All language subtitles for AC DC - Story Of Aussie Rock (2016)

- Roll sound!
- MUSlC STARTS, SCREAMlNG

This programme contains some strong
language.

SOFT GUlTAR MUSlC A long time ago...

ROCK MUSlC ..and a long way from
Europe,

came a wild, colonial sound.

lMlTATlNG FAST BEATS

CROWD SHOUTS, SWEARlNG lS BLEEPED

That is nothing short of an obscenity!

lt was a sound of rebellion and good times.

And soon, the whole world was listening.

This is going to be our next big band!

You just feel it.

They were a machine!

- Love is in the air!
- The music of a generation.

And it all came from the one small
Australian studio...

- Albert's.
- Albert's.
- Albert's again.

..which would create the uncompromising
sound of AC/DC...

Will you change your style much?

We ain't going to change for nobody!

SONG SNlPPETS, SCREAMlNG AND
SHOUTlNG

- Thunderstruck!
- lt was a bond of blood.

The sound of thunder.

The Albert sound.

Behind one of the most powerful sounds
in rock and roll is

an unlikely partnership between two very
different European families,

who forged a bond after emigrating to
Australia.

The well-to-do Alberts, and the working
class Youngs,

who would become the driving force
behind AC/DC.

Together, they would create The
Easybeats, Rose Tattoo,

The Angels and AC/DC, to name a few.

And the prolific songwriting and
producing team

Harry Vanda and George Young.

This is their story.

And, God forbid, it starts in Switzerland.

The Alberts hailed from the tidy little town
of Fribourg.

Jacques Albert emigrated with his family

to Sydney, Australia, in 1884.

With a passion for music and a flair for
business,

he and successive Albert generations built
a lucrative musical empire.

All the boys were passionate about music.
They all loved it,

they talked music, they had a language of
their own.

Great-grandson Ted Albert had a dream -

to create a new sound in rock and roll.

For Teddy, l think it was what made him
get up in the morning, really.

You know, he really loved it.

Music was just a very big part of his life.

From his first board meeting, at age 25,

he took the company into a radical new
direction.

''Board minutes - Mr Ted Albert said

''he would like the company to begin to
sign original artists and

''produce records aimed at capturing a
new rock-and-roll audience.''

What he didn't know was that another
musical family had just

landed in Sydney and their stories were
about to intertwine.

They came from the streets of Cranhill,

a hard outer suburb of Glasgow.

Three of the greatest guitarists and
songwriters in rock

from the one family.

George, Malcolm and Angus Young.

lt was a tough place to grow up,

but the Youngs never forgot where they
came from.

You've got to remember, at this time,
Glasgow has the coal industry,

has the shipyards,

the air is thick and black.

And it's into this, er, that atmosphere that
the young family

kind of thrives, in many ways,

because they're tough and there's a lot of
them.

You know, there really is that clan
mentality. Blood is everything.

William and Margaret Young put eight
children onto those mean streets.

Music ran in their blood.

Each brother l had,

kind of, would show you little bits of, you
know, music,

or what they liked.

Even my oldest brother Stevie was trying
to put me behind the piano,

trying to show me, ''No, you do it like this,

''with these fingers, you play this way,''
you know.

Britain was in the grip of a youth
revolution.

But Mr and Mrs Young had other things on
their minds.

The Big Freeze of 1963 was the worst
winter on record.

The snow was 8ft deep.

At the same time, an ad appeared on the
telly,

offering a different life.

- NARRATOR:
- Come over to the sunny side now.

Australia - a great place for families.

You could be on your way to a sunnier
future in the New Year.

The ad tipped the balance.

The Youngs opted for Australia.

The Cranhill school yearbook records the
day they left.

15 of the Youngs left Scotland, bound for
Botany Bay.

For kids that were tuned into rock and roll,
it would

feel like they had been dropped onto a
different planet.

Seven-year-old Angus promptly vomited
on arrival.

So, we get off the plane in Sydney, l
looked around and said to my wife,

''There's not a soul in this country knows
me. lt's a weird feeling.

''No friends, no-one.''

Drummer ''Snowy'' Fleet arrived from
Liverpool

with his wife and daughter around the
same time.

l got on a bus and my missus is going,

''Oh, look at the Palm trees! Aren't they
nice?''

