Bon Scott wrote "a little" of Back In Black? 

Respectfully disagree, Mark. For Those About To Rock is lyrically and melodically much closer to the style of Back In Black than anything from the Bon era. Regardless, Bon still had an influence on the band when recording BIB and they had a road map to follow via Highway To Hell (so naturally, there'd be some stylistic similiarties). Plus, BIB also had the same producer (Mutt Lange) and Bon's collaborators the Young Brothers. The songwriting credits on all the Bon era albums is Young, Young and Scott. The Young Brothers were hitting their creative peak and got the best out of Brian in the same way they got the best out of Bon. That's what you're picking up on in BIB, but solely attributing to Bon. The Young brothers always had a strong hand in the songwriting and if anyone was the "Picasso" in AC/DC, it was Malcolm Young. I go into deeper detail in my subsequent videos.

For those about to rock was written by the same guy, Flick of the switch also. Some Insiders have said they finally started to run out of Bon's lyrics for FOTW.

Did you even watch my video? I addressed pretty much every one of your issues in detail. Brian never wrote anything like AC/DC before AC/DC because he wasn't writing with the Young Brothers (of the band AC/DC) and Mutt Lange (producer of the band AC/DC) and he wasn't told to come up with lyrics in the style of past AC/DC albums. So naturally, because of all this, he didn't write songs in the style of the band he wasn't in yet. "Why didn't he write anything remotely similar after Back In Black?" Have you ever listened to For Those About To Rock? Do you seriously think that album isn't "remotely similar to Back In Back"? I'd say the opposite: it's HIGHLY similar and even more in the style of Back In Black than Highway To Hell. After that album, the Young Brothers decided to go in a different direction and they produced two intentionally raw and less commercial albums (Flick one the Switch and Fly on the Wall) but there are definite strains throughout those albums that recall moments on Back In Black. And the Young Brothers didn't take over lyric duties shortly after Back In Black. It was ten years later (i.e. a decade) and I theorized the reason for it in the video. Bon's mother never said she knew the title of the album before he died. Show me the quote. Jesse Fink doesn't even claim this: simply that she knew Bon had started writing lyrics to the next AC/DC album (which I also addressed in my video). Anyone that could watch my video in its entirely and think I don't love AC/DC is the one with an agenda. By the way, this is my fourth AC/DC related video and the first time I've brought up Fink and his book and I'm clearly far more of a fan than you are because I actually listen to their albums post Back In Black. And finally, Angus Young changes his story: yes and I addressed this is my video. In fact, I think Bon might've written some of the lyrics on the album because of this. Once again, watch my whole video and then comment. Thank you.

Well said. You could add a whole lot of other things to that - including why the stories around the lyrics have changed so many times - but you nailed my main gripe with this video. Selective omission.

@@JesseFinkBooks Oh yeah, "Well said." the guy didn't even watch my video because I literally answered every question he had in it! And unlike you, Jesse, he didn't bother to reply to my comment to him. I suspect he's a bot generated by Russian intelligence to sow the seeds of doubt in Back In Black. 🤖

@@EddyCannistraci How do you know he didn't watch it? I don't think you answered those questions satisfactorily either. Selective interpretations throughout the video as well as calculated omissions. Where there's a gaping hole in your analysis you just say "I think" so-and-so wouldn't have done such a thing rather than looking at the body of evidence that shows inconsistent remarks have been made about what Bon had prepared lyrically for that album, the royalties trail and other statements made by people with knowledge of the inner machinations of AC/DC. As for Isa, she told Clinton Walker: "That time he was home, that’s when he told me, This one I’m working on now is going to be it. They were going to hit the top this time. So that must have been that music that was written; they called it Back in Black. They had to give it a name, you see, but Ron, I think, did all the words." Graeme Scott also received a letter in 1984 from Bon that had been sent before his death and gone all around the world before Graeme got it. It said he'd been working on lyrics for the album. So Silver, Graeme and Isa have all said Bon was writing lyrics before he died. But Malcolm said he hadn't started. And Angus admitted some lyrics were used. Twice. And Brian Johnson has come up with different stories about various lyrics. So what is all that telling you?

@@EddyCannistraci I watched your video, if not I wouldn't have comment anything. Childish video in which you are trying hard to discredit Fink more than anything else. Let's suppose you're right and Brian wrote lyrics for BIB as a tribute for a man he didn't know, why didn;t he write a better tribute to Malcolm, his close friend and a person he knew very well? The answer is that he simply can't write decent lyrics. Your statement that AC/DC went in another direction after BIB is very childish. They didn't want to produce another big selling album like BIB? Really? Do you believe that? They went in the only direction they could because the genius who wrote all the clever lyrics unfortunately and sadly passed away. By the way, my favourite Brian album is Flick of the switch which has Bedlam in Belgium in it, an incident that happened in Belgium with Bon, not Brian by the way. So again, Brian (?) writing about Bon but couldn't come up with a better tribute to Malcolm? Come on. Really?

A respectful and reasonable view from a true fan. Thanks for watching and for weighing in! ⚡🤘🏼

Thanks so much. It's greatly appreciated. Fink actually came after me in the comments section and it led me to re-read his book and dive even deeper into the subject. And this resulted in three more videos. When you get the chance, you should give 'em a watch... ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-EnAZVT0AQY8.htmlsi=qplVcGl90wMiPC-b

@@EddyCannistraci Thanks Eddy! Funny I just said to my boy “man can’t find anything good on tv”. Off I go! Ty again! Wish I had seen Bon live. My first knowledge of them was looking at the LP cover of Highway to Hell in an old department store. Thought it looked super cool. Put it behind my back and said “Mom can u buy me a record?” “Sure which one ?” She looked at the cover;) “Put it back.”😂. I eventually got a hold of an 8 Track;)

@@W.Frates Hope you enjoy the other videos. Still have that Highway To Hell 8 track? That'd be awesome to have.

All true, but they were going to get back together the following week (but Bon died before that happened).

Thanks for weighing in and I'm glad you enjoyed my arguments (even if you didn't agree with all of my conclusions). I actually agree with you about what I said in regards to Brian feeling Bon's presence. I no longer think Bon wrote ANY lyrics on BIB, so I don't think he said that out of any guilt. When I made this first video I didn't know that Tony Platt had gone into explicit detail about the writing of YSMANL's lyrics in which he confirmed Brian wrote the majority with the help of the Young Brothers and himself (and possibly Mutt Lang, which he didn't clarify) and it went down in one inspired session in the studio. This quote was tucked away as footnote in Jesse Fink's book, so I missed it the first time I read the book. Funny enough, one of the big rumors that "Bon Scott Wrote BIB" theorists like to cite is the Bon Scott estate DOES get royalties from BIB (although it's been denied by the estate). When you have more time you should watch my other videos on the topic. Jesse Fink himself attacked me in the comments of this video and it led me to doing further research (including re-reading his book) which resulted in me coming to a stronger and more substantial conclusion. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-EnAZVT0AQY8.htmlsi=mq_j9VGJ8giVlNi8

@@EddyCannistraci thanks for the reply! Will do! 🤘👍💪

He seemed pretty sincere when he made the statement (at least in my opinion). I think Bon had such a respect for Malcolm and Angus's guitar playing he wouldn't equate knowing some chords as "being a musician." And once he started working with the Young Brothers (George included), yeah: he started coming up with great melodies. If I gave the impression I didn't think Bon was great with melody, I misrepresented myself.

