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High school kids win spot on 1981 LP with their wonderfully shambolic cover of ‘Highway to Hell’
07.29.2016
10:46 am

Topics:
Music

Tags:
ACDC
Brown Bags to Stardom

Angus Young
 
The obscure 1981 compilation album Brown Bags to Stardom was the result of a contest established the previous year by Honolulu radio station KIKI. 200+ Hawaiian high school acts competed for a spot on the LP, with nineteen ending up on the record. The highlights of Brown Bags to Stardom are the ramshackle contributions from teen rock bands Black Rose, and Brain Damage (Ha! Love the name!). “Rockin’ Roller” by Black Rose could pass for an AC/DC song—bonus points for the defiant lyrics about the contest—and is the vocalist a girl or just a very young boy? Brain Damage’s entry is an AC/DC song, a snotty, perfectly chaotic version of “Highway to Hell.” Sooooo great. 
 
Brown Bags to Stardom
Those are KIKI DJs—not very mature-looking teens—on the cover.

I first got wind of these winning tracks via WFMU’s Beware of the Blog. In his post, DJ Tony Coulter nailed it when he referred to Brain Damage’s AC/DC cover as “wonderfully shambolic.”
 
More after the jump…

Posted by Bart Bealmear | Leave a comment
Glamtastic footage of AC/DC *before* Bon Scott
07.08.2016
08:48 am

Topics:
Music

Tags:
ACDC
Bon Scott


 
As someone who considers himself something of a music scholar, who has worked in record shops most of his life, and writes about music professionally, I’m ashamed to admit that I only learned, like, JUST NOW that Bon Scott was not the first singer of AC/DC. I mean, I’m not an obsessive mega-fan or anything when it comes to the band, but I do own every one of their “classic era” albums from High Voltage up to Blow Up Your Video—even some of the Australian alternates. I feel like that’s enough of a level of fan commitment to make my ignorance about AC/DC’s early years unforgivable. Well, you learn something new every day. Hopefully you, like me, are also learning something new today.

Anyway, check out this footage of AC/DC from 1974.  Here you have glam-as-fuck lead vocalist Dave Evans fronting the band, as well as drums by ex-Master’s Apprentices member Colin Burgess and bass guitar by ex-Easybeats member George Young (older brother of band co-founders Malcolm and Angus Young).

The band sounds a bit like The Sweet here.

The song, “Can I Sit Next to You, Girl,” was later re-recorded with Bon Scott on vocals for their Australia-only album T.N.T., released in December 1975, and on the international version of High Voltage, released in May 1976. The edgier Bon Scott version happens to be one of my favorite AC/DC songs of all time and if you were someone I dated in the 90s, you probably got a mixtape from me with that track on it.

Keep reading after the jump…

Posted by Christopher Bickel | Leave a comment
Sky-high boots and platform shoes worn by David Bowie, Marvin Gaye, AC/DC, Keith Moon & more
03.10.2016
09:09 am

Topics:
Fashion
Music
Punk

Tags:
David Bowie
ACDC
Marvin Gaye
shoes

Marvin Gaye's signature silver platform boots, 1970s
Marvin Gaye’s signature silver platform boots made by Gaye’s wife, Janis, 1970s
 
As I’m sure many of the more academic readers of DM are aware, the history of guys strutting around in big heels goes all the way back to the Baroque period when it was considered to the calling card of a truly “masculine” kind of man. Oh yes. Wearing heels made you taller and being taller made one appear more menacing. And for men in positions of power or prestige, being intimidating was helpful with ensuring that you maintained your position in society. Aristocrats and elites like Charles II of England were often depicted in paintings wearing high-heeled footwear. 
 
An early version of AC/DC with vocalist Dave Evans looking very glam (far left) with Angus and Malcom Young
An early version of AC/DC with vocalist Dave Evans looking very glam (far left) with Angus (the only one not wearing heels) and Malcolm Young.
 
