ACDC
AC/DC is an Australian hard rock band formed in Sydney in 1973 by Scottish-born brothers Malcolm Young on rhythm guitar and Angus Young on lead guitar, whose raw, riff-driven sound and high-energy live performances defined much of the genre's commercial peak in the late 20th century.[1][2] The band's early lineup included vocalist Bon Scott, bassist Larry Van Kriedt, and drummer Colin Burgess, evolving through frequent changes to stabilize with Scott, bassist Cliff Williams, and drummer Phil Rudd alongside the Youngs by the mid-1970s.[1][3] Scott's alcohol-related death in February 1980 prompted the recruitment of Brian Johnson as lead singer, yielding the 1980 album Back in Black, which features iconic tracks like the title song and "You Shook Me All Night Long" and remains one of the highest-selling albums ever with over 50 million copies shipped worldwide.[4][5] AC/DC's discography, spanning 18 studio albums as of 2020's Power Up, emphasizes straightforward blues-rock structures, avoiding progressive experimentation in favor of amplified guitar riffs and anthemic choruses that propelled hits such as "Highway to Hell" and "Thunderstruck."[1][3] Cumulative sales exceed 200 million albums globally, with Back in Black certified at 27 million units in the United States alone, underscoring their enduring appeal despite lineup shifts—including Malcolm Young's 2014 retirement due to dementia (he died in 2017) and replacement by nephew Stevie Young—and health challenges for surviving members.[6][5]Formation and Early Career
Origins in Sydney (1973–1974)
AC/DC was formed in November 1973 in Sydney, Australia, by brothers Malcolm Young on rhythm guitar and Angus Young on lead guitar, both Scottish-born emigrants who had relocated to Sydney with their family a decade earlier.[7] The band's name, denoting alternating current/direct current, was suggested by their sister Margaret Young, who noticed the marking on her sewing machine's AC adapter, evoking the high-energy electrical theme that aligned with the Youngs' vision for a raw, electrified rock sound.[8] To complete the initial lineup, Malcolm and Angus recruited vocalist Dave Evans from a local group, bassist Larry Van Kriedt, and drummer Colin Burgess, formerly of the established Australian band Masters Apprentices.[2] The band's debut performance occurred on December 31, 1973, at Chequers nightclub in central Sydney, a venue central to the city's burgeoning pub rock scene, where they played covers of rock standards including tracks like "School Days" and originals amid a New Year's Eve crowd.[7] [9] This gig marked the start of frequent appearances at Sydney-area pubs such as Chequers, Hornsby, and Caringbah throughout early 1974, building a grassroots following through high-octane live sets that emphasized Angus Young's frenetic stage presence—often in his signature schoolboy uniform—and the duo's guitar-driven intensity influenced by blues and 1950s rock and roll.[10] During this period, AC/DC honed a straightforward hard rock style rooted in rhythm-and-blues foundations, performing almost exclusively in Sydney's competitive pub circuit, which demanded relentless gigging to secure paid slots amid lineups prone to quick turnover; Burgess and Van Kriedt were soon replaced as the band sought greater cohesion.[7] By mid-1974, these formative shows laid the groundwork for their local notoriety, with the Young brothers' familial ties to producer George Young of the Easybeats providing informal guidance but no immediate industry leverage.[11]Initial Recordings and Lineup Stabilization (1974–1975)
In early 1974, AC/DC, consisting of brothers Malcolm Young on rhythm guitar and Angus Young on lead guitar, alongside vocalist Dave Evans, bassist Larry Van Kriedt, and drummer Colin Burgess, recorded their debut single at EMI Studios in Sydney.[12] The A-side, "Can I Sit Next to You, Girl," and B-side "Rockin' in the Parlour" reflected a glam-influenced hard rock style typical of the band's initial phase under Evans.[13] Released on July 22, 1974, exclusively in Australia, the single marked AC/DC's entry into recording but achieved limited commercial success, peaking outside the top 40 on local charts.[14] Tensions during live performances led to Evans' departure in September 1974 following a gig in Adelaide, prompting the band to seek a new frontman amid ongoing rhythm section instability—Burgess had already been dismissed earlier that year after an audience reaction incident, with temporary drummers filling in.[15] Bon Scott, formerly of the Valentines and Fraternity, had jammed with AC/DC at Adelaide's Pooraka Hotel in September and officially joined weeks later, debuting live on October 5, 1974, at Brighton Le-Sands Masonic Hall in New South Wales.[16] [17] Scott's raw, blues-infused vocal style shifted the band's sound toward harder-edged rock, stabilizing the core around the Young brothers and Scott while Van Kriedt continued on bass through late 1974 recordings. By November 1974, with Scott in place, AC/DC recorded material at Albert Studios in Sydney for their debut album High Voltage, released on February 17, 1975, in Australia only.[18] The LP featured eight tracks, including originals like "She's Got Balls" and a cover of "Baby, Please Don't Go," produced by band members and engineer Tony Current.[19] Lineup flux persisted—Van Kriedt departed post-recording, leading to interim bassists— but the album's release coincided with efforts to solidify personnel, culminating in bassist Mark Evans joining in April 1975 and drummer Phil Rudd auditioning later that year, setting the stage for a more consistent rhythm section.[2]Bon Scott Era