You know, it was all beautiful, but as we
drove out of the city...

- ANlMALS CALL
- ..and started to get in the Bush,

we didn't know where we were, and, er, all
l could hear were

all these things making noises - crickets
and God knows what -

l thought, ''We're in the jungle!'' lt was that
bad.

ln the sweltering heat of Villawood
migrant hostel,

the fifth son - 16-year-old George Young -
took to jamming

with the other musical refugees,

his heart set on forming a rock-and-roll
band.

He met a brilliant lead guitarist from
Holland, called Harry Vanda,

and they started writing songs together.

lt was the beginning of a lifelong
partnership.

The Australia they had landed in was ripe
for rebellion.

A third of the country was under 20.

Kids everywhere were ready to explode.

# l can't get no satisfaction! #

- All they needed was a soundtrack.
- Take one!

Albert's was the last company you'd expect

to deliver the music of this new generation.

Fifa Riccobono was just 16 when she
started as a secretary.

One day, she would run the company.

All of this was so alien to me.

And they had all these beautiful old
paintings of, like, er,

Frank Albert and his father, Jacques, the
founder.

And they used to just be behind you in the
accounts department

and they'd be just staring at you

The next talent that Ted found was

a young sheet metal worker called John
Paul Young,

who would become the voice of many
Vanda & Young's pop hits.

- His first song was a demo called
Pasadena.
- He gave me the demo

and he said, ''l don't want to hear that
other guy singing,''

which happened to be George Young, so l
had to put the vocal

exactly on top and, right at the end
actually, George is there singing,

so, in actual fact, my first single was a
duet.

And there ain't no time at all...

Vanda & Young became so good at
churning out hits

that Ted Albert realised he needed them
back.

He actually wanted to go in business with
us.

So, he was thinking, ''So can l get these
guys back to Australia?''

Well, he made us an offer we couldn't
refuse!

HE LAUGHS

lt was a handshake deal.

No lawyers, no signatures, just a shared
understanding.

George and Harry returned to Sydney in
1973

with their studio tans and the production
nous to match.

12 o'clock You climb your stairs...

They would run the new Albert Studio,
find and produce talent

and split the profits equally with Ted.

They would later say it was like falling into
a gold mine.

You work during the night, don't you?

LAUGHTER

Well, um...

- Not through choice.
- Not through choice.

What time do you usually start?

Midnight.

'Harry and George had seen it all.'

They knew the highest of the highs and
lowest of the lows

and they set about doing it in a different
way.

They'd learned from some of their
mistakes

and they developed this model, with Ted
Albert and Albert's.

As a continuation of what The Easybeats
could've been,

they were going to produce something
that really was something

and, ultimately, of course, that was Acca
Dacca!

Australia had changed a lot in their
absence.

The hippy wave had rolled in and then out.

All that was left was an endless recession

and a lot of young people who were over
the bullshit.

A tough new generation was hungry for its
sound.

SHOUTlNG

Albert's would lead the charge.

CHEERlNG

lt all started in the grotty, sticky pubs of
the suburbs.

We played at the White Horse lnn,

in Victoria, and there was guys bashing
their head on the...

on the edge of the stage.

l saw one guy bite the corner out of a jug.

GLASS CRUNCHES

The only language this crowd understood
was volume.

LOUD GUlTAR PLAYlNG

George and Harry sensed an opportunity.

When we first heard the rock bands in
Australia,

l heard some stuff on the radio and l
thought,

''That's not very good, is it?'' lt all sounded

squashed and horrible, you know what l
mean? Like no life in it!

Then we went around to clubs and the pub
and, all of a sudden,

''That's not the same bands that's on
record,'' you know!

l mean, these guys were great, rocking
their arses off!

And l said, ''Well, that's how you've got to
record these guys!''

lt became their mission to capture that
raw guitar sound on record.

MUSlC: Black Eyed Bruiser by Stevie
Wright

CHEERlNG, RAW GUlTAR RlFF

They found their legendary guitar sound
on a song produced

for former Easybeats frontman, Little
Stevie Wright,

called Black Eyed Bruiser.

lt was like George's guitar from The
Easybeats, but harder, tougher.

lt now had a primal urgency, goading the
listener to take it on!