David Bowie, 1970s
David Bowie, 1970s
 
Johnny Thunders and David Johansen of the New York Dolls, 1973
Johnny Thunders and David Johansen of the New York Dolls, 1973
 
Plenty more platforms and manly man masculine high-heels after the jump…

Posted by Cherrybomb | Leave a comment
Photos of AC/DC live at CBGB’s in 1977
01.12.2016
09:56 am

Topics:
Heroes
Music

Tags:
1970s
ACDC
CBGBs

AC/DC playing an impromptu gig at CBGB's, August 27, 1977
AC/DC at CBGB’s, August 27, 1977
 
There are few bands in the world that bring me as much fist-pumping joy as AC/DC. I was sadly just a touch too young to see the band perform with Bon Scott, but saw the band after Scott’s departure many, many times and the albums that make up their vast catalog have always been my “go to” records since my parents gifted me with Highway To Hell on Christmas in 1979.
 
AC/DC live at CBGB's, 1977
AC/DC killing it live at CBGB’s, August 27th, 1977
 
Bon Scott racing across the tiny stage at CBGB's, August 27th, 1977
Bon Scott racing across the tiny stage at CBGB’s
 
Bon Scott carrying Angus Young through the crowd at CBGB's, August 27th, 1977
Bon Scott carrying Angus Young through the crowd at CBGB’s, August 27th, 1977
 
Show bill for AC/DC's show at CBGB's, August 27th, 1977
Show bill for AC/DC’s show at CBGB’s, August 27th, 1977
 
When the band played CBGB’s on August 27, 1977, they were a late addition to the bill that included The Dead Boys and the Talking Heads. The rabble-rousing Aussies were on a U.S. tour in support of their 1976 record, High Voltage and had just played a show at the Academy of Music opening for The Dictators, and really wanted to play the popular punk club.
 
Angus Young rocking the fuck out at CBGB's, August 27th 1977
Angus Young rocking the fuck out at CBGB’s, August 27th 1977
 
Bon Scott and Malcom Young at CBGB's August 27th, 1977
Bon Scott and Malcolm Young at CBGB’s August 27th, 1977
 
More after the jump…

Posted by Cherrybomb | Leave a comment
‘How Should We End This?’: Hilarious supercut of AC/DC song endings
07.21.2015
05:41 pm

Topics:
Amusing
Music

Tags:
ACDC


 
Phoenix, AZ classic rock DJ Paul “NeanderPaul” Marshall (oh, morning FM jocks, please don’t ever change…) has posted a supercut of over 120 (I sat and counted) examples of the suspiciously similar final seconds of AC/DC songs. The result is pretty great, and he posted it to the web site of his employer, KSLX FM:

So, you say to yourself; “Gee, a lot of AC/DC songs sound alike.” You’d be correct. Especially the *endings* to AC/DC songs.

I thought it would be “funny” to snag the endings of all the AC/DC songs that do the power-chord thingie. Little did I know how labor intensive the project would be.

On his Facebook page, Marshall promises that there are no repeaters, though that pledge is probably unnecessary—given that AC/DC have been around for over 40 years, have released 15 albums, and are celebrated for anything but stylistic diversity, I’m actually surprised that this is only 2 minutes and 39 seconds long.
 

Previously on Dangerous Minds:
The quest for the best ‘unexpected’ AC/DC cover
‘Kenneth, what is the frequency?’ The weird connection between AC/DC and the 1986 Dan Rather assault
Man plays AC/DC’s ‘Thunderstruck’ on flaming bagpipes

Posted by Ron Kretsch | Leave a comment
The quest for the best ‘unexpected’ AC/DC cover
07.20.2015
08:12 am

Topics:
Music

Tags:
ACDC
Lesley Gore
Pat Boone


 
I was recently listening to the excellent 2002 compilation When Pigs Fly: Songs You Thought You’d Never Hear. The album is a collection of “unexpected” cover songs by seemingly mismatched artists. For example, Don Ho doing “Shock the Monkey” and Herman’s Hermits doing “White Wedding.” Great stuff. But the best track is undoubtedly Lesley Gore’s version of AC/DC’s “Dirty Deeds Done Dirt Cheap” with its soulful verses and “girl group sound” choruses.
 

