Over the five or so years I spent writing two books on AC/DC by far the most rewarding experience was getting to know and become friends with Tony Currenti, an old friend of Bon Scott's and the drummer on AC/DC’s first album, the 1975 Australian release of High Voltage.
In 2012, 37 years on from AC/DC's debut record, I managed to track down Tony at his pizzeria in Penshurst, southern Sydney: Tonino's. It didn’t take much detective work. I found him on Facebook. He had about 50 friends.
Tony hadn’t spoken to any author, ever. I couldn’t believe my luck. By his own account this avuncular 67-year-old Italian-Australian was asked to join AC/DC twice. He’d played on records that had sold millions (High Voltage -- the Australian and U.S. versions --T.N.T, ’74 Jailbreak, Backtracks).
But at the time I met him for various reasons he hadn’t touched a drum kit since 1977, after giving away music to start a family and a business.
He formed a small but significant part of AC/DC history – truly an incredible tale – and it was my special privilege to tell his story. What was better, however, is everything that came after my first book on the band was published.
It has brought me so much personal satisfaction to see Tony finally get the acknowledgment he deserves from fans around the world. Some of those remarkable fans, including You Am I drummer Rusty Hopkinson, banded together in 2014 and bought Tony a new set of Pearl drums when they heard that his old Ludwig set was unplayable.
When he appeared on stage with me at the Sydney Writers' Festival that same year he was a crowd favourite. Wherever he goes in the world, no one fails to be touched by his easygoing charm and complete humility.
After some tentative steps back into the live scene, and tips from former AC/DC drummer Noel Taylor, Tony's first proper gig in 38 years was at The Bridge Hotel, Sydney, in 2014 with The Choirboys: a truly magical moment for anyone who was there to see him play the song “High Voltage”. Tony was as nervous as hell and showing every sign of that nervousness when he first got up to play, but once the band kicked into gear, he was away. He hasn't looked back since.
He began playing weekend concerts regularly with Australian AC/DC tribute bands Let There Be Bon and Dirty Deeds, started amassing thousands of new friends on Facebook (well over 4000, including his own tribute page), and in July/August 2015 he played his first European shows with tribute bands in Italy, England and Spain. In the space of five years he's now played hundreds of shows. What this man has achieved during his second wind as a drummer – after four decades away from the stage – has been immense.
It's certainly not lost on parochial Italians that Tony is the only full-blooded Italian to have ever played for AC/DC, so I've been super proud to see him get great coverage in the Italian press, sell out shows in Sicily and on the European mainland, and get repeat invitations to come back and do it all over again, year after year. In Australia, meanwhile, typically, we are slow to embrace our musical history. When I pitched Tony's story to the ABC's Australian Story, for example, they expressed zero interest. Radio silence.
Outside of music, Tony can still be found most nights at Tonino’s making supreme pizzas, and that’s what makes him great. He’s free of the sort of ego that makes most former rock stars unbearable company. Even when people spell or pronounce his name wrong, which they do constantly (I cannot understand why, it's really not hard), he just shrugs and laughs.
Tony's not perfect. There are some things about him that frustrate me – he won't give up cigarettes, has resisted my attempts to introduce the She's Got Balls (meatballs), Soul Stripper (chilli) and Crabsody In Blue (seafood) line of pizzas, and is far, far too nice to ask for what he wants, so unscrupulous people in the music and music-festival industries shamefully continue to take advantage of him financially – but that is who he is. I accept there are some things about him you just can't change.
The arc of Tony’s story really is a movie waiting to happen: as good as Billy Elliott, Searching for Sugar Man or The Full Monty. I don’t think you could get a better immigrant tale. It has everything you could ask for and just happens to involve the biggest rock band in the world.
He migrated to Australia from Sicily in 1967 and learned to play drums by playing spoons on his piano accordion and any spare chairs he could find. True story. That he then went on to play with AC/DC really is something from the realm of science fiction. You couldn’t make it up.
Tony isn’t in AC/DC today because he was fiercely loyal to a group of “wogs,” as he calls them, known as Jackie Christian & Flight who were an Albert Productions recording act and had a couple of songs written for them by George Young, one called “Love", the other called “The Last Time I Go To Baltimore.”
They also played the music for Ray Burgess’s huge Australian hit, “Love Fever.” Jackie Christian & Flight thought they were on the cusp of greatness, but Tony picked the wrong band. His Italian passport didn’t help either. If he’d joined AC/DC and gone to England, it would have meant he’d have to stop in Rome. There he would have been conscripted into the Italian army for military service.
