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Bon: The Last Highway: The Untold Story of Bon Scott and AC/DC's Back in Black Paperback – November 7, 2017
"Fink's monumental work is by far the best thing that has ever been produced about AC/DC's history." - UOL (Brazil)
"After being made aware of the previous poor attempts to tell Bon's story, I decided to read Bon: The Last Highway. Fink's book deserves 10 out of 10 for effort in gathering all the information possible... Theory Two [about how Bon died] could not be any closer to the truth. I know, because I was there." - Joe Fury, Bon Scott's friend who went to the hospital in London when Bon was declared DOA
Books of the Year - Planet Rock (UK)
Books of the Year - Herald Sun (Australia)
Books of the Year - Loud Online (Australia)Books of the Year - All Music Books (USA)Books of the Year - InQuire, University of Kent (UK)
The death of Bon Scott is the Da Vinci Code of rock.In death, AC/DC's trailblazing frontman has become a rock icon, and the legend of the man known around the world simply as "Bon" grows with each passing year. But how much of it is myth?
At the heart of Bon: The Last Highway is a special ― and unlikely ― friendship between an Australian rock star and an alcoholic Texan rebel. Jesse Fink, author of the critically acclaimed international bestseller The Youngs: The Brothers Who Built AC/DC, reveals its importance for the first time.
Leaving no stone unturned in a three-year journey that begins in Austin and ends in London, Fink takes the reader back to a legendary era for music that saw the relentless AC/DC machine achieve its commercial breakthrough but also threaten to come apart. With unprecedented access to Bon's lovers, newly unearthed documents, and a trove of never-before-seen photos, Fink divulges startling new information about Bon's last hours to solve the mystery of how he died.
Music fans around the world have been waiting for the original, forensic, unflinching, and masterful biography Bon Scott so richly deserves ― and now, finally, it's here.
- Print length504 pages
- LanguageEnglish
- PublisherECW Press
- Publication dateNovember 7, 2017
- Dimensions6 x 1.16 x 9 inches
- ISBN-101770414096
- ISBN-13978-1770414099
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Editorial Reviews
Review
"Of the 20-plus books written about AC/DC, this one comes closest to the truth about how former singer Bon Scott died and his uncredited legacy as a songwriter... not just for fans, this is equal parts cautionary tale and meticulously researched document." - Courier Mail (Australia)"Fink's book meticulously explores the man and the many myths about Scott's life and death, and his hell of a ride in between." -Herald Sun (Australia)"A literary masterpiece."- Soundanalyse (Germany)"One of the most important publications on AC/DC... Fink has become something of an AC/DC detective and shines light on parts of the AC/DC story which have always been dimly lit. Music fans around the world have been waiting for this book - and it does not disappoint." - Denis Gray, Australian Rock Show"Bon: The Last Highway is probably one of the best books I've ever read - on anything! And I read a lot. This book goes up to 11! Extremely well done. A magnificent book." - Paul Chapman, guitarist, UFO"Crossing continents and tracking key figures down, Fink's work is impressive; his book is exhaustively investigative and engrossing." -Exclaim"Painstakingly researched." - Dangerous Minds"Phenomenal." - Sirius XM VOLUME "Debatable""Brilliant writing, many revelations. A must-read. Astonishingly good reporting." - Lori Majewski, SiriusXM VOLUME "Feedback""A great page-turner... a riveting read." - The Rockpit (Australia)"Jesse Fink is not the first writer to suggest there's something fishy about the official version of [Bon] Scott's death and its aftermath, but no one else has offered such a plausible or exhaustively researched alternative theory... vindicating old-school journalistic rigour, Fink compiled a vast testimony from multiple sources and invites the reader to decide where the truth lies, Rashomon-style. This is no easy task... but as with his previous book, the absence of co-operation from the AC/DC inner circle has been to Fink's benefit... [he has] effectively undertaken the detective work that wasn't conducted at the time. It's a dense, tangled tale but Fink reveals the humanity behind the myth: Bon was a flawed, conflicted character, trapped in a persona, who ultimately chose the path he took and got unlucky." - Keith Cameron, MOJO"The most extensively researched book on AC/DC ever... it's outstanding." - B.J. Lisko, Canton Repository, Ohio
"The most in-depth investigation into what happened to Bon Scott on the night of his death you'll ever read." - Rich Davenport, Rich Davenport's Rock Show
"This one-man investigation, born of respect for the truth and for Scott as a human being, blazes a new trail." - Joe Bonomo, author of AC/DC's Highway To Hell (33 1/3 Series)
"Fink leaves no stone unturned in this deep biography of Bon Scott." - Publishers Weekly
"Amazing... the most in-depth researched book on Scott's final years ever written. The story of Bon's last days on earth has never been properly told...until now. This book is good enough it has me waiting for the movie."-Classic Rock Revisited"Jesse Fink is a very courageous writer... a fact-rich, exciting book that reads in places like a crime story. Investigative journalism at its best." - Metal Glory (Germany)
From the Inside Flap
In death, AC/DC's trailblazing frontman has become a rock icon, and the legend of the man known around the world simply as "Bon" grows with each passing year. But how much of it is myth?
