We lost another true genius in the ROCK AND ROLL genre. Thoughts and prayers for the Young and extended AC/DC family.

"AC/DC Lane in Melbourne gave us this overnight"



[twitter.com]

[www.youtube.com]

anyone any idea where this could be found in wav-flac any other than this youtube ? rip Malcom !

AC/DC Lane Melbourne .....



ROCKMAN

Statememt by Keith:

"Malcolm was one of the great riff masters and one of the greatest rhythm guitar players of all time. We are all going to miss him dearly. My condolences to Angus and all the family.” - Keith

*



Edited 1 time(s). Last edit at 2017-11-21 17:56 by MisterDDDD.

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Cristiano Radtke

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RipThisBone
Statememt by Keith:

"Malcolm was one of the great riff masters and one of the greatest rhythm guitar players of all time. We are all going to miss him dearly. My condolences to Angus and all the family.” - Keith

Excellent. Simple and effective.

Thanks Keith.
Thanks Ronnie.

***
I'm just a Bad Boy Boogie

Great Waddy Wachtel tribute
[m.facebook.com]

***
I'm just a Bad Boy Boogie

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powerage78
Great Waddy Wachtel tribute
[m.facebook.com]

"The page you requested cannot be displayed right now. It may be temporarily unavailable, the link you clicked on may be broken or expired, or you may not have permission to view this page."

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RipThisBone
Statememt by Keith:

"Malcolm was one of the great riff masters and one of the greatest rhythm guitar players of all time. We are all going to miss him dearly. My condolences to Angus and all the family.”

Have you noticed it'd work perfectly for a Keef obituary?
"One of the great riff masters and one of the greatest rhythm guitar players of all time". Yup true!

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dcba

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RipThisBone
Statememt by Keith:

"Malcolm was one of the great riff masters and one of the greatest rhythm guitar players of all time. We are all going to miss him dearly. My condolences to Angus and all the family.”

Have you noticed it'd work perfectly for a Keef obituary?
"One of the great riff masters and one of the greatest rhythm guitar players of all time". Yup true!

I don't think it is appropriate to bring this question up on this thread.

(and my answer is NO to your stupid question)

Herald Sun -- 23 November 2017



ROCKMAN

Great and very touching Brian Johnson interview :
[www.rollingstone.com]

"It was a lousy weekend," Brian Johnson says from his Florida home. And with good reason: As AC/DC's primal-grunt lead singer, Johnson spent 35 years singing and writing songs with guitarist and co-founder Malcolm Young, who died November 18th at age 64 of complications from dementia.


During those years, the 70-year-old singer co-wrote many of hard rock's most enduring battering rams with Malcolm and his schoolboy-garbed lead-guitarist brother Angus. Johnson, who stopped touring with the band last year over hearing issues, is still dealing with the aftershock of what he calls "nine @#$%& operations" on his ears. "You got to take it like a man, but when it hurts, you know that's it – you're done, pal," he says. "But Malcolm had it way worse –another invisible thing. I call it the invisible disease that nobody can see or touch." Johnson spoke with Rolling Stone about his memories of working with Malcolm Young.

Malcolm was a catalyst. It was Malcolm that got ahold of Angus and said, "Just go @#$%& crazy [on guitar]." Malcolm taught everybody in the band how to be in a band. One of the super-fans came to one of the gigs and the security just wouldn't let him in. We were in Germany and he had hitchhiked there, so Malcolm just pulled out 500 pounds and said, "I am sorry I can't get you in, but why don't you fly home?" He was just a sweetheart.

I'll always remember my little audition for AC/DC in 1980. They had asked singers to come in and do a couple of songs. The smallest guy in the room stood up and walked towards me. Pulled out a bottle of Newcastle Brown Ale, because that is where I am from, and said, "There you go, mate, just make yourself at home." It was Malcolm.

"Malcolm never missed a trick. He paid attention to everything."

I sang and left and thought, "I will never get this." I was a nobody. I said, "Hey guys, I'll sing a couple of songs and then I got to get back home." At least I could tell me pals I had a sing with AC/DC. Then a month later, it was Mal's voice on the phone saying, "Would you like to come down?"

I said, "For what?"