@@EddyCannistraci Bon had a dry sense of humor at times. Angus and Bon in particular, being the two spokesmen of the band in the 70s, always joked around in a self-deprecating way. Angus does that to this day. Now Bon _was_ a musician. In particular, he was a solid, well-seasoned drummer. He played in the Scottish pipe band with his father from around the age of 8 until about age 15. He was held the drumming championship for his age group, undefeated for 5 years (when he quit the pipe band). *[EDIT] This was around the time he went to the reform school for delinquent boys - **_NOT_** "prison" like Angus always likes to say (gotta embellish on their image!) ALL bands do it. They create their own mythology. The Youngs and Bon learned from not only their first proper manager Michael Browning, but their favorite band as well: The Stones, The Who, The Kinks, and some of the legends of the 1950s. But this was also when Bon started jamming with other boys in the school, playing drums, naturally.* Around age 18 he formed The Spektors. He was the drummer/lead singer. Him and fellow singer and drummer John Collins would trade off; while one sang the other would play drums. I've listened to a few recordings here on RU-vid of The Spektors while John Collins was singing and listening to Bon play drums I was very impressed. He was an excellent drummer who could have played for any of the more famous bands of the era (mid 1960s). I have an issue of Modern Drummer from 1996 with Phil Rudd where he claims that he kept Bon's drum pattern on Have A Drink On Me as his own personal tribute to Bon. Btw, Angus now says Bon helped on the intro to Hells Bells and made no mention of Let Me Put My Love Into You. So, the story has changed yet again (as often happens with AC/DC). For decades Angus said the two songs Bon helped out on/drummed on were LMPMLIY and Have A Drink On Me. Now it's _Hells Bells_ and Have A Drink On Me. A very interesting thing: A couple years back a book came out with musicians of all eras talking about Bon. Former AC/DC drummer Simon Wright said he was at Angus' house sometime in the mid 1980s. Angus played him a demo of Back In Black (the title track) and to Simon's surprise Angus told him that it was Bon playing drums. Plus, as I said, Peter Head said he met Bon in 1970 and Bon showed an interest in learning more about the guitar and songwriting. Peter showed him different chords and taught him music theory. He said Bon took right to it writing songs of his own. Bon later played and recorded with Head's band The Mount Lofty Rangers. You can find the song 'Round and Round' by them on here. So, Bon's comment about how he "wouldn't know the first thing about music" was definitely his self-deprecating humor. Also, what did you mean by "once he started working with the Young Brothers (George included)...he started coming up with great melodies." He had been a front man for 3 bands, writing great melodies long before joining AC/DC.

@@beyondthehorizon75 He cowrote one song in the Fraternity, ""Raglan's Folly" (at least according to the track-listing and credits of their two released albums). And if we're talking about those couple songs in the Valentines: "Juliette" is a decent enough "Dear Prudence" rip-off, but it's nothing like what he'd start to do with AC/DC (and everything else I've heard from the Valentine's is pretty schlocky IMO). Listened to that "Round and Round": I didn't think it had a particularly strong melody. But, of course, this is just a matter of tastes. And I'm sure there are some unreleased songs or things I never heard as an American that maybe you have. You've convinced me Bon might've been a bit self-deprecating with the "musician" remark in Let There Be Rock (but I still don't know if I'd go as far to say he was "joking").

@@EddyCannistraci Bon started learning about songwriting from the moment he joined his first band. That's what us musicians do. It doesn't matter if he's singing cover songs or the odd original. The point is, he was honing his craft. When he joined Fraternity in 1970 his more "street-wise" lyrics didn't suit the more intellectual "hippie" vibe that bassist and lyricist Bruce Howe was writing - I'm pretty certain "Uncle" John Eyers wrote lyrics as well. Bon was still learning, as I said from Peter Head, but also from his Fraternity band mates. In fact, Bon would further benefit by this point from having played with such a diverse group of musicians and trying to find his true self. He had by this point played blues rock with The Spektors, who covered songs by the Kinks and The Stones, then he moved onto "Bubblegum" with The Valentines, now he was with an all-out Hippie band in Fraternity. So of _course_ he met his perfect songwriting partners when he joined the Young brothers. He found his calling. By this time he had practically done it _all_ musically. He worked hard on developing as a songwriter and brought not only his vocal abilities to the table with AC/DC but his knowledge of songwriting, in particular his lyrics that he had amassed over the course of many years. Even George Young couldn't believe his eyes when he saw all these great lyrics in Bon's notebooks. Harry Vanda was also a big fan of Bon's lyrics. After joining, Bon was now able to express himself in a band who's music suited his lyrics _perfectly._ It's like any of the other great bands in rock 'n' roll history. Bon, Mal and Angus had something magical between them and they brought out the best in each other. Those 3 guys, with guidance by brother George early on, created the iconic sound of AC/DC. However, what really made me scratch my head was when you made it sound like Bon didn't bring out the best in the Young brothers better as well. You basically said that Bon didn't write a good melody until he joined AC/DC. Everything he sang in Fraternity was _his_ creation melodically as a vocalist. Maybe Fraternity just isn't your cup of tea, but they, to someone like myself, were a great band. I've been enjoying them for decades now. A big part Bon brought with him to AC/DC was his experience of sharing dual front men duties with Vince Lovegrove in the Valentines. That made Bon all the more accepting of, and nurturing to, Angus who was 9 years his junior and at that point in 1974/1975 was still nervous to be up front and still trying to find his feet. Bon brought that experience into AC/DC with him and was like, "Come on, Angus! Let's _both_ put on a f'ing show!" He built Angus's confidence up and also made Angus work even harder to develop the Angus stage persona that we fans all know and love. Btw, Bon was a year older than George Young and they shared a history together as well as being musical peers. So it wasn't like George had to teach Bon much besides maybe his method of recording. Angus nailed exactly how important Bon was to AC/DC. Malcolm too paid a wonderful, moving tribute to Bon by putting his lyrics on the level of the great Scottish poet and lyricist Robert "Rabbie" Burns. My favorite was when Angus once summed up the importance of Bon's role in AC/DC. He said Bon gave them "the image and the AC/DC character." He also said that "if it weren't for Bon Scott", him and Malcolm "might have ended up playing their guitars in local pubs. But it wouldn't have happened they way it did (the mega-stardom) if it weren't for Bon Scott."

@@beyondthehorizon75 Thanks for the thoughtful and detailed response. I did say a couple times in my video I think Bon was a great lyricist and was very important to the band in their early days and helped them to develop their sound, create their songwriting formula, etc. I just get irked when Bon Scott purists act like it was a one-way street (which doesn't sound like is the case with you). One question: do you think Angus and Malcolm would use Bon's lyrics without giving him credit? The same guys you quoted sounded like they had a lot of love and respect for him, don't you think?