Rise to International Recognition (1976–1978)
In early 1976, following domestic success in Australia, AC/DC relocated to London to pursue international opportunities, embarking on their first UK tour starting April 23.[20] The band signed a worldwide recording deal with Atlantic Records in spring 1976, facilitated by manager Michael Browning's promotion efforts and Atlantic executive Phil Carson's interest after reviewing demos.[21] [22] This agreement came amid label skepticism, as Atlantic nearly dropped the band later that year due to slow initial sales, but strong live performances preserved the partnership.[23] AC/DC's international debut album, High Voltage—a compilation drawing from their Australian releases—came out on April 30, 1976, marking their entry into global markets with tracks like "T.N.T." and "It's a Long Way to the Top (If You Wanna Rock 'n' Roll)."[24] The album achieved moderate commercial traction, peaking outside the top 100 in the US but building momentum through relentless touring, including a residency at London's Marquee Club where they shattered the venue's attendance record.[25] UK shows supporting acts like Back Street Crawler and tours with bands such as Rainbow honed their high-energy stage presence, drawing comparisons to predecessors like Chuck Berry while establishing their raw, blues-infused hard rock style.[26] By 1977, AC/DC released Let There Be Rock on March 21, their first album recorded and issued simultaneously worldwide, featuring extended tracks like the title song and "Whole Lotta Rosie" that showcased Bon Scott's charismatic vocals and Angus Young's frenetic guitar work.[27] The record received critical praise for refining their sound amid punk's rise, with outlets noting its unapologetic rock traditionalism.[28] Extensive US touring followed, including opening slots for Black Sabbath, Aerosmith, and others at venues like New York's Palladium and CBGB, elevating their profile from club act to arena contender and fostering a growing American fanbase.[25] [26] In 1978, Powerage arrived on May 5, produced by George Young and Harry Vanda at Albert Studios, introducing bassist [Cliff Williams](/page/Cliff Williams) and delivering a punchier, groove-oriented sound with songs like "Rock 'n' Roll Damnation" and "Givin' the Dog a Bone."[29] Critics hailed it as a maturation point, bridging their raw energy with sophisticated arrangements, though sales remained building blocks rather than blockbusters.[30] The Powerage World Tour spanned Europe, the UK, and North America, with AC/DC headlining larger venues and opening for Blue Öyster Cult, solidifying their reputation as a premier live hard rock outfit and setting the stage for mainstream breakthrough.[31] [32]Breakthrough Albums and Peak Success (1979)
Highway to Hell, AC/DC's sixth studio album and the final one featuring vocalist Bon Scott, represented the band's pivotal commercial breakthrough. Released on July 27, 1979, in Europe and August 3 in the United States by Atlantic Records, the album was recorded primarily in April 1979 at Roundhouse Studios in London, marking the first AC/DC LP produced outside Australia.[33][34][35] Producer Robert John "Mutt" Lange, selected after previous efforts with George Young yielded diminishing returns, overhauled the band's sound by emphasizing tighter arrangements, layered guitars, and enhanced vocal clarity while preserving their high-energy blues-rock foundation. This collaboration addressed frustrations from prior albums like Powerage (1978), where internal tensions and subpar studio conditions had hindered polish, resulting in a more radio-friendly yet authentically aggressive product that propelled AC/DC toward mainstream viability.[36][37] The album achieved unprecedented chart performance, debuting on the Billboard 200 in September 1979 and peaking at number 17 by November, with a total of 83 weeks on the chart—AC/DC's strongest U.S. showing to date. It went gold in the U.S. by Christmas 1979 and platinum by March 1980, becoming their first million-selling record there; worldwide sales have since exceeded 9 million units. In Australia, it topped the Kent Music Report charts, further affirming domestic dominance. Critical reception praised its anthemic tracks like the title song and "Girls Got Rhythm" for capturing the band's relentless touring lifestyle and raw charisma, though some outlets noted lyrical themes bordering on controversy, such as "Night Prowler."[38][35][39] Supporting the release, AC/DC launched the Highway to Hell World Tour in August 1979, encompassing over 60 dates across Europe (including Ireland, the UK, and the Netherlands) and North America through December, with high-profile shows at venues like the Oakland Coliseum and Spectrum in Philadelphia. These performances, featuring extended sets blending new material with staples like "Whole Lotta Rosie," amplified the album's momentum and honed the band's live prowess, culminating in peak arena-level attendance and fan fervor that foreshadowed stadium status. This 1979 surge encapsulated the Bon Scott era's zenith, transforming AC/DC from cult favorites into international hard rock contenders amid intensifying global demand.[40][41]Transition and Brian Johnson Era
