16 July 2009

CAN'T STAND STILL

Can't Stand Still :stiff upper lip
When I see a pretty woman
You know it gives me a thrill
And she's a tailor made to order
You know I can't stand still
And you won't need a doctor
'Cause it'll cure all ills
And when I hear a noisy party
You know it gives me a chill
It gets me rockin' and a rollin'
And I can't stand still
From morning 'till midnight
You know I can't stand still
You know I can't stand still
I can't stand still
You know I can't stand still
I can't stand still
From morning 'till midnight
You know I can't stand still, oh yeah
When it comes to sippin' honey
You know I drink my fill
And I'll be dancin' on the water
You know I can't stand still
From morning 'till midnight
You know I can't stand still, oh yeah
You know I can't stand still
I can't stand still
I can't stand still
You know I can't stand still
From morning 'till midnight
You know I can't stand still
You know I can't stand still
I can't stand still
Baby I can't stand still
I just can't stand still
From morning 'till midnight
You know I can't
You know I can't stand still

Thank you lads, thank you lads, thank you

SAFE IN NEW YORK CITY

Safe In New York City :stiff upper lip

Hello baby gimme your hand
Check out the high spots the lay of the land
You don't need a rocket or a big limousine
Come on over baby and I'll make you obscene
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
All over the city and down to the dives
Don't mess with this place it'll eat you alive
Got lip smackin' honey to soak up the jam
On top of the world ma' ready to slam
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
Movin' all over like a jumpin' bean
Take a look at that thing in the tight ass jeans
Comin' your way now you may be in luck
Don't you fret boy she's ready to buck
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
I feel safe in New York City
New York, New York, New York
I feel safe in a cage in New York City

10 July 2009

BON HISTORY 2

They come in jeans and tatts and t-shirts to pay homage and leave half empty bottles of scotch to lift his spirit. The caretakers at Fremantle cemetery are used to their comings and goings. They pour the liquor out when the strangers leave and have hired security guards to patrol the graveyard at night. Some visitors ask for directions at the gate and others follow the graffiti scrawled across the footpath which leads them to Bon Scott's memorial. It is 29 years ago that Bon, real name Ronald Belford Scott gained rock n roll immortality by bowing out in a cliche on a freezing London night. Bon Scott, outrageous lead singer of top Australian rock band AC/DCc died in London last night after a bout of heavy drinking... the Sun newspaper reported at the time. Friends said he could have drunk as much as 2 bottles of scotch. The body of AC/DC's self describeed poet was found where he had fallen into a drunken sleep on the front seat of his friend Alistair Kinnears car in East Dulwich on February 19 1980. Kinnear unable to wake Scott covered him with a blanket and went upstairs to bed. " I met up with Bon to go to the Music Machine but he was pretty drunk when i picked him up". Kinnear told reporters at the time. " when we got there he was drinking four whiskies straight in a glass at the time. I just could not move him so i covered him with a blanket and left him a note to tell him how to get to my flat when he woke up. I went to sleep then and it was later in the evening when i went out to the car. I knew immediatley that something was wrong." Scott died as AC/DC was finally breaking through with the album Highway To Hell, after four years hard work in England. They were on the cusp of international acclaim and Scott was living the dream, sex drugs { dope mostly and alcohol} and rock n roll. "I was getting drunk in Bali when i got the call" .His younger brother Graeme recalled Graeme Belford then a merchant seaman was holidaying on the Indonesian resort island after spending five amonths at sea. Now living with his family in Northern Thailand not far from the infamous bridge over the River Kwai, Mr Belford stuggles to remember the details of that phone call." It wasnt Alistairs fault, he just took Ron out for a few drinks in a bar" said Mr Belford. " It was just an accident. he fell asleep and put his head on the wrong angle. it happens to people all the time. He always drank from the time he was 15. It was nothing unusual." Scott had curled his thin 1.2m frame around the gear stick, twisting his neck so that vomit filled his windpipe as he slept. His body was cremated and his ashes spread in Fremantle cemeterys Garden Of Rememberance. A memorial was erected and every weekend until his father's death last month Scott's parents Chick and Isa would come to clean and polish the memorial plaque and lay fresh flowers. Like rock heroes who preceded him in early death and those who have followed, Bon Scott's untimely passing at 33 secured his fame. When he died the band had not conquered America. It was Scott's replacement Brian Johnson who lead the band as they finally went all the way to the top with the release of Back In Black but their success was launched from the solidity of Scott's contribution which included such heavy metal classics as High Voltage, It's A Long Way To The Top, TNT , Jailbreak and Highway To Hell.