Lesley Gore, one of the top female pop stars of the ‘60s, best known for “It’s My Party” and “You Don’t Own Me,” had a successful musical career from 1963 until her untimely death early this year.
 
Listening to Gore’s “Dirty Deeds” reminded me that Pat Boone had tackled similar “unexpected” AC/DC cover territory five years prior on 1997’s In a Metal Mood: No More Mr Nice Guy album. Boone, whose career was basically based on being the safe, parent-palatable alternative to Elvis Presley, broke with the conventions of his fundamentalist fanbase on that album—a collection of heavy metal covers done in a Vegas style. Boone does a Rat Pack-inspired version of “It’s a Long Way to the Top.”
 

Pat Boone had a successful career as a singer dating back to 1954 where he, for the most part, recorded “safe for white people” versions of black artist’s rock and roll songs.
 
Both of these “rocking but not rocking” covers of AC/DC tunes are great. Which one would win in a face-off? It’s hard to say. Personally, I think “Dirty Deeds” is better source material than “It’s a Long Way to the Top,” but man, Boone’s arrangements on his cover are ace. For my money though, Gore barely edges Boone out—I’m a sucker for ‘60s female pop singers.

Can you make the call? Or perhaps you have a suggestion for a better “unexpected” AC/DC cover? Let us know in the comments.
 

 

 

Posted by Christopher Bickel | Leave a comment
‘Kenneth, what is the frequency?’ The weird connection between AC/DC and the 1986 Dan Rather assault
07.08.2015
11:51 am

Topics:
Media
Music
Television

Tags:
ACDC
Ken Schaffer
Dan Rather


 
Dan Rather’s career as a network news anchor was full of memorable moments, but perhaps the single most surreal incident was the time he had to report a crime in which he was the victim. He was walking to his NYC home on October 4th, 1986, when he was accosted and beaten on the sidewalk by men who pummeled and kicked him while repeating the question “Kenneth, what is the frequency?”

It was freakin’ weird, so weird that there were some who thought Rather had lost his marbles and made it up. Most doubts were squashed when a doorman who witnessed the incident and helped thwart the attack corroborated Rather’s version of events, and remaining doubts were put to rest 11 years later, when one of the assailants was at last identified, as an apparently unwell man who thought the news media was transmitting messages to him, and who furthermore was serving time for the 1994 murder of a Today show stagehand. By then, the phrase “Kenneth, what is the frequency” (interchangeably with the misquote “What’s the frequency, Kenneth”) had long since entered pop culture, becoming the title of a cool piece of music by Game Theory in 1987, and a very popular REM song in 1994.

As it turns out, there really WAS a Kenneth, and the incident may have been a monumental case of mistaken identity. Ken Schaffer was a music publicist turned inventor who, during what would turn out to be the tail end of the Cold War, found a way to use TVRO dishes to receive Russian television broadcasts from Molniya satellites, a system he installed at the Harriman Institute for Advanced Studies of the Soviet Union at Columbia University. He even enabled the broadcast of a full week’s worth of Soviet television on the then-embryonic Discovery Channel. An amazing and weird article I found on the SETI League web site illuminates Schaffer’s connection to the Rather assault:
 

 

Because Soviet TV broadcasts were generally unavailable in the U.S., the receiver Kenny set up at the Harriman institute drew a number of visitors. Some, such as English rock musician Gordon Sumner (better known as Sting), were there to learn about the arts scene behind the Iron Curtain. (One of the first adopters of a wireless guitar amplifier developed by Schaffer two decades earlier,  Sting was moved by the Molniya viewing experience to compose his popular song “Russians,” sung to a theme from the Lieutennant Kijé Suite by Russian composer Sergei Prokofiev.) Some of the visitors were American diplomats, hoping to use the knowledge gained from the screen to ease international tensions. Others, including TV news anchorman Dan Rather, came to do what journalists generally do—learn about upcoming trends so they could later report on them.

Then there were the visitors from the shadow world, all wanting to know how Schaffer was pulling these elusive signals out of the ether. Kenny generally refrained from telling them, likely hoping to capitalize on his technology by keeping the details to himself. When asked about frequencies and modulation modes, he usually changed the subject.