At the heart of Bon: The Last Highway is a special ― and unlikely ― friendship between an Australian rock star and an alcoholic Texan rebel. Jesse Fink, author of the critically acclaimed international bestseller The Youngs: The Brothers Who Built AC/DC, reveals its importance for the first time.
Leaving no stone unturned in a three-year journey that begins in Austin and ends in London, Fink takes the reader back to a legendary era for music that saw the relentless AC/DC machine achieve its commercial breakthrough but also threaten to come apart. With unprecedented access to Bon's lovers, newly unearthed documents, and a trove of never-before-seen photos, Fink divulges startling new information about Bon's last hours to solve the mystery of how he died.
Music fans around the world have been waiting for the original, forensic, unflinching, and masterful biography Bon Scott so richly deserves ― and now, finally, it's here.
From the Back Cover
In death, AC/DC's trailblazing frontman has become a rock icon, and the legend of the man known around the world simply as "Bon" grows with each passing year. But how much of it is myth?
At the heart of Bon: The Last Highway is a special ― and unlikely ― friendship between an Australian rock star and an alcoholic Texan rebel. Jesse Fink, author of the critically acclaimed international bestseller The Youngs: The Brothers Who Built AC/DC, reveals its importance for the first time.
Leaving no stone unturned in a three-year journey that begins in Austin and ends in London, Fink takes the reader back to a legendary era for music that saw the relentless AC/DC machine achieve its commercial breakthrough but also threaten to come apart. With unprecedented access to Bon's lovers, newly unearthed documents, and a trove of never-before-seen photos, Fink divulges startling new information about Bon's last hours to solve the mystery of how he died.
Music fans around the world have been waiting for the original, forensic, unflinching, and masterful biography Bon Scott so richly deserves ― and now, finally, it's here.
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Bon: The Last Highway
The Untold Story of Bon Scott and AC/DC's Back In Black
By Jesse FinkECW PRESS
Copyright © 2017 Jesse FinkAll rights reserved.
