nd chapter

The rhythmist

Malcolm Young was born on January 6, 1953, the year Elvis Presley left the
The scorching heat of the American southern states entered the Memphis for the first time
Recording Service continued to make its first recordings. It is certainly not a coincidence that
Malcolm first practiced with Elvis records before he played the Beatles' songs in the mid-1960s
discovered. Malcolm's first guitar was one of the two cheap acoustic instruments that his
Mother for him and Angus had bought to the two riotous brothers through one
meaningful activity to keep them from biting each other's throats. First of all
he threw himself on the surf instrumentals of the time. Since Malcolm's hands were too small,
In order to fully grasp the fingerboard, he could initially only play the strings empty. The
Back then, music was still a hobby, not the all-consuming passion that it later became
has been. Like George, Malcolm was a talented footballer and thought seriously of one
Sports career after. But when he was 13 or 14, the growth spurt got him the
When he was a teenager, a spanner in the works - because everyone saw him, only he didn't. Malcolm
remained trapped in his tiny body, supposedly due to the lead content in the
Scottish water pipes that the family had been exposed to in Glasgow. Nearly
Overnight, all of the other boys around him were much bigger, more robust, and most importantly
much faster than him. What was particularly bad was that Malcolm's buddies were also much older now
looked and therefore easier - albeit still illegal - through the pubs
could pull. Malcolm, on the other hand, still looked so childlike that not even the
kindest innkeeper would have turned a blind eye. Around the same time as its greater
Brother George gradually lost faith in the music business with the Easybeats
Malcolm's love of music was overwhelming. The 15-year-old's newly awakened passion met
coincides with some other crucial events. In 1968 Malcolms ended
School days at Ashfield Boys High School. For him it was like being out of five
Free days a week from jail. Though he was, probably because of his goodness
Appearance and musical abilities, even then it was reputed to be a small one
To be a ladykiller. But that he had a big brother who was walking around with long hair (what
George was branded a hooligan at the time), and he was also one of the biggest
Belonged to rock bands of that time, Malcolm made his mark and always brought him
difficulties with the teachers again. In 1968 Harry gave his lover to Vanda Malcolm
Gretsch Jet Firebird guitar that once served him so well. The international
The success of the Easybeats and the attention they received everywhere made Malcolm a great attraction
out. Now he even had one of the tools Harry had used to pull these big ones
To achieve success. George continued to fuel Malcolm's growing interest in music: While he was
While traveling abroad, he made sure that his brother got all those albums and magazines
that he thought was important. The only problem was these wonderful packages
were always transported by sea to distant Australia and traveled for half an eternity
were. Sometimes it took months to get to their destination and then they were
the covers of many albums - which were as shrouded in mystery and sacred as the content - despite
In the best packaging, they are often kinked and kicked off at the corners. But despite the delay it was
Malcolm is months ahead of most radio playlists, including Saturday mornings on the