On the October 1986 night Rather was attacked, he and Schaffer had just left the Columbia campus, where they had been watching Molniya video downlinks. “What’s the frequency, Kenneth?” Rather was asked repeatedly while being pummeled by unknown assailants. Kenny Schaffer believes this was a simple (although painful) case of mistaken identity. The muggers followed the wrong man.

Unfuckingreal, right? We not only have Schaffer to thank (or curse, depending on your alternarock tolerance levels) for that astonishingly durable REM song, he was possibly the intended victim of the Rather beating, AND he’s complicit in that monstrous piece of crap Sting song. That last demerit, though large, is more than mitigated by the fact that Schaffer is also responsible for the monstrously awesome guitar sound on AC/DC’s early ‘80s albums. Did you note the mention in the quotation above of Schaffer’s wireless guitar amplifier? That’s a misnomer—Schaffer’s system was not an amp, but a transmitter/receiver.
 

 
The Schaffer-Vega Diversity System was an early wireless transmitter for guitarists. Its popularity blew up exponentially after its adoption by Ace Frehley of KISS, who’d been electrocuted during a performance in Florida, when his hand touching a metal guardrail completed an AC circuit with his ungrounded amp. Soon, many, many people began using Schaffer-Vegas (Frehley could easily have died, the incident was no joke), including Van Halen, the Stones, Bootsy Collins, and Frank Zappa. But the device’s moment in the sun came not from any live performance, but its use in-studio, really the last place anyone needs wireless anything.

A bit of oversimplified tech here: the Schaffer-Vega compressed a guitar’s signal before transmission, and expanded it at the receiver end, before feeding the transmitted signal to the amp. While it expanded the signal, it boosted certain frequencies that could tend to be lost to compression. So not only did the device wirelessly transmit a signal, it colored the guitar’s tone in distinctive ways, creating harmonic distortions, but they happened to be pleasing distortions.
 

 

Angus Young with Ken Schaffer. Photo: SoloDallas

And so it was that Angus Young of AC/DC began using wireless in the recording studio. Unable to satisfactorily record his ridiculous ball-crunching live sound, he soon resorted to the obvious move, and used his live rig:

George [Young, Angus and Malcolm’s older brother and first AC/DC producer] had suggested that I use the SVDS in the studio in 1978, then when Mutt Lange came in [producer of Highway to Hell, Back in Black, For Those About to Rock We Salute You], he asked me to use the same stuff that I was using for my stage sound, so we used the SVDS again.

The Schaffer-Vega’s unique compression/expansion/EQ scheme turns out to be THE key to AC/DC’s distinctively rich guitar sound, every bit as much as a late ‘60s Gibson SG and a late ‘70s Marshall amp. However, the units had to be abandoned in 1982, victim both to changing FCC regulations on wireless specs, and Ken Schaffer’s changing interests… changing interests which led to a Cold War satellite breakthrough, which led to a really famous reporter getting his ass beat down on Park Avenue. Nutty world, isn’t it?

There’s a happy ending for the Schaffer-Vega, though—this is the news item that got me down into this rabbit-hole to begin with, in fact: the device has been resurrected, redesigned by a company called SoloDallas from Schaffer’s original units and named the “Schaffer Replica.” An early run of the replicas is sold out, but not only is an updated version available, it’ll be featured at this week’s musical instrument industry exposition, Summer NAMM. It’s available both as a wireless transceiver and as a regular guitar pedal. To be blunt, both of the devices are spendy as hell, though either option is cheaper by far than a late ‘60s Gibson SG or a late ‘70s Marshall amp. Angus Young used the newly recreated gizmo on AC/DC’s likely farewell album, the well-received Rock or Bust, making it the first AC/DC album to feature one since 1983. (And I don’t want to goddamn hear about it if you don’t like AC/DC—you’re just wrong. I love them abidingly for the same reasons I love the Ramones and Lungfish: if you keep making more or less the same album over and over again for decades and I love that album almost every time, you’re on to something worthy.)

