By Paul Stenning
Биография австралийской супер-группы AC/DC. AC/DC were swaggering their manner during the rock n roll scene for greater than 30 years. beginning with their roots within the Australian pub circuit, this e-book takes a radical examine the place the band got here from, the place theyve been, and the place theyre going.
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Extra resources for AC DC: Two Sides to Every Glory: The Complete Biography
Perhaps this is where Dave Evans was never going to be a permanent ﬁxture in the line–up. According to some, even the band itself, he was more of a stereotypical rock star. This would not have worked for AC/DC for very long. The group’s appeal was that they looked pretty much like everyone who was in the crowd, the only real difference was that they were on stage and could play rock n’ roll rather well. The audience could identify with its icons, which some would argue is not what people want from escapist type music.
Well, he had colourful language anyway. I remember there was this one time in Australia, playing in these outback places where we’d have to put up money. And if we did anything wrong like me pulling my pants off or Bon swearing or anything, we’d lose the bail money. The mayor and the councilmen would come along to the show and monitor us. They thought it was a great thing. They invented it, not us. It was their way of trying to stamp us out. So I remember Bon getting up there and saying, ‘I’ve been told we can’t say “fuck”.
For this they chose a cover version, Arthur Alexander’s ‘Everyday I Have To Cry’, whilst on the B–side they recorded ‘I Can’t Dance With You’, a Small Faces number. In- 39 AC/DC THE COMPLETE BIOGRAPHY evitably, the record did very well in The Valentines’ locality, reaching the Top 5 in Perth alone. The band then recorded six tracks for Ron Tudor’s June Productions, which were leased to the Philips label. These included a version of Harry Vanda & George Young’s ‘My Old Man’s A Groovy Old Man’ and the self–penned ‘Juliette’.