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High Voltage [Australia] – AC/DC | Songs, Reviews, Credits

As debut album titles go, AC/DC’s High Voltage supplied a perfect encapsulation of the band’s electrifying brand of rock & roll. So perfect, in fact, they actually used it twice: for their first album proper, the Australian-only version of High Voltage, released in February 1975; and for the better-known international debut from mid-1976, which was essentially a collection of highlights from the former and its late-1975 successor, TNT Ironically, the two versions of High Voltage had little else in common besides that title, including radically different cover art (the Aussie edition depicted a dog pissing on an electrical service box), and just two songs shared between them: the abnormally laconic “Little Lover” (a remnant of AC/DC’s glam rock origins, believe it, or not!), and the anything but subtle “She’s Got Balls,” whose lyrics newly arrived singer Bon Scott penned, tongue-in-cheek, when his then-wife demanded he write a song for her.

Of the album’s remaining six tracks, at least four will sound familiar to the average, dedicated AC/DC fan, because they later surfaced on the Jailbreak ’74 EP. They are the exceedingly bluesy “Show Business,” the surprisingly infectious “You Ain’t Got a Hold on Me,” the mysteriously disconcerting “Soul Stripper,” and the positively explosive cover of Big Joe Williams’ “Baby Please Don’t Go.” So it’s ultimately a pair of far more obscure songs that continue to draw AC/DC completists to the original edition like bees to honey: those being the rather uneventful but still perfectly kosher groove rocker “Stick Around,” and the conversely shocking “Love Song” — a ballad featuring the band’s one and only flirtation with keyboards and an almost unrecognizably soppy performance from Scott and co., which will surely sound like an outright travesty to most fans. But then, AC/DC were a very young band who were still coming into their own at the time, and that process of self-discovery is what makes the original version of High Voltage both the most inconsistent and unique of all the Bon Scott albums.
Fans may also be interested to learn that Malcolm Young played his only known lead breaks for AC/DC on this release, trading solos with Angus on “Soul Stripper” before taking full charge of “Show Business”; and that bass guitar and drum duties were handled by elder brother George Young and one Tony Kerrante, respectively — not the yet-to-arrive Mark Evans / Phil Rudd rhythm section.

The 10 Best AC/DC Songs Ever, Ranked

Angus Young, AC/DC guitarist | © Ed Vill/Flickr

Australia is a country that boasts no shortage of musical icons — the Bee Gees, INXS, Cold Chisel and Kylie Minogue to name a handful — but few acts have dominated the international stage quite like AC/DC, with their inimitable brand of high voltage rock ’n’ roll they’ve exported around the world for almost half a century. So out of the 16 studio albums and countless songs the band has recorded since 1973, what are Acca Dacca’s greatest hits? This list ranks AC/DC’s top 10 tracks.

Where do you start to describe the song that’s become the anthem of struggling musicians across the globe. There’s the iconic bagpipe call and response, a nod to Scottish heritage shared by lead singer Bon Scott and band founders the Young brothers. There’s the Australian schoolyard parody, ‘It’s a long way to the shops if you want a sausage roll’. And then there’s that legendary music video, cruising around the streets of Melbourne causing a ruckus on the back of a flatbed truck (fun fact: in 2004, a nearby laneway was named after the band as a tribute).

Like much of AC/DC’s early work, Jailbreak wasn’t heard outside of Australia for years after its release — the single was only rushed into US stores in the early 1980s after the band’s international breakthrough album Back in Black, which followed Bon Scott’s tragic death in 1980. In the meantime, local audiences lapped up the quintessentially Australian underdog story of a foiled prison escape, ‘All in the name of liberty!’.

Acca Dacca were chanting ‘Oi! Oi! Oi!’ years before British punks adopted the battle cry — led by guitarist Angus Young, whose croaky grunts were as much of a trademark as his duckwalk and his sweat-soaked schoolboy uniform. This explosive track captures the dirty, blue-collar sound AC/DC are famous for — it’s now been a fan favourite at gigs for more than four decades.

Politically correct, this song ain’t. Dozens of AC/DC tracks chronicle Bon Scott’s extensive sexual history but none of his lovers are as beloved as Rosie, a woman of ample proportions who surprises Bon with her prowess and vigour between the sheets. Live performances are accompanied by the crowd chanting ‘Angus!’ as soon as they catch a whiff of that energetic riff, as well as an enormous inflatable Rosie that, well, defies polite description.

