Tag Archive: Chuck Berry


Young Boys

Angus Young

Angus Young

If you have even a sliver of musical awareness, even if you always forget the names of songs, never bother to learn band or singer names, and don’t have a clue what the lyrics to your favorite songs are, chances are you probably know Angus Young. You might not know he’s named that, what band he’s in, or what kind of guitar he plays, but you’ve probably seen him at least once – once is all it takes. He’s the guitarist with the flyaway hair, the twisted sneer and the convulsive stage antics, but you undoubtedly remember him for his costume. “Oh yeah… isn’t that the guy who wears the schoolboy outfit?”

The rumor goes that when Angus and his brother Malcolm were first forming AC/DC when they were teenagers, Angus had to rush to practice directly from school, and didn’t have time to change out of his uniform. Older sister Margaret Young suggested that he wear that as his stage costume – at the time, all the members of AC/DC were playing around with the idea of costumes, and Angus had tried several. They soon abandoned the idea, as another more successful local band was already doing the same thing. Angus’s schoolboy costume stuck, though, as it has to this very day.

I won’t mince words: Angus Young is one of the best guitarists still walking the earth. I say that with full knowledge that there must be thousands of guitarists with more skill, craft, and technical excellence than Angus. Most of them are going without recognition for one simple reason: technical excellence alone doesn’t make it. In order to really capture people’s hearts, minds and sexual organs, a guitarist needs to have passion.

That’s what the whole smashing guitars thing that The Who did was all about. That’s why Slash plays his Les Paul like he’s handling his own (allegedly) monstrous manhood. And that’s why Angus Young rolls around on the floor as one possessed by the devil and has a duckwalk that makes Chuck Berry jealous. And that’s why they’re famous and you, practicing 6 hours a day to Dream Theater in your dank basement and offering daily sacrifices to the Gods of Rock, aren’t.

Malcolm Young

All this talk and adulation thrown Angus’s way is appropriate, but it must leave his older brother Malcolm feeling overshadowed. Malcolm and Angus started AC/DC together, after all; the idea for the band was a mutual thing, after seeing the success in bands of their older brothers. The two Youngs are the two youngest of eight kids, born in Scotland but living in Australia by the time Malcolm was 10 and Angus 8. They’ve both been members of AC/DC for its entire 40-year life. They even play the same instrument, even if they have different roles. Yet all along, the quite shy Malcolm has been happy to let Angus have all the glory. Instead, he handles the business end of the AC/DC machine. All I can say is that he’s a good big brother.

1979 and Highway to Hell saw the Young brothers and company in top form. Even with the over-the-top antics of Angus and the powerful stage presence of Bon Scott, Highway to Hell still features some absolutely blazing guitar work from Malcolm. The distinctive flavor of their sound that instantly lets you know you’re listening to AC/DC is almost all the creation of the two Young brothers. Malcolm drives the action and Angus brings it home. This paradigm is heard on “Girl’s Got Rhythm,” “If You Want Blood (You’ve Got It)” and “Shot Down In Flames,” but perhaps it’s strongest on the title track. “Highway to Hell” has the entire band working towards a climax of sound and fury, coming at last at the end through Angus’s guitar and Bon’s scream of “AAAAAALL THE WAY DOWN!!!!!”

Much is made of the musical partnerships of Mick and Keith, Robert and Jimmy, Steven and Joe, even Bono and The Edge – rightly so, too. But I think you simply can’t talk about two people working together like a well-oiled machine without mentioning Angus and Malcolm.

Next: the tao of Bon.

American Stones

In the ‘60s, rock and roll that was completely American was… kinda lame. After the Day the Music Died and the Chuck Berry/Jerry Lee Lewis pedophilia scandals (thanks, you two for RUINING everything…) America dropped the rock and roll ball. Luckily, the U.K. was ready to swoop in after not too long with the Beatles, the Rolling Stones and the Who. Those bands were all so huge that America spent the next 5 years making carbon copies of British originals. The Beach Boys and other surf rock bands were the only originality the States had to offer. That should tell you something…

the corner of Haight & Ashbury

the corner of Haight & Ashbury

Then came the explosion of the Haight-Ashbury culture, which saw bands like the Grateful Dead and Jefferson Airplane coming to the front, and the dark drug culture of the Doors, opposite of the happy pot-smokers in San Francisco. Creedence Clearwater Revival offered a little southern-fried jangle and drawl, but they were too short-lived. And then there was Jimi Hendrix, an American trying to convince all of Europe he was one of them. His backup band was British, and he behaved like a Brit, so who was to say (other than his parents) that he was really American?

It’s ironic but true – rock and roll may have been started by black American blues musicians, but by the ‘60s, it was the domain of British white guys.

In the early ‘70s, things started to heat back up in America, but only slightly. The first few years saw a glut of bands like Kansas, Foreigner, Journey and Styx. But little did the world know that they would soon see the unleashing of a Boston juggernaut: Aerosmith.

Aerosmith

Aerosmith

When Aerosmith slithered on the scene, their eponymous first album was released at the same time and on the same label as another savior of American rock and roll, Bruce Springsteen. Because of that, they didn’t get their proper acknowledgement until a few years later. It also meant they had time to actually earn it. By their third album, Toys In the Attic, they were not only the tightest band making music, but they were ready to be hoisted up as America’s answer to all those great British groups.

It wasn’t an accident that Aerosmith reminded the public of the Rolling Stones. Steven Tyler had a swagger, style and physical profile very similar to those of Mick Jagger, just like Joe Perry was akin to Keith Richards in both appearance and guitar style. Steven and Joe even had a similar dynamic to Mick and Keith; one was the flamboyant and crowd-pleasing frontman, while the other was quieter and more unobtrusive, providing mystique.

I’m not saying there was anything insidious or contrived going on here. Record execs didn’t generate the idea of emulating the Stones in the hope of making more money. Rather, this was a simple matter of Steven and Joe admiring the Stones so damn much. Aerosmith probably made a conscious decision to look like Mick and Keith (long dark hair, skinny, colorful dress), but the similar stage relationship between the two had to be instinctual. To Aerosmith, the Rolling Stones were just “how it was done.” Why wouldn’t they be similar?

Next: the Big Three of rock stardom – can you guess what they are?