Margaret ‘Silver’ Smith was one of the great loves of Bon Scott, the inspiration for many of his best songs, including ‘Gimme A Bullet’ and ‘Gone Shootin’’ off AC/DC’s 1978 masterpiece, Powerage.
They lived together in Australia and England. They travelled together on the road in the United States. She died in a hospice in Jamestown, South Australia, on 12 December 2016.
Bon, separated from his wife Irene Thornton in 1974, had fallen hard for Silver, reputedly spraying her name in silver paint at the headquarters of AC/DC’s Australian record company, Albert Productions, and mentioning her in one letter from the road in 1977: ‘I haven’t seen my lady for four months… love will prevail.’
But it didn’t. A mutually agreed 12-month break in their relationship in early 1978 became permanent, on Silver’s wishes.
She saw Bon alone only once or twice in the last year of his life, though importantly he phoned her to invite her out on the evening prior to his mysterious death in London on 19 February 1980. She claims Bon had finished writing the lyrics to Back In Black and wanted to celebrate.
According to her, she declined his invitation. By then she’d made it very clear there was no future for them as a couple.
Before Silver’s death, she spoke to me for Bon: The Last Highway: The Untold Story of Bon Scott and AC/DC’s Back In Black. These were her last recorded audio interviews, among only a few she ever gave during her life, giving AC/DC fans a rare insight into her passionate but tumultuous relationship with Australia’s greatest rock legend. If anyone was Bon's true muse it was Silver Smith. An abridged version of this interview was published in the December 2017 edition of Classic Rock.
On her beginnings:
I don’t know who my biological father was and knew nothing about my biological mother until about 15 years ago. I have had four names, all of them legal, one I didn’t know about until relatively recently. I have been legally ‘Silver Smith’ for four and a half decades. I think of my family as the people who raised me.
I’ve been alone for 30 years. The Bon adventure was one too far for me. I got scared. I buried myself in work.
On Bon’s appetite for drugs:
Before [he joined] AC/DC in Adelaide in 1974, Bon was known to take anything. He was a drug pig. He and ‘Uncle’ [Fraternity harmonica player John Ayers] were notorious back in the day when there was a [drug] drought on for wheedling and badgering everyone; I can vouch for that. They both experimented with crazy things like datura while broke in London. Of course I didn’t see that, but my sources for that are ones I would rely on. I loved Uncle; he was a madman but an irresistible character.
On claims made in book publicity that Live Wire author Mary Renshaw was Bon’s ‘soulmate’:
As far as I know I never met Mary Renshaw. I met [Bon’s ex-wife] Irene Thornton once briefly as she was my friend Shane Marshall’s beautiful cousin and Irene had just arrived back from England. She wore gorgeous clothes. The ‘soulmate’ label was a surprise. Mary was an old friend [of Bon’s] and he had quite a few friends like that. I thought of her in the same category. Bon wrote to lots of people regularly, so I’m familiar with his friendship with Darce and Gabby [Renshaw’s co-writers John and Gabby D’Arcy] of whom he was very fond, but not Mary. Just Maria Short from Perth. He also wrote to Judy King.
On her late husband Graeme Smith:
A good Scotsman to the end, he died of liver failure. He was okay, one of the good guys, but didn’t put himself out all that much.
On Irene Thornton:
We girls were all in awe of her looks, style, and fabulous Carnaby Street/Kings Road clothes. It was months after my one-time dalliance with Bon [in Adelaide] and before she met him. The sex was great, but the rest of the adventure was a disaster, so it only happened once. Then, later, I heard Bon and Irene married during the flurry of marriages in Fraternity, because Hamish Henry, their manager, was only paying for wives to go to England, not girlfriends. I figured he was a lucky guy.
I don’t remember Bon and Irene visiting Graeme and I at the Mount Lofty cottage as she described in her book [My Bon Scott], but it may have happened. We got drop-in visitors up there all the time, but I don’t remember now who most of them were unless there was a particular reason for remembering. She may well have visited us.
