AC/DC. Back In Black - The Final Mix - Inside Secrets 

He had Van Gogh,s ear 👂 for music 🎶 allright

I know ✌️🌞🎛️🎛️🎛️🎛️🎛️🎸🎸🎸

probably satans bellend

Some foundry in Germany

Loughborough England

@@pringles4312 LOL then how come the 3 AC/DC Mutt albums have his signature sound? The band was tired of Mutt's perfectionism by FTATR and they self-produced the next 2 albums as a 'return to roots.' The result? Flick of the Switch and Fly on the Wall sound like SHIT, sonically terrible. The band clearly didn't know anything about producing a record, hence why they've used a producer EVERY album since.

@@pringles4312 I agree with you that malcolm had a certain sound or direction he wanted to go in, and I doubt they would've worked with Mutt if they didn't think they would get it, --- in fact, I believe they threw Eddie Kramer out of the studio after 1 or 2 days, if memory is serving me right. Mutt was the next guy to work with them and it clicked. Vanda and Young were replaced for Highway to Hell under pressure from Atlantic., or else AC-DC would have kept production within the family. Atlantic wanted to take them to a next level of accessability that they were not getting from Vanda and Young. The stuff produced by Vanda and Young sounded different than Mutt's records, and what AC-DC made with Switch & Fly have a different sound as well. You may be correct that the sound was exactly what Malcom was looking for, but it was the producers who affected each incarnation of that sound which Malcom choose. Mutt's handiwork is all over his albums, no matter which artist he works with.

@@mrmustard4478 2 of my favourites flick and fly. Sure they were rougher but that was deliberate and worked very well at that time of their career. I personally love the production on those albums but yes wasn't as commercial a sound as the Mutt albums but a lot dirtier and edgy.

Your right, Malcolm is the man 🎛️🎛️🎛️🎛️🎛️🎸