Kicked In The Teeth and Walk All Over You are two of my favourite songs of theirs. And then there's the singers, both extraordinary: the lascivious, menacing, comical and his replacement, the jocular, razor-throated. Kicked in the Teeth The brilliant 's yo-yoing dynamic - rock monsters followed by seductively mid-paced strollers - was perhaps best exemplified by Up To My Neck In You and Kicked In The Teeth. The kind of songs you can play at weddings, where people who profess to hate rock music will bellow along with enormous, joyous gusto. They write and arrange songs so that they can deliver them to their audience with massive electric intensity.
I really like a song from their first record. But you never know with those two. Since their earliest days in Sydney to their current incarnation as one of the world's biggest selling artists, their course has been unwavering. And everywhere else you'd find his younger brother , as capable of incendiary soloing as he is at churning out epoch-defining riffs. At the back, the late built a backbone that could make a metronome sound erratic.
To me it sounded like something was wrong, like it was too close to my face. When it was played live as The Razors Edge tour , thousands of 'Angus Bucks' were dropped on the audience as the song climaxed, with Young replacing George Washington as the face of the currency. It channels Berry in 2. They appeared to warm to the song over the years, however, and it subsequently also appeared on the compilation album Backtracks in 2009 and on the Iron Man 2 soundtrack album a year later. That was the whole goddamn point! What a great double entendre for a song title, too. Angus is a bit more cruisey than Malcolm.
Instead, they've concentrated on riff and rhythm, allying one of rock's most rock-solid musicians to one of its most live-wire performers. In the solo, Angus pulls off one of the best examples of pinched harmonics ever recorded. For the best part of five decades they've ploughed a singularly individual furrow, ignoring whatever the mainstream had to offer, letting fads and fashions pass by untroubled. Go Down The swaggering opening track on starts with the sound of a whisky-guzzling Bon counting in the intro. If there's any band that personifies the pursuit of rock'n'roll in its purest sense, it's Aussie larrikins. He hangs on to stuff a bit longer and slides in and out, whereas Malcolm just fucking hits it. I remember shaking when the band played this song in Fort Worth, Texas.
A good riff you can play over and over again, and Malcolm wrote a lot of that music. The vocal is Bon at his best: it's a nasty, lascivious performance. They have always focused on capturing the true raw sound of their instruments on all of their recordings. Cold Hearted Man Cold Hearted Man only made it to the initial vinyl pressings of Powerage when the album was released in Europe, but was removed from later additions as the band genuinely hated it. .
There is so much attitude in that solo and I love his vibrato. Bon and Angus are the down and dirty Lennon and McCartney. That seems to be their thing. . . .
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