AC/DC: 25 Essential Songs

It’s been covered by everyone from Lemmy Kilmister to Lucinda Williams, Jack Black to Pat Boone. But the first song on AC/DC’s first U.S.-issued album will always belong to Bon Scott. Indeed, Brian Johnson refrained from performing it during his more than a quarter century with AC/DC out of respect for his predecessor. And for sure, despite its rock-hard riff, “It’s a Long Way to the Top” is a Scott tour de force, from the brilliantly blunt lyric that telegraphs the glory and grime of the rock & roll lifestyle (“Gettin’ had/Gettin’ took/I tell ya folks/It’s harder than it looks”), to his exuberant vocal delivery, to, of course, his not-so-skilled bagpipes playing. “Bon actually could play flute, not bagpipes,” Malcolm Young once admitted to Billboard. “So he played the melody, and then we did the drones separate and put it on and it sounded fantastic.” —R.B.

The title track of the band’s second Australian album (which was also included on the international version of High Voltage, and later featured in Tony Hawk’s Pro Skater 4 and Talladega Nights: The Ballad of Ricky Bobby) is AC/DC boiled down to its rawest essence: The band thumps and grunts away on the song’s three-chord riff like cavemen hacking up a wooly mammoth, while Bon Scott paints a hilariously tongue-in-cheek portrait of himself as a “dirty, mean, and mighty unclean” villain with explosive tendencies. When producer George Young heard Angus Young quietly chanting along to the song in the studio, he suggested that his little brother add his “Oi!” chants to the track. “I was never the greatest background singer in the world,” Angus recalled in Murray Englehart and Arnaud Derieux’s AC/DC: Maximum Rock & Roll. “So George said, ‘Hey, this is more your cup of tea.’” —D.E.

This 1975 track from the Australia-only T.N.T. (released on High Voltage overseas the following year) was never a single, but it had such a killer groove and and a strong dose of Bon Scott’s madcap personality that it became the band’s standard set opener until the singer’s 1980 death. “It was loud, clean, deep, menacing, and full of rhythm,” said bassist Mark Evans of the song. AC/DC dropped “Live Wire” from its repertoire in 1982, but as soon as Axl Rose stepped in as frontman in the summer of 2016, the song made its glorious return. —A.G.

Despite the lascivious, violent, and even murderous services Bon Scott offers to commit for a reasonable fee on this stomping title track from AC/DC’s third Australian album — which would finally become a U.S. hit five years after its original release — the song actually began as something of an homage to the animated children’s TV series Beany and Cecil. “It was a cartoon when I was a kid,” Angus Young told Guitar World in 2009. “There’s a character in it called Dishonest John. He used to carry this card with ‘Dirty Deeds Done Dirt Cheap — Special Rates, Holidays’ written on it. I stored up a lot of these things in my brain. I picked out the things I liked best.” —D.E.

Ever the generous host, Bon Scott, sounding both stately and smashed, boasts about his event-planning expertise in “Big Balls.” Or is he talking about something else? The tune, which first appeared on 1976’s Dirty Deeds Done Dirt Cheap and subsequently became a classic-rock radio staple, was the Scotsman’s cheekiest (or perhaps ballsiest) display of double entendre. “My balls are always bouncing/My ballroom’s always full/And everybody comes and comes again,” goes one line, while another explains, “Some balls are held for charity/And some for fancy dress/But when they’re held for pleasure, they’re the balls that I like best.” Best of all, Scott says he’s “just itching” to tell you about his big balls. But even he couldn’t keep wordplay going for too long: In a 1976 interview with Rock Australia Magazine, Scott pierced the veil of irony by retorting to an interviewer, “I have too [got big balls] … I just checked.” —K.G.

First released in Australia in 1976, “Jailbreak” was not readily available on these shores until eight years later, when it kicked off the odds-‘n’-sods EP ’74 Jailbreak, a compilation issued to capitalize on AC/DC’s newfound American success. Since then, it’s become one of the band’s most beloved songs, and it’s not hard to see why. Starting with a clanging, endlessly repeating riff and Bon Scott drawling, “There was a friend of mine on murder,” “Jailbreak” embarks on a slow build until it hits the chorus and explodes into a full-on outlaw anthem — albeit one where the outlaw ends up “with a bullet in his back.” According to Angus Young, the idea for the lyric came to Scott after he was arrested at a pre-AC/DC gig in Perth. “He was singing about somebody he met while a guest of her majesty’s prison,” the guitarist recounted with a laugh. —R.B. 

The title track to AC/DC’s fourth studio album is pure statement of purpose: Bon Scott casts rock & roll as something passed down from the heavens (“Let there be light … sound … drums … geetah!“), and the rest of the band members tear into the hopped-up boogie-blues riffs and rhythms as if they are indeed doing God’s work. It’s a thrilling and, in true AC/DC fashion, often amusing six-minute roller-coaster ride that telegraphs the magic, mythology, and electricity of rock & roll as well as any song before or since. “Let There Be Rock” is also a show-stopping staple of the band’s live sets, with Angus Young’s solo spot often stretching upwards of 10 minutes as he thrashes his guitar and body around the stage. Things were seemingly just as intense in the studio, where, reportedly, Angus’ amp exploded during the recording of the song. But, recalled older brother and Let There Be Rock co-producer George Young, “There was no way we were going to stop a shit-hot performance for a technical reason like amps blowing up!” —R.B.