The first thing you hear on the Back in Black album is the chime of church bells, a sound that simultaneously mourns Bon Scott’s death just months prior and welcomes a new era for the band under fresh frontman Brian Johnson. Described as the greatest comeback album in rock history, the more radio-friendly Back in Black represents AC/DC’s big commercial breakthrough overseas, selling 50 million copies to become the second highest selling album ever, trumped only by Michael Jackson’s Thriller. And it all began with Hells Bells.

The rest of the ‘80s were a stinker of a decade for AC/DC — drummer Phil Rudd was fired in 1983 for a brawl with Malcolm Young, while critics panned underwhelming albums Blow Up Your Video, Fly on the Wall and Flick of the Switch that failed to live up to Johnson’s debut, Back in Black. But the band returned to form in 1990 with The Razors Edge, which opened with Thunderstruck, a frenetic track that’s every bit as electric as the title promises.

Maybe record execs thought the subject matter was too grisly for puritanical American ears because this cracking track about a budget-friendly hitman was another single that got left on the shelf for five years between its release in Australia and the United States — it took the smashing success of Back in Black to bring it to the US in 1981. Despite the violent lyrics, live performances of this concert staple these days are more mirthful than menacing.

If a song about a hitman made the record labels squeamish, this cheeky tune about dirty deeds of a very different kind would’ve given those prudish executives a conniption. Despite the saucy lyrics — “She told me to come but I was already there” — this track is easily AC/DC’s biggest radio hit thanks to a sound that’s easier to tap your toes to than a lot of the band’s tougher early discography.

It might be a long way to the top, but it’s not always rosy when you reach the summit — Angus Young described AC/DC’s gruelling touring schedule in the late ‘70s as a ‘highway to hell’, inspiring this classic track. The lyrics — “No stop signs, speed limit, nobody’s gonna slow me down” — took on a darker complexion when Bon Scott was found dead in a friend’s car in London just months later, dying of acute alcohol poisoning.

If this isn’t the most iconic guitar riff in rock history, it’s got to be in the final — and that’s not the only reason to rank Back in Black as AC/DC’s greatest hit. The title track of their wildly successful comeback album after Bon Scott’s death was the band’s homage to their fallen frontman — not only by rocking poignant lines like “Nine lives. Cats eyes. Abusing every one of them and running wild”, but also by proving there was plenty of life left in the band thanks to a new lead singer worthy of filling Bon’s sizeable boots.

Meet Sydney pizza shop owner Tony Currenti, the man who could have been AC/DC’s drummer

A Southern Sydney pizza shop owner has watched his favourite rock act AC/DC live in concert, 40 years after he turned down an offer to join the band.

Tony Currenti was a drummer in Sydney band Jackie Christian and Flight in 1974 when — by chance — he ended up playing on AC/DC’s first album, High Voltage.

Mr Currenti played drums on every single track on the album, except one, but never became a fully fledged member of the band, despite offers.

“I was recording a song that Harry Vanda and George Young [from the Easybeats] wrote for us,” the Italian-born drummer told 702 ABC Sydney’s Robbie Buck.

“And at the end of the session, it was 11 o’clock at night, I was asked to stay back at the studio because the Young brothers [from AC/DC] were coming up to record after midnight.”

It was during recording sessions over the next four days that Mr Currenti was twice asked to join the band.

“The first time I said no because I was in another band,” he said.

He was asked again but knew AC/DC were heading to Europe.

“I had an Italian passport, and would have had to go to Rome where I would have been forced to do military service,” he said.

Another drummer, Peter Clack, played on the High Voltage track Baby Please Don’t Go, but it wasn’t until the band discovered Phil Rudd a year later that they found their permanent drummer.

On Wednesday night Mr Currenti watched the rock legends — albeit down to just one original member in Angus Young — at ANZ Stadium in Sydney in their Rock or Bust World Tour.

Sadly he never got to meet with Young, all those years after saying no to an opportunity to be part of music folklore.

What opportunity do you regret turning down? Have your say

On the ’70s Sydney music scene with Bon Scott

Tony Currenti with producer George Young during the recording of AC/DC’s first album, High Voltage.(



Mr Currenti, who now owns a pizza shop in Penshurst, said he had heard of AC/DC, but never expected to play with them.