ISBN: 978-1-77041-409-9
Contents
OPENER: SHOT DOWN IN FLAMES,PART ONE,
Chapter 1: GO DOWN,
Chapter 2: BAD BOY BOOGIE,
Chapter 3: WHOLE LOTTA ROSIE,
Chapter 4: PROBLEM CHILD,
Chapter 5: DOG EAT DOG,
Chapter 6: OVERDOSE,
Chapter 7: HELL AIN'T A BAD PLACE TO BE,
PART TWO,
Chapter 8: WHAT'S NEXT TO THE MOON,
Chapter 9: KICKED IN THE TEETH,
Chapter 10: ROCK 'N' ROLL DAMNATION,
Chapter 11: GIMME A BULLET,
Chapter 12: UP TO MY NECK IN YOU,
Chapter 13: RIFF RAFF,
Chapter 14: DOWN PAYMENT BLUES,
Chapter 15: SIN CITY,
Chapter 16: COLD HEARTED MAN,
PART THREE,
Chapter 17: WALK ALL OVER YOU,
Chapter 18: NIGHT PROWLER,
Chapter 19: TOUCH TOO MUCH,
Chapter 20: LOVE HUNGRY MAN,
Chapter 21: IF YOU WANT BLOOD (YOU'VE GOT IT),
Chapter 22: GIRLS GOT RHYTHM,
Chapter 23: HIGHWAY TO HELL,
PART FOUR,
Chapter 24: SHOOT TO THRILL,
Chapter 25: HELLS BELLS,
Chapter 26: SHAKE A LEG,
Chapter 27: LET ME PUT MY LOVE INTO YOU,
Chapter 28: GIVEN THE DOG A BONE,
Chapter 29: HAVE A DRINK ON ME,
Chapter 30: BACK IN BLACK,
Chapter 31: WHAT DO YOU DO FOR MONEY HONEY,
Chapter 32: ROCK AND ROLL AIN'T NOISE POLLUTION,
PART FIVE,
Chapter 33: ROCKER,
Chapter 34: AIN'T NO FUN (WAITING 'ROUND TO BE A MILLIONAIRE),
Chapter 35: HIGH VOLTAGE,
Chapter 36: IT'S A LONG WAY TO THE TOP (IF YOU WANNA ROCK 'N' ROLL),
Chapter 37: DIRTY DEEDS DONE DIRT CHEAP,
Chapter 38: ROCK 'N' ROLL SINGER,
Chapter 39: YOU SHOOK ME ALL NIGHT LONG,
Chapter 40: LIVE WIRE,
Chapter 41: LET THERE BE ROCK,
Closer | RIDE ON,
Epilogue | CARRY ME HOME,
PHOTOS,
Dramatix Personae | DIRTY EYES,
Acknowledgements | CRABSODY IN BLUE,
Bibliography | BEATING AROUND THE BUSH,
Appendix | GONE SHOOTIN',
Endnotes | BACK SEAT CONFIDENTIAL,
Index | GET IT HOT,
ABOUT THE AUTHOR,
COPYRIGHT,
CHAPTER 1
GO DOWN
Four days before AC/DC arrived in Texas, Barry Manilow had a #1 hit with the dreary ballad "Looks Like We Made It." How this must have irked Bon Scott, who'd only just touched down for the first time in the United States, a place he'd dreamt about since his early teens. Two years later, on Highway To Hell, his final album with AC/DC, he wryly referenced Manilow in the song "Get It Hot" as if it were some kind of blessed relief.
Nobody's playing Manilow.
There was no escaping disco, either. The hottest track in New York and Los Angeles was "I Found Love (Now That I Found You)" by Love And Kisses. Andy Gibb was about to supplant Manilow for three consecutive weeks with "I Just Want To Be Your Everything." In rock, "Barracuda" by Heart, Ram Jam's "Black Betty" and Steve Miller Band's cover of Paul Pena's "Jet Airliner" were fighting a losing battle against a relentless glitter-ball onslaught.
The challenge facing AC/DC (including their new English bass player, Cliff Williams) was not insignificant; it was the challenge facing any new rock 'n' roll band in North America. To make money, the name of the game was touring — and Kiss and Led Zeppelin were the unassailable market leaders. The latter had played to 80,000 people at the Pontiac Silverdome in Michigan in April. Zeppelin's 24 July performance at the Day On The Green in Oakland, California, would be their last North American concert.
But Bon was no Robert Plant in front of tens of thousands of screaming girls in a stadium. He and his band were about to commence what would become a remarkable North American journey in front of 1500 stoned university students and cowboys at an armoury turned hothouse music barn called the Armadillo World Headquarters in Austin.