Back in Black and Commercial Zenith (1980–1983)
Following the death of vocalist Bon Scott on February 19, 1980, from acute alcohol poisoning after a night of heavy drinking in London, AC/DC's remaining members—brothers Angus and Malcolm Young, Cliff Williams, and Phil Rudd—grappled with the band's future.[42] Scott's body was discovered in a car outside a friend's apartment, with the coroner ruling the cause as "death by misadventure" due to aspiration of vomit amid extreme intoxication.[43] Rather than disband, the band resolved to honor Scott by continuing, a decision driven by their commitment to the music they had built together since 1973.[44] In March 1980, AC/DC auditioned Brian Johnson, former frontman of Geordie, at a London studio after a recommendation from a mutual acquaintance.[45] Johnson impressed with his raspy, powerful vocals during trials of songs like "Whole Lotta Rosie," leading to his official announcement as the new singer on April 1, 1980.[44] The band, under producer Robert John "Mutt" Lange, recorded Back in Black in the Bahamas from April to May 1980, channeling grief into an album dedicated to Scott with a black cover and opening toll of "Hells Bells."[46] Released on July 25, 1980, Back in Black debuted strongly, reaching number 1 in the UK and number 4 on the US Billboard 200, propelled by singles "You Shook Me All Night Long" and the title track.[46] The album's commercial dominance marked AC/DC's zenith, certified 27 times platinum in the US by August 2024 for 27 million shipments, ranking it third all-time domestically and exceeding 50 million worldwide.[47] This success stemmed from the band's raw hard rock sound resonating amid the post-disco landscape, with Lange's polished production enhancing their high-voltage riffs without diluting their blues-based aggression. The Back in Black World Tour, spanning late 1980 to 1981, played over 200 shows across Europe, North America, and Australia, solidifying Johnson's stage presence with pyrotechnics and Angus Young's schoolboy antics drawing massive crowds.[48] Building on this momentum, AC/DC released For Those About to Rock (We Salute You) on November 23, 1981, which debuted at number 1 on the Billboard 200 for three weeks and featured the anthemic title track inspired by historical cannon salutes.[49] The accompanying tour in 1981–1982 extended their arena-filling status, emphasizing artillery-themed spectacles. By 1983, tensions arose with producers and internal dynamics, leading to the self-produced Flick of the Switch, released August 15, 1983, which peaked at number 15 in the US and number 4 in the UK despite a rawer, less refined sound recorded at their Sydney headquarters.[50] This period cemented AC/DC's transition to Johnson-era longevity, with over 30 million combined US sales from these albums by decade's end, though no major awards materialized amid their focus on touring revenue exceeding $50 million.[47]Mid-1980s Challenges and Recovery (1983–1989)
Following the blockbuster success of Back in Black, which sold over 50 million copies worldwide, AC/DC faced significant internal challenges beginning in early 1983 with the dismissal of founding drummer Phil Rudd. Rudd's departure stemmed from chronic drug and alcohol abuse that rendered him unreliable during rehearsals and recording sessions, exacerbating tensions with rhythm guitarist Malcolm Young to the point of physical confrontations.[51] [52] The band fired Rudd rather than allowing him to quit, prioritizing stability amid mounting personal and professional strains.[53] To fill the vacancy, AC/DC recruited 19-year-old English drummer Simon Wright in 1983, who auditioned successfully and joined for the touring cycle supporting their self-produced ninth studio album, Flick of the Switch, released on August 15, 1983.[54] [55] Abandoning the polished production of Robert John "Mutt" Lange, the band opted for a raw, live-in-the-studio approach to recapture their early grit, but the album underperformed commercially, achieving only about 1.7 million global sales—far below Back in Black's figures—and receiving mixed reviews for its muddled sound.[6] [56] This setback extended to Fly on the Wall, released on July 1, 1985, which maintained the stripped-down aesthetic but similarly struggled to sustain momentum, reflecting broader creative and market challenges in the post-Back in Black era. Signs of recovery emerged with Who Made Who, issued on May 26, 1986, as the soundtrack for Stephen King's directorial debut Maximum Overdrive; the album blended archival tracks with three new originals, including the title hit, and quickly earned RIAA gold certification by August 19, 1986, boosting visibility through MTV airplay and reigniting fan engagement.