GUlTAR RlFF CONTlNUES

lt was George's younger brother Malcolm

who stepped up to play rhythm on the
recording.

He was the raw sound of things to come.

Malcolm was very gifted.

He was just a confident, solid, solid player
of guitar.

SCREAMlNG

- They call me
- The black-eyed! Black-eyed!
- Yeah!

- Black-eyed!
- They call me the black-eyed bruiser...

George Young knew his little brothers
Malcolm and Angus

had something special that Albert's could
nurture.

Still just teenagers, they'd already cut their
teeth on the pub circuit,

with their new band AC/DC.

George always talked to me and Mal, we
were his kid brothers...

Still does, you know! He still talks to you
like you're...

Well, he says it himself. He goes, ''Jeez, l...

''l always think of you as 15.''

- So...
- LAUGHTER

''Aw, thanks!''

Ted Albert had been watching the boys,
too, and signed AC/DC in 197 4.

ln the next year, they went through two
drummers,

three bass players and three managers.

But it was the new singer, wild man Bon
Scott,

that really got the motor running.

Hello, this is Bon from AC/DC.

At 28, Bon was working as a roadie in
Adelaide

when AC/DC rolled into town.

They just find him hugely entertaining,

cos he didn't give a shit, but REALLY
didn't give!

And they invite Bon to come on and kind
of audition

and, famously, Bon did a gram of coke,
drank a bottle of whisky,

put his wife's knickers on his head,

and just ran around the stage like a lunatic

and entertained the hell out of the
audience!

George Young described Bon as a toilet
wall poet.

His bawdy lyrics would become the
perfect foil

for the fierce guitar sound of the Youngs.

He was filthy, but he was funny.

With Bon onboard, George and Harry took
AC/DC

straight from their pub performances to
the studio

to capture that live pub energy.

But you just had to give them a chance to
perform, you know,

give them a chance to do it, instead of,
you know, saying,

''The needle must not go into the red.''

So, that's how this so-called ''pub sound''
came about.

Because that's what it sounded like in the
pub.

lt helped that George was their older
brother.

Malcolm and Angus would have to run
their songs by him.

The rule was, if he could play the riff on
the piano,

and it could be memorably simple, then
they could record it.

Working with George and Harry, you know,

everything seems to be in his head for a
lot of the times, you know.

And, er, of course, he'll take something
you've got, he'll go,

''Well, let's hear what you've got,'' and you
play him your song

and he'll go, ''Well, let's try this that way.''

You know, and he's already crafting away
in his head,

then he'll go, ''No, let's change it.''

and l'll go, ''Wait a minute, sounds good,
sounds great,''

and he'll go, ''No, we'll just try this.''

So, he seemed to just create things in his
head.

Between them, they hit on a landmark
sound

that would one day take on the world.

MUSlC: High Voltage by AC/DC

Well, you ask me 'bout the clothes l wear.
..

Wow, Bon's cheeky

and he's trouble and l want to be his mate.

..Ask me why l grow my hair...

lt's organic rock and roll.

You don't think about it.

You just feel it.

..l dig doin' one-night stands and you
wanna see me...

That was the first thing l know, l know -
put on the school suit

and, if l keep moving, you know,

maybe no-one will notice me!

High voltage

Rock and roll!

For an audience sick of hard times, here
was the cure.

Suburban young Australia at full roar.

The Albert sound would speak for them.

One of the things that's notable about the
whole Albert stable,

in those days, was we all had what they
call

the Australian pub rock sound -

that big, fat robust guitar sound.

And it was very, very difficult to get

the intensity of that onto tape.

George and Harry were magicians at that.

Bang bang

Shot full of love

Bang bang, bang bang

Bang bang...

When rock-and-roll sister act Cheetah
signed with Albert's,

it was straight to work.

There was no ceremony when we actually
signed the deal with Ted.

And then we were scuttled

straight downstairs to where George was
waiting

with a little keyboard in a pretty small
room.

And we just got straight into it.

He said, ''Sing this,'' and we went straight
into a few tunes.

So, l think he was probably sort of testing
our guns, vocally,

to see what we had there.

l had the feeling he was trying to find

Something, someone some peace of
mind

But when the morning came

lt didn't matter how he played the game

Bang bang...