They were there because a couple of San Antonio disc jockeys, Lou Roney and the late Joe "The Godfather" Anthony, hated Manilow as much as AC/DC did. Their station, KMAC/KISS, was one of the first album-oriented rock (AOR) radio stations in the United States. KMAC/KISS played everything from Ted Nugent, Rush and Bob Dylan to Southern rock, Taj Mahal and BB King. Anthony and Roney would tell local promoters which rock acts to bring to San Antonio and would eventually end up being promoters themselves. One of the acts they suggested to local promoter Jack Orbin was AC/DC.
The Australian band needed the help. Their first North American album, High Voltage, a compilation of tracks from their first two home releases, had tanked, getting significant airplay only on regional stations in Florida and California. In the press, AC/DC was getting panned everywhere from Rolling Stone in New York to Kansas newspaper Lawrence Journal-World, which chose High Voltage as its "Worst Album" of the year: "These ugly punk Aussies make Johnny Rotten look like Perry Como." In Texas, though, they didn't care what the rest of the country thought about AC/DC.
"In the beginning we never got much attention from the national record companies in the States," says Roney. "We were just a broken down old funky radio station, so we never got any music from 'em. We started doing imports. Joe or myself would go and buy imports from all over the world. He happened to pick up High Voltage and he brought it in, and we all looked at it and listened to it, and I said, 'Joe, this music is really a killer, man.' Of course, nobody had ever heard of AC/DC at that time. Joe did not want to play it too much. But I did. I put it on. And all of a sudden calls started coming in."
KMAC/KISS "started word of mouth," according to Malcolm Young: "When we came to the States in '77, they told us the timing was wrong for our style of music. It was the time of soul, disco, John Travolta, that type of stuff. There were, I think, five radio stations in the country that were playing rock at the time without the noise and smell about it. When we went down [to the Armadillo] for a soundcheck in the afternoon, there was a bunch of guys in there just sweeping up the building, they were all singing 'TNT,' and we thought, 'How do those guys know this song?'"
They knew it because Roney, enthusiastically, and Anthony, somewhat begrudgingly, were playing AC/DC's albums.
* * *
In 1977, Roy Leonard Allen Jr. was a thickset, long-haired, pot-smoking 21-year-old student at Austin Community College. He'd grown up in Rockdale, Milam County, northeast of Austin, where his father, World War II veteran Roy Leonard Allen Sr., worked as an attorney and a judge in the Justice of the Peace Court. His great-grandfather, Robert, was a soldier in the Texas Cavalry of the Confederate States in the Civil War. His background was respectably middle class but Roy's behaviour was not. He was always in trouble.
"In order to tell this story, I have to tell some of my story," he tells me in a thick Central Texas drawl. Roy has a friendly, open, lined face — not dissimilar to Tommy Lee Jones — and a courteous manner that belies his hellraising past. Today he lives in Leander, a suburb north of Austin, where he works as a real-estate broker. "I've forgotten more than I remember, but this is what I do remember."
It was 26 July 1977 and Roy was out of school for the summer, hanging out at a bar called The Back Room on East Riverside Drive. The Back Room was just two miles from the Armadillo World Headquarters, not far from the Colorado River that runs through the middle of Austin. It opened in 1973 and shut down in 2006. It was the rock bar in town.
"No windows. Pool tables, foosball, full bar, good jukebox. It always seemed to be dark in there and it had a really good air conditioner. I was alone, just a handful of people in the bar, when about the middle of the afternoon, these three guys walked in; I could tell they were not from anywhere in Texas from the way they talked. They were kind of joking around, laughing. Looked like some pretty cool guys; they really stuck out.
"When they ordered their drinks I hollered at the bartender to put their drinks on my tab — my dad's credit card for school — and they were like, 'Thanks man, we just got to town.' They said they were from Australia and had a rock 'n' roll band and were the opening show at Armadillo World Headquarters the next night. It was Malcolm and Angus Young and another guy, maybe the drummer, Phil. One thing led to another and we ended up going to their hotel room. I had a little weed and everybody got high back then."
Angus was drinking alcohol and smoking pot?