City hippies often dropped in on hills hippies on the weekends in good weather, as evidenced by the scene at Fraternity’s Aldgate house, and Graeme and I had our share. No telephones. [Valentines lead singer] Vince Lovegrove had swapped houses with us, and his friend, the artist Vytas Serelis, who probably knew Bon well, had a cottage on the next driveway. We would have offered Bon and Irene tea and a smoke if we had some and probably played a new album.
On Irene’s claim she met Silver at a rock festival:
Overactive imagination, definitely. It was a regret of mine that I missed all the outdoor hippie rock festivals in Adelaide, as I was usually called into the kitchen at the Travelodge – the best hotel in Adelaide at the time – on those weekends. My savings plan for my great adventure [overseas] was to nearly always have part-time work on top of full-time clerical work. No equal pay back then.
On Bon’s relationship with Irene:
Bon was big on telling people how much he owed Irene for taking him in after his motorcycle accident [in 1974] although they weren’t together any more, and how he couldn’t wait to be able to help her out. She was pregnant and struggling. But he didn’t, did he? Instead of showing off by showing up in a limo with expensive booze to visit people who were doing it hard, he could have given her the money. I would have been pissed off [with him] if I were her.
On Bon’s 1975 heroin overdose in Melbourne:
He told me very early on how close he had gone to fucking up over the [Judy] King incident, and that he had made a promise to the Youngs [not to do drugs]. If anything, I was stricter [with him] than the Youngs, because he was a total embarrassment even when he overdid the ‘smoko’ with alcohol at inappropriate times, and I was the one who would have to get him home and up five flights of stairs. Not to mention that this behaviour was considered really tacky in London. To the best of my knowledge, Bon kept faith with his promise to the Youngs.
‘It was the what-the-fuck impulse things that did the real damage [to our relationship]... the babysitting stuff was becoming intolerable.'
– Silver on Bon
On hooking up with Bon after AC/DC’s first London gig at the Red Cow in Hammersmith, 1976:
I used to go past [the Red Cow] on the bus to my work agency in Hammersmith. It was such a lonely, homely building; just a stone cube. Stuck out like a sore thumb because there were no other buildings on that side of the road.
How different my life would have been if I had not been home, not answered the phone, not gone to the Red Cow that night. At that time, I was truly happy, contented for the first time in my life, had lovely friends, was learning some wonderful things, and it had been that way for a couple of years. I felt like I was finally home. And then it all went to shit.
On the difficulty of having a relationship with Bon:
It was the what-the-fuck impulse things that did the real damage. On the second trip [home] to Australia [from England in 1978], while we were staying in Coogee, Sydney, two things happened like that, and I knew I could no longer be with this man, couldn’t live like this any more, and the babysitting stuff was becoming intolerable and dangerous. I wanted to break up then, but settled for a 12-month separation, where I could go back to London and think seriously about what I wanted to do with the rest of my life, and then make a decision.
On drugs being involved in Bon’s death:
Bon knew AC/DC was his last shot at making it, and he was really conscientious after his OD with the King girl in Melbourne. He told me straight away about it; he did smoke hash when he had downtime, and drank horribly, but I don’t know of any pills. I was personally really tough on him with smoko even, as he had really embarrassed me by eating a huge piece of hash at a ridiculously inappropriate time very early on in London.
‘Bon doing smack would be anyone's worst nightmare... but with Bon I guess anything's possible.'
– Silver on Bon
On Bon using heroin:
I would be really surprised if you find anyone credible who will swear they saw Bon take heroin during his London-based years with AC/DC. But with Bon I guess anything’s possible. He had a really bad reputation for taking anything and to extreme excess back in Adelaide with Fraternity. But he did take the heroin embargo from the Youngs after Judy King really seriously, and did not want to get fired.
Given what it was like to have to look after him when he was comatose on Scotch, I was very glad there was an embargo. Bon doing smack would be anyone’s worst nightmare and I personally wouldn’t have had anything to do with him [if he had used it].