“I was surprised to see singer Bon Scott in the studio with the band, because the AC/DC band that I knew had David Evans in it as the lead singer,” he said.

The drummer’s relationship with Scott went back a few years through connections in the Sydney music scene.

“I knew Bon Scott since 1968 and he was very friendly; a very outgoing bloke,” Mr Currenti said.

“We would always meet up at the bar to have a couple of drinks.

“I met Bon Scott again in 1971 when he was playing with Fraternity and I was playing with Grapevine at Jonathan’s Disco on Broadway in Sydney.

The venue was also a place where fellow Sydney band Sherbet played regularly.

Later the site became known as the Phoenician Club.


‘No regrets’ over declining AC/DC offer

Mr Currenti gave up the drums in the late 1970s to focus on his family and his pizza business, but has recently started playing again.

He relished in the chance to connect with fans during AC/DC’s current Australian tour.

About 50 friends and fans enjoyed pizza together at his shop on Wednesday night, before heading to the concert together.

While Mr Currenti’s life would have turned out quite differently if he had joined AC/DC, he had no regrets.

“I have no regrets saying ‘no’ because, for a little time, I still felt part of them,” he said.

“It’s a great feeling, I can’t describe it.”

Tony Currenti says he has no regrets declining an offer to be part of AC/DC, and instead has enjoyed many years running a successful pizza shop. (

Anthony Currenti


Are AC/DC unplugging, or are we still on a highway to hell?

By the time you read this, AC/DC may have hung up their guitars and school uniforms for the last time. Or they may have announced a new album, to be supported by a sell-out world tour. Such has been the speculation surrounding the band today.

An email sent to Perth radio station 6PR kicked off the retirement rumour frenzy. It continued with an article in The Australian suggesting the rumours weren’t true and that the band had booked six weeks in a Vancouver recording studio in May.

But – if the end really is nigh – what musical legacy will the 2003 Rock and Roll Hall of Fame inductees leave? (That’s a trick question; the answer is: an enormous one).

Angus Young performing in Atlanta in 1978. AAP Image/Powerhouse Museum, Rennie Ellis

I’ve spoken to several people today about the band, among them Associate Professor Shane Homan of Monash University, who has written extensively about Australian music.

“AC/DC manager Michael Browning’s sustained campaign in the 1970s to break the band in the UK succeeded, where others had spectacularly failed,” he told me. And for that alone, he said, they deserve huge credit.

Clinton Walker, author of Highway to Hell: the Life and Times of AC/DC Legend Bon Scott, held a similar view. “Before AC/DC, Australia never had a rock and roll band which consistently broke the UK, and then the US, market.

“AC/DC paved the way for other Australian bands and famous music exports like Nick Cave to succeed on the world stage.”

Today AC/DC remain one of the highest grossing hard rock bands of all time, having sold more than 200 million albums worldwide, most of them in the United States. Rolling Stone magazine lists the band as one of the 100 Greatest Artists of All Time.

AC/DC concert crowd of over 53,000 in Montreal, 2009. Anirudh Koul

The potted history of AC/DC will be known to many.

The band was formed in 1973 by Scottish brothers Malcolm and Angus Young, who moved to Sydney as children during the 1960s with their family.

AC/DC’s ‘Lock Up Your Daughters Summer Vacation Tour’ poster of 1976. AAP Image/Powerhouse Museum, Courtesy of Graeme Webber

Their older brother George Young was first to learn the guitar and became a member of The Easybeats, one of Australia’s successful bands in the 1960s.

Walker contends that AC/DC’s success during the 1970s (and beyond) was “big brother’s George’s revenge on the music industry”. The Easybeats were an international one-hit wonder with Friday on My Mind – and George was determined to help his younger brothers Malcolm and Angus (and AC/DC) to succeed for a sustainable future, where The Easybeats failed.

George introduced Malcolm and Angus to another Scotsman, Bon Scott (born Ronald Belford) who would later became AC/DC’s iconic lead singer, after founding vocalist Dave Evans left the band in 1974.