"Yes, I'm sure they all ordered a beer or a drink. I think I would have remembered if one of them didn't. Drinking was the norm. We all got high; really, it was no big deal. Angus was more of a pot smoker than drinker, if I remember right; he liked to get high before a show. Next thing I remember is sitting in the hotel room; it was Bon's room. That's when I first met him. He looked like a regular-type guy of the times except he had a lot of tattoos. I asked them how they came up with the name AC/DC. I told Malcolm, 'Around here we used that term to mean someone who swings both ways. I'm not sure how people might take it.' They all kind of laughed it off. They had to tell me what 'the jack' was.
"I was there for a decent amount of time. I was trying to get them to go with me to Pedernales River before the show the next night; it was not far out of town. I wanted to show off a little of Texas and hang out with these guys more; they were really different. Everybody was getting along very well and really having fun; there was a genuine friendship for each other that showed. Anyway, they couldn't go because they had something they had to do or didn't feel like going, but Bon told them he wanted to go with me. I promised I could have him back at whatever time they said."
Pedernales River was about an hour and a half out of town.
"So I picked up Bon the next day before noon. I knocked on his door and he let me in. He told me to call down and order us a couple of gin and tonics. I picked up the phone and ordered four double G&Ts. I looked back at him to see if he was okay and he had this giant smile. I believe it was at that moment we each knew we had found a new friend.
"Soon, I came to realise that Bon drank like me. I didn't know many people like that. It was like some kind of weird bond we shared and is probably one of the main reasons we became friends. We eventually rode out there and met some friends. We all had a fun day drinking beer and diving off the cliffs. We made it to the Armadillo with about 15 minutes to spare but Bon was not late."
* * *
A refuge for Texas's rock-loving hippies, the Armadillo World Headquarters had had its heyday in the early 1970s playing host to Willie Nelson, Waylon Jennings, Freddie King, Van Morrison, The Grateful Dead, Sir Douglas Quintet, Roy Orbison, Augie Meyers and Doug Sahm, among hundreds of other acts. But it had hit hard times. Its financial difficulties were considerable; in fact there were bankruptcy fears, which was why it was making money in other ways than live music alone. The venue boasted, according to its advertising, a "Concert Hall, Game Room, Beer Garden, T-Shirt Store" and "The Armadillo Kitchen: Home of the World Famous Nachos, Giant Cookies and Armadillo Daily Bread."
Headlining over AC/DC was Canada's Moxy, a Joe Anthony favourite that had come up through the ranks opening for Nazareth, Styx, Santana, Ritchie Blackmore and Leslie West. They were also big in Texas: in 1976, Moxy was the most requested band on KMAC/KISS. According to American music magazine Circus, "When they played Texas they broke previous attendance records set by such heavies as Rush, Thin Lizzy and Foreigner."
So the crowd was there to see Moxy, not AC/DC. Anthony had made the 80-mile drive from San Antonio, while a stoned 18-year-old Moxy fan called Wade Smith had come from Rockdale with friends Alan Juergens, Bill Martin and Bubba Greensage. Their ride home was Roy Allen, the younger brother of Waylon, Wade's best friend. But at the venue Wade couldn't find Roy. Instead, in the beer garden, he got talking with his hero, Moxy's lead singer, Buzz Shearman, who was milling about waiting for the Australian support act to start.
"There I was, starstruck, staring at the lead singer of Moxy," says Wade. "Out of my mouth came the absolute worst thing you could ever say to a frontman of a hard-rock band: 'So, who is your back-up band tonight?'"
Initially, the question was met with dead silence. Wade was expecting Buzz to walk off.
"They're called AC/DC. This is our first gig with them on this tour. I don't really know much about 'em."
"What do they play?"
"I don't really know. I heard they're good, but I also heard they are a little punk."
"Oh, no. Not punk."
Earl Johnson, Moxy's guitarist, had been at the soundcheck watching AC/DC.
"I swear to God it was about 98 degrees in that place that night. It was an oven. We were pitching full pails of water on people in the front row; it was that hot that you had salt burning in your eyes from the sweat — it was crazy, crazy hot."
Wade, Alan, Bill and Bubba, meanwhile, had planted their elbows on the right side of the stage to get the best possible viewing position.