Looking after them was Fifa Riccobono,

by the mid-'70s, head of the Albert stable
of artists,

the toughest woman in rock.

She could be ruthless and a piranha when
she needed to be.

And yet, she'd be standing there behind
one of these,

holding a brush and a comb and lip-gloss,
you know,

sticking it down her boot.

We were all really protective of each other,

that was the whole family atmosphere.

Outside was the rest of the world, but we
were family.

At the head of the family was Ted Albert,

whose leadership the troops believed in
100%

Ted was instrumental in a lot of areas.

And being a very solid character...

..he didn't seem to be a person

who crumbled under cannon fire, you
know what l mean.

There was a siege mentality about the
band, certainly.

l think that was...

coming down the line from Angus and
Malcolm.

And, indirectly, George.

You had to be on the team 250%

or you wouldn't be in the team at all.

AC/DC toured relentlessly,

playing any place that would have them.

From town halls to tin sheds,

they battled the hard-drinking Australian
audiences

with sheer sonic assault.

People would be throwing bottles or
they'd be winking at the girls

and the girls' boyfriends would get all
pissed off.

There were car chases. lt was the Wild
West.

They had a rock-solid conviction

that every gig was leading them to
greatness.

lt inspired an anthem which became their
call to arms.

Ridin' down the highway

Goin' to a show

Stop in all the byways

Playin' rock and roll

Gettin' robbed, gettin' stoned

Gettin' beat up, broken bones

Gettin' had, gettin' took

l tell you, folks lt's harder than it looks

lt's a long way to the top if you wanna
rock-and-roll

lt's a long way to the top if you wanna
rock-and-roll...

Soon they'd conquered every beer barn in
the country.

Just like the Easybeats a decade before,

it was time to take on London.

Here we are at the airport to say farewell to
AC/DC.

Are you going over confident that you can
take on an English market?

Yeah, we are confident.

We're not overconfident, but we are very
confident.

Ted Albert was confident, too.

He had to be.

He was digging deep to bankroll the
campaign.

lt's a long way to the top if you wanna
rock-and-roll...

lt can only happen on Countdown.

Come home with me.

With AC/DC taking Oz Rock to London,

Ted Albert decided to change gears.

lt was time to dust off George and Harry
as pop stars.

The morning was cold and lonely

City lights, old and grey...

The song was called Hey, St Peter.

And immediately Ted was already like,

''Hey, baby, you know, get on to this.

''What are you going to do with it?''

And he said, ''We don't know, we can't find
anybody to do this.

He said, ''Why don't you do it yourself?''

l said, hey, hey, hey, St Peter

l got a tale to tell...

Hey, St Peter unexpectedly shot to the top
of the charts around Europe.

..lt really feels like Hell

lt really feels like Hell...

The Hey St Peter single was pretty big in
Europe, too,

- in Germany or somewhere?
- Yeah, it did quite well over there.

l think it's still knocking around the charts
in some countries.

Holland, Belgium, France all those places.

The B-side, Walking ln The Rain,

became an even bigger worldwide hit for
Grace Jones.

So, there were two number ones
straightaway,

which probably would never have seen the
light of day

if it hadn't been for Ted again, you know.

They were more than just a flash in the
pan.

Because next it was time to create the new
music genre.

George and Harry's love of drum loops

was taking them in a new direction.

The studio at Albert's, you'd look on the
wall and there'd be

three or four nails with all these lengths of
tape hanging off.

They'd be all the different drummers they
had.

Oh, babe

You left me standing in the rain

While you were sitting down to dinner...

George would often play the drums

and Harry recorded him, creating a tape
loop.

Drummers were a big frustration for
George and Harry.

Because, in those days, it was very hard to
get a drummer to play

a straight beat, you know, no fills.

lt was like trying to get blood out of a
stone,

asking a drummer to sit there - just play
that beat for four minutes.

They'd go...

''No, no, no. Not duh-duh-duh.''

''But l feel like going... duh-duh-duh.''
Yeah.

They were making tailor-made hits for the
Albert's artists.

lt wasn't unusual to walk in and see
George and Harry

with tape hanging around their neck

that they'd cut pieces, cos they used to
splice everything, take something out,

but they'd never throw anything out till
they
were sure they didn't need it any more.