Right on!!! 🤘🏼

Thanks so much!1 Ralph is actually a good friend and mentor and we've done a lot of stuff together. Like this two-part AC/DC related podcast episode...!! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1LMnJFIi3jY.htmlsi=r2KzKyaiVx9OztpC

Hey, Jesse. I respect that you actually commented on my video and I'll take the same time to respond to you as you did to address some of my statements. It had been a few years since I read your book, so apologies that I forgot the "chartreuse eyes" bit came directly from you and not Holly. Although if I had remembered how that theory was positioned in your book, I simply would've said you were creating imaginary lyrics instead of her. I'll address "sightless eyes" when discussing Brian's lyric writing. I acknowledged that Silver was important to Bon and he was very much in love with her (I also mentioned a Powerage song she inspired), but you know that Irene was likewise another great love in his life and even after their divorce, they remained good friends and he often wrote letters to her. My takeaway from the various people you interviewed in your book -- and yes, I didn't meet them, but I can read between the lines -- is that many of them were squeezed out by the band after Bon's death and none of them were currently in AC/DC's circle. For example, Vince Lovegrove's animosity directed at Brian Johnson was so potently expressed, it was clear he was not impartial when discussing the band. I stand by what I said about Leber-Krebs: it was a big firm and David wasn't their day to day manager (and according to Aerosmith they were stealing money from them, but of course those kind of disputes are common in the entrainment industry). As far as I'm concerned, anyone who is an ex manager might have a beef with the artist they no longer represent (regardless of what they might tell you). And I never said you had an agenda (in fact, I said I couldn't speak for your agenda). Obviously you're a writer and the theory that Bon Scott might have written the lyrics to Back In Black is worthy of discussion (which is why I made a video about it). Like I also said in the video, I personally had an issue with "hearsay", "conjecture" and "lyrical interpretation" being presented as "evidence." Admittedly this might be my own misinterpretation of your book, but that's how I took it. Obviously, the Angus Young quotes are an entirely different story and I treated them as substantial as you do: they're the closet thing to proof that Bon did some writing on Back In Black that we have (and if you do have a scan of that Aussie Rolling Stone interview, I would really love to see it). And yeah, I throw around the word "bullshit" a lot. My videos are opinion pieces and I use loose and off the cuff language. Also I'm from South Philly. it's just how I talk. My ex wife is an Aussie and she used to throw around the "C-word" like it was nothing. Regarding Brian Johnson's debated lyrical skills, I made my case in the video why I think it's not unusual that Brian could pen the verses to Back In Black (with help from the Young Brothers and Mutt Lange and with a few choice Bon Scott-isms possibly thrown into the mix). Brian working with Geordie isn't Brian working with the Young Brothers and Mutt Lange at the top of their game. Sometimes you're only as good as the people you're working with and the right people can bring out amazing things. Plus, as I mentioned, Brian was no doubt listening to Highway to Hell and would have been doing his best to emulate the lyrical style (something he wouldn't have been doing back when he was in Geordie). I mentioned that if you look at some of the stronger lyrics credited to Brian on other AC/DC albums ("C.O.D.", "Who Made Who"), there's a stream-of-consciousness style that's different from Bon's (the song "Back In Black" also shows evidence of this style). Whereas Bon often wrote more directly and personally, Brian appeared to write in a more fragmented and impressionistic fashion (the song "Spellbound" is another good example of this). As a result, I think the line "sightless eyes" could essentially be an impressionistic line meaning "blind" or "bland", which doesn't make a lot of sense in the context of the song, but Brian would sometimes throw in a few words that didn't make sense just because they sounded good or rhymed. So if anything, this could be further evidence that they are indeed Brian's lyrics rather than Bon's. Although, as I stated in the video, I think it's possible that "She told me to come, but I was already there" could very well be a Bon line. I truly appreciate the debate, Jesse, and I'm happy to continue a back and forth with you. However, if you are going to accuse the Young Brothers and Brian Johnson of being liars and dispute the credits on the biggest selling rock album in history, I think it's fair that fans like myself present counter arguments. And I'm sure you took note that I still recommended your book to people and praised the biographical sections and the numerous revelations about Bon and his relationship with Silver. I'm a writer myself (despite not knowing the difference between "hanger-onners" and "hangers-on" 😉), so I know the hustle. The Back In Black stuff is what makes everyone talk about the book and I understand to a degree why you would lean into it. I expressed my issues with it and where I think you went too far. Thanks for commenting and again, I respect that you did so. If I ever do a follow-up video on this subject, I'll address some of the issues you brought up.

​@@EddyCannistraci Yes, it came from Holly. To suggest she and others just chose 'the hits' for the attention is ridiculous. If Holly wanted attention she would have given her real name and she'd be on social media, lapping up the adoration from fans. She is intensely private. That's not how she rolls but she spoke to me and gave me her photo because she wanted Bon's story told honestly for the first time. Everything in the book was sourced from research and interviews. Nothing is made up. I don't work that way and never have. That's why I'm still writing books. I do have some credibility when it comes to writing non-fiction and biographies, and I think the tone of your video didn't really suggest 'respectful', especially the part where you were talking to me directly about 'photographic proof'. For the record, Dave Evans also says he carried Angus Young on his shoulders. As for David Krebs, Mensch was his employee. AC/DC signed a management contract with Steve Leber and David Krebs That's a fact. David has no beef with AC/DC: they made him rich. He also went out of his way to try to save Steven Tyler from succumbing to his heroin addiction but you don't hear those stories. He's a good man in my opinion and has no reason to have a vendetta against AC/DC. To have someone from inside the AC/DC universe at the level of David Krebs say he thinks the credits on Back in Black aren't accurate is a huge statement. You raise Vince Lovegrove. Ever wondered why he might have so much animosity to Johnson? Bon was Lovegrove's good friend. Lovegrove claimed he even got an admission from the Scott family (in a West Australian newspaper piece published in 2005) that the Scott family got royalties for Back in Black. Why wasn't that mentioned? It's in the book. I think it's pretty clear you think I had an agenda. The truth is I was always open-minded and willing to talk to anyone who was relevant and hear their side of the story. I've never set out to nail anybody and in fact wrote a book called The Youngs before I wrote Bon: The Last Highway, that was a homage to their music. That the people who worked with, came from inside the band, and/or knew AC/DC painted a picture of a hard-nosed, business-minded, tough clan was information supplied to me and, like any good journalist, I used that information to paint a well-rounded, honest portrait of.a rock band that was also a business. The Youngs couldn't write good lyrics to save themselves, which is why AC/DC songs since Back in Black have been (with a few exceptions) so bloody awful. But the Youngs have the publishing credits to themselves. They lost a genius lyricist in Bon. Johnson didn't really fill his shoes beyond being a competent frontman who progressively lost his voice and has become a sort of thigh-slapping, beer-drinking Andy Capp caricature in the years since. He's also made contradictory statements about the lyrics on Back in Black and once even said he was inspired by Bon's ghost. Read into that what you will. And let me be clear: I have not once called Angus Young, the late Malcolm Young or Brian Johnson liars. But I have highlighted contradictory statements they've made. There's a difference. It's up to readers to make up their own minds about who's telling the truth or what the truth is. Given Bon: The Last Highway is now the biggest selling Bon biography ever, I think they're very supportive of the idea/theory he contributed more to Back in Black than AC/DC will ever admit. You don't go from saying Bon wrote "a little" of the lyrics to saying he wrote nothing at all. But that's what's happened.