"I'll never forget seeing AC/DC walk out when getting announced onstage," says Wade. "All anyone saw was this little, short, skinny guitar player, who not only had his guitar around his neck, but had a little satchel. He had a blue suede schoolboy uniform on, with white socks, a little silly-looking cap, and a thin striped tie. We had never seen anything like it; lead guitarists were always macho.
"The stagehand kept coming out onstage to pull up Angus's shorts. Whenever Angus would do a guitar solo his shorts would start falling down. But whatever we were hearing, this new sound worked. It sounded great. I turned to Alan, and yelled, 'I LIKE PUNK ROCK!'"
But it was Bon who impressed Wade the most.
"He exuded confidence and had control of the audience. His jeans were so tight, along with the navy-blue muscle shirt he was wearing; it looked as if he were poured into them. The more songs they played, the louder the crowd got, and the more everyone was into this new sound. I just remember thinking, 'How do they make the guitars sound so good?' I didn't want them to stop playing. I had come all the way to see Moxy, but I didn't want Moxy to come onstage yet. I couldn't get enough of this new band. Neither could the crowd."
Malcolm recalled feeling the positive energy, too.
"We played our first gig in front of a bunch of cowboys, but they really dug it. They saw Angus in his suit, and I think, after they saw him play like he does, it gave us an edge."
It was then that Wade spotted the missing Roy, who was sitting at the back of the stage on a five-gallon bucket.
"He was my ride home, and I hadn't seen him all night, and now he was backstage? I tried to get his attention, and finally did. We were pointing to him, motioning that we wanted to come backstage. He kept flipping us off, mouthing to us, 'Fuck no, you little bastards.'" When AC/DC finished their set, Roy came out the front to talk. Wade didn't hesitate.
"How can we get backstage?"
"I don't know if I can pull that off. You're going to have to find your own ride home tonight."
"But you're our ride. Why can't you take us?"
"I can't. Bon and I are going to an after-concert party at the hotel."
Roy had already begun walking to the backstage area when Wade yelled after him.
"Hey! Who's Bon?"
* * *
The mood backstage was triumphant. Even Joe Anthony was hanging out with the band, smoking a joint and swigging beers.
"AC/DC nailed it and the crowd was wild," says Roy. "Very few bands I'd seen play at the Armadillo produced such energy. Springsteen comes to mind or Skynyrd maybe; the same type of electricity in the air. Everybody was like, 'Who the hell were those guys?' I remember thinking along with everybody else that I sure would hate to be the band to have followed AC/DC. The band was on a natural high."
In the beer garden, by the main entrance, Bon was being mobbed.
"It was so cool, all these people coming up to Bon for an autograph. He would sign it and then some of them would give me the eye, like, 'Who is this guy? If he's with him, he's got to be somebody,' so I got to sign a few autographs too."
Eventually Bon and Roy left the Armadillo and walked out to Roy's car, a silver 1968 Oldsmobile Toronado.
"Bon insisted on driving. I was cool with that as I already had two DWIs and we were not that drunk but neither of us would have done well on a sobriety test."
Bon turned to Roy as they were pulling out from the parking lot.
"You got to give us one thing, Roy," he said, flashing him a big smile. "We know how to rock and roll."
Bon started driving to the Holiday Inn, where the band was staying, but his driving was making Roy anxious: "It took a few blocks for me to realise something was wrong; nobody could drive that bad."
When the pair got to the I-35, they had to cross the interstate bridge and turn left.
"Bon, you've got to stay right till you turn left."
"I got it, Roy. Not to worry. I always wanted to drive like this."
They burst out laughing. The West Australian and Texan would go on to become the unlikeliest of friends.
"Lenn and Bon had a long-lasting friendship," says Wade, who calls Roy by his middle name. "Whenever AC/DC would come anywhere close to Texas, Bon would always call Lenn and invite him to come join them wherever they were. Lenn actually ended up making a lasting close friendship with Bon, as whenever Bon got down, he would always find time to call Lenn and talk. Lenn took it very hard when Bon died."