And he said, "You know, we got to do an album."

And I go, "Does that mean I am in the band?" And he went, "Oh, @#$%& yeah." When I first joined them and went to Australia, he took me to meet his mother and father. Then he came up to Newcastle to meet me mom and dad, just to say, "Hey, I am Malcolm and this is the band." He was just such a thoughtful man.

When we went to the Bahamas [to record Back in Black], I was pretty on edge. I was joining this band and first thing they did was say we're going to do an album. The first day, Malcolm gave me a little cassette and a legal pad. He said, "Okay, this is the first rough recording. Just give us some lyrics; see what you got." And I said, "Do you have a title?" And he said, "Yeah it's called 'You Shook Me All Night Long.'" I said, "That's a @#$%& long title." He said, "Mate, take your time. We are going in all day to get some tracks." And that is the man he was. He wouldn't say, "I want some words tomorrow." He would just say, "Sit down and see what you come up with." Luckily enough, I came up with a whole song. You just didn't want to let a man like him down because he picked me.


Malcolm never missed a trick. He paid attention to everything. Onstage he was always watching, taking in things and making sure it wouldn't happen again if he didn't like the look of some lights or something. We were in the Bahamas doing Back in Black and listening back of one of the tracks. I was sitting there going, "Yeah, that's Malcolm's riff!" Phil [Rudd] was right on the money with the drums like he always is. Mal sat for a moment and went, "What is that noise?" And we said, "What noise? What are you talking about?" He goes, "There was a noise there. Play that again." They played it again and we were all listening – nothing.

We took the tracks off one at a time until the only thing left was the bass drum. And I will be a son of gun: All you heard was a clicking noise. I was like, "What the @#$%& is that?" They took the big blanket out of the bass drum and there was a little sand crab that had been stuck there for two days. It had found itself a nice little cozy thing while Phil was banging the living shit out of it. We just looked at Malcolm and said, "How the hell did you even [know]?" That was just the way he was. It was unbelievable.


In 1981 or '82, Malcolm said, "Let's go to Loch Ness. Let's go see if there is a monster!" We booked a hotel right on the side of the Loch and had dinner and, you know, we had a few sherbets, and as we are walking down there I said to Malcolm, "What's that you got?" He said, "I've got a box of fireworks." I said "What for?" He said, "Well, we will set them off and it may get the attention of the monster." I said, "Ah, that is a @#$%& great idea." We walked straight into the water; we didn't even take our shoes off. And there we were giggling and laughing trying to set these fireworks. Everything got soaked in the water and we all fell down, and of course we thought we had seen it. We weren't sure.

Malcolm gave rock and roll a fist. He'd give it a kick in the ass. People always used to ask Mal, "How do you get that sound, man?" Malcolm either wouldn't tell them or just really couldn't explain it. He would just go, "We just play." I used to stand next to him at the end of "Let There Be Rock," where there is a big huge build at the end and it builds and builds. Malcolm would go through two guitar picks during that one song. He would wear them down. He was the most precise guitarist.

"Malcolm gave rock and roll a fist. He'd give it a kick in the ass."

Many times on the road, Angus would tell me, "Hey Brian, I got to rehearse in my room every day. My finger bits and all of this. I do it every day." And I said, "Why? You are just so natural at it." And he said, "No, because of him [Malcolm] behind me. If I don't do it right, he will just pick it up and play better than me. I am just in constant fear of it!"

In the 1980s, we had just suddenly become unfashionable because of the hair bands. Atlantic threw our new album on the table in front of Mal and Angus and said, "There are no singles, there is nothing." Mal just went, "That is the way it is going to be. We are not going to be a singles band." People were telling us to change, get some leather jackets and that mid-Eighties hair band stuff. Malcolm had two black T-shirts and a pair of jeans. Malcolm always looked cool in whatever he was doing.

"I was lying there and couldn't move, and there was me pal next door. It was @#$%& up."

On the Black Ice tour, he was just amazing, even though he had to relearn some of the songs. That was the dementia kicking in; the evil silent thing. You can't see it with an X-ray machine or anything like that. It is just nasty. It wasn't so bad during the making of the album. He was still pretty good. He had some great riffs on that one as well. But as the tour went on, it started to dig in. But I will never forget the last night. Malcolm had a fire in his eyes you could spot a mile away.