CAN'T HOLD ME BACK

Can't Hold Me Back from Stiff Upper Lip




I got a big fat Cadillac built for you
I got a honk that'll blow the avenue
Got a hot dog kickin' all bend my thing
Got a a sugar looking woman with a bald headed man
Give me five o here boy, that's what I'll do
Got a big fat momma who can hold a tune
Gotta slip that bone in hard and mean
A honky tonk woman get the best of me
Can't hold me back
Can't hold me back
Can't hold me back
Get a heart attack
Can't hold me back
Got a honky tonk big ball hit to thrill
I got a sugar boot money baby that'll kill
A honky tonk 15 golden mile
Gotta bald headed woman loaded in the town
You can get me to the ball man, drivin' in
And don't balk the kill, call in the 'ville
You gotta map the wrong town, hit the road
You got the whole boppa movin' on down the road
Can't hold me back
You can't hold me back
You can't hold me back
You get a heart attack
Can't hold me back
You can't hold me back
You can't hold me back
You can't hold me back
You get a heart attack
Can't hold me back
You can't hold me back, you can't hold me back
You can't hold me back, you can't hold me back
Can't hold me back, you can't hold me back
You can't hold me back, you get a heart attack
Can't hold me back (hold me back)
You can't hold me back (hold me back)
You can't hold me back (hold me back)
Can't hold me back (hold me back)
You can't hold me back (hold me back)
Can't hold me back (hold me back)
You can't hold me back (hold me back)
You can't hold me back

06 July 2009

BON HISTORY

In Melbourne, a tribute band plays the pubs as ac/dc did after forming in 1974, but they only use Bon's material, spurning all later works. His appeal was a mixture of bad boy wild man and down to earth larrikinism and talent. Scott who was born in Glasgow and migrated to Australia as a five year old grew up in Spearwood. Taught by his father he played drums with a Fremantle pipe band and was the only one of the three sons to show any musical aptitude. " dad tried to teach us all but it was only Ron { Bon's real name } who got it" recalled his brother Graeme. " When he was a kid he used to play two recorders at one time as a party trick, one with the left hand and one with the right". he said. Jim Keays former lead singer and song writer for the Masters Apprentices met Scott in Melbourne when the future ac/dc frontman was touring with the Perth based band The Valentines. " I was walking down the street when this van came alongside and all these guys got out and ran towards me," said Keays. " for a moment i didnt know what was going on. Then they said they recognised me and wanted to meet me. After that we toured a lot with The Valentines. Bon was a cheeky sort of guy a practical joker who was always trying to make people laugh but he was also underestimated as a musician. He could pick up any instrument and instantly play it, he was probably the most naturally gifted musician i have met." but it was Scotts gift for excess and his delight in telling tales on himself that would mark him out. While others might seek to hide a criminal past Bon Scott told a journalist of the 11 months he spent in juvenile detention for assaulting a policeman. He was 17 at the time and working as a labourer but fronting a band at night. " I was singing a couple of songs with a band at a dance in Fremantle and a couple of guys started giving me a hard time." he said. " I got off the stage and tried to break it up and i finished up on a charge of assaulting police." he told another journalist of being bashed and threatened by the father of a 17 year old girl he was sleeping with. Graeme Belford said she was only 16. " yeah i knew her. She came to the door of the hotel room naked one day." he said." they were good times. disgusting. He was a wild and funny man and a loyal big brother.

05 July 2009

BON ANTEDOTE



Story that was written in MOJO magazine Feb 2000



With Let There Be Rock hovering in the lower end of the UK charts in 1977, AC/DC were looking forward to their homecoming gig in Melbourne. With the magnanimity of conquering heroes, they racked their brains for exciting things to incorporate into their stage set to show the Aussie crowd they cared. But this was the early days and there wasn't enough money for pyrotechnic cannons, hell, even for a school uniform. Then vocalist Bon Scott came up with an idea. He'd rig up a rope on-stage and swing Tarzan-style across the audience. Management were a little wary- This was back before rock bands made a habit of this sort of thing-and had devised safety harnesses, but it was no problem for the former docker who'd kept in shape by bench pressing large women and beer mugs. So they set up a rope and did a practice run during the sound check, Bon grabbed the rope and skimmed niftily over the top of the chairs and swung around successfully before dropping back on stage, much like Tarzan.
That night at the Melbourne Festival Hall the crowd was going wild, the floor was sticky with beer and pizza, but who cared: every one was standing on the chairs. Then the roadies lowered the rope. Bon grabbed hold and soared over the crowd. Or rather into the crowd-splat- like a cartoon cat. When they had worked out the length of the rope, they hadn't reckoned on the audience standing on the chairs. { which they should have because we always stood on the chairs, sometimes security would go around telling us to get off them but we didn't...it don't go to a rock concert to sit ! } The fans took this unexpected familiarity as a cue to strip the singer of his kit. Since the rest of the band and crew were too busy falling about laughing to help, he finally fought his way back on-stage on his own, dressed only in his jockstrap. And we understand Australians always were their jockstraps back to front... { no they don't !}

HOUSE OF JAZZ


From Stiff Upper Lip


Humdinger
Bell ringer
Got a nasty stinger
To slow you down
Mud slinger
Gold digger
Who point the finger
And do you down
Kickin' and a fightin' on a TV show
Lightin' blindin' in the middle of the road
Are you comin' in
Are you comin' in

I said come into the house of
Come into the house of
Come into the house of jazz
Come into the house of
Come into the house of
Come into the house of jazz, yes

Ball stripper
Big tipper
Got a slap 'n' tickler
To make you growl
A spitin' and bitin' on a TV show
Tightenin' frightenin' givin' out a load
Are you comin' in
Are you comin' in