​@@JesseFinkBooks Well, I think my tone is more "RU-vid snarky" than disrespectful and I hope others take it as such (e.g. when I discussed your "Back In The Black" theory, it was in a humorous fashion with a funny image and what have you). And in the same way you interpret lyrics, interviews and situations the way you see them, I'm simply doing the same. I think it's obvious why people would choose a hit when claiming a person wrote a song about them and when you're choosing what songs to focus on. Like why else would you create this whole left field interpretation of "Back in Black"'s lyrics? (which doesn't align with the lyrics nearly as well as the more widely accepted interpretation.) Like I said in the video, "Let Me Put My Love Into You" was a song that Angus Young admitted to be working out with Bon (even if it was from behind a drum kit). That coupled with the melodic and lyrical style of the song, makes it a prime candidate for a Bon Scott written song. But it's not a hit, so it doesn't get the same focus as The Big Three ("You Shook Me", "Hells Bells" and "BIB"). Another thing I didn't discuss in the video was that when Bon wrote about "Hell" it was in a tongue-in-cheek and positive light, which doesn't jive with the menacing nature and dark tone of "Hells Bells" (which is much closer lyrically and tonally to "Evil Walks" on the subsequent album). Obviously your opinion that the band had a steep decline post Back In Black isn't shared by a majority of music fans. It's not like The Doors who, after Jim Morrison died, attempted to continue and were soundly met with failure. And it wasn't just because of Back In Black. For Those About To Rock was a very successful album and once the Young Brothers stopped producing themselves (Flick and Fly), their albums slowly but surely started selling well again. The Razor's Edge was a smash hit (even though I'm personally not crazy about it) and it introduced the band to a new generation and had two big hits: "Moneytalks" and "Thunderstruck" (still one of their most popular songs and a concert staple). Many critics and fans think their last album PWR/UP was their strongest album since For Those About To Rock (myself included), showing there were some creative juices flowing even this late in the game. Bon is an important part of their legacy and he helped get them to the goal line, but they crossed it with Brian and he helped the band make the transition from an arena headliner to a stadium headliner and, at very least, he deserves respect for that (regardless of what you might think of his lyrical ability and Andy Capp persona). Plus, it's not like Bon Scott's lyrics and singing wouldn't have declined with age. He died at his peak. We don't know what a 1995 Bon Scott might've sounded like or been writing. Because of this it's unfair to compare Brian and the band's later output to their early albums. Anyway, that was my counter rant to your counter rant. I'm open to having a friendly debate over Zoom in the future if you are (and subsequently upload it as a rebuttal/companion video to this one). I'll once again recommend your book. Like I said in my video, I think AC/DC fans should purchase it if they haven't already. I also read your previous book The Youngs and thought it was a well researched and engaging read (I'd mention that if we did a Zoom debate). I didn't say it directly, but when I was talking about how the Young Brothers squeezed Brian out of the songwriting from The Razor's Edge on, I wasn't painting them in the kindest light: I know they love money and they're like the mafia when it comes to keeping things "within the family." And I largely know that from reading your books. And because of that, I think if some of Bon's lyrics were used in BIB, I don't think Brian would have been privy to that information. They always treated him as a hired gun and I can't imagine them looping him into such a degree (especially back in 1980 when he was pretty much a stranger to them). So I don't think Brian is lying: he simply hasn't been told the full story himself. That's my takeaway. Once again, I'd love to debate all this with you over Zoom. I know your book has done quite well, but more free promotion never hurts, right?

​@@EddyCannistraci Thanks for the offer but I'm ok for now commenting on videos about me and the book. There is nothing 'left field' about the interpretation of the lyrics of 'Back in Black'. It's quite evident if you actually follow the course of Bon's lyrics writing and are aware that he constantly re-used themes or expanded upon themes in his earlier writing. That's simply how he worked. He wrote from his life. Viz: 'Down Payment Blues'. A song about being poor. I got myself a Cadillac But I can't afford the gasoline 'Back in Black'. Now he's rich. Back in the back of a Cadillac Number one with a bullet, I'm a power pack He'd just had a hit record - 'Highway to Hell' - and had money in his account for the first time ever. He'd also been to a juvenile detention centre/jail when he was young and written about incarceration in 'Jailbreak'. Take your pick. 'Back in Black': I've been looking at the sky 'Jailbreak': And I'm lookin' towards the sky 'Back in Black': I'm in a bang With a gang 'Jailbreak': Ain't breaking no rocks on the chain gang You're also omitting to mention Bon's own mother Isa Scott said: 'The last time we saw him was Christmas ’79, two months before he died. Ron told me he was working on the Back in Black album and that that was going to be it; that he was going to be a millionaire. I said, “Yeah, sure, Ron." He was writing words for their Back in Black album when he died.' Yet Malcolm Young, the man whose 'word' you take, said to VH1's Behind the Music: 'We said, "We’re just about ready for you [to come in], Bon, you know, so maybe next week some time", you know. And of course it never, it never, happened ... he went out just for a drink, [for] relaxation, you know. Maybe to clear the head, you know. And then look forward to getting into his writing, coming up with some ideas, you know. He had it all in front of him.' So you have Bon's own mother saying three months before he died that he was working on lyrics to the new album and actually mentioned the title of the album. Then you have Malcolm saying he hadn't written anything at all when he died. Your interpretation is literal. Noose? Has to be death. Black? Death again. Hearse? Death! Bon wrote about money all the time. As for 'Hells Bells', as Joe Matera once pointed out, 'Highway to Hell' shares with it a lot of the same themes/imagery and they segue nicely into each other. I don't subscribe to that as much as I do 'You Shook Me', which is most obviously 'Scott influenced' to anyone who has ears. Holly had a horse called Doubletime that she and Bon rode on weekends? "Obviously your opinion that the band had a steep decline post Back In Black isn't shared by a majority of music fans." Quite the contrary. Anyone who follows AC/DC knows their golden years were 1975-80 and that's why the Bon Scott Forum is a healthy community of likeminded Bon Scott-era AC/DC fans. PWR/UP is a dog's breakfast compared to that era. None of this is 'proof' of anything but it's certainly enough to make a case something is not being told when it comes to the origins of the lyrics on the Back in Black album. Especially when it appears Angus Young has made those two slip-ups.