Here’s some killer footage of AC/DC live on The Midnight Special in 1978. Angus Young is SURELY using a Schaffer-Vega wireless setup here:
 

 
Continues after the jump…

Posted by Ron Kretsch | Leave a comment
Finally, the Tesla/Thomas Edison AC/DC mashup shirt we’ve all been waiting for
04.20.2015
02:02 pm

Topics:
Pop Culture
Science/Tech

Tags:
ACDC
Thomas Edison
Nikola Tesla


 
Someone on reddit recently spotted this fantastic shirt in Seattle—you can get it here on eBay for $23.99 plus shipping.

It’s an open question how many AC/DC fans know that “AC” stands for “alternating current” and “DC” stands for “direct current”—but for those looking to catch up, Tesla invented AC, and Edison backed DC. Tesla had previously worked for Edison. Tesla was a genius and died alone in a hotel room in New York; Edison was also a genius and died as rich as Croesus. Edison killed an elephant named Topsy to demonstrate the supposed dangers of alternating current, as depicted in a 2013 episode of Bob’s Burgers called “Topsy.” Tesla was a man made for our underdog-rooting and nerdy age. David Bowie played Tesla in Christopher Nolan’s terrific 2006 movie The Prestige.

On the flipside, science nerds, AC/DC is an Australian rock band. If you don’t already know that, you probably don’t really want this shirt too bad, do you?

Here’s “greedy Thomas Edison” killing Topsy:
 

 
via Das Kraftfuttermischwerk

Posted by Martin Schneider | Leave a comment
Finally: The Peanuts gang takes on AC/DC, Led Zep, Journey, Floyd, and the Who


 
Everyone’s already seen YouTube videos in which Snoopy, Pigpen, and the rest bop and gyrate to the dulcet tones of Bad Brains’ “Pay to Cum.” In fact, lots of folks have repurposed that dancing footage from A Charlie Brown Christmas to make it seem like the Peanuts gang is into Pharrell or whatever.

But it took YouTube user Garren Lazar/Super G to see the possibilities in the rest of the animated Peanuts oeuvre. He has made a whopping 34 videos (!) using Peanuts characters to animate videos for songs by a variety of classic hard rock acts, as seen below. These videos are remarkably good—I especially like the use of Schroeder’s impressionistic “Pathétique” sequence, which was just waiting to be used for something like this. The Peanuts version of Pink Floyd’s “Echoes”—24 minutes long, mind you—is especially mind-blowing.
 

 
I’ve embedded a few of my favorites here, but there’s plenty more on Garren Lazar’s YouTube page.
 
Led Zeppelin, “In the Light”:

 
More “classic rock” fun with the Peanuts gang after the jump…

Posted by Martin Schneider | Leave a comment
She’s Got Big Balls: Bon Scott gets in drag for AC/DC’s very first TV appearance, 1975
09.22.2014
08:59 am

Topics:
Music

Tags:
ACDC
Bon Scott

Bon Scott in drag
 
AC/DC made their first TV appearance with Bon Scott (who replaced originally vocalist Dave Evans) on an Australian charts program called Countdown. The group decided to do the blues standard “Baby, Please Don’t Go,” the b-side of their debut release with Scott, as it was more popular than the a-side of the single. With brand new bassist Mark Evans in tow, the boys were backstage getting ready to go on, but their singer was nowhere to be seen.

With only seconds to go before taking the stage, Bon still hadn’t appeared. When he did, right at the last minute, he was dressed as a schoolgirl, complete with blonde wig, tattoos and a disturbingly short skirt. The band could hardly play for laughing and for Mark Evans it must have been an interesting introduction to what made AC/DC special. The look on (drummer) Phil Rudd’s face said it all. (AC/DC – Uncensored on the Record)

Scott was also sporting earrings, blue eye shadow and rouged up cheeks. It’s quite a performance. The unforgettable footage can be had via AC/DC’s Family Jewels DVD.
 

Posted by Bart Bealmear | Leave a comment
AC/DC’s ‘Dirty Deeds Done Dirt Cheap’ done dirtier and cheaper
07.22.2013
06:45 am

Topics:
Movies
Music

Tags:
ACDC


 
Hey, it’s Monday and why not kick off the work week with something cheap and dirty and pretty damn brilliant.

