2017 is an important year for AC/DC – or should at least be for every serious AC/DC fan. It marks the 40th anniversary of the international release of AC/DC’s landmark album Let There Be Rock and the 40th anniversary of its first American tour. My book, Bon: The Last Highway, is the untold story of Bon in America from 1977–79 and his death in London in 1980.
It’s hard to believe just how far AC/DC – a band that has sold well over 200 million records – has come since that first show in Austin, Texas. To give you an idea how long ago we're talking about, John Lennon had just got his Green Card. Bjorn Borg had won Wimbledon. The Soviet Union had performed an underground nuclear test. Vietnam had joined the United Nations. Jimmy Carter, a Southern rock–loving Democrat governor from Georgia, was President of the United States.
They also had a proverbial mountain to climb to get the attention of booking agents and radio programmers, being such a relatively unknown quantity in the States at that time, practically unheard on the airwaves outside Texas, Florida and California, though the portents for their first crack at the USA at least seemed good for the Australians when they arrived in July 1977.
AC/DC had made quite an impression in England and Europe and the Sydney Morning Herald trumpeted that the band was on the cusp of international fame: ‘They have moved with calculated accuracy in the direction of fame and fortune both here and overseas. Their records are consistent powerhouses of raw energy. Their songs move as restlessly as Hannibal’s elephants.’
The reality, however, was a little starker for AC/DC. Down Under, the band was hardly flavour of the month.
AC/DC got banned from performing at Tamworth’s Town Hall in December 1976. An editorial in the Northern Daily Leader praised local aldermen for ‘acting wisely and in the best interests of our young children in refusing to allow the hall to be used if there is any danger of [rock] groups infringing decent moral standards by their on-stage actions and lyrics. Unfortunately, audiences at many of the rock concerts are mainly sub-teenage girls. They need protection.’
On December 30 1976 an article appeared in Melbourne’s Age: ‘The five-member Melbourne group who claim to be the original punk rock band have had concerts banned, official concert programmes seized, and been attacked in both State and Federal Parliaments for corrupting children’s morals.’
In January 1977, Portland and Eaglehawk councils in Victoria asked for $500 and $2000 bonds respectively before they’d allow AC/DC to play. ‘This will prevent one of the group’s guitarists dropping his pants on stage,’ said the Age. In England, too, as Angus Young admitted, the dropping-pants act had worn thin with the authorities: ‘We’d have the whole vice squad at some shows. The same Britain where they have topless women in their daily papers… in the end, even the police were laughing about it.’
‘Audiences at many of the rock concerts are mainly sub-teenage girls. They need protection.'
– An editorial in the Northern Daily Leader
Stateside, too, AC/DC’s first international album, High Voltage (1976), a collection of cuts from their first two Australian albums (I've posted some photos of an original mint press release in the gallery above), was only getting heavy airplay from Bill Bartlett at WPDQ/WAIV in Jacksonville (proved by a lone 22 January 1977 mention in Billboard’s ‘Album Radio Action’ charts, substantiating without doubt Bartlett’s longstanding claim that AC/DC took off in Florida before anywhere else), but the band was to get a key review further south in the Miami News – nearly a year before they even touched down on American soil.
There aren't a hell of a lot of newspaper clippings about AC/DC from America in 1976 – I have a personal collection containing a few very rare clippings from Texas, and I found in archives several others I've included in the book – but during my research for Bon: The Last Highway, by pure luck I found this old newspaper from 29 October 1976.
Jon Marlowe even concluded his preceding review of the various-artists Atlantic Records release Live at CBGB’s by saying, ‘If you’re into punk, just forget this one and pick up on “High Voltage” by AC/DC instead.’
At a time when AC/DC wasn't getting a whole lotta love, how shrewd the floridly expressive Mr Marlowe turned out to be.
HIGH VOLTAGE – AC/DC – (ATLANTIC)
You say you ripped holes in your $30 jeans to look just like Dee Dee Ramone while dreaming of spending ten minutes alone with Joan Jett of the Runaways in the Aloha Motel with the Flamin’ Groovies blasting from your cassette player.
And you say Yes are five musical vegetarians you’d like to run through a Veg-O-Matic and you refuse to patronize music stores that even stock synthesizers.
Well, kid, have we got an album for you – ‘High Voltage’ – by a group of five Scottish-Australian punks who call themselves AC/DC and dress in London schoolboy clothes and utter such memorable statements as ‘Can I Sit Next To You Girl?’.
AC/DC is currently giving Eddie and the Hot Rods and the Sex Pistols (two of Britian’s [sic] primo punk rockers) a real run for the money [sic] and you should immediately fork over the price of this one just for the wonderous [sic] experience of hearing the 96 decibel delight: ‘It’s A Long Way To The Top (If You Want To Rock ’N’ Roll’.)
BON: THE LAST HIGHWAY: THE UNTOLD STORY OF BON SCOTT AND AC/DC'S BACK IN BLACK is available to preorder now through Amazon, Barnes & Noble and hundreds of other retailers. Just click the title above (in red) to preorder and save on the retail price.
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.