[57] This momentum carried into Blow Up Your Video, their eleventh studio album released on February 1, 1988, produced by Harry Vanda and George Young, which peaked at No. 12 on the Billboard 200, sold over a million copies in the U.S. alone to reach platinum status, and featured singles like "Heatseeker" that restored chart presence after years of relative dormancy. [58] Wright's tenure concluded after this release, as he departed in 1989 for Dio, but the period's output demonstrated AC/DC's resilience in navigating lineup upheaval and stylistic experimentation toward renewed commercial viability.[59]1990s Resurgence and The Razors Edge (1990–2000)
Following the relative commercial disappointment of Blow Up Your Video in 1988, AC/DC experienced a significant resurgence in the early 1990s with the release of their twelfth studio album, The Razors Edge, on September 24, 1990.[60] Produced by Bruce Fairbairn, the album featured a return to the band's high-voltage hard rock sound, highlighted by tracks such as "Thunderstruck" and "Moneytalks," which became staples in their catalog.[61] It peaked at number 2 on the Billboard 200 chart and number 4 on the UK Albums Chart, selling over five million copies in the United States alone and marking the band's strongest performance since Back in Black.[61] [38] The album's success propelled The Razors Edge World Tour, which commenced on November 2, 1990, in Worcester, Massachusetts, and concluded on November 16, 1991, in Auckland, New Zealand, spanning five legs across North America, Europe, Japan, and Australasia over 12 months.[62] Drummer Chris Slade, who had joined in 1989, provided the rhythmic backbone during this period, with setlists emphasizing classics like "Back in Black" and new material from the album.[63] The tour's energy culminated in the 1992 live album AC/DC Live, recorded primarily during European dates, which further solidified the band's revitalized momentum.[62] After a four-year hiatus focused on writing and lineup adjustments—including the return of original drummer Phil Rudd in 1994—AC/DC released Ballbreaker on September 26, 1995, their thirteenth studio album.[64] Co-produced by Rick Rubin and Mike Fraser, it debuted at number 4 on the Billboard 200 and featured riff-driven tracks like "Hard as a Rock" and "Cover You in Oil," earning platinum certification in multiple countries for sales exceeding one million units in the US.[65] The accompanying Ballbreaker World Tour in 1996 reinforced their live dominance, though it was shorter than the prior outing. Closing the decade, Stiff Upper Lip, the band's fourteenth studio album, arrived on February 28, 2000, produced by George Young, brother of guitarists Malcolm and Angus Young.[66] It reached number 7 on the Billboard 200 and topped charts in several European markets, with the title track achieving number 1 on the Billboard Mainstream Rock chart, while maintaining the raw, blues-inflected edge characteristic of their sound.[67] The album's release preceded the extensive Stiff Upper Lip World Tour, underscoring AC/DC's enduring appeal amid shifting rock landscapes.[68]21st Century Developments
Stiffness to Flynn and Rock or Bust (2000–2014)
AC/DC released their fourteenth studio album, Stiff Upper Lip, on 28 February 2000.[69] Produced by George Young and Harry Vanda at Warehouse Studios in Vancouver, the album featured 12 tracks emphasizing the band's bluesy hard rock style, with singles including the title track and "Safe in New York City."[70] It debuted at number one in Australia and reached number seven on the US Billboard 200, selling over 840,000 copies in the United States by 2001.[70] The band supported the release with the Stiff Upper Lip World Tour, commencing in May 2000 and spanning over 130 shows across Europe, North America, and Australia until November 2001, maintaining the classic lineup of Angus Young, Malcolm Young, Brian Johnson, Cliff Williams, and Phil Rudd.[1] Following the tour, AC/DC entered a period of relative inactivity, with no new studio album for eight years amid individual member pursuits and the band's deliberate pacing of releases.[71] In 2008, they returned with Black Ice, their fifteenth studio album, released on 20 October internationally after production by Brendan O'Brien at The Warehouse Studio in Vancouver.[72] The record debuted at number one in 29 countries, including the United States where it sold over 784,000 copies in its first week, and featured singles like "Rock 'n' Roll Train" and "Anything Goes," reinforcing their high-voltage rock formula.[73] The ensuing Black Ice World Tour, from October 2008 to February 2010, encompassed 168 concerts across five continents, drawing over 4.9 million attendees and generating substantial revenue through sold-out stadium performances.[74] By 2014, founding rhythm guitarist Malcolm Young retired from the band due to ongoing health issues, including dementia, which had progressively impaired his ability to perform; his nephew Stevie Young filled the role starting with album sessions.[75][76] AC/DC recorded Rock or Bust, their sixteenth studio album, in May 2014 at The Warehouse Studio, with the lineup comprising Angus Young, Brian Johnson, Cliff Williams, Stevie Young on rhythm guitar, and Phil Rudd on drums; it was released on 28 November 2014 and included 11 tracks such as the title song and "Play Ball."[77][78] The album debuted at number one in several countries, including Australia and the UK, signaling the band's resilience amid personnel transitions while adhering to their established sound.[77]Lineup Crises and Power Up (2014–2020)