I said come into the house of
Come into the house of
Come into the house of jazz
Come into the house of
Come into the house of
Come into the house of jazz
Are you comin' in
Come on in
Are you comin' in
Are you comin' in
I said come into the house of
Come into the house of
Come into the house of jazz
Come into the house of
Come into the house of
Come into the house of jazz
Are you comin' in
Are you comin' in
I said into the house of jazz
Come into the house of
Come into the house of
Come into the house of jazz
The house of jazz

04 July 2009

NEWSPAPER ARTICLE ON BON

Fremantle's arty deeds shed new light on Oz rock's greatest enfant terrible, writes Iain Shedden May 17, 2008

MY memories of Bon Scott aren't legion, but they certainly are vivid. During the first sighting he was topless, typically, and was climbing into the rafters of the rather ornate City Hall in Glasgow. This sweaty, cocky phantom of the opera was in his element, grinning, screaming and shaking his fist at the equally manic throng bouncing around below him.
So frenzied did the audience become for AC/DC's Scottish debut concert in 1976 that security not only demanded the lead singer remove himself from the ceiling but also that he tell the audience to sit down. If Scott and his colleagues' rock'n'roll credentials were to be established on their potential to cause a riot, they were off to a good start in Scotland.
Once the cushions and chairs had ceased to fly around the hall and Australia's most compelling rock'n'roll export had left the stage, however, Scott's satanic majesty gave way to unreserved bonhomie. Huddled with guitarists Angus and Malcolm Young in the band's dressing room, they indulged questions from three awestruck teenage fans (myself and two mates) who had talked their way backstage.
Scott shook hands, handed out beers and occasionally paced about the room as if to wear off excess energy. Then the Youngs joined him in asking a few questions of their own. They wanted details about where to party (My mum and dad's? Maybe not) and about the towns and cities they were about to explore in search of their Scottish relatives in the next few days.
While the Youngs were born in Glasgow, Scott's roots were in and around the market town of his birth, Kirriemuir. A plaque honouring him was unveiled there two years ago.
Clearly, getting back to those roots was important to Scott, but through the combination of his down-to-earth manner, his accent and that roguish charm, there was no escaping the fact he was an Aussie through and through.
The Bon Scott Project that gets under way in Fremantle today is also about the singer's roots, but in a city and country that shaped him into the rock singer who is still the focus of wannabe aspirations the world over.
The project, which runs until June 29, is a multifaceted celebration of Scott, who spent much of his childhood in Freo after his family relocated from Scotland.
It's 28 years since Scott died, aged 33, from alcohol poisoning, after a night of heavy drinking at a London club. His legacy as AC/DC frontman lives on, however. His bandmates, along with replacement vocalist Brian Johnson, went on to become our most successful and enduring rock export. Those early albums on which Scott appeared, such as High Voltage, Dirty Deeds Done Dirt Cheap and Highway to Hell, have sold far more copies since his death than during his lifetime (AC/DC sold an amazing 2.5 million albums from the band's back catalogue last year alone), helping to preserve the memory of a singer whose reputation as the wild one easily surpassed that of our first rock'n'roll rebel, Johnny O'Keefe.
Scott's burial place in Fremantle cemetery is among the most visited gravesites in the country and has become a national landmark. As a hero to so many across the world, Scott, you imagine, would understand why so many come to Fremantle to pay their respects. Just what he would make of the Bon Scott blog, the Bon Scott fashion forum and the artworks inspired by him dotted around Freo's galleries for the next two months is another matter.
Nineteen local and overseas artists were commissioned by the Fremantle Arts Centre to create works inspired by the singer, even though many of the artists were not Scott fans. These drawings, animations and a blog share the limelight with a collection of artefacts, including letters Scott wrote to friends in Australia while AC/DC was conquering the rest of the world.
"I reckon he'd love it," says writer and broadcaster Clinton Walker, who wrote the definitive biography of Scott (Highway to Hell: The Life and Death of AC/DC Legend Bon Scott, 1994). "It's a big party all about him. A fair amount of what they are putting on there is in good humour and I'm sure he would enjoy that, too. No one knew how to take the piss out of Bon Scott more than Bon Scott. It's more likely to baffle some of his hardcore audience than it would have baffled him."
That's something one of the participants, Sydney blog artist Lucas Ihlein, found to his cost when he took on the project of creating www.bonscottblog.com for the duration of the project. Ihlein, whose previous works include a blog -- or online discussion forum -- on a small country town and on the Sydney suburb of Petersham (where he lives), had to declare on the launch of the blog that he was not a Bon Scott fan and didn't even know his work.
"I hadn't expected that I'd get such a warm reception from fans," Ihlein says. "I expected some sort of criticism because I had stated from the beginning that I was not a fan. I did get a few fans saying, 'Oh my god, I can't believe you're not a fan. What kind of a hole have you been living in?'
"But now they've got to the next stage and have the chance to convince me as to why I should be a fan."
Part of blogging, Ihlein says, is in bringing a diverse cross-section of people to a subject, some of whom may not necessarily be familiar with it.
"This one began to make sense because I'd done these blogging projects before," he says. "They (the other projects) were based on the idea of bringing a fresh set of eyes to a country town or to my local suburb. This time my teachers were the fans."
Ihlein has been working his way through the AC/DC back catalogue and as a consequence has come to appreciate not only AC/DC's work but also the music that inspired the band, such as the blues. The blogger is also involved in one of the more visible and innovative aspects of the project. The electronic Welcome to Fremantle sign that sits on the Stirling Highway Bridge has been commandeered for the project's duration, and it is now adorned with messages and Scott's AC/DC lyrics. Underneath the bridge, artist Bevan Honey has created an apparition of the singer that appears intermittently to motorists.
Among the other works on display are a collection of images by Rebecca Dagnall focusing on Scott fans and the lengths some of them go to -- particularly with tattoos -- to show their dedication. There's a short animation film by Ian Haig about his experience of seeing AC/DC play at his local shopping centre, while in his charcoal drawing Victorian artist Richard Lewer merges AC/DC members with church figures to convey his Catholic upbringing.
With a variety of venues and locations being used for the exhibits, Fremantle is part of the celebration, according to the project's curator, Jasmin Stephens.
"We're not doing just a history project," Stephens says. "We're drawing attention to the contemporary vibrancy of Fremantle. Fremantle is a city where heritage is really valued. I'm hoping through the project that more conservative members of the community will come to recognise the artistic heritage of the city.
"We knew that having 19 artists working on Bon would draw in a lot of fans, but we see fans as part of the project.
"The relationship between Bon, myself, the fans and the artists ... that coming together of artists who are in their 20s with fans who are in their 60s ... that's the actual project."
She recognises, also, that having such a world-famous name as the focus of an art project will be beneficial to the local community and in particular its arts community.
"We wanted to create a project that anyone could participate in, no matter where they were in the world," she says. "That's why we had an exhibition, why we have the blog. It has readers from all over the world."
Ihlein says the beauty of the blog "is that it sets up a framework where you can bring fresh eyes to a perhaps jaded subject matter".
"It's almost like I have my own TV show, with people tuning in every day to see what I'm up to." There's beauty too, he says, in the fact that the blog has a limited lifespan.
"Afterwards you can go back and watch the re-runs, but the liveness of it is finished," he says. "But I've found from my previous work there are thousands of words that are written, and if you read it from start to finish it takes on the shape of a book."
Now that he has come to know Scott a little better, thanks mainly to the hundreds of fans who have contributed to the blog, Ihlein has also pondered the question of what the singer would have made of it all if he were still alive.
"I wonder if he would keep a blog while he was on the road," he says. "Whenever he was travelling he was always thinking about people back home. Blogs are a bit like that. When I went on a world trip, I used to write home. Now blogs are an open extension of that. I think he would be into that."
The evidence suggests Ihlein is right in his assumption. Scott was a dedicated letter writer during his travels, particularly to friends and relatives back in Australia. A number of these letters are being exhibited for the first time, including one addressed to "Dear Darce and Gab", which reads, in part: "Great to hear from you. It's taken me too long to get it together to write back cause I've been stoned for about three months solid. There's enough hash in London to keep Melbourne stoned for ten f..kin years."
He then goes on to explain the band's upcoming European tour with guitarist Ritchie Blackmore. Other letters are similarly representative of Scott's rock'n'roll lifestyle, with plenty of sex, drugs and alcohol, but they also give a sense of him not quite believing his good fortune in finding himself a rock star.
Finding himself an artwork would have been an even bigger stretch, you feel.
"It strikes me that he was very informal, very cheeky and not particularly taken with things that were organisational or conventional," Stephens says . "I'm not sure that he would have been into such a formal project as this."
As to my appreciation of Scott, I got to see him perform five or six times after that Scottish debut, and each performance was memorable. Common to each one was that sly grin, the menacing voice and his irresistible charisma. "If you're looking for trouble/ I'm the man to see," he sang on Live Wire. And I, for one, never doubted it.