So, you'd have little bits of China pencil
on something

and they'd be looking at pieces to stick
back on.

And you'd end up with tape all over the
place,

but they knew exactly what they were
doing.

Oh, babe...

The world hadn't been expecting disco
from Australia.

Oh, babe

You left me standing in the rain...

lt took Europe by surprise.

ln 1978, John Paul Young

climbed the charts in Belgium, France,
Holland and Germany

with Standing ln The Rain.

Standing in the rain...

On the other side of the Channel,

the war cry of the Albert's rock sound

was now engaged in the battle for Britain.

Now they want anarchy...

By the time AC/DC arrived in London,

the whole landscape of the music business

has already begun to change.

Punk rockers come in, it's the new
sensation in London.

- This is the sound
- This is the sound of the suburbs

This is the sound...

As critics fawned over the Sex Pistols and
The Clash,

AC/DC were mocked as wallaby rockers.

But the lesson of the Easybeats have been
-

hold your nerve and don't change for
anyone.

A lot of bands start to change

because they think the world's changing
around them

and so they should try and keep up cos
people are going to stop

liking who they are, so they've got to try
and follow the trends.

Big, big, big mistake... as shown by
AC/DC.

Their brand compass is rock solid in one
direction,

George and Harry would produce their
first six albums,

using the formula of recording the
intensity of the band raw and live.

lt amazed me that Angus did all the sound
stuff in the studio.

And it was deafening.

Just deafening.

At the end of that take, his headphones
flew off his head

and he was on the floor spinning around.

And, you know, the amp had smoke
coming out of it

and that would be the end of the take.

ln this Sydney studio,

a seismic shift in music was taking place.

A distinct sound, produced by migrant
kids made good.

One day, the great guitar bands of the
world,

from Guns'N'Roses and Metallica to the
Foo Fighters would wonder

how the Albert's guitar sound was created.

lt came down to being fearless.

Next, Ted Albert sang Rose Tattoo.

l'm bleeding up here for you, you've got to
give me something, yeah.

Come on.

We used to think that our volume was
sonic exploration, actually,

that we were communicating with the
gods, that we were trying to

create a conduit that took people,

dare l say, transcendentally...

..into another place.

And it's the intensity that we tried to
capture on tape.

They may have traded the grog for green
tea these days,

but back then, record labels wouldn't even
meet with Rose Tattoo,

let alone sign them.

George and Harry went to Ted and said,

''We've found this really eccentric,
different bunch of people.''

And...l think Ted knew better than to judge
us by what we look like,

to say, ''OK, l'm listening, l'm not looking.''

And what l'm hearing, that related to him.

He said, ''l love your sound. l love what
you do.''

Albert's took the risk and signed the Tatts.

George and Harry knew there was the
makings

of at least one great song, and got to work.

30 days in the county jail...

We realised that there was a process
going on in the studio.

And it was quite magical.

And l remember George sitting there with
his guitar with Mick,

and they were just jamming.

And then, all of a sudden...

Da-da-da-da-dah Da-da-da-da-dah...

And that's almost a John Lee Hooker hook.

All of a sudden, Bad Boy went from being
like...

kerchunk, kerchunk, kerchunk, kerchunk...

into this...swinging like...

zap-bap-bap...

And it had the hook.

l'm a bad boy...

Bad Boy For Love would become a hard
rock classic.

Albert's, Vander & Young, AC/DC set a
standard

for the way that Australians approached
their rock-and-roll.

The way we...we do it...here.

Rose Tattoo, Albert's again.

And they were riding the wave and taking
us with them,

you know, singing about us.

Bad boy for love

Yeah, l'm a bad boy...

The Albert's rock sound was established.

But a golden age of pop was also
beckoning.

George and Harry's Flash And The Pan

was building a strong international
following

and predicting the sounds of '80s quirk
pop.

Wonder why it's getting cold at night

Must be getting old

Looks like l'm going to have to wait a
while

What the hell, l'm bored...

At the same time, John Paul Young was
charting in Europe

and needed a follow-up hit.

l mean, thank God for Standing ln The
Rain because it gave us

a direction, even though it was only a
B-side.

You know, but because the Germans liked it,

it gave everybody a bit of a pointer.

Oh, so this is the way we should go.