In April 2014, founding rhythm guitarist Malcolm Young took a break from AC/DC due to ill health, later revealed as early-onset dementia.[79] By September 24, 2014, the band announced his permanent retirement, stating that due to the nature of his condition, he would not return, with his nephew Stevie Young stepping in as replacement on rhythm guitar for the band's sixteenth studio album, Rock or Bust, released on November 28, 2014.[80][76] The album marked AC/DC's first release without Malcolm's direct involvement since their formation, though it retained his foundational influence on the band's hard rock sound.[81] Compounding the lineup instability, drummer Phil Rudd faced severe legal troubles in New Zealand starting October 2014, including charges of threatening to kill, drug possession, and an initially filed but later dropped allegation of plotting a murder-for-hire.[82][83] These issues led AC/DC to dismiss Rudd from the band in early November 2014, replacing him with former drummer Chris Slade for the subsequent Rock or Bust World Tour, which launched in May 2015 and spanned over 80 dates through 2016.[82] Rudd was ultimately sentenced to eight months of home detention on July 9, 2015, for the remaining drug and threat charges.[84] Further challenges arose during the tour when lead vocalist Brian Johnson was diagnosed with progressive hearing loss; on March 29, 2016, after 10 European dates, doctors warned that continuing performances risked permanent deafness, prompting Johnson to step away.[85] AC/DC announced on April 16, 2016, that Guns N' Roses frontman Axl Rose would serve as Johnson's temporary replacement for the rescheduled North American leg, marking the first time in 36 years the band toured without its longtime singer.[86][87] The tour concluded successfully in September 2016, but Malcolm Young's condition deteriorated, leading to his death on November 18, 2017, at age 64 after years in full-time care.[88][89] By 2020, AC/DC stabilized its lineup and returned with Power Up, released on November 13 as a tribute to Malcolm Young, featuring unreleased riffs he had contributed.[90] The album reunited Brian Johnson (vocals), Phil Rudd (drums), and bassist Cliff Williams—who had announced his retirement post-Rock or Bust tour but rejoined for this project—alongside Angus Young on lead guitar and Stevie Young on rhythm guitar.[91] Johnson credited custom in-ear monitors and hearing aids for enabling his return to recording and performance without further damage.[92] Power Up debuted at number one in 21 countries, selling over 370,000 copies in its first week globally, signaling the band's resilience amid prior disruptions.[90]Recent Tours and Future Prospects (2021–Present)
Following the release of their 2020 album Power Up, AC/DC announced the Power Up Tour in February 2024, marking their return to live performances after a hiatus disrupted by lineup issues and the COVID-19 pandemic.[93] The tour's initial European leg commenced on May 17, 2024, at Veltins-Arena in Gelsenkirchen, Germany, and concluded on August 17, 2024, at Croke Park in Dublin, Ireland, encompassing 21 stadium dates across the continent.[93] Supporting acts included The Pretty Reckless for most shows, with additional openers like Amyl and the Sniffers in select markets.[94] The tour featured a refreshed lineup: vocalist Brian Johnson, lead guitarist Angus Young, rhythm guitarist Stevie Young, drummer Matt Laug (replacing Phil Rudd), and bassist Chris Chaney (standing in for retired bassist Cliff Williams).[95] This configuration addressed prior health concerns, notably Johnson's hearing recovery via custom in-ear monitors, allowing sustained high-volume performances without the 2016 tour cancellation.[96] Setlists emphasized classics like "Highway to Hell," "Back in Black," and "Thunderstruck," alongside Power Up tracks such as "Shot in the Dark," averaging 20-22 songs per show with Angus Young's signature schoolboy antics drawing crowds exceeding 80,000 at venues like Dublin's finale.[94] [97] North American dates followed in spring 2025, announced in December 2024, starting April 10 in Minneapolis and wrapping May 29 in Cleveland, with 13 stadium stops including Arlington, Chicago, and Vancouver.[98] [99] Attendance figures remained robust, with over 50,000 fans at the Cleveland closer, underscoring the band's enduring draw despite members' advancing ages—Angus Young turned 70 in March 2025.