Monday
Sep032018
A Rumor Is A Rumor, But... Is This The Fitting Coda Hard Core Fans Have Wanted?
Monday, September 3, 2018 at 08:12AM Today's post is from our friend HIM.
I take most everything with a grain of salt (actually, more than a grain... I need to cut back on the sodium). So, like the picture debates of recent weeks, I have been following the AC/DC rumor train with a curious, if jaded, eye. Chris Slade has no idea what is going on? I figured that might be how they treat him. Phil and Brian are back? Quick. Zoom in on the pictures and try to time-stamp what they are wearing, all the while wondering why such a “hush hush” get together is able to be filmed from a person’s balcony . . . and filmed again after the news was out.
And I have gone on record saying that I think AC/DC are more smoke and mirrors than jokes and beers. I think the Young Brothers crafted a good story, some great music, and turned it into a dream for them and fans alike. I remain a fan. I mean, who do you know who isn’t a fan who still talks lovingly about Flick of the Switch?
So here is the recent wrinkle, with a sprinkle of Williams (Cliff, not Brian):
I have no issues with this information if it is true. I would love to see the three fellows back in the fold . . . for one last album and one last outing. I also don’t mind the idea that these are songs that are already worked through, and worked through enough that they would involve the deceased Mal adding to the mix he basically oversaw. I mean, it is a calculated sorta’ thing. And a different sort of calculation that Van Halen did when they resuscitated old tracks on A Different Kind of Truth (which I also enjoyed). But if it holds up to the standard of some of the songs on Rock or Bust, and is better than most of the songs on Black Ice, what’s the problem? AC/DC has never been about bursting expectations. They are about comforting uniformity, that rocks. Do take note that I said at the start of this paragraph, though, that this all makes perfect sense as a way to bow out with respect.
So I continue to watch the rumors . . . through a glass, darkly. When it comes to AC/DC, you only know what they want you to know. Which isn’t always a bad thing. All I really care about is that what I find out (eventually) suggests a band going out on their shield, not faltering on fumes.
One final addition: for fans of the Bon Scott years, I recommend The Last Highway: The Untold Story of Bon Scott and AC/DC’s Back in Black. Jesse Fink, who I have corresponded with on several occasions and about several of his projects, does a great job of creating a mystery novel—that is non-fiction!—about the struggles that Bon and the band endured leading up to Highway to Hell, the facts of Bon’s death, the album created in the wake of his death, and the overall manner in which AC/DC managed to carry on and achieve continued (and greater) success.
I also offer some words of caution: this is not a glowing overview of any of the aforementioned topics. He has, like I do, a rather critical opinion of how AC/DC actually conducts their business. He also interviews, and at times threads together, people with dubious memories and potentially questionable motives. He paints Bon as a flawed person, who succumbed to excess but also was looking for a way through, and potential out of, AC/DC.
As a fan, I always like to see alternative takes on what I like and love. That there are more flaws than I assumed doesn’t negate what I like and love. If anything, it humanizes both. Fink is not interested in destroying icons. Rather, he is invested in removing the fog of illusion when it only serves to sell one story, and one story only, at the disservice of telling a greater truth.
While he does not entirely live up to the suggestions of the title, Fink more than makes up for it in the pain-staking research he does to put the often faded, contradictory, and damaging pieces together. There is no final answer to some of these questions. He ends by offering up several plausible scenarios regarding the greatest mystery in the book and leaves it to the reader to decide (even if we know his position). But, unlike others who have glorified AC/DC and Bon without question, Fink was at least willing to go further in asking the tough questions.
Reader Comments (15)
Strangely enough, I was listening to Sirius today of Howard interviewing Jim Bruer from about a year ago. Brian Johnson and Jim Bruer are reportedly good friends. Although Bruer didn't come right out and say it, he did dance around the idea that Johnson's departure from the band was less than amicable and that Johnson was fired- in part, but not necessarily because of hearing loss. I believe that Jim Bruer has since clarified his statements and Brian Johnson wishes AC/DC all of his best.
With regard to Finks book. Him, you say it’s nonfiction. Then you contradict yourself with the statement “He also interviews, and at times threads together, people with dubious memories and potentially questionable motives”. That leads me to believe taking a stab at the truth via 3rd person accounts kinda discredits this as “nonfiction”. Sorry that’s literal me writing. I’m sure Fink has elements of truth in his book. But authors want their story to be read. How much will Fink weave to make its juicy and marketable?
I love rock bios. Maybe I’ll have my library buy it. Peace!
The fact that Angus had retuned his guitars higher for the first time in 30 years should tell you something about the difference in the caliber of singing between Johnson and the lethal combo of Bon and Axl.
Yes, it’s true there’s been numerous recent photos of band members smoking cigarettes taken on the balcony of a recording studio. All of this spells new album with the entire classic line up potentially participating.
The only thing that would make this better is bringing Axl Rose in as the lead singer.
One minor clarification (and it took Fink to point it out to me). The full title of the book is _Bon: The Last Highway: The Untold Story of Bon Scott and AC/DC's Back in Black_. Apologies to the author, though he was gracious enough to reply when I sent him a copy of my review and ask me a couple of questions about my quibbles (and, no, I did not tell him in advance that I was writing it, nor solicit his opinion on my comments in any way prior to it being posted).
Gogmagog, we need Gary to chime in with some good titles for AC/DC-branded shoes and beer. I will start: (1) Razor's Straight-Edge N/A Beer, and (2) Back in Black Limited Edition Chuck Taylor All Stars (Walk All Over You Crocs was too easy)! Someone? Anyone?