Roy spoke to Bon on the phone just before his death and was told something extraordinary. The Armadillo World Headquarters, meanwhile, would shut down on New Year's Eve, 1980, and never reopen.
* * *
Having lost their ride because of Bon, Wade and his pals got back to Rockdale by hitching a lift. So impressed by what he'd seen at the Armadillo, Wade returned to Austin the next day to search for AC/DC albums, finding only one: an import of Dirty Deeds Done Dirt Cheap.
"My first AC/DC album," he says. "I bought every album they made with Bon as singer. Honestly I haven't bought a single AC/DC album after Bon died. I like the music better in the Bon days. I like the guitar sound of the band better in the old days. All my favourite AC/DC songs are from this era. And I think Malcolm is actually the sound of the band. Such a unique guitar sound."
Two days later, he was playing golf with Waylon Allen. Wade noticed Waylon was wearing something he'd found in his brother's Toronado: a navy blue T-shirt.
"Hey, that's the shirt the lead singer of AC/DC was wearing a few nights ago."
Waylon looked at him for a moment, like he had no idea who or what he was talking about, then teed off.
(Continues...)Excerpted from Bon: The Last Highway by Jesse Fink. Copyright © 2017 Jesse Fink. Excerpted by permission of ECW PRESS.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- Publisher : ECW Press (November 7, 2017)
- Language : English
- Paperback : 504 pages
- ISBN-10 : 1770414096
- ISBN-13 : 978-1770414099
- Item Weight : 1.56 pounds
- Dimensions : 6 x 1.16 x 9 inches
- Best Sellers Rank: #1,306,052 in Books (See Top 100 in Books)
- #3,304 in Rock Band Biographies
- #4,020 in Rock Music (Books)
- #87,338 in Humor & Entertainment (Books)
- Customer Reviews:
About the author
Jesse Fink was born in London in 1973. He is the author of six books including THE EAGLE IN THE MIRROR, PURE NARCO, BON: THE LAST HIGHWAY and THE YOUNGS: THE BROTHERS WHO BUILT AC/DC. Visit his official website at jessefinkbooks.com
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Top reviews from the United States
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From the time of his death there has been so many stories that did not add up. Like so many other rock deaths where the label wants to cover thing up. This book really exposes the reality and lays it all out for you to make your own conclusion. Some have commented this book was hard to read and I agree sometimes the wording is more fact based, laid out like facts on a page rather than a story, but a lot of times interviews and facts come out that way.
So you have to be adaptable as a reader and not so critical.
The book is one of the best I have read as far as getting to the truth and getting to know Bon Scott as a human with all the good and bad. It is sad in some ways even almost 40 years later.
I applaud the author for taking the time to write such a in depth complex book!
The book also theorizes that they secretly pay royalties to the Bon Scott estate.
The book argues Bon likely died of a heroin overdose which the AC/DC corporation also steadfastly deny though none of the other band or crew were with him that night and panic by those with him to cover their own behinds helps the band's denial.
The book seems to suggest AC/DC is more concerned with keeping a false legend they've cultivated over the years regarding Bon's life more than allowing the facts to be known.
Had they admitted Bon actually wrote the lyrics to BIB, they feared their fan base would not accept Brian and the bands future would be in danger.
I also feel the book suggests the Young brothers were seriously considering firing Bon due to his bad habits that escalated during the nonstop touring as they tried to breakout in America. It also suggests that in the last year Bon toured with AC/DC they increasingly kept him out of band business and censored his lyrics on the last couple of albums he was involved with to the point Bon was at times depressed and considering quitting if the next record (BIB) didn't sell well. But he was so well liked by people he met and his fans in general that the band management feared admitting he was actually becoming a liability as far as they were concerned and this would be detrimental to the future of AC/DC so they changed the narrative to suggest Bon and the Young brothers were tight buddies until the day he died. The book suggests Bon wanted help, a family life and a less rigorous touring schedule even though he never made any real money while he lived out of a suitcase for 3 plus years on a small weekly allowance. This was just about to change when he made a terrible choice to dabble with heroin while celebrating being finished with the lyrics to BIB and it cost him his life and fortune right when it was about to happen for him and the band.