[99] The tour extension to Australia was confirmed for late 2025, with two Melbourne Cricket Ground shows on November 12 and 16, representing the band's first hometown stadium performances in over a decade.[100] As of October 2025, no further tour dates or new studio album have been officially announced beyond the Australian leg, though industry sources indicate potential for additional 2026 outings depending on band health.[101] Angus Young has expressed ongoing commitment but acknowledged uncertainties tied to the aging lineup, with no formal retirement plans stated.[102] The tour's success, grossing millions per show via ticket sales and merchandise, reinforces AC/DC's commercial viability, though reliance on temporary members like Laug and Chaney signals adaptations for longevity.[103]Band Members
Current Members
Angus Young serves as the lead guitarist and founding member of AC/DC, having formed the band with his brother Malcolm Young in 1973 in Sydney, Australia.[104] Born on March 31, 1955, Young is recognized for his signature schoolboy uniform and high-energy stage performances, which have defined the band's visual and musical identity across five decades.[105] Brian Johnson has been the lead vocalist since replacing Bon Scott in 1980 following Scott's death.[106] Born on October 5, 1947, in Dunston, England, Johnson returned to the lineup in 2024 after a hiatus from 2016 to 2023 due to hearing issues, enabling his participation in the Power Up Tour starting that year.[105] Stevie Young, nephew of founding members Angus and Malcolm Young, handles rhythm guitar and backing vocals, having joined the band permanently in 2014 after serving as a touring and temporary substitute since 1988.[107] Born on December 11, 1956, in Glasgow, Scotland, he continues to fill the role vacated by Malcolm Young's retirement in 2014 and death in 2017.[104] Matt Laug performs on drums for the band's current tours, debuting with AC/DC during the 2024 European leg of the Power Up Tour after prior stints with artists including Alice Cooper and Slash.[108] His involvement marks a shift from previous drummers Phil Rudd and Chris Slade, with Laug's precise and powerful style supporting the band's high-volume live sound.[105] Chris Chaney plays bass guitar in the current lineup, having joined for the Power Up Tour in 2024 after a career including work with Jane's Addiction and Alanis Morissette.[108] Born on January 31, 1970, in Buffalo, New York, Chaney replaced the retired Cliff Williams, providing a steady low-end foundation that aligns with AC/DC's blues-rock roots.[106]Former Members
Bon Scott served as AC/DC's lead vocalist from September 1974, replacing Dave Evans, until his death from acute alcohol poisoning on February 19, 1980, at age 33 in London.[109][110] His era produced the band's first six studio albums, establishing their raw, blues-based hard rock sound through hits like "T.N.T." and "Highway to Hell."[109] Malcolm Young, co-founder and rhythm guitarist, contributed to AC/DC from its inception in November 1973 until retiring in September 2014 due to early-onset dementia, from which he died on November 18, 2017, at age 64.[111] As the band's primary songwriter alongside brother Angus, Young's propulsive rhythm guitar underpinned their signature groove on albums from High Voltage (1975) to Rock or Bust (2014).[111] Cliff Williams joined as bassist in 1977, replacing Mark Evans, and remained until announcing his retirement on September 20, 2016, after the Rock or Bust world tour, citing 40 years of touring fatigue.[112] His steady, understated playing supported the band's commercial peak, including Back in Black (1980) and The Razors Edge (1990).[112] Williams briefly returned for studio work on Power Up (2020) and the Power Trip festival performance in October 2023.[113] Phil Rudd drummed for AC/DC in two main stints: 1975–1983, ending in dismissal amid alcohol and drug issues plus conflicts with Malcolm Young, and 1994–2015, when legal troubles including a 2014 arrest for threatening to kill led to his exclusion from touring.[51][52] His solid, backbeat-focused style defined tracks on Highway to Hell (1979), Back in Black (1980), and later albums like Ballbreaker (1995), though temporary replacements Simon Wright (1987–1992) and Chris Slade (1991–1994) filled gaps during his absences.[51] Earlier departures included original vocalist Dave Evans (1973–1974), bassist Larry Van Kriedt (1973–1974), drummer Colin Burgess (1973–1975), and bassist Mark Evans (1975–1977), who exited over internal tensions.[114]| Member | Instrument | Primary Tenure(s) | Reason for Departure |
|---|---|---|---|
| Bon Scott | Vocals | 1974–1980 | Death (alcohol poisoning) |
| Malcolm Young | Rhythm guitar | 1973–2014 | Retirement (dementia) |
| Cliff Williams | Bass | 1977–2016 | Retirement (touring fatigue) |
| Phil Rudd | Drums | 1975–1983, 1994–2015 | Dismissals (personal/legal issues) |
| Mark Evans | Bass | 1975–1977 | Internal conflicts |
| Simon Wright | Drums | 1987–1992 | Replaced upon Rudd's return |
| Chris Slade | Drums | 1991–1994 | Replaced upon Rudd's return |