​@@JesseFinkBooks With all due respect, Jesse, you can take any lyric and twist it to fit any narrative you want. I could also talk about themes of "money" and 'success" and apply it to "Moneytalks" and "Back In Business". I think the "Back In Black" lyrics themselves point more to the "empowerment after death" interpretation, but I also think they're stylistically dissimilar to how Bon wrote (both in terns of its impressionistic flow and multiple rhyming schemes within a line). You're also conveniently leaving out that Angus and Malcolm came up with the music and often the title of a song and then handed it over to Bon (something I learned from your book the Youngs as well as other sources). You're ignoring that Bon and the band had intentionally streamlined their lyrics after Powerage's failure to break them in America. The lyrics on HIH are not as personal as they were on Powerage and their early albums. This is another reason why I think the Young Brothers and Brian could emulate the style on BIB without Bon. If you were trying to copy Bon's style on Let There Be Rock and Powerage, I don't think it could have been done as effectively. HIH is a different story: Bon and the boys wanted a hit record. That's why they enlisted Mutt Lange and streamlined the lyrics. The album might feature Bon's strongest vocals, but lyrically it's designed to be more accessible and less personal. Because of this, I doubt Bon would have been thinking of writing lyrics in the line of how you're describing them. Whatever HIH's followup would've been if Bon had lived, it wouldn't have been called "Back In The Black". The band was on a mission to get a #1 in the U.S. and become the biggest band in the world. They weren't going to be using banking terms that your average teenager doesn't even know. I think the biggest problem I have with your theory is this "all or nothing" approach. Like Bon had to write most of the verses (if not all) to BIB and Johnson wrote next to nothing. This is another reason why I think you're so adamant about Bon also writing the song "Back In Black" (even though Malcolm Dome even specifically said he didn't see any lyrics for that one in Bon's notebook). Dome only recalled that one line from "You Shook Me All Night Long" and a few others scattered about the album (to the best of his recollection). Bon writing the majority of the verses doesn't even work with the timeline coupled with their established songwriting pattern (i.e. Bon writing verses after the Young Brothers came up with the music and titles). They had just gotten off a leg of the HIH tour and were only beginning to rehearse new material. As I pointed out in my video, the Bonfire boxset contained some HIH songs before they were reworked with Mutt Lange and they're quite differently musically as well as lyrically. Any material Bon had started working on would've been at a similar early stage. Also if you interview anyone several times over several decades about the same thing, I'm sure you're going to hear some contradictory statements. People aren't human tape recorders. They make mistakes. Even Angus's statement of "Bon wrote a little of the stuff" could just be him being loose with his words and misrepresenting what he meant. After he immediately made the statement, he talks about Bon drumming for that one session, going off to write and then dying (the same story he has told many times). He's not talking as if he said something different from the official story. It's almost as if he didn't realize what he said or its implication (unfortunately the reporter never got him to clarify, which is frustrating). I don't think it's as black and white as you're making it. If the Young Brothers were using as many of Bon's lyrics as you and others have suggested, there'd be a bigger pushback from powerful people: Mutt Lange, their management, the record label, their lawyers, etc. There would be a concern that the Bon Scott family might file a lawsuit if they didn't play ball. However, if the Young Brothers just used a few choice lines here and there, that's more of a grey area where they wouldn't have received as much pushback.This theory works better with the timeline and even with the Young Brothers contradictory statements: if you were pulling off a grand deception, you're more likely to keep your story straight than if you're simply just bullshitting people a bit. Also, you know the Bon Scott Estate denied receiving royalties (you cited this in Part Two of your rebuttal to Brian Johnson) and Vince Lovegrove's claim is hearsay and perhaps he misunderstood what Bon's brother told him (again, people aren't human tape recorders and they make mistakes). Of course art is a matter of taste, so regarding the quality of the band's output post BIB, we'll have to agree to disagree. However, your knowledge of the AC/DC fan base is either limited or you're just focusing on one section of it. Numerous AC/DC fans love the For Those About To Rock and Flick of the Switch albums and there's even a popular term used on AC/DC forums: "the Six Pack" (www.acdcfans.net/forum/comments.php?DiscussionID=17357). It's similar to "the Big Four" with Stones' fans. And what do these AC/DC fans consider the Six Pack? The last three with Bon and the first three with Brian. But that doesn't work with your theory, so you have to ignore that many fans love FTATR and FOTS and consider them a continuation of the band's creative peak. And PWR/UP was almost universally loved by the fanbase, so I don't know what groups and forums you're looking at. Admittedly every album from Fly on the Wall to Rock or Bust is debated in regards of its quality or lack thereof, but what band's later work isn't debated? After the Big Four, the quality of the Stones' album is often debated (with maybe the exception of Some Girls). Many Guns N Roses fans think Appetite for Destruction is the only good album they ever made. Many Metallica fans only like their 80s albums (despite the massive success of the Black Album). Many KISS and Aerosmith fans think only their 70s material is any good. I could go on and on. As bands get older and more successful, they rarely replicate the fire of their early work. They're no longer young and hungry. No doubt, a slip of quality happens as a result. And even with this slip of quality, AC/DC still managed to have a major comeback album in the early 90s that spawned two of their biggest hits and made them one of the biggest bands in the world again. And somehow the band was able to do it without using any of Bon Scott's lyrics. It's almost as if people don't primarily listen to AC/DC for the lyrics. They aren't Bob Dylan or R.E.M. (and they weren't even with Bon). They were a fun hard rock band with cheeky double entendres. Yes, Powerage had more going on lyrically and that's my favorite AC/DC album. But it's also the least popular with Bon from a commercial standpoint. The majority of the fanbase don't listen to AC/DC for depth: they just want to rock. Also in 1980 Bon Scott wasn't even fully recognized for his lyrical gifts (the band was largely dismissed by critics) and most of their fans were working class, headbanging teens. As a result, I don't think the Young Brothers themselves would have placed such importance on the lyrics. The bigger issue was whether or not Bon's replacement could pull it off vocally. Ultimately the sonic power and sound of AC/DC is the most defining trait of the band (similar to Sabbath or Zeppelin). Having great lyrics on certain albums is just gravy. Finally, I do think our taste and how we regard the band's discography plays a factor in how much stock we place in the "Bon Wrote Back In Black" narrative. Like I said in the video, I think it's possible a handful of Bon penned lyrics were used for the following songs: "Let Me Put My Love Into You", "You Shook Me All Night Long", "Have A Drink On Me" and the title "Rock and Roll Ain't Noise Pollution". But that's it. The rest I think were written by Brian and the Young Brothers (with some input from Mutt Lange). And I respectfully need more than hearsay to believe otherwise. If I'm given more proof than some contradictory statements from Angus and Malcolm, I'll change my mind. Regardless, I enjoyed this exchange and your books.

Bon only had three days to write the lyrics from first hearing the music from the Young Brothers (Feb 15th 1980, his first rehearsal session for the album) and Feb 18th (the night of his death). So that's over 3 months vs Bon's 3 days. And the band put together all their prior albums in a couple months between tours. And it wasn't just AC/DC. People used to knock out amazing albums all the time in the matter of months and sometimes even weeks back then. And in this case you have the Young Brothers at their musical and creative peak and Mutt Lange -- one of the greatest producers ever -- helping out Brian Johnson (who was only penning verses for the songs with their help). Watch the three part video series I did after this video and I break it all down into further detail.

The Beatles, (rubber soul, revolver & pepper) led zeppelin, queen, Judas priest rush, Aerosmith ect ..put out an album a year some of them 2, but the follow up albums were consistent,, . in that,, that Stage, of song writing is at least there, in that level of evolution and depth of sophistication, (as to) where ever that happens to be at that time. When "For those about to Rock" came out, other than the title track, the rest of the album and everything there after, which took alot longer to release, don't come anywhere close the to writing of Black. Brian Johnson has stated in a Howard Stern interview, it was actually completed start to finish in only 6 weeks.