By the time of the Rock or Bust tour [in which Young did not participate], he was pretty much being taken care of and searching for cures or how to try stop this thing. About three-and-a-half years ago, he came over to Florida to talk to a neurologist friend of mine. But I think it was pretty much too late. I was in the hospital in Australia two years ago getting an operation, and the guys said Malcolm was in the next wing. I said, "I would love to see him," and they said, "No, you can't see him. He is in a bad way now." He had just had a pacemaker put in and was pretty weak so the doctors didn't want to excite him. I was lying there and couldn't move, and there was me pal next door. It was @#$%& up. That was a toughie. Maybe it is good I didn't see him, because that would have broke me heart.

Malcolm would have been absolutely stunned at the outpouring of tributes and grief. He didn't think of himself in that way, that he was great and all that. I learned the team spirit from Malcolm. You are just a cog in a well-oiled machine. If we all pulled together at the same time, you get this amazing thing happening. And it worked, you know. Mal is not here anymore, but if I ever have a problem I stop and go, "What would Mal do?" He just always seemed to do the right thing.

***
I'm just a Bad Boy Boogie

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Cristiano Radtke
Stevie Nicks - Edge of Seventeen with small tribute to Malcom Young -Auckland 2017

Props to Waddy, he is awesome, Thanks for sharing CR

R.I.P. MAL...

(This is me watching AC/DC LIVE)

Thanks again AC/DC.





Edited 1 time(s). Last edit at 2017-11-24 00:16 by RipThisBone.

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RipThisBone
(This is me watching AC/DC LIVE)

Thanks again AC/DC.

Live At River Plate? I was there!

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Quique-stone

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RipThisBone
(This is me watching AC/DC LIVE)

Thanks again AC/DC.

Live At River Plate? I was there!

Same here, for the first 2 nights.

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Cristiano Radtke

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Quique-stone

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RipThisBone
(This is me watching AC/DC LIVE)

Thanks again AC/DC.

Live At River Plate? I was there!

Same here, for the first 2 nights.

So you were there too Cristiano! What a pain we didn't met then! It's curious because I went with some "Stones" friends!

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Quique-stone

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Cristiano Radtke

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Quique-stone

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RipThisBone
(This is me watching AC/DC LIVE)

Thanks again AC/DC.

Live At River Plate? I was there!

Same here, for the first 2 nights.

So you were there too Cristiano! What a pain we didn't met then! It's curious because I went with some "Stones" friends!

Yes, but thankfully we've met in Montevideo, on that amazing pre-party on the night before the Stones concert.

On the AC/DC concerts I was there wearing my Grêmio T-shirt on both nights (Wednesday and Friday, if I'm not wrong) and there were some AC/DC friends with me. They were my ex-girlfriend (the biggest AC/DC fan I've ever known) and an Argentinian friend of hers who lived in La Plata then. On the first night we were very close to the catwalk, from the middle to the end of it, left side. On the second I was on the right side, but a little far away from the catwalk.

Malcolm was indeed the boss of the band.

Only thing that still amazes (and bugs) me is the AC/DC Live album, which has those between song fades that kill any impression of being at an actual show. That totally ruins the album for me.

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FrogSugar
Malcolm was indeed the boss of the band.

Only thing that still amazes (and bugs) me is the AC/DC Live album, which has those between song fades that kill any impression of being at an actual show. That totally ruins the album for me.

I feel none of their live albums truly captured AC/DC to me, at least that warranted repeat listenings, even their early one If You Want Blood which I know many love. I feel like that one got it the best, but overall nothing touched actually being at a show. Thats true for almost any artist, but there are live albums I can constantly go back to (Ya Yas included) and I never do that with any AC/DC live album. Maybe just cause without the visual there feels like there's something missing? Or just because if you've ever been to an AC/DC show you know that a recording of it can never really do it justice. I'm not sure. I guess Donington also isn't a bad one, but again as much as I enjoy it I rarely listen to it repeatedly, whereas I do hear their studio material quite often. Maybe thats just me.

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FrogSugar
Malcolm was indeed the boss of the band.