Kixchix, sorry if I was confusing (my prose often is!). It is a non-fiction book. There is no made-up/fictionalized stuff in the entire thing. In fact, Fink goes deeper than a lot of scribes have gone in finding and interviewing people who knew Scott in those years before his death. When I made that comment, I was trying to tease the fact that there are a lot of conflicting accounts of what happened to Scott in the days and hours before he died. Fink pursues those strands a lot more than a lot of writers have and I found that intriguing; at the same time, some of those people's statements don't match up and some, given time and drugs and what have you, aren't always clear or forthcoming about what they know/remember. And that really is the focus of the book . . . those last years, months, days and hours before Scott died. And when it is clear that there isn't any definitive answer to a question, Fink is quick to note that. I also don't think that Fink was trying to sensationalize his approach just to sell books. He had a point of view, he did the research, he presented the story in an engaging and spirited way. So, simple answer: this is a non-fiction book, not historical fiction or some other such approach. I hope you get a chance to read it.
Fletch, I hope you enjoy the book. Fink clearly prefers the Scott era. But he, like I, questions some of the stories that the band has told in making into myth the life and death of Scott. And I don't think Bon suffers from the treatment. If anything, it humanizes him and suggests--as I have on this site on numerous occasions--that AC/DC is a business of, not band of, brothers. One last question: have you heard the song that Johnson sang with Breuer, "Mr. Rock n' Roll"? He clearly is a fan . . . and has integrated that into his comedy sketches as well.
Metalboy!, how can you place Johnson third? Is this back to my post of some weeks back, speaking only in terms of their vocal abilities? If so, I guess I see your point. If not, you can't (respectfully) be serious. Axl doesn't get to move closer to the front of the room just because he does a better job singing Scott songs? Even with my reservations, I admit: Axl stepped in and helped them out. That is classy. But Axl's willingness to help out on one tour can't match Johnson's contributions to AC/DC's catalog, can it? And even if the fantasy of him recording an album with them came to pass, do you truly think it would match (not surpass) some of the high points in AC/DC's career with Johnson (we will put aside with Scott, obviously, and also qualify the question by noting that none of them are Young--pun intended--these days). I guess I am just trying to figure out the logic. But I also agree: Johnson seems like a classy and nice fellow, glad he got the chance to be a superstar after his years in Geordie. And you are lucky that you got to see all three iterations of the band regardless! Envy you that.
I am simply basing my rating Rosé above Johnson simply on the fact that he sounded better the one time I saw him with AC/DC compared to how Johnson sounded the 8 times I saw them with him fronting.
I applaud Johnson for the indelible mark he made on AC/DC’s canon (no pun intended) with his signature voice post Bon Scott, but I view it as simply something for Axl to improve upon, which he more than handily achieved in what I would characterize as a supernatural performance the night I saw him with AC/DC in Atlanta, a performance that not only transcended Johnson, but was transcendent as a singular achievement beyond comparison.
All hail AXL/DC!
This goonbabble was posted slightly hungover from Myrtle Beach SC and will self destruct in 15 seconds...
I can just tell you, having heard them all multiple times, Axl absolutely KILLED IT in the most superhuman sense.
As I said, he was singing Scott stuff with Angus’ original tuning.
What I didn’t mention is the fact that Angus sounded like he was using higher tuning than for Axl than he did with Johnson.
The effect was higher pitched vocals, higher energy guitars and just plain more “High Voltage” all the way around!!!
Get Axl!
Metalboy!, thanks for the perspective and the clarification. I better see your point, even if I disagree. And I start these sorts of discussions precisely because I like to hear other people's points of view.
Crued, actually, I do care. I love the Crue, even if I am critical of them. I posted some thoughts--a few snarky, a few more serious--when Allyson first noted those pictures on the 29th of last month. The only thing I would add (variations on which I posted months ago, but suggested in my last comment on that thread on the 29th) is this . . . they have a legacy that will withstand their last few years (and that is being generous) of output. By all accounts, fans who attended the final tour had a blast (well, some didn't). But they were lying when they said they went out "on top." They went out with nothing left to prove, yes. But not on top. They should let it rest. They should do other things. But they shouldn't record or tour again (a one-off in support of a good cause wouldn't be a bad thing). So, cool if they hang with Rock and tweak a couple of songs for the movie (again, I shudder). Or cool if they want to release another set of greatest hits no one needs. Better yet, go into your back catalog and release some rarities. All cool with me. I just think the Crue we all know and love pretty much petered out after Decade of Decadence (and the Crue we needed never got a shot after the '94 album). I also think, sadly, that Neil is not long for this world and Mars should use every last minute he has left to provide us with some great music. Thing is, Neil's problems are self-inflicted and Mars's are not. Lee? Erratic and filled with more potential. Sixx? Chasing his youth like a cat with a tail covered in Hot Topic stickers. What do I know though? I am just a schmoe with an opinion. Thanks for asking, though, Crued.
Lemme ask you though: which albums by the classic lineup, after the Corabi album, stand up?
I agree with you though. The 94 album might have been better assessed if they had a different name for the band. Thing is, they couldn't have a different name for the band at that point. So that isn't the fault of them, or Corabi. For me, it actually isn't that big of a deal. I think the album holds up. And far be it from me to point out that Lee and Mars both agree. Oh wait, I just did.