So he turned down AC/DC. He has no regrets. And why would he? He played on most of the best songs on High Voltage, including the single. He played on Stevie Wright’s classic epic, “Evie” (that’s him on Part III), and “Black Eyed Bruiser.” He played on stage with AC/DC at Chequers in Goulburn Street, Sydney, in 1975. He laid down the drums for John Paul Young’s “I Hate the Music” and “Yesterday’s Hero.” He was George Young’s favourite session drummer and so many of Tony’s tracks are now on AC/DC releases and box sets that have sold millions of copies. ’74 Jailbreak, an EP which came out in 1984, has five songs on it. Three of them feature Tony’s drumming.
Tony only got $35 an hour for his session work and that was enough for him. All he ever wanted was to meet the Youngs again, especially George, but he didn't get that chance. George and Malcolm passed away in 2017.
So my fervent wish is that Angus Young picks up the phone and makes an old man happy. Tony Currenti is living music history and deserves adequate recognition not from fans, who have already taken him to their hearts, but AC/DC itself. He’s not after money. He’s far, far too modest for that. As he always has been.
BON: THE LAST HIGHWAY: THE UNTOLD STORY OF BON SCOTT AND AC/DC'S BACK IN BLACK is available now through Amazon, Barnes & Noble, Booktopia, FNAC and hundreds of other retailers around the world.
Today Powerage stands tall in the AC/DC catalogue and is a favourite among AC/DC fans and rock musicians the world over, including Eddie Van Halen and Keith Richards. Aside from Bon Scott hitting his peak in his lyric writing, it also features some of the grooviest basslines AC/DC ever recorded, particularly on songs such as ‘Gimme A Bullet’, ‘Down Payment Blues’ and ‘Gone Shootin’’.
To my ears (and the ears of many musicians who have contacted me about it over the years), there is a perceptible difference from later AC/DC albums on which Cliff Williams plays bass, which is probably one reason why Powerage, recorded in early 1978 in Sydney, Australia, still sounds so special.
As one musician who shall remain nameless put it: ‘I don't care what AC/DC says, that's George Young playing bass on Powerage. The bass playing on “Gimme a Bullet” is outstanding. I like Cliff but George is in a different class. I love George's bass playing: very similar style to Andy Fraser from Free, slippery and groovy. Check out the studio version of “High Voltage”: it sits in a different place in the groove; very clever playing. Unless Cliff just learned George’s bass line – but I'd doubt it, as he never played it like that again.’
But to a corps of hardened AC/DC fans there is no argument to be had: it was Cliff on Powerage and that's the end of the matter.
In his autobiography Dog Eat Dog, former AC/DC manager Michael Browning claims the British-born Williams, who was having work-visa issues at the time, ‘reached Alberts [Studios in Sydney, Australia,] in January 1978, just in time for the recording sessions… it was his first record with the band and he loved playing on it’.
Mark Opitz, who engineered the album, wrote in his own autobiography, Sophisto-Punk, that Williams ‘wasn’t there for the first month of Powerage… so George played bass during rehearsals’.
Yet the man who made way for Williams the year before, Mark Evans, told me a markedly different story when I wrote my 2013 book, The Youngs: ‘My understanding of the situation is that George played bass on the whole album.’
In an interview with Bass Player, Williams rubbished the allegation (and talk Evans himself may have played on some of Powerage): ‘Not at all, and Mark was long gone at that point… I finally got my [Australian] visa, it was all good, and we did the album.’
In support of Williams, it’s well established that heavy rehearsals were going on for AC/DC’s fifth Australian studio album, a few weeks’ worth.
‘Mark [Evans] was long gone at that point… I finally got my [Australian] visa, it was all good and we did the album.'
– Cliff Williams
The truth, however, is Evans was hardly ‘long gone’ from Alberts. Evans was actually recording with Finch (aka Contraband) right in the adjacent studio to where AC/DC were rehearsing Powerage.
Evans remembered all his gear being set up and ‘I’d come in the next day with my white bass [which would be] sitting up, [I’d] pick it up, and the tuning would be different on it.’
Owen Orford, lead singer of Contraband, confirms ‘it was January ’78’ and the recording took place ‘opposite George and Harry [Vanda]’s studio’.
Evans said he had a good idea who was using his bass.
‘“I know.” So I’d go in next door and [I’d say], “Hey George, did you borrow my bass?’” [And he responded:] “Oh yeah, we did some bass tracks and we came and borrowed your bass.” I would have met Cliff between the recording of Powerage and Highway To Hell. From my memory, the sessions for [Powerage], in the back of my mind, I don’t [think] Cliff was in town for that or much of that.’
George certainly wasn’t afraid to throw his weight around in the studio as a bass player, as Rob Bailey, AC/DC’s bass player who was supplanted by George during the recording of AC/DC’s first album, High Voltage, and Evans, who had to stand by as George did some bass parts on albums he worked on, will both attest.