@@benwright6330 For Those About To Rock is an early 80s metal masterpiece and I think just as great as BIB and many hardcore AC/DC fans love that album along with Flick of the Switch. Regardless your music taste isn't proof of Bon Scott writing lyrics on BIB (which has lyrics far similar to FTATR than anything on the pre HTH Bon Scott albums). And Brian was talking about the recording of the album and not referring to all the prep work beforehand. He goes into more detail about in his autobiography and revealed there was initial work on songs like the title track as early as his second audition in late March. Once again, I go into detail about all this in my three-part video series if you have an open mind about this subject.

Number of the Beast was written and recorded from scratch in 6 weeks. Lyricists often write songs spontaneously and it doesn’t take that long to write and record songs. Why is there such anti-Brian Johnson sentiment? Why would AC/DC cover up Bon’s work? Bon never wrote anything for Back In Black

Right on! A man of great taste!

@@EddyCannistraciThanks so much !

Right on! Another person with good taste! 😉

Right on, Frank! As always, you prove yourself to be a real rocker. 🤘🏼🤘🏼

Thanks for weighing in. 👍🏼

@@EddyCannistraci this was the most thorough treatment of the subject I’ve ever read. I was never a huge AC/DC fan but in the last several months I’ve rediscovered them and their Bon Scott catalogue. This has sent me down the rabbit hole. But most of it is just innuendo and conjecture. You did more homework than anyone.

Thanks so much, Scott. I appreciate it.

Thanks for watching and for commenting, Jeff. You totally get it. 😉

Glad you like both Bon and Brian, but I;'m very curious about the circumstances in which you heard Bon singing "Back In Black" years ago: care to elaborate?

Thanks, brother. Appreciate it.

Appreciate it. Thanks for watching.

Thanks as always, Rich. When discussing Fink's book, I was thinking about Quentin Tarantino's awesome rebuttal to a journalist who told him his portrayal of Sharon Tate was sexist: "I reject your hypothesis."

One of the greatest moments ever! That's how you deal with that crap

Bon died three days after the first rehearsal session for BIB so he didn't have time to contribute very much lyrically. The band always wrote and recorded albums in a couple months between tours during this time period so it's not an unusual time frame. And nobody is saying Brian wrote the lyrics by himself: the Young Brothers came up with all the titles/choruses and helped him with the verses (along with Mutt Lange and Tony Platt). Bon likewise collaborated lyrically with the Young Brothers and the producers they worked with (Lange and George Young and Harry Vanda). And obviously your opinion that their subsequent material is greatly inferior is subjective and not by any means proof. Watch my other videos in this series and let me know if you're still so certain, okay?

@@EddyCannistraci I will. I'm sure they worked on things on the tour bus too. Then there's the speculation that Angus came to Bon's home and took Bon's notebook. Which I think is at least a 50% chance. But I think there's not really an argument that their output dropped off significantly pretty quick. New albums came out with much less frequency too. Their sets are still mainly BIB and Bon stuff. With the occasional new song thrown in. And Thunderstruck and FTATR. And yes my opinion is purely subjective. It brings me no pleasure to not like a new album. I buy it, give it a good chance, then it sits on a shelf. I always want to love new music from my favorite bands. I have a theory about the year 1985. Seems like all the great classic bands started to put out inferior albums that year. Stones, Van Halen, Aerosmith, AC/DC, Sabbath, etc.

@@captainkirk70 Music in general started to dip in 1985 IMO. I think the best hard rock and metal was definitely made in the 1970s and early 1980s.

UK or International version? They're pretty much different albums.

Thanks for weighing in. I hadn't heard that Desmond Child rumor, but after a Google look-see, I discovered some people discussing it on AC/DC forums. I don't know if I buy into it, but it's a possibility considering the producer they were working with (and further reason to squeeze Brian out of the writing process). Although I think simply working with Bruce Fairbarin was enough to get the Young Brothers into hit-making shape. Note how their songwriting immediately got more melodic when working with Vanda and Young again ("Who Made Who", "Heatseeker") after two self-produced albums. The Young Brothers definitely needed a producer to help them bring it all together (at least in terms of making their music more commercial).

Yeah, thanks to Bon's magic notebook that had three albums' worth of lyrics (even though he usually wrote lyrics after Angus and Malcolm played him the music).

@@EddyCannistraci You talking in absolutes , when in fact you don't know shot about Bon's notebooks. You are the same guy who voted Biden and wore a mask for 2 years 12 jabs later. You are an open book dude. Congratulations, The Matrix has you👏👏

@@EndlessJourney71 Well, you totally read that book wrong, buddy (although I prefer not to get into political discussions on my channel). So you know all about Bon's "notebooks"? Saw photos of them? Know any firsthand accounts? You're the one making a mockery of "the burden of proof," so you'd be a better tool for the Matrix than me. Just sayin'. 😉

@@EddyCannistraci I don't have 1st hand accounts. I didn't know Bon personally. I apologize for making assumptions about you, I don't know you personally and that was unfair to presume anything 😷😯

​@@EndlessJourney71 Appreciate that, man. FJB 😉

Bon "wrote the whole thing"? Wow. You mean, he even wrote the guitar parts, the music, etc.?? It's amazing because Bon didn't even do that on the pre-BIB albums...!!

Thanks for watching. Likewise appreciated.

Hell yeah! Thanks a lot, Joseph. Appreciate it.

It's possible when Angus said Bon wrote "a little of the stuff" on BIB, he was referring to Bon working out the drum parts on "Have A Drink On Me" and "Let Me Put My Love Into You". In the interview, after Angus made the comment, he immediately started talking about that rehearsal session and how Bon played drums.

@@EddyCannistraci Simon Wright literally did an interview this year where he said he heard Bon play drums on a demo of ".Back in Black". I guess that means it's possible he was misquoted.

@@JesseFinkBooksthat’s right! I read Simon’s quote in the book. The name of the book escapes me. Wasn’t it something like ‘Bad Boy Boogie’?

@@JesseFinkBooks So the drummer of AC/DC who WASN'T in the band during the period in question claims he heard a demo? You probably know what I think of that testimony. 😉 I could say it supports the "Bon was just playing drums" story from Angus (regardless of the song being mentioned), but I'll be consistent and disregard's Simon's statement.

@@EddyCannistraci The only thing you're consistent about is ignoring information when it doesn't suit you. Simon Wright, who joined AC/DC in 1983 (three years after Back in Black) was played the Bon Scott 'Back in Black' drums demo (the song, not the album, with drums played by Bon) inside Angus Young's house by Angus Young himself. But that's not a convenient piece of information, so disregard it.

Watch the subsequent videos I made: I talk about how Brian actually wrote five songs in Geordie and how that's four more songs than Bon wrote in his corresponding band: Fraternity (in which he only wrote lyrics to one song). Plus no one is saying Brian "came up with great songs". The Young Brothers came up with great songs and Brian, with their help and Mutt Lange's, penned the lyrics for the verses. Once again, I get more into this in the following videos.