Source www.theaustralian.news.com.au

02 July 2009

MELTDOWN






Meltdown :FROM STIFF UPPER LIP
I look at my watch to find out the right time of the day
I look at her libido hey hey hey
I gotta get up and climb her, to roll her on the hay
Makin’ a sweat, temperature rise all through the day
Man it’s getting hot hot hot
I said man it’s getting hot hot hot
It’s getting hotter and hotter
Man it’s getting hot hot
Getting hot around here
It’s a meltdown
It’s a meltdown
I got a feelin’ in my bones
I been rackin’ my brains out all night long
Stokin’ up the fire take it right up to the wire
Burnin’ on and on’ burnin’ on
Man it’s getting hot hot hot
I said man it’s getting hot hot hot
It’s getting hotter and hotter
Man it’s getting hot hot
Getting hot around here
It’s a meltdown
It’s a meltdown
It’s a meltdown
It’s a meltdown
Meltdown
Man it’s getting hot hot hot
I said man it’s getting hot hot hot
It’s getting hotter and hotter
And hotter and hotter
It’s a meltdown, it’s a meltdown
It’s a meltdown, it’s a meltdown
It’s a meltdown, gonna burn, it’s a meltdown
I said burn down
It's a meltdown, meltdown, meltdown
It's a meltdown, it's a meltdown

BON SCOTT


Bon Scott ... the true Aussie rock legend.
BRUCE ELDER spoke to AC/DC a few days after their legendary singer's death.

