remains the only AC/DC album released in Australia that doesn’t have an international version on Atlantic Records, although all the tracks from it eventually appeared on other international releases.
#T.N.T. ACDC TV#
Both these promotional pushes considerably raised the band’s profile in their native Australia.Ī promotional video for It’s A Long Way To The Top, featuring the band performing with the Rats Of Tobruk Pipe Band on the back of a truck on Melbourne’s Swanston Street, proved immensely popular, as did a performance on Australia’s national TV music show Countdown, with Bon Scott dressed as a schoolgirl and wearing a blonde wig. It sold much better as well, preceded by two singles: High Voltage in July 1975 and It’s A Long Way To The Top (If You Want To Rock’n’Roll) in December. A further pointer to the inspiration for their driving rock sound shows in the one cover version that sat alongside eight originals: Chuck Berry’s School Days. In just a short space of time the band had already come up with what would prove to be evergreen classics: It’s A Long Way To The Top (If You Want To Rock’n’Roll), The Jack, High Voltage and the album’s title track, all of which have been staples of AC/DC’s scintillating live shows over the past four decades.īy T.N.T., the sound of AC/DC had shifted away from any of the glam pretensions that might have been evident on High Voltage, and built further on the hard-hitting blues-rock approach that would characterise their sound henceforth. (and subsequently on their international debut High Voltage) stands head and shoulders above that on the debut.
not only sent out a strong signal that here was a band to stay for the long haul, but it also gave every indication that here was a group who just might have what it takes to go all the way to the top the start of the now well-recognised relentless AC/DC boogie machine. Where High Voltage sounded like a band taking their first, albeit still electrifying, steps into the world of rock’n’roll, T.N.T. George Young and Harry Vanda again looked after the production, but by this time the band’s line-up had solidified, with Phil Rudd, formerly of Buster Brown, on drums, and Mark Evans, a pal of the band’s road manager Steve McGrath, on bass.Īnd this new-found sense of stability helped mark the difference between the sound of the band on their debut album, and that which would hit home with much more precision on T.N.T., its follow-up.
Only that and Little Lover would make the cut when tracks from the band’s first two, Australia-only, albums were combined for an album for international release, confusingly also titled High Voltage.įour months later, and with a No.7 album under their belts, AC/DC were back in Albert Studios in Sydney, working on their next record. The third is the rollicking She’s Got Balls, an ode by Bon dedicated to his ex-wife Irene, and probably the standout on the record. The second, Love Song, was originally known as Fell In Love, and was written by Malcolm and Dave Evans. The first, the salacious Little Lover, was developed from a song that Malcolm had written when he was only 14 years old, to which Scott added his ambiguous lyrics. On their debut he hits high points with a cocksure threesome. Much of this has to do with Scott’s wordplay, a key ingredient of the band’s appeal since his time with them, and one that continued to loom over AC/DC following his tragic death in 1980.
Bon Scott had been the band’s singer for just two months, but he already sounded like he’d fronted AC/DC forever.
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