Bon Scott posing for a photograph in North Altona Tech., Melbourne in July 1975. AAP Image/Powerhouse Museum, Courtesy of Graeme Webber and LabX

Bon Scott was the charismatic, bagpipe-blowing, kilt-wearing front man of AC/DC until his untimely death in 1980 after a massive night on the town.

At that time the band was working on one of its most successful albums, Back in Black, which sold more than 50 million copies worldwide.

Scott was replaced by the English singer Brian Johnson, who stepped in as lead vocalist for Back in Black and has fronted the band ever since.

It would be hard to name many bands who could go through such a major change in personnel and continue their ascendancy, although the revolving door and AC/DC are well acquainted.

The initial AC/DC line-up also included Larry Van Kriedt and Colin Burgess, the former drummer from Masters Apprentices, who was sacked for being drunk. Members Mark Evans, Neil Smith, Ron Carpenter, Russell Coleman, Noel Taylor, Peter Clack, Rob Bailey, Simon Wright and Chris Slade have all come and gone.

Angus Young’s famous school uniform. AAP Image/Powerhouse Museum, Mark Ashkanasy

The current line-up includes Phil Rudd, Cliff Williams and Brian Johnson – but Malcolm and Angus remain the core.

The band’s name was conjured up after Malcolm and Angus’s sister, Margaret, saw the initials AC/DC – alternative current/direct current electricity – on a sewing machine. Like Young’s characteristic school-uniform attire – also Margaret’s suggestion – it proved an apt idea.

Homan describes the band as “a ferocious live set built upon a great rhythm section, front man and lead guitarist”.

Helen Marcou, co-founder of the music advocacy group Save Live Music Australia (SLAM), told me “they laid down the template for raw rock that has been replicated by generations of musicians. Marcou and her partner Quincy McLean named their son, Angus, who is also a musician, after the legendary AC/DC guitarist.

“They redefined the simple form of rock ‘n’ roll, stripping it back and giving it to us in its purest form.

A promotional dollar bill for the 1990 single Money Talks. AAP Image/Powerhouse Museum, Courtesy of Margaret Horsburgh

“It was the AC/DC anthem chant Long Way to the Top that helped us [SLAM] rally 20,000 protesters to march on Victorian parliament in defence of live music back in February 2010.”

Walker said the band, nestled somewhere between glam rock, local punk and the heavy metal scene in Melbourne, “cut a huge sway in the 1970s when they started because they were playing simple, direct, down to earth (and funny) hard rock and roll”.

“The critical difference between the punk movement and AC/DC in the late 1970s, and which was why AC/DC was always more successful than the Sex Pistols or The Clash were ever going to be, was that AC/DC was rooted in rhythm and blues, which was the same as The Rolling Stones. You know, Chuck Berry. Little Richard.”

Doctor Grondo

According to Homan, AC/DC were “the clearest example of a working-class band speaking to and for their pub (and stadium) working-class audiences”.

During the 1970s, AC/DC lived together in St Kilda, Melbourne (at that time Australia’s musical heartland) which Malcolm Young later described as “some of the happiest, and craziest, times of their lives”.

Today some of AC/DC’s lineage is still in St Kilda, with Dave Stevens, the son of Bon Scott, owning an independent record store, Pure Pop Records, on Barkley Street.

Of course, 40 years and 17 albums later, the band has left other marks on the city, not least the change of “Corporation Lane” to ACDC lane (but without the slash) in 2004.

Will there be more to come from them? Is this really it? Their legacy seems intact either way.

White Whale Vinyl: The Strange Case of AC/DC’s First Single

Our weekly column “White Whale Vinyl” spotlights the most sought-after rare vinyl in the heavy-music universe. Shop for vinyl, including a selection of limited-edition Revolver-exclusive variants, via our store.

AC/DC’s first single is an anomaly in almost every way. Released only on the Australian continent in 1974, it features the A-side “Can I Sit Next to You, Girl,” which has more in common with the power glam of U.K. stompers the Sweet or Slade than the world-beating hard-rock band that AC/DC would eventually become. Meanwhile, B-side “Rockin’ in the Parlour” almost sounds like swamp rockers Creedence Clearwater Revival. Indeed, the Sweet and Slade were huge in ’74, and Creedence were only two years gone. Clearly, AC/DC guitarists Malcolm and Angus Young already had the skills that would make them famous, but they were still finding their sound.