The general public, as Mark Knopfler so acutely observed, think of the average rock 'n' roll band as a bunch of layabouts who get their "money for nothing and their chicks for free". With few exceptions the reverse is true. Genuinely successful rock bands like AC/DC work impossibly hard, sacrifice the pleasures of normal life for the mind-numbing awfulness of life on the road, and are bound together by a day-to-day proximity which makes factory work seem isolated.

I first understood this when, as Rolling Stone's London correspondent back in 1980, I was asked if I would go and interview the remaining members of AC/DC. It was only a few days after Bon Scott's death. The band were on the cusp of international success and certainly neither they nor I felt like talking about such an emotional and difficult event.

I was given an address near Victoria Station. It was a very unprepossessing warehouse which in late February was dark, horrendously cold and totally uninviting. When I arrived the band were rehearsing. Nothing spectacular. It was just a bunch of guys playing in a drab, concrete-floored room. My first and enduring impression was of the smallness of the members of the band and the unhealthiness of their complexions. Their faces looked fish-belly white and pasty. They all looked thin and emaciated. And Angus Young, who I had previously only ever seen in pictures, looked positively tiny and weedy. They were far removed from the big healthy lads in English bands like Status Quo or Black Sabbath.

The interview started, as they invariably do among expatriates, with idle chat about Australia. Then I asked: "Who in the band was closest to Bon?" Angus answered: "We all were. You see we were on the road for 10 or 11 months every year and the rest of the time we were in the studio recording the next album. We were all close to Bon."

It was one of those moments when you suddenly realise the line between truth and myth in the rock 'n' roll lifestyle. These guys were bonded by hard work and the desire to succeed.

And an amusing footnote: I was telling this story to Les Gock, ex-member of Hush, a few weeks ago. He said, "Well Angus's version isn't entirely true. We used to tour with AC/DC. I spent a lot of time with Angus - playing cards. You see, Angus doesn't drink. All he ever drank back then was milk. So Bon and some of the others who liked a drink would go out partying while Angus stayed back in the motel drinking milk and playing cards."

What was that about wild rock 'n' roll lifestyles?

29 June 2009

ALL SCREWED UP


"Get ready
You think your kinda tough
You're walkin' kinda rough
When you want any more
You go fast wo' wo' wo'
Things go tough
And you strut your stuff
And I want your thing
Then you're out of luck
Yes you are
It's all screwed up
All screwed up
It's all screwed up
All screwed up
Take you out to kick some butt
Work you over screw you nuts
And when you can't take no more
Then she push you out that door
And things go hard
Like a dog gone mad
She can pack some punch
Then you're out to lunch, back at one
It's all screwed up
All screwed up
It's all screwed up
All screwed up
It's all screwed up
It's all screwed up
Cant' tell I'm comin'
All screwed up, yeah
I said it's all screwed up
All screwed up, yeah

Said you're all screwed up
All screwed up
It's all screwed up, yes it is
All screwed up
It's all screwed up
All screwed up
Screwed up
It's all screwed up
It's all screwed up
Said you think you got some balls
But you're always out to lunch
It's all screwed up
It's all screwed up
It's all screwed up, yes it is
All screwed up
It's all screwed up, yeah!"

27 June 2009

STIFF UPPER LIP

Well I was out on a drive
On a bit of a trip
Lookin’ for thrills
To get me some kicks
Now I warn you ladies
I shoot from the hip
I was born with a stiff
Stiff upper lip
Like a dog in a howl
I bite everything
And I’m big and I’m drawl
And I’ll ball your thing
I keep a stiff upper lip
And I shoot from the hip
I keep a stiff upper lip
And I shoot
And I shoot
Shoot from the hip
Yeah I shoot from the hip
Now listen
Well I’m workin’ it out
And I’ve done everything
And I can’t reform no
Can you feel my sting
Babe I keep a stiff upper lip
And I shoot from the hip, yeah
I keep a stiff upper lip
And I shoot
And I shoot
And I shoot, shoot, shoot
Shoot from the hip
Well I’m out on the prowl
And I’ll ball your thing
I got the teeth that’ll bite you
Can you feel my sting
Babe I keep a stiff upper lip
And I shoot from the hip
I keep a stiff upper lip
And I shoot shoot shoot from the hip
I got a (stiff upper lip)
Better believe me (stiff upper lip)
Comin' down (stiff upper lip)
See my (Stiff upper lip)
Yeah I got a (stiff upper lip)
Stiff upper lip
Stiff upper lip
I got a stiff upper lip
I got a stiff upper lip
Stiff upper lip
Stiff upper lip
And I shoot
And I shoot
And I shoot
Shoot from the hip

THE STIFF UPPER LIP TRACK LISTING

Track Listing for the album STIFF UPPER LIP - 2000
All songs were written by Malcolm and Angus Young and the album was produced by their elder brother George.
"..I keep a stiff upper lip, and I shoot from the hip..."