Quite often an idea would lie around for
God knows how long

because we couldn't somehow finish it or
fake it

or whatever was needed, you know.

Love ls ln The Air was an example of that.

When George came up with that melody, it
climbed to the chorus.

The idea that had lain around for years
suddenly came to life.

Dun-dun-dun-dun, da-da-da...

You know. Ah, yes, of course, love is in
the air.

Love is in the air

Love is in the air

Oh...

Oh-oh-oh...

George said to me, ''l've tried putting
words in there,

''l don't know, l don't think it suits.

''Just do something, just dum-di-dum
something.''

So, that's where that came from.

George said, ''Take all the mixes up to Ted.
And play 'em to Ted

''And let him choose.''

Well, he got to hear all the stuff we did.

You know? And...he'd be going through
things like, you know...

''l like that one.'' So, you knew
straightaway.

l remember when he heard Love ls ln The
Air, he was like...

He was beside himself.

And...l can see why, too.

Love ls ln The Air would be Vander &
Young's greatest pop success,

and for many, their most memorable.

lt's been covered more than 300 times.

But it's something that l must believe in

And it's there when l call out your name...

But not even Shirley Bassey in the
Bahamas could nail it

like John Paul Young.

Love is in the air

Love is in the air...

From tattooed bad boys to baby-faced
balladeers,

Albert's was riding a wave of success.

AC/DC had landed on American shores,

ready for the same hand-to-hand combat

they'd been through in Australia and
Europe.

July of 1978, l go to see them at Oaklands,
Day On The Green.

60,000, 70,000 people, l can't remember
exactly.

They're the opening act for Aerosmith.

Unbelievable.

The most amazing show.

We got out there at about 10 o'clock in the
morning and they killed it.

And the crowd just went nuts.

At the time, Aerosmith was the biggest
band in America,

with rock-god front man Steven Tyler and
lead guitarist Joe Perry.

Do l love Steven? Yeah.

But, you know, honestly, Joe Perry can't
stand up to Angus.

Sorry, Joe, but it's the truth.

So, that's going to hurt, but you know,
probably he'll hate me,

but he hates me already, so it doesn't
really matter.

The truth is that Angus is fucking amazing.
That's all l can tell you

He is of the people, for the people, by the
people.

Just like Abe Lincoln said it, he gives it
100% high energy.

Perfect name, AC/DC, electric.

By 1978, word of AC/DC's power as a live
act was spreading.

lt got the attention of Atlantic Records'
young new president

Jerry Greenberg.

When you see a crowd reaction and you
see a band live like that,

let's just say the light bulb went off in my
head and l got it.

l said, ''This could be our next big band.''

Greenberg's plan was simple.

Get AC/DC on radio.

l just knew that if we had made the right
record,

if we could get the right record made, with
these guys,

they were going to be enormous.

Bon was working on a song

about the relentless hard graft of touring
America.

What Angus called the ''highway to hell''.

Highway To Hell was the single that woke
American radio up to AC/DC.

Livin' easy, lovin' free

Season ticket on a one way ride...

l'd just got a new stereo system in my
office, right.

l turned it up as loud as l could,

l actually cracked the window in my office.

Oh, my God, what a record that was...

But cracking the airwaves didn't mean a
break from touring.

The AC/DC juggernaut was now rocking at
top speed.

And the rock-and-roll life was taking its
toll on Bon Scott.

On the surface, all his dreams are
suddenly coming true.

Highway To Hell has become a platinum
album in America.

lt's just taken AC/DC to exactly where they
wanted to go,

and the very next album is going to be the
big one, the really big one.

ln January 1980, the boys were working on
what would become

the Back ln Black album when Bon called
Fifa at Albert's.

He told he was excited, he'd heard all the
riffs

that Malcolm and Angus were coming up
with for the new album

and he couldn't wait to get into the studio.

He just said, ''This is going to be a big one.

''Some of their ideas are amazing.''

lt was the last time she heard Bon's voice.

- RADlO:
- 'Lead singer of the rock group AC/DC
was found dead

'last night in a parked car in South London.

'Scotland Yard said the body of Bon Scott
was discovered by a friend

'who'd left him in the car hours earlier

'to sober up after a day's drinking.'

l was in the office when George and Harry
came in and told me

that they'd heard about Bon.