Upping the curiosity factor, “Can I Sit Next to You, Girl” is the only AC/DC release on which original singer Dave Evans appears. Before 1974 was out, Evans would be replaced by Bon Scott, the much-mythologized bare-chested party animal who fronted the band until his accidental death in 1980. As if to erase Evans’ presence, AC/DC re-recorded “Can I Sit Next to You, Girl” with Scott in 1975 as the B-side to “It’s a Long Way to the Top (If You Wanna Rock N’ Roll”). The Scott version also appears on their 1975 Australian full-length, T.N.T., and would later surface on their ’76 international debut, High Voltage.

Throw in the fact that that only three official versions of the original Evans-fronted single exist — the Australian pressing, the New Zealand pressing and the Australian promo version — and it all adds up to prime white whale status. A quick consultation over at Discogs reveals the numbers: Expect to pay between $500 and $900 for a decent copy of the Australian pressing. The Aussie promo, if you can find one, will set you back quite a bit more: In May 2020, a copy sold for $3,237.41, making it the eighth most expensive record sold on Discogs that month.

And the New Zealand pressing? It’s never been sold on Discogs. A July 2014 article on Blabbermouth claims that one sold on eBay for nearly $4,500, but we can find no record of that sale on eBay itself. We did, however, find record of an New Zealand pressing selling on eBay in October 2015 for $1,350. Either way, you’ll pay plenty for this rare and curious piece of rock & roll history.

AC/DC Power Supplies | Videoguys Australia

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AC/DC Review Sydney | HuffPost Australia News

The AC/DC merchandise empire is the first thing you see on approaching the stadium gates. Great looming marquees dot the plaza in the shadow of ANZ Stadium, mammoth tents full of memorabilia: 30 different shirts in various shades of black, black and black; a milliner’s studio worth of hats; cloth headbands, badges and flags. Eager vendors hawk their wares, pushing carts stacked high with flashing devil horns and Angus Young-style schoolboy ties.Tonight, AC/DC is more than just a band — it’s a brand. A few older guys sneakily skoll tinnies of Jim Beam and Cola or VB before they scurry inside to find their seats.

A mighty set of metal devil horns rimmed the massive stage, a 12-foot high AC/DC logo in the dead centre — just in case you forgot who the night’s headliner was. It was a bold move from the rock veterans to bring on Swedish rockers The Hives as a support act, a band who could potentially blow them off the stage without much effort. The white-jacketed, high-kicking, windmilling lunatics have been one of the world’s most high-energy and entertaining bands for almost two decades, and despite the rain and the fact seemingly few in the half-full stadium knew who they were, were a more than capable opener.

Slick punk rock riffs, relentless drumming and the sideshow act that is frontman Pelle Almqvist lit up the arena as a light drizzle began to rain down. The Hives are some of the most enthralling musicians in the world helmed by arguably one of the world’s greatest frontmen, and in any other setting their set of swaggering rock’n’roll would have killed — but unfortunately this was a crowd not interested in finding a new band to like. It was a crowd here for the headliner, a crowd who would have been happier to tuck right into the main course and bypass the appetiser altogether. You can’t fault a music fan for coming for the main attraction, it’s just a little disappointing when openers as electric as The Hives are largely ignored or merely tolerated rather than enjoyed.

As The Hives ended, the covers were thrown off the backline to reveal a bank of 50 Marshall amps. The lights finally dimmed, the only illumination in the stadium the thousands of twinkling red devil horns atop thousands of heads… then a flash of pyrotechnics and smoke as the band launched into ‘Rock Or Bust’ — frontman Brian Johnson in customary black attire and a grey flat cap, Angus 45 years out of the classroom but still rocking his school jacket, shorts and tie (albeit all red velvet). At points he looked almost asleep and definitely not up to his frenetic trademark hop-stepping duck walk across the stage… then it would be time for a solo and as if electrified by an unseen battery, he would spark to life and peel off a screaming riff that would tear the balls off rockers half — even a third — his age.