Timeline of Members
AC/DC's lineup has undergone several changes since its formation in 1973, primarily involving vocalists, bassists, and drummers, while brothers Angus and Malcolm Young remained core members until Malcolm's retirement in 2014.[114][115] The band formed in Sydney, Australia, in November 1973 with Angus Young on lead guitar, Malcolm Young on rhythm guitar, Dave Evans on vocals, Larry Van Kriedt on bass, and Colin Burgess on drums.[116] Multiple early personnel shifts occurred through 1974, including the departure of Evans and Burgess. In September 1974, Bon Scott joined as lead vocalist, stabilizing the frontman role alongside the Young brothers, with Phil Rudd assuming drums by mid-1975 and Mark Evans on bass from late 1975.[117][51]| Period | Key Lineup Changes |
|---|---|
| 1973–1974 | Formation: Angus Young (lead guitar), Malcolm Young (rhythm guitar), Dave Evans (vocals, departed late 1974), various bassists and drummers including Larry Van Kriedt and Colin Burgess. Bon Scott joins vocals in September 1974.[116][117] |
| 1975–1977 | Phil Rudd joins drums (1975); Mark Evans joins bass (late 1975, departed 1977). Core recording lineup for early albums: Scott (vocals), Angus and Malcolm Young (guitars), Mark Evans (bass), Rudd (drums).[51] |
| 1977–1980 | Cliff Williams joins bass (1977), replacing Mark Evans; lineup remains Scott, Young brothers, Williams, Rudd until Scott's death on February 19, 1980.[118][114] |
| 1980–1983 | Brian Johnson joins vocals (April 1980); stable lineup of Johnson, Young brothers, Williams, Rudd for Back in Black and subsequent albums until Rudd's departure in April 1983 amid personal issues.[114][51] |
| 1983–1994 | Simon Wright joins drums (1985–1991); Chris Slade joins drums (1991–1994); lineup otherwise Johnson, Young brothers, Williams. Rudd returns briefly for rehearsals but does not record.[51] |
| 1994–2014 | Rudd rejoins drums (1994) for Ballbreaker; stable "classic" lineup of Johnson, Angus Young, Malcolm Young, Williams, Rudd persists for two decades until Malcolm's retirement in 2014 due to dementia.[114] |
| 2014–2016 | Stevie Young (Malcolm's nephew) joins rhythm guitar (2014 onward); Rudd faces legal troubles (2015), replaced temporarily by Slade; Williams announces retirement post-Rock or Bust tour (July 2016); Johnson pauses due to hearing issues (2016), with Axl Rose filling in temporarily for remaining tour dates.[114][119][118] |
| 2018–2020 | Johnson returns for recording and touring (2018 onward); lineup for Power Up (2020): Johnson, Angus Young, Stevie Young, Williams (bass), with session drums (Rudd absent).[117][114] |
| 2024–Present | For Power Up tour (2024–2025): Johnson (vocals), Angus Young (lead guitar), Stevie Young (rhythm guitar), Chris Chaney (bass), Matt Laug (drums); Williams and Rudd not participating in touring.[120][121][108] |
Musical Style and Influences
Core Elements and Songwriting Approach
AC/DC's core musical elements are rooted in blues rock, emphasizing high-energy riffs, a propulsive rhythm section, and raw, unadorned production that prioritizes live-band intensity over studio polish. The dual-guitar attack, led by brothers Angus and Malcolm Young, forms the foundation, with Malcolm's rhythm guitar delivering chunky, power-chord-based patterns derived from open chord shapes stripped to their essentials for a punchy, aggressive tone, often played through Gretsch guitars into Marshall amplifiers without heavy distortion.[122] [123] Angus complements this with lead lines utilizing minor and major pentatonic scales, blues phrasing, and vibrato-heavy bends, maintaining rock-solid timing to create interlocking textures that drive songs forward in Mixolydian modal progressions typical of classic rock.[122] [124] The rhythm section, featuring Phil Rudd's steady 4/4 drumming with minimal fills and Cliff Williams' bass lines that mirror the guitar riffs, ensures a relentless groove, while vocals—delivered with Bon Scott's or Brian Johnson's raspy, shout-sung delivery—convey urgency and swagger without melodic complexity.[125] This elemental setup, influenced by blues pioneers and Chuck Berry's riff-centric rock 'n' roll, avoids progressive experimentation in favor of visceral, repeatable hooks.[126] [127] The band's songwriting approach, dominated by the Young brothers since their formation in 1973, centers on riff generation as the starting point, eschewing elaborate concepts for instinctive, jam-derived structures that capture high-voltage energy. Malcolm typically initiated ideas with foundational rhythm riffs, which Angus would refine into full songs by adding lead melodies and solos during rehearsals, a process described by Angus as organic and unpretentious, often accelerating tempos in early recordings to heighten excitement.[128] [129] This collaborative dynamic, crediting both brothers on nearly every track, produced minimalist verse-chorus forms built around three-chord progressions in blues scales, prioritizing catchiness and performance viability over lyrical depth or variation.