Thanks for watching and for leaving a thoughtful and respectful varying opinion (not something many "Bon Scott wrote BIB" proponents appear capable of). You're also clearly a real AC/DC fan, which I appreciate. When you get the chance, watch my other videos on the subject: even if you disagree with my final verdict, I think you'll still find them interesting.

Nope. Unless you count that A.I. recording that's floating around RU-vid.

Is that what it was,saw it a few years ago and thought no big deal,Bon was always my favorite storyteller/singer.@@EddyCannistraci

Everyone who says there's a recording of Bon singing Back in Black, and then produce the 'proof', without fail come up with the version by Joe Lynn Turner. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-mFbd29xYPuk.htmlsi=K8GjiCF99_HfFci6

@@billriddle9215 I know which one you're talking about. That, like the recording of You Shook Me All Night Long, were cover songs. So many people think that's actually Bon singing. Any demos of Bon singing any of the songs on Back In Black are locked away somewhere in Angus's vault. Close, longtime friends of Bon's even said he helped write a lot of the songs on BIB. In all my research and being a lifelong AC/DC fan, there is no doubt lines and melodies of his are all over the album. But, I can only imagine the decision the Young brothers had to make. Plus management. If they wanted the fans to accept Brian they had to put his name in the credits. It's that simple. If they credited Bon and then the next album credited Brian, they would've been finished. At that point, the Youngs (mostly likely Malcolm) were really dumbing down Bon's lyrics, which upset Bon to no end. It's the main reason why people sit here arguing and saying , "There's no way Bon wrote any of those lyrics!" If Malcolm wanted simpler lyrics, mostly to appeal to their target audience, Americans, and he was probably encouraged by Mutt Lange as well, then Bon was going to have to play along. Simpler lyrics, no more Powerage style lyrics. Had Bon survived and many years down the road, and a returning Bon, who wanted out of the band at the time of his death, they may have gotten nostalgic about Powerage, realizing how amazing it is, and let Bon have free reign on the lyrics once again. If only...

There’s some fake ones, but his voice just doesn’t work with the songs on Back in Black. There are apparently some demo’s of a couple of riffs with Bon playing drums but majority of the songs were written during the recording. Mutt Lange was heavily involved in this. There is so much bullshit out there which is plain disrespectful towards Brian and the young brothers. I love both singers, but I’m also a Fremantle boy like Bon Scott (which makes me biased towards Bon), as much as I’d love to see Bon credited, it’s just not true. I’m sure if Bon was alive, he would’ve said don’t believe bullshit and rumours, have a drink instead. 🍺 🥃

Glad you found the video interesting. Re : the George Harrison analogy, I do think people underestimate the power of influence on an artist. The Young Brothers wrote songs with Bon for years as they grew and developed as songwriters. No doubt, his influence would carry over to the first album after his death and slowly but surely, that same influence would fade -- at least to a degree -- over time. Anyway, that's all I was getting at when bringing up the Beatles.

I personally love Fly and Ballbreaker, but objectively I agree with you: Flick's the end of their great run. And, as you know, I also agree with you about the lyrical decline post Brian's involvement (and yeah, you can tell Angus was trying a little harder on PWR/UP). Unlike Bon and Brian, the Young Brothers never had the same life experience to draw from: they essentially went from school to being rock stars. It makes sense their lyrics wouldn't be as good.

Thanks for commenting and exactly. Mutt Lange's role in the songwriting on HTB, BIB and FTATR isn't discussed or considered enough. Like I said about the Bonfire box-set, those early versions of HTH songs display how much Lange helped them reshape their music (especially on that early version of "Touch Too Much", which is an entirely different song).

I think you're spot-on about Malcolm. I'm making another video and I'm planning on expanding on this point. People say, "Brian didn't write anything like he did with AC/DC before joining AC/DC." Well, neither did Bon Scott. Malcolm was the brains and I agree: the driving creative force. That's one of the main reasons they were able to still be successful even after Bon's death.

@@EddyCannistraci In their 'Let There Be Rock' Film from Paris, I think when Bon is being Interviewed, he speaks of Malcolm as being "the brains of the band"

@@DavyDredd14 Yeah. Obviously Bon and Angus both brought a lot to the table, but I believe Malcolm was the brains and creative leader behind the scenes. Bon definitely expressed himself in the band -- more so than he had in his previous bands -- but Malcolm constructed the framework. I talk a little more about this in the video I'm currently editing...!!

​@@EddyCannistracino way Malcom could barely speak English lol. You people are tripping 😅

@@ACDZ123 Anyone who speaks about Malcolm Young like this is clearly not an AC/DC fan and you don't know much about their songwriting process and history. Bon himself referred to Malcolm as "the brains" of the band.

Respectfully disagree it'd be better with Bon because -- despite my love for Bon -- I think Back In Black has a special magic to it that came from the emotional catharsis of the band working through Bon's death. But of course if you simply connect more with Bon's vibe than Brian's that's fair enough. However, you should watch my follow-up, three-part video “Bon Scott DIDN’T Write Anything on Back In Black”. It might change your mind about how much of the album you think Bon wrote.

@@EddyCannistraci take a look at Brian Johnson's songwriting prior to Back in Black. Do you think he just magically developed this ability? Do you think the Young brothers were able to whip this up in the nine short months after Bon died? You don't hear Bon's lyrics all over songs such as "You shook me?"

@@Topnikko I deal with this in Part Two of the subsequent video series. Bon never sang or wrote lyrics to music remotely like AC/DC before joining AC/DC either and he's pretty well there on High Voltage. In addition to the Young Brothers, you also had hitmaker Matt Lange helping Brian out. I hear Bon's influence and style -- a style he developed with his songwriting collaborators the Young Brothers -- and Brian being instructed and guided to emulate that style. And it's not like Back In Black has Powerage level lyrics: it's the more streamlined style of Highway To Hell, which is easier to emulate. That being said, there are also some songs, like " Hells Bells", which are closer to the style of the subsequent album For Those About To Rock. But again, I get into all this in the other videos. Give 'em a watch: they might change your mind.

Yeah, it's really funny that I don't think a guy who only had three days after their first rehearsal for the album -- and went on a tragic bender within those three days -- penned the lyrics for an entire album (a feat he never was able to do on their prior albums). Oh, and save for one odd Angus quote that's subject to different interpretations, there's no proof whatsoever that Bon wrote any lyrics on the album. Watch my other videos on the subject to learn more.