Televised music programs that the family could enjoy together over a cup of tea
looked at in order to then comment on the performances of the individual artists. When George in Sydney
he invited to jam sessions at the Youngs house. He played bass and tried to ber
to count out loudly over the din or to indicate the chord changes. He also took
performed some rde interventions on the guitars and forcibly removed some of the strings that he had used
not rock enough. By that he meant those who were about as useful to his music
like a toothpick in a street fight. George knew: who's right rock and roll
wants to play, must be properly equipped. Malcolm combined these lessons on his own
Living room in terms of style and rocker mindset by repeatedly listening to Eric Claptons
energetic guitar playing with John Mayall's Bluesbreakers or the works of Paul
Butterfield, Mike Bloomfield or Fleetwood Mac during the time with Peter Green and
Jeremy Deltahead Spencer. The great blues musicians who inspired all these artists
for example Muddy Waters or the early rock-n-roll legends like Little Richard,
Jerry Lee Lewis, and of course Chuck Berry, played with Malcolm's musical upbringing
also plays an important role. Malcolm: I started out with Chuck Berry when I was a little boy. The
just couldn't be ignored. I mean, everything he did back then was absolute
great. But most of all he was enthusiastic about the English guitarists who came from the blues and
R&B made three-minute pop songs. Malcolm: When I first saw My
Generation of The Who heard it totally grabbed me. The Beatles and the Stones were
It was popular at the time, and then suddenly there was this hammer song that sounded so much harder. He has
changed me forever. Then there was Jumpin Jack Flash, and I want to mention two more titles:
Honky Tonk Woman from the Stones and Get Back from the Beatles - songs that are absolutely fr
stand up. This is the perfect further development of the real, pure rock and roll. The first
Malcolm first heard My Generation at an Easybeats concert. First stopped
he used the song for another masterpiece written by Vanda and Young. But then said
he was told that the band had heard the song for the first time on Radio Luxemburg. There
William Young considered work and money to be an important virtue, it was clear that Malcolm
had to look for a job after school: just sitting in his room, playing the guitar
Practicing and looking for good-looking women and equally attractive cars did not come
in question. Malcolm tried a wide variety of professions: as a sewing machine technician, as a
Apprentice plumber, lathe operator and warehouse worker. But unlike his colleagues' doorbell rang
to Malcolm's ears not just the ordinary work noise during the day. The monotonous clatter
and clicking of the various machines around him added to one for him
fuzzy, original rhythm from which song ideas and song ideas emerge after a while
Eliminate structures. In doing so, it turned out to be beneficial that Malcolm, similar to how
George, had very good hearing. He was also a talented guitarist with
the gift of being able to play a melody after just a few minutes, which benefits him
came that he owned a turntable with infinitely variable speed, so that he too
could play the records without having to constantly retune the guitar. Finally started
he, together with bassist and singer Mick Sheffzick and drummer Brian Curby,
to make your own noise, but only for a short time. He devoted himself to something more serious
1968 the band Beelzebub Blues, which is sometimes called Red House or The
Rubberband, and in addition to Malcolm on lead guitar, singer Ed Golab,
Drummer Gerry Tierney, guitarist George Miller and bassist Sheffzick were among them. From time to time
Larry Van Kriedt, a jazz-influenced guitarist who
had just come to Australia from America. Malcolm was the little one
Guitar virtuoso who moves through the songs with impressive talent and seemingly effortlessly
by Bloodwyn Pig, Savoy Brown, Black Sabbath, the Animals, Eric Claptons

Bluesbreakers phase, the first Cream album and Are You Experienced? by Jimi Hendrix
played. The basic direction of the band was blues, but not of the usual variety. The
The band completely renounced songs that were on the radio at the time. The most radio-friendly piece in
their program was Come Together by the Beatles. Ed Golab: Malcolm was THAT
Guitarist, man. We did loads of Cream and Hendrix covers, and he had them
all in a perfect mood. Every now and then, ideas for my own songs sprang up in Malcolm's room,
before he was a little louder in Rhodes, the district north of Sydney's center, in a
Tried the Boy Scout meeting room, which the band would lock themselves into from time to time
and then spent the night there. In the quieter moments, Golab and are busy
Malcolm with Latin rock, sometimes they even heard Stevie Wonder. The amplifier that
Malcolm used was anything but lightweight. The good piece was from a friend
of the band, the electric trickster Bevan Boranjee, specially designed for Malcolm's demands
been. Ed Golab: He had built this giant box for Malcolm, an enormous box that
was about the size of two room doors. You have to imagine this. And this
We rolled Scheiding into the halls everywhere. People always thought, wow, now it's time
but right off. Nobody knew that there were only four loudspeakers built into the part.
Malcolm was standing in front of it, and it towered over him so far that he looked even smaller. Anyway
Malcolm still looked very young for his age. Ed Golab: When we were around 18, 19