Stiff Upper Lip

Meltdown

House Of Jazz

Hold Me Back

Safe In New York City

Can't Stand Still

Can't Stop Rock 'n Roll

Satellite Blues

Damned

Come And Get It

All Screwed Up

Give It Up

Angus Young - Lead Guitar
Brian Johnson - Lead Vocals
Malcolm Young- Rhythm Guitar
Phil Rudd- Drums
Cliff Williams - Bass

BALL BREAKER




Breakin' balls, bangin' walls
Work hard and tough, and I want some rough
Unpack my bags and take a drag
When bang on nine, and dead on time
Open up the door
And lay upon the floor
She open her overcoat
Livin' out her dreams
Rippin' off my jeans
You are a ballbreaker
Engine roll, time to go
A rozorback, a hog attack
Buildin' steam, whippin' cream
She likes a fat smokin' stack
Hangin' off her legs
She threw me on the bed
Her hand went for my throat
As I began to choke
She said, honey, shoot your load
You are a ballbreaker
Wreckin' ball, let it roll
You are a ballbreaker
Buildin' steam, whippin' cream
You are a ballbreaker

AIN'T NO FUN WAITIN ROUND TO BE A MILLIONAIRE

(Album: Dirty Deeds Done Dirt Cheap, 1976) this is the Australian album cover

"The following is a true story, only the names have
been changed to protect the guilty -
Well I left my job in my home town
And I headed for the smoke
Got a rock 'n' roll band and a fast right hand
Gonna get to the top
Nothings gonna stop us - no nothing
So if you got the money
We got the sound
You put it up and we'll put it down
If you got the dollar
We got the song
Just wanna boogie woogie all night long,
Yeh boogie
I've got holes in my shoes
I've got holes in my teeth
I've got holes in my socks
I can't get no sleep
I'm trying to make a million -
And I've got patches on the patches
On my old blue jeans
Well they used to be blue
When they used to be new
When they used to be clean -
And I've got a Mama whose a hummer
Whose keeping me alive
While I'm in the band doing drinking with the boys
She's working 9 to 5 (knows her place that woman)
Just you wait -
One of these days see me driving round town
In my rock 'n' Rolls Royce with the sun roof down
And my bottle of booze (no summer time blues)
Shouting out 'look at me'
In my rock 'n' roll voice
No it ain't no fun waiting round to be a millionaire
repeat
repeat
Hello Howard, how ya doin'
my next door neighbour
Oh Yea
Get your fuckin' jumbo jet off my airport!"

HIGHWAY TO HELL


{scott, young & young} this cover was the Australian one.

Living easy, living free
Season ticket on a one-way ride
Asking nothing, leave me be
Taking everything in my stride
Don't need reason, don't need rhyme
Ain't nothing I would rather do
Going down, party time
My friends are gonna be there too
I'm on the highway to hell
No stop signs, speed limit
Nobody's gonna slow me down
Like a wheel, gonna spin it
Nobody's gonna mess me round
Hey Satan, paid my dues
Playing in a rocking band
Hey Mamma, look at me
I'm on my way to the promised land
I'm on the highway to hell
(Don't stop me)
And I'm going down, all the way down
I'm on the highway to hell

THUNDERSTRUCK




I was caught
In the middle of a railroad track (Thunder) [...of a lightning attack]
I looked round
And I knew there was no turning back (Thunder)
My mind raced
And I thought what could I do (Thunder)
And I knew
There was no help, no help from you (Thunder)
Sound of the drums
Beatin' in my heart
The thunder of guns
Tore me apart
You've been - thunderstruck

BACK IN BLACK





BACK IN BLACK {young & young}
I hit the sack
I've been too long I'm glad to be back [I bet you know I'm...]
Yes, I'm let loose
From the noose
That's kept me hanging about
I've been looking at the sky
'Cause it's gettin' me high
Forget the hearse 'cause I never die
I got nine lives
Cat's Eyes
Abusin' every one of them and running wild
CHORUS:
'Cause I'm back
Yes, I'm back
Well, I'm back
Yes, I'm back
Well, I'm back, back
(Well) I'm back in black
Yes, I'm back in black
Back in the back
Of a Cadillac
Number one with a bullet, I'm a power pack
Yes, I'm in a bang
With a gang
They've got to catch me if they want me to hang
Cause I'm back on the track
And I'm beatin' the flack
Nobody's gonna get me on another rap
So look at me now
I'm just makin' my play
Don't try to push your luck, just get out of my way
CHORUS
Well, I'm back, Yes I'm back
Well, I'm back, Yes I'm back
Well, I'm back, back
Well I'm back in black
Yes I'm back in black
hooo yeah
Ohh yeah
Yes I am
Oooh yeah, yeah Oh yeah
Back in now
Well I'm back, I'm back
Back, I'm back
Back, I'm back
Back, I'm back
Back, I'm back
Back
Back in black
Yes I'm back in black