I address all of your points in further detail in my three part video series that followed this video (and after Jesse Fink himself attacked me). Watch those videos and then tell me what you believe. Just a few larger points: Your opinion that the lyrical content of BIB is so much better and different than FTATR -- when in fact the lyrics and melodies are quite similar -- is just a person hearing what they want to hear. Brian hardly wrote anything before AC/DC and nothing remotely on the level of the BIB lyrics? Well, the exact same thing can be said of Bon Scott, who only wrote the lyrics to ONE SONG in his band the Fraternity (as opposed to the five songs Brian cowrote in Geordie) and it was a prog band and the lyrics to that ONE SONG were nothing like what he wrote in AC/DC. Furthermore, before Bon joined the band the Young Brothers has already written a handful of songs without him ("Can I Sit Next To You Girl", "Rock N Roll Singer" and "Soul Stripper") and with their songwriting mentor older brother, George Young, they had already established a basic lyrical framework to help guide Bon is this entirely new direction he'd be writing in. Within a couple months (always the time span the band put together albums back then), they had the Australian High Voltage recorded and Bon Scott had adapted rather quickly to this new band and lyrical approach. Likewise, Brian Johnson, a professional singer who had already cowritten songs in a rock band, with the assistance of Bon's songwriting partners the Young Brothers and Mutt Lang (who would cowrite numerous hit songs with Def Leppard) were able to effectively help guide Brian in the same way the Young Brothers and Harry Vanda helped guide Bon back when he first joined and made their first album together. Except by this point the band had more firmly solidified their songwriting style and identity -- thanks to Bon and the Young Brothers growing in their craft -- and at their absolute musical peak and motivated by their great loss and the need to prove themselves, this collective of talented people were able to put together a classic album in a couple months (and the Young Brothers also had several riffs and the songs titles before Brian joined, so it's really three months and not two months). Bon on the other hand only had THREE DAYS to pen lyrics after attending the first and his sole rehearsal session for the album in February 15 1980. Three days and you think he penned lyrics to the majority of the album? And you want to talk about rumors from people in the "music industry". How about the word of Tony Platt the engineer of HTH and BIB who confirmed Brian wrote a majority of the lyrics to BIB? Or how about Phil Carson the Vice President of Atlantic Records who signed the band with Bon but later said Brian wrote the majority of the lyrics to BIB and thinks the quality of their songs dropped after the Young Brothers squeezed out Brian from the writing process (something I agree with). Many hardcore AC/DC fans love FTATR and FOTS and obviously the band were still able to compose classic and/or hit songs ("Thunderstruck", "Moneytalks") even into the 1990s. I expand on all these issues and further discredit the rogue gallery of conspiracy proponents Jesse Fink rolled out in his book in the next three videos. You can believe whatever you want, but don't come at someone who has obviously done more research than you and act like you're hip to "the truth" because of some "rumors" you heard and your cursory take on lyrics.

In your opinion. Not mine obviously.

I also use quotes from the engineer of Back In Black Tony Platt (which Jesse Fink buried as a footnote because they contradict his theory). Malcolm's quotes make the most sense to me after doing the excessive amount of research I did and yeah: I choose to believe the Young Brothers and Brian Johnson over a bunch of ex junkies, ex groupies and butt-hurt ex managers. If you haven't already, watch the other three videos I made: I address everything you brought up and go into greater detail about why I believe what I believe. If after watching all my videos you still think Bon wrote the lyrics that's fine: believe what you want to believe.

Where was I being judgmental? Do you mean where I said I didn't think ex junkies were great character witnesses? I stand by that, but it doesn't mean I'm judging them. I simply know their impressions might be impaired or dictated by the need to score.

@@EddyCannistraci thats being judgemental. You deal with people every day who have drug habits and you don't know it. I am of that culture. You wouldn't believe the people that use. Professional people from every walk of life. You just don't know it. You are just wrong in your assumption that you stand by.

@@EddyCannistraci it just bums me out when people take any label and paint a broad picture. I am a Christian too and that happens all the time with Christians. Why not take each person as an individual, just like you want to be treated, and then judge them.

@@knowsmebyname Believe me, I've known my share of drug addicts, including heroin addicts, and when they're in the throes of their addiction they will say and do anything to get a fix. Heroin isn't vaping. It's a serious narcotic that destroys lives and makes people do unspeakable things: from lying to stealing to hurting others and themselves. And many addicts, even ones who "kicked the habit," can relapse at anytime. If being judgmental is taking into account a person's life choices and addiction when considering their unsubstantial claims about who wrote lyrics on an album they didn't witness the recording of, then yeah: I'm being judgmental.

Thanks for commenting. I agree and disagree with you. 😉👍🏼

Bon told a journalist one time who asked him if he was "AC or DC" he replied, "Neither! I'm the lightening flash in the middle!" Hence the line, "My lightening is flashing across the sky..." is a very Bon-like turn of a lyric. In fact, that entire first verse is. Also the line, "I'm coming on like a hurricane". In the deep-as-can-be cut 'Stick Around' from the 1st High Voltage, Bon sings, "You came on like a hurricane..." I've looked for the earliest songs to ever use that expression and so far that song was the earliest to even remotely have a line like it. The Neil Young song 'Like A Hurricane' came out 3 years after the Australian High Voltage was released - and HV was recorded in early November 1974, making a couple months older. There is no way in _hell_ Brian sat down and just-so-happened to write that almost exact same lyric as the guy who he's taking over for. I'm sorry, but I do not buy that whole "Weather Report" story Brian has given over the last couple decades. Before that he never really gave _any_ insight into "his" lyrics when asked. Brian was put in an extremely bad spot when he joined AC/DC. He was asked to take credit for all the lyrics even though he didn't write them. Now he's stuck with having to spin yarns about how "he" wrote this song or that song. But, he was given his marching orders from day one. At the end of the day, I love this band more than any other artist or band on the planet. They have provided the soundtrack to my life for 43 years now.. They are straight-up _thee_ quintessential and _Greatest_ Hard Rock band of all time, bar-NONE.

@@beyondthehorizon75 Actually Brian has gone into detail about writing the lyrics to "Hells Bells" throughout the years (the most detailed account yet being in his autobiography the Lives of Brian) and detailing the storm that inspired it and how Mutt Lange coached him through the lyric-writing process. Brian wasn't writing the lyrics alone: in addition to Lange, the Young Brothers were heavily involved and guiding him. Brian was also intentionally trying to write in Bon's style and surely was listening to all of their older albums. You also realize that words like "lightning" and "hurricane" are all very common words to use in hard rock lyrics, right? I respect your passion and love for the band (I share it), I'm just not buying into the "Bon wrote BIB" theory. I'm definitely open-minded if more concrete evidence comes out, but until that happens, I believe the album has the correct writing credits.

I could see Bon writing those lyrics. But if he sang them, it would be very obviously sexual.

Sorry I didn't make something more stimulating like a viking chant video.

I sampled your music and actually like it. I'd plug it to people but you might not want my cringy endorsement. 😜

So obvious, huh? Watch my other three videos and let me know if you still think this, okay?

@@EddyCannistraci I think it is obvious. I never, ever thought Brian wrote those songs. I did not even know Bon was left off the credits. For decades I did not even know there was controversy. Too many of Bon's friends claim he had finished the songs for Back in Black. They probably got the lyrics for those about to rock out of Bon's note book as well.

@@Moses44476ers With all due respect, I don't think it's obvious at all: Bon didn't write a single lyric on BIB (other than the title "Rock N Roll Ain't Noise Pollution"). And by "Bon's friends" you mean a a handful of junkies who were never allowed in the inner circle of the band? But by all means, watch my other videos in this series and let me know if you still think Bon wrote the lyrics.

A valid counterpoint.