Enjoy some AC/DC/B-movie kick-ass energy with your morning cup of caffeine, eggs, Jim Beam and Lucky Strikes.
 

Posted by Marc Campbell | Leave a comment
Man plays AC/DC’s ‘Thunderstruck’ on flaming bagpipes
06.27.2013
11:19 am

Topics:
Amusing

Tags:
ACDC
bagpipes
Thunderstruck


 
This is some Techno Viking-level shit right here, my friends (okay, maybe not as o-mazing as that, but a close runner-up). Dude plays flaming bagpipes to AC/DC’s “Thunderstruck” in Fremantle, Australia.

He wins the Internet for the entire day.

 
Via Laughing Squid

Posted by Tara McGinley | Leave a comment
‘Let There Be Rock’: AC/DC live in Paris, 1979
11.09.2012
10:25 am

Topics:
Movies
Music

Tags:
Paris
ACDC
Bon Scott
Angus Young

image
 
Let There Be Rock is a film version of one of AC/DC’s greatest concerts. Recorded during their Highway to Hell tour, at the Pavillon de Paris, France, on December 9th, 1979, this concert contains a great selection of some of the band’s best known early numbers (“Highway To Hell,” “Let There Be Rock,” “Whole Lotta Rosie”), together with stunning performances from an unstoppable Angus Young (only pausing for some oxygen) on guitar, and blistering vocals from Bon Scott.

Track Listing:


01. “Live Wire”
02. “Shot Down in Flames”
03. “Hell Ain’t a Bad Place to Be”
04. “Sin City”
05. Interview
06. “Walk All Over You”
07. Interview
08. “Bad Boy Boogie”
09. “The Jack”
10. Interview
11. “Highway to Hell”
12. “Girls Got Rhythm”
13. “High Voltage”
14. Interview
15. “Whole Lotta Rosie”
16. “Rocker”
17. “Let There Be Rock”

Tragically, 2 months after this concert, Bon Scott died, his body found in the back of car outside a friend’s house in London.  His demise started the version of AC/DC we know today, with former Geordie singer, Brian Johnson on lead vocals.
 

 
With thanks to Miles Goodwin
 

Posted by Paul Gallagher | Leave a comment
This Charming Man: A delightful interview with David Niven

image
 
I always thought David Niven was Scottish, mainly because this great, charming actor regularly claimed he had been born in the town of Kirriemuir in 1909.

Kirriemuir is known as the birthplace of Peter Pan author, J. M. Barrie, and AC/DC frontman Bon Scott. It is also famed for Walter Burnett’s Kirriemuir gingerbread, which I recall eating in thick buttered slices as a child, thinking this tasty treat was the very stuff Niven must have lived off as a bairn.  Of course it wasn’t and Niven hadn’t been born in Scotland, rather he was a son of London, born in 1910.  Still, it only added to his tremendous style and charm, which made me find him so likable as an actor and raconteur.

That and the fact his films, in particular The Way Ahead, A Matter of Life and Death, The Elusive Pimpernel, Around the World in 80 Days, and Separate Tables were regularly screened on local TV during the sixties and seventies, possibly in the misguided belief Niven was Scottish.

Some of this great charm can be seen here in this brief interview with Sue Lawley, from 1973, where Niven discusses his childhood, pot, alcohol and good luck.
 

 
With thanks to Nellym.
 

Posted by Paul Gallagher | Leave a comment
‘The Pink Jack’ : AC/DC vs David Lynch vs. Dead Can Dance (NSFW)

image
 
This mash-up is from 2008, but I just discovered it and dig its sexy spookiness. It was produced by Wax Audio and Reborn Identity, the guys behind the Mashed In Plastic project.

David Lynch/Angelo Badalamenti: “The Pink Room” (from Twin Peaks: Fire Walk with Me)
AC/DC: “The Jack”
Dead Can Dance: “Dawn of the Iconoclast”
 

Posted by Marc Campbell | Leave a comment
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