[130] Songs rarely exceed four minutes, focusing on repetition to build momentum, as seen in hits like "Highway to Hell," where the riff dictates the narrative arc.[131] Lyrically, AC/DC's themes revolve around hedonism, rebellion, and rock 'n' roll excess—encompassing sex, drinking, gambling, fast cars, and partying—delivered with tongue-in-cheek bravado rather than introspection, reflecting the band's no-nonsense ethos and aversion to over-seriousness.[132] [133] This approach, co-written with vocalists like Bon Scott who infused streetwise humor, aligns with their blues-rock heritage but amplifies it into anthemic simplicity, ensuring songs function as crowd-chanting vehicles in live settings.[134] The result is a catalog of over 150 tracks with consistent motifs, where personal power, crime, and "rocking" underscore a worldview of unapologetic indulgence, as quantified in analyses of their studio output.[132]Evolution Over Time
AC/DC's musical style has exhibited notable consistency since the band's formation in 1973, rooted in high-voltage hard rock characterized by angular guitar riffs, boogie-woogie rhythms, and minimalistic song structures drawing from blues traditions and Chuck Berry's influence. Guitarist Angus Young emphasized this deliberate stasis in a 2021 interview, stating, "We don’t change our sound... It’s like a signature thing for us," attributing the band's longevity to reliability akin to "old shoes that just feel good on your feet."[135][136] This approach eschewed genre experimentation prevalent in contemporaries, prioritizing raw energy over innovation, which critics have both praised for its purity and critiqued for repetitiveness.[137] In the 1970s, under vocalist Bon Scott, AC/DC's sound emerged raw and unpolished, as heard on debut albums like High Voltage (1975 international release) and Let There Be Rock (1977), featuring frenetic tempos, chord-based propulsion, and live-wire production that captured pub-rock immediacy.[138] The 1979 album Highway to Hell, produced by Robert John "Mutt" Lange, marked a subtle refinement with tighter arrangements and enhanced clarity, elevating the band's commercial appeal without altering core riff-driven aesthetics.[131] Following Scott's death in February 1980, Brian Johnson's higher-pitched, rasping vocals on Back in Black (July 1980) injected a sharper urgency, yet the album adhered to the established blueprint of mid-tempo stomps and dual-guitar attacks, achieving over 50 million sales while solidifying the template.[139][140] Through the 1980s and 1990s, production polish increased under Lange and others, as on The Razors Edge (1990), which incorporated marginally heavier distortions and arena-scale dynamics—exemplified by "Thunderstruck"'s intricate picking—while maintaining verse-chorus simplicity and avoiding synthesizers or ballads.[141] Guitar tones evolved from the gritty crunch of early Marshall-amplified recordings to cleaner, more defined crunches by the Ballbreaker (1995) era, reflecting studio advancements but not stylistic deviation.[142] Post-2000 albums like Stiff Upper Lip (2000), Black Ice (2008), and Rock or Bust (2014) sustained this formula, with Power Up (2020) demonstrating seamless continuity via posthumous contributions from Malcolm Young, its tracks mirroring 1980s-era mid-tempos and riff hooks amid modern mixing.[135] This incremental refinement in fidelity and tempo balance, rather than radical reinvention, underscores AC/DC's causal adherence to a proven blueprint, enabling sustained relevance across five decades.[143]Discography and Commercial Performance
Studio Albums
AC/DC's studio discography comprises 16 principal releases from 1976 to 2020, characterized by consistent hard rock output emphasizing high-voltage riffs, blues-based structures, and themes of rebellion and hedonism. Early albums featured regional variations, with Australian editions preceding international versions that often compiled tracks for broader markets. Commercial success escalated post-1979, driven by hits like "Highway to Hell" and the transition to vocalist Brian Johnson following Bon Scott's death, culminating in blockbuster sales for Back in Black. All albums achieved multi-platinum status in key markets, with cumulative U.S. sales exceeding 75 million units across the catalog.[5]| Album | Release Year | U.S. Billboard 200 Peak | U.S. Sales (millions) | Global Sales Estimate (millions) |
|---|---|---|---|---|
| High Voltage | 1976 | 113 | 3.8 | 7.55 |
| Dirty Deeds Done Dirt Cheap | 1976 | 3 | 7.2 | 10.97 |
| Let There Be Rock | 1977 | 154 | 2.5 | 6.2 |
| Powerage | 1978 | 133 | 2.1 | 5.22 |
| Highway to Hell | 1979 | 17 | 7.8 | 15.15 |
| Back in Black | 1980 | 4 | 23.5 | 35.81 |
| For Those About to Rock We Salute You | 1981 | 1 | 4.6 | 10.04 |
| Flick of the Switch | 1983 | 15 | 1.55 | 3.9 |
| Fly on the Wall | 1985 | 8 | 1.4 | 3.51 |
| Blow Up Your Video | 1988 | 12 | 1.7 | 3.86 |
| The Razors Edge | 1990 | 2 | 5.45 | 10.67 |
| Ballbreaker | 1995 | 2 | 2.15 | 5.42 |
| Stiff Upper Lip | 2000 | 7 | 1.4 | 4.16 |
| Black Ice | 2008 | 1 | 2.3 | 7 |
| Rock or Bust | 2014 | 3 | 0.575 | 3.01 |
| Power Up | 2020 | 1 | N/A (first-week: 0.117) | N/A |