It's now well established that AC/DC album credits don't always tell the full story of who played on the recordings and AC/DC already had a history of using early monitor mixes in final recordings, such as the 1975 single ‘High Voltage’, on which George’s bass is highly distinctive.
Explains Tristin Norwell, a London-based record producer and composer who got his start at Alberts: ‘Monitor mixes are often mono, never more than stereo. In a rehearsal room in the 1970s you may have had a cheap little ¼ inch recorder taking a stereo mix of the monitor board, using all the mics in the room. It’s a rough ’n’ ready capture – usually dreadful – of a live rehearsal session. In proper recording sessions a monitor mix is usually a version of the song “as it stands”. Traditionally you have a recording day, and then a day mixing all the tracks – instruments – together to create a final mix. This stereo mix then gets mastered by another boffin.
‘From my memory, the sessions for [Powerage], in the back of my mind, I don’t [think] Cliff was in town for that or much of that.’
– Mark Evans
‘However, monitor mixes from recording sessions in proper studios are often very successful and hard to beat – they are often an amalgam of the energy and all the ideas firing around the room, at the inception of the recording. The endless debate is how much you lose of this “energy” by spending lots of time on a final mix – the finessed, overly processed, overly considered stage. There are many, many final mixes that have been beaten by a rock-solid vibey monitor mix, usually as they are instinctive and fresh-sounding.’
Is there any reason to think George wouldn’t stand in for Williams, a relatively new and untested (at least in Albert Studios) bass player who couldn’t even get into Australia because of visa problems at a time when AC/DC was under serious pressure from Atlantic Records to come up with a hit record? Nothing less than AC/DC's survival as a recording act was at stake.
Then again, Williams may well be right. But if he says he recorded bass tracks for all of the songs on Powerage, does that also mean they were actually used on the final album? Powerage was a critical album for AC/DC. The future of the Young family business – AC/DC itself – was at risk if the album failed to sell, as well as a substantial portion of George’s future income from producer royalties. Evans’s claim appears at least plausible.
‘I wouldn't compare my bass playing to George [Young]. I'm a sort of cut-down version of George.'
– Mark Evans
Furthermore, as Evans said to me back in 2013, ‘A real advantage of the way [AC/DC] used to record is the fact that we used to record as a band [two guitars, bass and drums]… the only thing that was added on was [Bon’s] vocals and [Angus’s] solos, guitar solos.’
George was in a different league to him as a musician.
‘I wouldn’t compare my bass playing to George. I’m sort of like a cut-down version of George.’
For what it's worth, photographs of the Powerage sessions from that Australian summer of ’78, taken by then-music journalist Jon O’Rourke, clearly show George playing bass with Angus Young, Malcolm Young and Phil Rudd in the studio. Only Bon is missing. To my knowledge, no known photos exist of Cliff recording the album. The only other photos of the sessions, taken by Andrew Paschalidis during the later recording of the single ‘Rock 'N' Roll Damnation’, also fail to show Cliff being there. Paschalidis even states that George was playing bass when he arrived at the studio. George, rhythm guitarist of The Easybeats, writer of classics ‘Friday On My Mind’ and ‘Evie’, was one of the best bass players of his time, who’d already played on early albums by the band, including 1977’s seminal Let There Be Rock.
Yes, Let There Be Rock. Evans admitted in 1998: ‘George is on some of the songs and I’m on others. Sometimes I can’t tell who’s playing what because I ended up playing bass very similar to George, but I played most of the bass on Let There Be Rock.’
Did George really change the working habit of his entire recording career with AC/DC and fail to record a single bass track on the band’s most important album to that point, at a time when Williams, despite his best efforts, was having trouble getting his work visa?
With George on bass in the studio, and AC/DC firing as a band, only a fool wouldn’t have hit the RECORD switch.
Mark Opitz says the whole thing is a nonsense: ‘What a load of bullshit; the photos are from rehearsals. I recorded the album with Vanda & Young producing and Cliff played bass, end of story.'
Former Angels bass player James Morley, who plays rhythm guitar in Bon But Not Forgotten with Mark Evans today, insists George played every song on the album bar ‘Rock 'N' Roll Damnation': ‘It's George. Except “Damnation".'
Meanwhile, O'Rourke, who took the famous photos, says, ‘The photos speak for themselves. I had the pleasure of being invited into the sessions by George while AC/DC were writing and recording the album. Bon would be in the writer's room in Alberts and come in every so often with lyrics to try on the songs. Simply amazing to be there!'
Whatever the truth, we were left with AC/DC's greatest album.
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.