On Rolling Stones guitarist Keith Richards visiting her at her flat:
We had a grizzle together about the parlous state of the legal system at the time, and the nasty attitude of the plainclothes police in Britain and they way they try to humiliate you.
On rock biographer Mick Wall who claimed he’d been to Silver’s apartment in London and seen Bon snort either cocaine or heroin:
Mick Wall has never been to my place. I wasn’t living with Bon in 1979.
On former AC/DC bass player Mark Evans:
He was very young, but was definitely the smartest in the band, a lot more aware of what was going on in the rest of the world.
On former AC/DC drummer Phil Rudd:
Probably the last time he was home [in Australia from touring in America], Bon told me Phil was really freaking; exhausted from all the driving. I’ve read Phil was on coke, but I don’t think so. Bon would have mentioned it. Bon was really pissed off that nothing was being done to help Phil; that [the Youngs] just kept getting the whip out. But Bon didn’t speak up. I was so sad when Phil had that recent [legal] trouble; it seemed so unfair. I had the urge to write him a letter, but what could I have said or done after nearly four decades?
It was a couple of months after that American tour that Phil and I had a day out on a catamaran that we got in trouble for [with the Youngs]. It was a lovely silly happy day and we laughed like drains, and that’s how I choose to remember him. Not looking so lost and hunted on the telly.
On Michael Browning’s book Dog Eat Dog and Browning’s portrayal of Silver:
I think [Browning] is still sucking up to the Youngs, after all this time. Maybe he thinks they might pat him on the head and say, ‘Thanks, Michael, for all those grinding tours you organised.’ He never had a conversation with me, never visited my house. [His sister] Coral was very comfortable there – they are chalk and cheese. He never met a single friend of mine, and I only travelled with [the Brownings] twice: once from Perth to London, and once from San Francisco to Sydney. He and his wife [Julie] travelled first class; the rest of us were back in economy. I would never have looked ‘drug fucked’ in public, and rarely in the privacy of my own place.
On Browning’s allegation that Bon had an overdose in Silver’s company in London, 1976:
Bon didn’t OD on heroin in 1976 in London in my company. He told me he had ODed with the very young and troubled Judy King in Melbourne and had nearly died, not long before they came to London; that the band was very angry about it and had banned him from taking all drugs except alcohol, which they were fine with. He smoked a lot of hash, but only when he was away from the band. Because the band was so busy he didn’t know anyone in 1976 in London except a couple of friends of mine and Coral, none of whom were heroin users, so I think it extremely unlikely that he ODed with anyone in London.
On Coral Browning:
Bon was really dependent on Coral. He loved Coral. Until I came along, basically there was just a band. He and Coral got on like a house on fire. And she was very fond of him and she went through all the mail; he used to get ridiculous mail and stuff. Her and I hit it off really well. We spent a lot of time together. We did things together when the band was away. Coral was the only one, apart from Bon, that I really had a relationship with… because of the friendship that I had with her at that time, I can’t see how I wouldn’t have known if something like that [alleged heroin OD] had happened… it doesn’t make sense to me that I wouldn’t have known about it.
‘He would be fine for ages, and then do something really destructive at the worst possible time.'
– Silver on Bon
On her London social circles:
Bon asked me how I knew so many wealthy people. Travelling was still very expensive in the 1970s; luxurious giant planes were often only a third full. So on long-haul flights passengers socialised, swapped stories and passed on addresses of friends to look up, and partied in the bar. Australians were an unknown novelty and were welcome in the world of the ‘beautiful people’ of the ‘70s if they were smart, amusing and attractive, dressed well and had good manners. Sophisticated Europeans didn’t sit around divvying up the bill after a meal; you never saw the bill. Americans and South Americans fought for the right to be able to pay it, proving they were the richest person at the table.
On Bon’s self-destructiveness:
He would be fine for ages, and then do something really destructive at the worst possible time, with no explanation, and really make things difficult for other people, without giving them a single thought. Consideration of others was not a strong point.