Only thing that still amazes (and bugs) me is the AC/DC Live album, which has those between song fades that kill any impression of being at an actual show. That totally ruins the album for me.

get "if you want blood, you've got it". that album totally rocks!

I've been seeing TV spots for the upcoming "Roseanne" reboot. The music behind the spot is Whole Lotta Rosie. Maybe someone on the staff is paying a little tribute. I hope Mal and Bon are having a laugh over that.

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RollingFreak

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FrogSugar
Malcolm was indeed the boss of the band.

Only thing that still amazes (and bugs) me is the AC/DC Live album, which has those between song fades that kill any impression of being at an actual show. That totally ruins the album for me.

I feel none of their live albums truly captured AC/DC to me, at least that warranted repeat listenings, even their early one If You Want Blood which I know many love. I feel like that one got it the best, but overall nothing touched actually being at a show. Thats true for almost any artist, but there are live albums I can constantly go back to (Ya Yas included) and I never do that with any AC/DC live album. Maybe just cause without the visual there feels like there's something missing? Or just because if you've ever been to an AC/DC show you know that a recording of it can never really do it justice. I'm not sure. I guess Donington also isn't a bad one, but again as much as I enjoy it I rarely listen to it repeatedly, whereas I do hear their studio material quite often. Maybe thats just me.

do you like the live sets in the bonfire boxset?

The fades in AC/DC Live ARE annoying, and Chris Slade's drumming is oftentimes too fast and mechanical compared to Rudd's rolling beats...

...but I still LOVE the hell out of it. It is SO loud, SO heavy, SO thunderous, and SO ass-kickingly epic.

I was listening to it Thursday driving home for Thanksgiving, and it still blows me away how powerful the sound is. Malcolm's guitar never growled more forcefully. The 15 minute version of Jailbreak is unreal...I could listen to Malcolm play that intro riff alone for 15 minutes. His riffing was so precise and cutting and gritty and in your face...just amazing.

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keefriffhard4life

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RollingFreak

Quote
FrogSugar
Malcolm was indeed the boss of the band.

Only thing that still amazes (and bugs) me is the AC/DC Live album, which has those between song fades that kill any impression of being at an actual show. That totally ruins the album for me.

I feel none of their live albums truly captured AC/DC to me, at least that warranted repeat listenings, even their early one If You Want Blood which I know many love. I feel like that one got it the best, but overall nothing touched actually being at a show. Thats true for almost any artist, but there are live albums I can constantly go back to (Ya Yas included) and I never do that with any AC/DC live album. Maybe just cause without the visual there feels like there's something missing? Or just because if you've ever been to an AC/DC show you know that a recording of it can never really do it justice. I'm not sure. I guess Donington also isn't a bad one, but again as much as I enjoy it I rarely listen to it repeatedly, whereas I do hear their studio material quite often. Maybe thats just me.

do you like the live sets in the bonfire boxset?

The Live At Atlantic Studios set is my favorite. It has the best versions of Live Wire and Whole Lotta Rosie I've ever heard.

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keefriff99

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keefriffhard4life

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RollingFreak

Quote
FrogSugar
Malcolm was indeed the boss of the band.

Only thing that still amazes (and bugs) me is the AC/DC Live album, which has those between song fades that kill any impression of being at an actual show. That totally ruins the album for me.

I feel none of their live albums truly captured AC/DC to me, at least that warranted repeat listenings, even their early one If You Want Blood which I know many love. I feel like that one got it the best, but overall nothing touched actually being at a show. Thats true for almost any artist, but there are live albums I can constantly go back to (Ya Yas included) and I never do that with any AC/DC live album. Maybe just cause without the visual there feels like there's something missing? Or just because if you've ever been to an AC/DC show you know that a recording of it can never really do it justice. I'm not sure. I guess Donington also isn't a bad one, but again as much as I enjoy it I rarely listen to it repeatedly, whereas I do hear their studio material quite often. Maybe thats just me.

do you like the live sets in the bonfire boxset?

The Live At Atlantic Studios set is my favorite. It has the best versions of Live Wire and Whole Lotta Rosie I've ever heard.

yes. I just wish that boxset had put all the Australian only tunes on it instead of us having to wait years for the backtracks boxset