24 June 2009

FAMILY JEWELS....part 2



Interviewer.....so we move on to Riff Raff, Glasgow April 1978, live has always been your natural
environment your natural habitat but live in Glasgow tell me what that meant to you at the time
because i mean its an incredible gig an incredible performance
Angus...well we played there ever since we come around this part of the world so we had gone in and
played first time you know, we played a few small place then a done like few city hall things then we
did the Apollo and any time we played at that Apollo it was kind of wild and i suppose because Malcolm, me and Bon had the Scottish immigrant kids, having that background they sort of look at us and thought are they Scottish or what ?
Interviewer....well you left them in no doubt really with the fling thing rocker combination involving
a well full Scottish football kit which your sporting in that clip
Malcolm....well I'd just gone to an England game on the Saturday and that was the angle of the tour
manager he said get these on for your encore so we all, well Angus he's got his shorts on all night so we just strip changed and run out like a bunch of monkeys you know we were ready, i thought this could go wrong and all the bottles will come up you know but they loved it.
Interviewer.....this is at the point where you've discovered the cordless option in terms of guitar gear so tell me about that, obviously you did like to go walkabout when you had a lead suddenly your presented with the option to go wherever you wanted
Angus....wherever i could go...well it was really Mal who when we first got to America he, we were playin in this gig in New York and Mal said to me some guy had come and i was doin interviews or somethin and they had gone down and checked out the sound and stuff and Mal said oh there's a guy who's got this what do you call it, transmitter thing and he's got it down there and it sounds great and him and Cliff wanted it, they walked all outside the buildin down the street and played it you know and he was tellin me and i was a bit wary and Mal said it sounds great you can even drive over driving ramps and stuff so i said OK i'll try it so i tried it that night and it was magic, normally you'd have road crew guys feedin you like a surf life saving operation, feedin the cable to you
Malcolm....but that gig at the Apollo with his cordless
Angus ...i could go anywhere
Malcolm...there was about 2 dozen of them in front of Angus who saw no cable and they wanted a refund, they thought he was miming so the crew took em up and said hereya lads you bang that guitar and you can see for yourself
Interviewer....so they thought you were miming ?....the one thing for it i suppose is being given a cordless device you could go wherever you wanted, did it ever go wrong ?
Angus...oh yeah, in that
Malcolm....Donnington it went out a couple of times
Angus....and in New York it was that same gig they wouldn't let me, when i went out the buildin and i was gonna come round and back in where the audience was and i got to the door and of coarse the bands on stage and playin away and they' re sayin these security people well this is the guy ,well he ain't comin in here
Interviewer.....so let me get this straight ,your dressed in a full school uniform with a guitar sweating
Angus...yeah but its New York mind ya, lot of looneys out there too but they weren't lettin me in and the crew guy was sayin hey he's the guitarist and their sayin no their on the stage look ! so it ended up one of the crew guys hit the guy in the side of the head and then i could run while he scuffled with him so that's how i got back on stage
Interviewer.....so you made Highway To Hell, how did you approach that record, without a shadow of a doubt it's such a defining moment in the bands career
Angus.....well we had started in Australia ,we started with a couple of tunes together i think If You Want Blood was one of them and so there was that, and a couple of other ideas we had and then they got a hold of Mutt ,Mutt Lange and Mutt said well send us a tape of what you've got already so it was a case of we'd done most of, a lot of those tracks were done over the weekend wasn't it ?
Malcolm....2 days yeah
Angus....2 days ,well some of them we had like Highway To Hell we had pretty much together and a few of the other ones and sent them off and Lange said oh sounds good i'll work with ya so he had good ears for sound and he was meticulous about sound, gettin it right you know drums and that so he would zero in, he was brilliant in that
Interviewer.....there's one thing i noticed in your Shot Down In Flames Angus, is a radical costume change for yourself, you've abandoned the schoolboy cap and your wearing a little peaked cap like a little ticket collectors cap
Angus....yeah somebody came sent a gift from Warner's Japan and they said would i wear this for, you know they wanted to put a film clip together for the Japanese to show the Japanese so i said oh well i'll try it so it was more or less filmed for a Japanese thing and that was what they wore in school i think.
Interviewer.....did your period of mourning ,so to speak though ...did that actually influence the album in any way because obviously everyone looked at the title ,the start of the album
Angus....well yeah, it was all there we knew what we were gonna call it you know cause it was our thing for Bon ,we'd call it Back In Black .We knew all that the hell the bell, we wanted the bell and we wanted it in black you know and ah you try convincin a record company with a guy that's just passed, the front guy has just passed away you try convincing them you want an album called Back In Black and you want it black and you want this big bell in it too called Hells Bells
Malcolm....and the record company sent us a picture for it, we'd sent the album back, album cover back 6 times each week and naht naht and we told em when it becomes black it'll be right all black nothin on it, we want it embossed so you don't need white lines on it we settled in the end for a slight grey line on the side but even that we were you know, the press where goin on so the whole thing we managed to get virtually what we wanted but. Yeah we toured in the states for 6 months with Back In Black and i think it was the week we left it came in at about 189 it just hung, moved up 2 moved up 3 and by the time we finished it was around 50 in the states and then when we got to Australia about 3 weeks later it was number 1 or number 2 in the charts and we were sayin ah that must be a misprint we didn't think it was us, ah they've screwed up here but it was real so we were all chuffed about that but of course the band were all over the world in different places so it's not like we could all go and have a celebration or anythin so we thought well we'll find out when the cheque comes won't we
Angus...we're still waitin.....any day now