On why she didn’t keep any of Bon’s letters or photos:
Everything I owned disappeared; I’ve had to start again twice… I’ve never been able to find out where it [all] went. The first big loss was in London: three huge trunks. Two modern aluminium trunks. One old wooden, steel-banded trunk, painted midnight blue, with silver stars. Plus a giant wooden fridge crate. These contained all my documentation, books, records, photos, diaries, collections of letters, bibelots and precious things from my family days, my mother’s world-class embroidery, everything I owned up to the age of 29, except for what I had with me. The past completely wiped out. It is still devastating to me. Over the last few decades some photos have been given to me by friends and family. I had some great professional shots that were lost.
I know [Bon Scott biographer] Clinton Walker showed me two photographs he got from [Bon’s mother] Isa Scott, the one that was printed in his book, and there is one with me, Isa and Bon at Perth airport saying goodbye. It was the afternoon of the great salty long-haul flight, and Bon picked my clothes; not me. I looked like crap but I was smiling, which is at least something. I’m wearing a lime green shirt and white jeans.
On where she was when she found out from King’s College Hospital that Bon had died:
I was at home. [Bon’s and my friend] Joe Fury was either there, or arrived just after the call… they didn’t say [Bon] was dead. They asked me to come to the hospital because it was serious. They never give death messages over the phone. They look after you, put you in a nice room with a cup of tea. Joe had worked in hospitals, so he had figured it out, and told me his fears before the doctor came in. I can’t talk about what I thought and felt.
On Bon having or not having a will:
I never heard of there being any wills at any time. Bon wasn’t big on being organised. He knew he owed Irene a big favour, and he talked about helping her with a deposit for a house all the time because she had taken him in after the bike accident [in 1974], but he didn’t do it, did he? I thought he should have done it, not went around to visit her with expensive booze and just talked about it.
On Bon’s parents Chick and Isa after his death in 1980:
I felt protective of Isa. His parents were really happy in their own new unit. They didn’t want a big house, or money. They were happy and proud of what they’d achieved for their family. I could relate to that. Isa just wished that Bon had seen his own success. They were good but naive people, Bon’s parents.
BON: THE LAST HIGHWAY: THE UNTOLD STORY OF BON SCOTT AND AC/DC'S BACK IN BLACK is available now.
The Confederate Battle Flag belt buckle Bon Scott wore everywhere in 1979 is the source of numerous tales and is clearly visible in many photographs taken of Bon that year. In fact, you won't find many photos of Bon in 1979 without him wearing that buckle. What’s little known outside the worldwide AC/DC fan community is that on the buckle, in place of stars, it actually spells out LYNYRD SKYNYRD.
So the big question is: Did Bon get the buckle from late Lynyrd Skynyrd lead singer Ronnie Van Zant?
Former Florida-based concert promoter Sidney Drashin has claimed that Van Zant possibly came to see AC/DC when they first played Jacksonville in August 1977, while guitarist Gary Rossington, who still plays in the current incarnation of Lynyrd Skynyrd, went public a few years ago with a story that the band jammed with AC/DC the following day, the veracity of which I examine briefly in Bon: The Last Highway.
However, the Van Zant–Scott story is almost certainly a rock myth: from what I have seen from the available photographic archives, Bon only really started wearing it long after Van Zant, Skynyrd guitarist Steve Gaines, backup singer Cassie Gaines and three other people were killed in the band's plane crash in October 1977. It seems a reasonable assumption to me that he’d have worn it much earlier if he were paying his respects to the dead Skynyrd frontman and his fallen bandmates.
After the release of Bon, former Lynyrd Skynyrd drummer Artimus Pyle expressed on Twitter his hunch that Leon Wilkeson, Skynyrd's bass player, who like Pyle had survived the crash, had given one to Bon: ‘My guess: buckles were gifts to Skynyrd from [Day On The Green promoter] Bill Graham. Leon gave his to Bon when Bon stayed with him.’