Two newer songs started the set, but ‘Back In Black’ truly woke the crowd. This was the AC/DC they came for; not the newer albums from a band into their fifth decade, but the classic albums from much younger men. The song seemed most fitting for the night. Most of the crowd, semi-retired rockers themselves, maybe accountants or lawyers or garbage men, “back in black” for one night only: maybe reliving their glory days with old friends, decked out in their threadbare band shirts from tours long-past; maybe bringing their kids along to show them the music their dad was brought up on. AC/DC are past their prime. We know it, they know it. But an AC/DC concert isn’t about perfectly recreating the records or youthful energy anymore; it’s about reliving a time and a space. It’s a back catalogue almost unparalleled in rock history. Their shtick hasn’t changed for 30 years, but if it ain’t broke, why fix it? They’re still having fun — that means you can too.

The monstrous, primal riff of ‘Thunderstruck’ is still arguably the highlight of the entire show, its mid-set pairing of ‘High Voltage’ — still as urgent and ferocious as when it were first laid to record back in 1975 — the biggest one-two punch of the evening. It’s hard to believe Angus is the last original member of the band, or that they’ve lost two members since their last tour, Malcolm Young and Phil Rudd, to health and legal issues respectively.

At this stage, since forming as a band in 1973 — a staggering 42 years ago — not much about an AC/DC show is a surprise. The customary giant bell still drops from the rafters for ‘Hells Bells’. ‘TNT’ still goes off like a stick of dynamite. People still try to pull out their best drunken sing-a-long karaoke moves during ‘You Shook Me All Night Long,’ and girls on their boyfriends’ shoulders still pull out… well… a lot more than that when the cameras for the big screens pan over them. During ‘Whole Lotta Rosie,’ the inflatable Rosie still makes an appearance to loom over the back of the stage. The bunch of newer songs sprinkled in still don’t really excite the crowd that much. We all know what to expect, but it’s not about the surprises or the shock value anymore.

The night is a celebration of longevity, of survival: of fathers and grandfathers, mothers and grandmothers, realising for a few hours that growing up doesn’t mean having to fade away; realising that in a world in a constant state of flux, there is one small part of their youth that still remains; of children and Gen Y-ers having a chance to see history in the flesh, to hear in person songs that are older than them or maybe even older than their parents. I honestly couldn’t tell you what the guitar tone was like or whether the drums boomed too loudly or not loudly enough in the cavernous stadium — this 25-year-old was too busy smiling from ear-to-ear.

The five-piece capped off an admittedly sedate stage show with a bang. A platform into the crowd — hitherto covered in plastic against the sporadic rain — was unveiled and Angus climbed aboard as it raised 10 feet in the air and confetti sprayed everywhere from below his feet. A 10-minute wailing, screeching guitar solo ended the set proper, before the schoolboy then re-emerged through smoke and fire from a trapdoor below the stage floor, flames heralding the opening bars of encore ‘Highway To Hell.’ An earth-shaking ‘For Those About To Rock,’ accompanied by cannons flanking the stage and a New Year’s Eve worth of fireworks atop the stage, finally rounded out the show.

You can have your Foo Fighters and Pearl Jam, your Rolling Stones and U2; AC/DC is still the greatest rock’n’roll show on Earth. There’s not a slow song for the band to take a breather, no solo acoustic set mid-show to give the guys a chance for a drink and lie down. It’s two hours of balls-out, throat-shredding, duck-stepping, guitar-screaming rock that no other group even attempts to manage today — let alone at a combined age of 320 years old.

The pauses between songs might be getting longer, but don’t write these guys off as dinosaurs just yet. Great white sharks and crocodiles are dinosaurs too but they’re still doing well for themselves, easily gobbling up things far younger than them.

AC/DC’s tour continues through November – more info here.

90,000 Coin Australia 50 cents 2018. 45 years AC / DC – “If not for numismatics, I would never have learned that AC / DC is from Australia)”

Good day. Numismatics is the passion of my life. I would like to present to you the 2018 Australian Coin commemorating the 45th Anniversary of the rock band AC / DC.

Honestly, I’m not a fan of this rock group, but a fan of Australian coins) So, of course, I could not pass by the novelty. The coin is framed in a cardboard card (10×17 centimeters) and is called “45 Years of Thunder”.In the description on the card, a small accompanying annotation:

Relentless, outspoken and at times irreverent, the electric music of Australia’s main rock band AC / DC marks a significant milestone in 2018. No other group in Australian history has hit the world stage as often and with such success as AC / DC. With record sales of over one hundred million discs and several world tours. The Royal Australian Mint is proud to celebrate the 45th anniversary of Australia’s greatest rock band AC / DC with this coin.