One of AC/DC’s seediest songs was inspired by an encounter Bon Scott had with what he once described as a Tasmanian devil — an Aussie groupie named Rosie whom he estimated was about six-foot-two, weighed 305 pounds, and had measurements he made famous: “42-39-56.” “She was so big, she sort of closed the door and put it on your body, and she was too big to say no to,” he once said. “So I had to succumb. I had to do it. My god. I wish I hadn’t.” The band had been playing a song called “Dirty Eyes” that they’d been tooling around with, and after meeting Rosie, Scott threw out the lyrics he had and wrote new ones about the tryst (admitting he liked it) for what became “Whole Lotta Rosie.” Musically, Malcolm Young said the band was going for “a feel like Little Richard, a good old steamin’ rock feel,” which they achieved — the song became a concert staple for the band, bolstered in recent years by a supersize inflatable Rosie. And like Rosie, its legend has continued to grow as artists from Guns N’ Roses to Kenny Chesney have covered it. —K.G.

One of the standout tracks from 1978’s underrated Powerage, “Sin City” is built around one of AC/DC’s most dramatic three-chord riffs, and surges into overdrive thanks to one of Angus Young’s most unhinged guitar solos. It also features some of Bon Scott’s most venomous lyrics, vividly painting a fantasy of the riches and luxuries that await big winners in Las Vegas (or any other high-rolling town), while simultaneously acknowledging that the deck is inevitably stacked against the hapless gambler. “Rich man, poor man, beggar man, thief,” he growls during the song’s breakdown, “ain’t got a hope in hell, that’s my belief.” —D.E.

Bon Scott had been playing in bands for almost a decade before he joined AC/DC, and by the time of 1978’s Powerage, despite doing some touring with Black Sabbath in Europe and in the U.S. on their own, the band still hadn’t truly broken through. So the struggle of “rock & roller welfare” that the singer details on “Down Payment Blues” was likely all too real to him. What made Scott truly a great lyricist, however, is how vivid, and at times funny, all the depressing imagery is — “Can’t even feed my cat,” he spits at one point. Behind him, meanwhile, Angus and Malcolm Young bash out one of their most simplistic yet cathartic riffs to date, essentially a two-chord pattern that travels around the fretboard, consistently building tension until abruptly stopping as Scott howls the title phrase. Being a “50-cent millionaire” never sounded so good. —R.B.

The opening 40 seconds of “Riff Raff,” filled primarily with Angus Young’s largely unaccompanied guitar, are some of the most tension-filled and anticipatory in all of rock & roll. Once the rest of the band comes slamming in, the song rockets off in an explosion of truly awesome force and energy — from Angus’ slinky, finger-twisting riffing to then-new bassist Cliff Williams’ propulsive, metronomic bass, Malcolm Young and drummer Phil Rudd’s head-bashing guitar-and-cymbal accents, and Bon Scott’s fevered howling. A song seemingly built for the stage (as exemplified by the particularly hot 1978 performance seen above), “Riff Raff” was brought back into live sets when AC/DC hit the road with Axl Rose in 2016, reportedly reinstated at the request of the superfan Guns N’ Roses singer himself. —R.B.

With its Satan-hailing lyrics and rowdy air of incorrigible blasphemy, the title track of AC/DC’s sixth studio album (along with Angus Young’s devilish appearance on the cover) offended self-appointed guardians of morality everywhere, despite the fact that the crowd-pleasing anthem was actually about life on a tour bus. “When you’re sleeping with the singer’s socks two inches from your nose,” Angus told Guitar World in 1993, “that’s pretty close to hell.” Sadly, the first U.S. hit for the band would also become an epitaph for Bon Scott, who died just two months after it peaked at Number 47 on the Billboard singles chart. —D.E.

As AC/DC proved with “High Voltage,” if you have a great album title, why not turn it into a song? The track “If You Want Blood (You’ve Got It)” appeared on Highway to Hell a year after it served as the title of AC/DC’s first live album. “The title came from a gig we did in America, Day on the Green festival, 80,000 people turned up,” Angus Young once recalled. “We were on at 10:30 in the morning, and most of us hadn’t even been to bed. This guy from a film crew got hold of me and Bon and asked what kind of show it was gonna be. Bon said, ‘You remember when the Christians went to the lions? Well, we’re the Christians.’ Then he asked me and I said, ‘If they want blood they’re gonna get it.’” The song delivered on both musicians’ promises with a shit-kicking Angus riff, a danceable beat, and Scott bleating about “feeling like a Christian locked in a cage, thrown to the lions.” It had been a self-fulfilling prophecy. —K.G.