In 2015 when Dylann Roof, a homicidal white supremacist, killed nine African-American parishioners in a Methodist church in South Carolina, the Confederate Battle Flag came under unprecedented assault for being a pernicious symbol of racism. The killer had earlier photographed himself with a firearm and the same flag. Images of the flag were being removed everywhere. Reruns of The Dukes of Hazzard were taken off American cable TV.
Then in 2017, the flag and other symbols of the Confederacy came under renewed attack again after the terrible events at Charlottesville, Virginia. The world's greatest Civil War historian, the late Shelby Foote, argued that the Confederate Battle Flag was not a racist flag (listen to him in the clip below) but to millions of Americans it is just that and will always be thus: a symbol of white nationalism and those Confederate soldiers who fought to maintain chattel slavery in the South. Those arguments are valid and to be respected. Flag supporters argue the opposite: it is about ‘heritage not hate’. The debate rages on.
So what does it have to do with AC/DC? Firstly, Bon was no bigot (there is no suggestion of him ever having a racist bone in his body). Nor were the other members of AC/DC, who’d hung a Confederate Battle Flag inside their tour bus in 1979. Call it ignorance or innocence or both, but they were celebrating the Southern ‘spirit’ like so many rock bands or performers of that era: Skynyrd, Black Oak Arkansas, Ted Nugent, Outlaws, 38 Special, Molly Hatchet and so many more. Tom Petty and Kid Rock both adopted Confederate Battle Flags at various times, though the late Petty came to reject it completely. Charlie Daniels, a defender of the flag, has written a piece here. An opponent of it, Richard Fowler, has written a piece here. What's abundantly clear to me is that the American South, Southern rock and and its rebel spirit had indisputably struck a chord with Bon. That fascination is most evident on AC/DC's best album, Powerage (1978).
‘For most of my life, that flag just represented geographical pride, no more no less,’ explains Charlie Starr, lead singer and guitarist of Atlanta band Blackberry Smoke, the finest exponent of Southern rock playing anywhere in the world today – including Skynyrd.
‘I have a Grateful Dead Southern Tour shirt from 1988 that has a Confederate flag proudly displayed on the front of it. Unfortunately, it’s been hijacked by hate groups and come to represent something evil to a lot of people. There are two sides, ya know. Skynyrd would fly it, The Allman Brothers wouldn’t.’
‘For most of my life, that flag just represented geographical pride, no more, no less.'
– Charlie Starr, Blackberry Smoke
In recent times, though, the members of the band that performs as Skynyrd have decided to no longer use it as a backdrop on stage; that said, they haven't quite disavowed it either.
Van Halen broke out of California, made a big splash on Midwest radio and then exploded onto the US national scene with their self-titled debut in 1978, which turns 40 on 10 February 2018. Jesse Fink, author of the new biography of Bon Scott, Bon: The Last Highway: The Untold Story of Bon Scott and AC/DC’s Back In Black, spoke with the band’s former bass player, Michael Anthony, about the late ’70s, Van Halen, AC/DC, David Lee Roth and Sammy Hagar. Michael is also interviewed in the book about his love of Powerage and the Bon Scott era.
On the Van Halen brothers:
The brothers have this closeness; there’s this certain type of bubble that you cannot penetrate, no matter how close you get to them. Eddie and Alex, my experience with them anyway, was in their monitors Eddie wanted to hear Alex, Alex wanted to hear Eddie. They’d throw me in just to kinda fill the whole thing out but they were just so locked in together. They had this musical force between them that was amazing.
On Van Halen’s touring philosophy:
Just kinda pound the pavement. We started our first tour opening up for Journey and Ronnie Montrose. Whenever there was a stage that wasn’t big enough to hold all three bands we just kinda peeled off and we would look for a club in that same city and do that. We just tried to get on everything we could get on to play.