He loved the whole Albert family. He used
to call it his family.

And l got really...

He became a really close friend of mine
over the years

and l was only looking at some letters...

l've got about 20 letters that l've kept over
the years,

and one of his last lines was, ''l always
smile when l think of you.''

And l thought, that's exactly how l feel
about him.

The Young brothers thought Bon's death
could be the end of AC/DC.

Atlantic pushed hard for the band to keep
going.

But Ted Albert told the boys he would
support them,

whatever they decided to do.

At the funeral, Bon's dad Chick
encouraged Malcolm and Angus

to find another singer and keep going.

And so another chapter began.

lt was just something they just all sat down

and said, let's just do something.

Cos otherwise they were just going to
peter out, l suppose.

And they just said,

''Let's just go and rehearse some singers
and see what happens.''

They had always had great musical
intuition, but no-one expected

them to go with a singer from 1970s Top
Of The Pops band Geordie.

lt was just a strange day, you know. l was
downstairs playing pool,

and now, l'm upstairs with all these
singers.

One of our crew guys was downstairs
playing with him

and had said to him, ''What are you doing
here anyhow?''

He said, ''l was told to come here to
audition,

''you know, for the band AC/DC.''

He said, ''lt's upstairs,'' you know?

Hello, this is Brian Johnson from AC/DC

and you're watching Countdown '81 right
across Australia.

- See you, mate. See you, sport.
- HE LAUGHS

l had said to Malcolm after we'd heard him
sing, l said,

''He'll be able to hit those high notes.''

And so... And he did, he hit those high
notes.

Brian Johnson became part of the family,
making Back ln Black.

Then came the tour.

It was time to face the home fans

where the long way to the top had started.

BELL RlNGS

When l saw them at Sydney Showgrounds,

the first gig with Brian out front,

the way they handled that... handled that
gig

and handled the transition between the
two singers,

man, l don't think any band sounded any
better.

Back ln Black did what Malcolm Young
had set out to achieve from day one.

lt made AC/DC the biggest rock-and-roll
band on earth.

Back in black l hit the sack

l've been too long l'm glad to be back,
yes, l am

Let loose from the noose

That's kept me hanging about...

Malcolm just knew what he wanted from
that band

or what he wanted to achieve with the
band.

And he never veered from that.

He and Angus started it, and then with
Bon, you know,

it just took off, and then with Brian
coming in,

it's just been an amazing journey.

Hey, hey, hey l'm back in black

Yes, l'm back in black...

lt was the ultimate triumph for Ted Albert,

Koji je usmjerio svoje životno djelo

o izgradnji glazbene obitelji oko ljudi u koje je vjerovao.

On je preuzeo veliki rizik i on nikada nas nije iznevjerio.

Bio je pravi zabavljač.

Od tada surađujemo s drugim diskografskim kućama.

U različitim zemljama i svemu ostalom,

ali mislim da nikada nismo upoznali nikoga.

koji je bio tako iskren i iskren

i možeš mu vjerovati kao osobi.

I svakako puno dugujemo Tedu.

I zato što možda danas ne bi bili ovdje.

Da nije bilo tipa kao što je Ted.

Presjeklo je u oba smjera.

San Teda Alberta započeo je s lakim igračima

15 godina kasnije, AC/DC je vladao svijetom.

Vi ste gromovi...

1990. godine, kada je AC/DC izdao album The Razors Edge,

Ted je sjeo da napiše jedno od svojih uobičajenih pisama Malcolmu.

Dragi Mal, potpuno me oduševio novi album. Sviđa mi se.

''Zapravo, imao sam subwoofere ugrađene u svoj automobil u čast toga.

''Čestitam na pjesmama, zvukovima i izvedbama.

Hvala na našoj dugoj asocijaciji.

''i uspjeh koji ste kupili mojoj tvrtki.

''Moj najbolji, Ted Albert''.

Tjedan dana kasnije, Ted Albert je iznenada umro od srčanog udara, živio je 53 godine.

Tedova ostavština je ogromna za
mnoge ljude.

ali njegova najvažnija ostavština, mislim, na glazbenom polju,

je ono što je umro za rock and roll

i dajući australskom rock and rollu poštovanje širom svijeta.