FAMILY JEWELS 2005....part 1

Malcolm....it was sort of picked up originally, they thought we'd be a good pop/rock type of band play a bit of rock, bit of pop yeah, that's how we ahh did start, you can see that in the attire in the early clips. When your kids you wanna get up, you'll do whatever it takes to get into, to get signed up and get on the road.We were really happy at that time if we could just work in clubs for the rest of our lives it was better than our day jobs and you could travel, so we thought if we could accomplish that just tourin around the world doin clubs, hey you've got a life you know so everythin else became a bonus after that. When Bon came into the picture 6 months later everythin, you know we had the key then to go straight to rock n roll because he can deliver it and he had his own style and he had, he influenced the band to go more into the rock n roll thing as well.
Interviewer.....It's A Long Way To The Top If You Wanna Rock n Roll, your on a flat bed truck, Bon is playing bagpipes and then these pipers turn up as well, now that's an incredibly modern clip when you look back at it actually, how did that all come about where did the idea come from Angus.....nobody told me we was gonna be on a truck
Malcolm.... no it was when we got there...but we were on it
Angus....i was tryin to hang on to the bloody thing
Malcolm....that was the idea to get a bit of press as well, but it was a good idea and just recently we had one, Stiff Upper Lip they stuck us in a Hummer in New York, like we've done this already all this shite you know, can you come up with somethin better you know. But um that worked,{the flat bed truck idea} it really did its one of, in fact the track went to number one in Aussie and it stayed there for ages you know and its been covered tonnes of times by other artists
Interviewer.....Let There Be Rock now that's a clip that they can show and i have to say that video is particularly amusing tell me about it, its the one with ah
Angus...in a church
Interviewer...in a church, Bon is a preacher and your there as i presume choral boys although you've got a kind of halo thing on
Malcolm....we were told it was gonna be in a church and we thought this is great but we got there and
Angus...nobody had told the vicar ...nobody told the guy that owned it they just asked if we could use his church for the day and me bein dumb probably not knowin much about the world anyway i couldn't, like from the first shows we done in America you know you had these people picketing and stuff and i used to always think what are they picketing us for we don't, hadn't hurt you we just got there
Malcolm....at the end of that video with Bon on the pulpit and then he gets up on the top and then he jumps
Angus...he broke his
Malcolm...ankle when he did that, that's the last, in a way it was good because it was at the end of the video it was the last thing he had to do and off he was tramped off to hospital and we're all see ya Bon we're goin back down the studio and poor guy hes like grrrr give me some Jack Daniels for the trip to the hospital
Interviewer.....let's move onto Sin City then, the clip is from the US TV show called Midnight Special i believe and i think you performed it in 78 you went to America, how did you view going to America was it, first off let's talk about that clip first of all you were in a television environment, you'd done TV shows a million times before that but how did you view doing Sin City in 78 on American TV, was there any trepidation or was it just another day at the office how was the whole experience of doing that ?
Angus...well they told us to turn it down the first time and can we get him to stand still, yeah him the little one, can you stand still fella
Malcolm....but i think it was like the guys from Aerosmith they grabbed us straight away to support them and they were great with us and they were doing this special, Nugent, Aerosmith, Nugent i think was the compare
Angus....it was either rock night or somethin
Malcolm....just an all rock night and they just kept pushin, get these lads on they need a break come
on, a great band...then he got us on there and the first thing we noticed when we got up there was all
the techs were women everythin all the cameras, all run by women so that gives you a little bit of
inspiration for a start, i remember when we watched that they all just standin there stunned and the
crowd is like what the hell is this but at the end they explode, they've never probably seen anythin like
that especially the slow part, Bon really delivered it you know at the quiet part Bon really delivered
with his talkin stuff, the audience were all like what's this shit is this the devil, you could see they were
stunned, these were straight 9 to 5 college kids out there but at the end they went rip, we thought we were dyin up there but at the end they really went over the top...so ah it was a good night to be honest, i think its one of Bon's best you know if you could see just one performance that one there is, if not the best it's up there for him you know his attitude, he's a little bit of an actor Bon, he could really pull it off even though he wasn't an actor you could believe it because he meant to.
Interviewer....i guess the other thing about Sin City as a track, again when Bon wrote the lyrics did he have a place in mind ?
Malcolm....well he used Vegas as a platform, he had his own take on it you know, he'd rather be
shaggin the birds at the end of the night instead of losing his dough on the table you know what i
mean ? it was more again down to the sex {laughs}
Angus....we had the title to Sin City ,with Bon it was a case of getting an angle so he came with the vaguest style angle but it was from seeing the way Bon saw Vegas which was booze, babes and boogie you know so not necessarily in that order.