On Van Halen’s critics:
For some reason critics didn’t really like us in Los Angeles. There’s this one critic I remember, he wrote for the Los Angeles Times, Robert Hilburn. No matter how well we did, how well the concert went – they were always great, sold out or whatever once we were really hitting our stride – he never gave us a good review. Never. Not once. He was probably one of the main reasons why we were just pretty much disregarding anything that any of these critics would write. It was all like, “Hey, the fans are our biggest critic” and when you’re playing the live shows, that’s what it is out there and that was happening so we didn’t care what those guys were saying. I guess we were too immature for some of these critics.
On David Lee Roth:
Dave was the loudmouth. We allowed him to be the loudmouth because he then took care of the press part. There even came a time later on before Dave had left the band that we for a while let him do all the interviews and everything. We said, “Hey, we’ll do the music, you do the interviews. We’re just fine with that.” But that’s a lead singer for you.
On the issue of whether Van Halen created a “monster” with DLR:
With everything that happened that led him to leaving the band, we probably did kind of create a monster. But then he just pretty much did it himself, too, because he always considered himself a big star; where the three of us we were probably more like how AC/DC was. They just considered themselves musicians playing rock music. I don’t think any of them, from knowing them, considered themselves as being a big rock star. They didn’t have that kind of ego.
‘We probably did kind of create a monster.'
– Michael Anthony on David Lee Roth
On Sammy Hagar:
The reason [Van Halen] actually tried Sammy Hagar out – I liked him as an entertainer – was Eddie and Sammy both have the same car mechanic. It was actually his car mechanic that suggested, “Why don’t you try Sammy out?” His name is Claudio Zampolli. And Ed was getting his car serviced and he said, “Why don’t you give Sammy a call? I know he’s not on the road right now.” And he did [laughs]. It wasn’t like we were monitoring him and going, “Yeah, that’s the guy we need to replace David Lee Roth.” We all knew he was a good musician. I guess it was just by this recommendation that Eddie gave him a call.
A manager that we had, Ray Daniels, who managed us for a while [in the 1990s] before Sammy exited the band, tried to change us in that respect. He actually was the guy who drove the wedge in between especially Eddie Van Halen and Sammy because he kind of tried to brainwash everybody into thinking, “Well, this band has to mature. You guys are much more mature than those kind of antics now.” Everything kind of fell apart at that point [laughs] because for some reason he did brainwash Eddie Van Halen and Sammy left the band and subsequently the band kind of just started crumbling.
On Brian Johnson joining AC/DC after Bon Scott’s death:
I was really surprised that Brian Johnson fit in as well as he did. Obviously it was a kind of different direction because when you lose someone like Bon Scott, it’s like, “Who’s going to replace that?” You have to really change the dynamic of the band a bit because that guy had such a unique sounding voice. I think AC/DC found a singer [in Johnson] that really fit in with the kind of music that they were doing. I don’t know if it would have been that much different if Bon was alive for the next album, the Back In Black album. [Johnson] just fit in great with the kind of music the guys were writing.
On the difference between Van Halen and AC/DC:
One of the reasons I really liked AC/DC is they just seemed more like the kind of band I came from before joining Van Halen, where you know, you wore jeans and a T-shirt or whatever and you just played rock music. When I joined Van Halen we had that aspect of it but then we had David Lee Roth, who was like, “Okay, but you gotta wear this and you gotta wear the spandex and you gotta glitter out”, ’cause that’s what he was all into, so that kind of rolled into part of what Van Halen was. The thing I liked about AC/DC is it was just jeans and a T-shirt out there playing music and I guess not really worrying about the show, even though later on everybody brings that element into it. It was almost like they didn’t care about having to be real showy; they let the music do the talking.
BON: THE LAST HIGHWAY: THE UNTOLD STORY OF BON SCOTT AND AC/DC'S BACK IN BLACK is available now.
Jesse Fink is the author of Bon: The Last Highway: The Untold Story of Bon Scott and AC/DC's Back In Black and The Youngs: The Brothers Who Built AC/DC. For more information about Bon, click HERE or click the book covers below to be directed to editions in your preferred territory and language.