The coin itself was not in circulation (UNC), it was put in a plastic capsule, which is securely fixed in the card. On the obverse in the center of the coin is the leader of the group (so it seems to me) Brian Johnson. Also, the drawing on the obverse has an addition in the form of electric lightning made with special enamel.

The head of the Royal Australian Mint, Ross McDiarmid, commented on the release of the coin as follows:

AC / DC is famous for its electrifying energy.It is in their music, the names of some songs, and even in the logo. The Mint considered such an iconic group worthy of high voltage coins. To help happy customers identify their coins marked with a lightning strike, we added a unique coating to the logo

Since the circulation of the coin is only 30,000 units (numismatists will not lie, this is very little), therefore, a year after its release, it fell into the category rare.

Successful gathering.

90,000 AC / DC (Australia) – musical group: short biography, official website of the group, singles, albums, awards, discography

AC / DC – short biography, discography, best achievements and popular awards, video clips, photos, genres of music, current, interesting news from personal life and career




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Brief Biography

Australian rock band formed in Sydney, Australia in November 1973 by the Scottish brothers Malcolm and Angus Young.Together with such bands as Led Zeppelin, Deep Purple, Queen, Iron Maiden, Scorpions, Black Sabbath, Uriah Heep, Judas Priest and Motorhead, AC / DC are often regarded as the pioneers of hard rock and heavy metal. The musicians themselves classified their music as rock and roll, since it is based on rhythm and blues with a highly distorted sound of rhythmic and solo guitars. The band went through several lineup changes before the band’s first album, High Voltage, was released in 1975. The line-up remained unchanged while bassist Mark Evans (eng. Mark Evans was not replaced by Cliff Williams in 1977. On February 19, 1980, vocalist and songwriter of the band Bon Scott died of severe alcohol intoxication. The group had every chance of disbanding, but soon a replacement for Scott was found, in the person of former Geordie vocalist Brian Johnson. In the same year, the band recorded their best-selling album, Back in Black. The band has sold over 200 million albums worldwide, including 68 million in the United States. The most successful album, Back in Black, has sold over 22 million in the United States [8] and over 42 million abroad [9].Overall, AC / DC is the most successful and well-known rock band from Australia and one of the most popular in the world.

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AC / DC to release ‘Rock Or Bust’ inspired beer

Rockers teamed up with German ALDI chain of stores for a specialty beer in Australia

Legendary rockers AC / DC team up with a German chain of stores ALDI for a specialty beer in Australia. The premium drink boasts an original design inspired by the 17th studio album and AC / DC’s ongoing Rock Or Bust tour. The beer will be available exclusively in licensed stores ALDI in South New Wales and Victoria starting September 30th. At the same time, AC / DC’s Australian tour kicks off on November 4th.

A refreshing and light pale lager produced by the German brewery Karlsberg , which has been brewing in Germany for 130 years.Like all German beers, AC / DC will be brewed according to the Reinheitsgebot [purity requirement] – the law that has governed beer production in Germany since 1516.

Beer will be available for a limited time in two packs: a 568 ml can. and a 5-liter keg for $ 2.99 and $ 24.99. “We are delighted to celebrate AC / DC’s legendary status with the launch of our AC / DC Beer in Australia. The fusion of great German beer and Australian hard rock is a marriage made in heaven, ”says a spokesman for the Australian branch of ALDI .

“Rock Or Bust” was released in November 2014 and has sold 545,000 copies since its release, debuting at # 3 on Billboard 200 . It was the first AC / DC album without original guitarist Malcolm Young, who suffers from dementia. Subsequent touring was also missed by drummer Phil Rudd, who is serving 8-month house arrest for drug possession and death threats.

Earlier, AC / DC singer Brian Johnson vaguely answered the question if the current tour in support of “Rock Or Bust” is the last world tour of the team.“You know, everyone is retiring,” said the singer to the portal . – Good hockey players and footballers don’t want to leave, but sometimes it’s time to put an end to it. We never say “No”, but we also never renounce. We literally don’t know what we’re doing. We just give 100 percent every night and that’s all we have. ”

90,000 AC / DC: Young brothers. The history of the people behind Australia’s finest rock band

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