Many of the people approached for insight to these final years of Bon's life for this book seemed somewhat hesitant to speak openly for a variety of reasons it seems.
Great read, highly recommended and props to Jesse Fink's efforts here..
Top reviews from other countries
The author find the truth behind facts and controversies. A clear statement about the death of Bon Scott, and the implications in the band future. Fantastic. All AC/DC fans need to read this book.
auch für eingefleichte AC/DC Fans. Klare Kaufempfehlung!
Too old? FckU- I saw Bon Scott live!
Jesse Fink has done an incredible amount of research to find most of the people involved who are still around and free to talk. He emphasises how AC/DC is very much a ‘family business’, controlled by the Youngs – Malcolm, George & Angus. They worked hard to establish a strong “brand image” for the group, so that other outsider band members can come and go as required, but the core group and its identity remain intact. They reinforced this group brand with a rigid musical hard rock formula. Even for a non-fan like me it’s an inspiring story – how the group toured and gigged relentlessly, eventually making it from support act to headliners, taking on and overcoming the American giants of the stadium rock scene like Aerosmith, Alice Cooper, Journey, Ted Nugent and all the others. In the same way they gradually forced their way on to and up the crucial Billboard charts, and made sure to cultivate and expand their audience through local FM radio stations.
However, it wasn’t all success and good times. By the time the group were starting to really make it, Bon Scott’s drinking had gone way past having a good time to full blown alcoholism. There’s an interesting account from one of his Texas friends of how he realised that his way of life would kill him if he continued – as it did – and that he was seriously considering leaving the group in order to dry out and get his life back together. Scott comes over as a contradictory mix as a person – time and again his friends describe him as the sweetest, funniest guy offstage, a straightforward blue-collar rocker who wanted to have a good time all the time and share it with his mates. But they also admit to seeing a darker side – the mean drunk who’d behave outrageously and leave others to clear up the mess. In many ways it’s a tale of someone starting to believe their onstage public image too much, and behaving like they think they’re meant to rather than how they want to (see also Sid Vicious, for example). Scott was never a junkie – if he had been, he might well have survived that night – but had a fatal tendency to take whatever was going once he was drunk enough. Heroin and alcohol are a lethal mix, especially for the occasional user like Bon Scott. The book recounts two previous OD close shaves and suggests that they seriously jeopardized his standing with the all-powerful Youngs.
These days going into rehab is practically a career move for aspiring stars, but back in the 70s and 80s it was unknown. The author asks friends and colleagues whether anyone tried to tackle Bon Scott about the extent of his drinking – were people aware that he’d gone on from being the “live hard, play hard” rocker to functioning alcoholic? - but generally gets stock answers about how that’s the way it was back then and everyone was doing it, etc. After a while though, it just feels like everyone was happy to turn a blind eye as long as the gigs went ahead and the bucks rolled in.
Of course the main topic of the book is Scott’s sad death, but inevitably other themes and issues emerge. Jesse Fink has done a fantastic amount of research, given that the core players in the AC/DC machine declined to cooperate. He’s tracked down friends, lovers, colleagues and gone all over the world to talk to them. Inevitably after nearly 40 years there are bound to be occasional contradictions in terms of who/when/where/why, particularly on that last fateful night. Wisely the author presents these separate accounts – as with the differing versions of life with Bon given by the US girlfriends – and leaves us to weigh up the probabilities. For all the little differences in detail, though, eventually most of the accounts converge towards the same final destination.
Astonishingly one previous writer had confidently informed his readers that there was no such person as Alistair Kinnear, that being a convenient invention to protect various sources. Given how well known Alistair was in certain circles it would have been straightforward to establish the main facts. He makes a Zelig-like appearance in a couple of other late 70’s music books I’ve read. Like many of the main people in this story, he’s no longer with us. The author includes an interview Kinnear gave just before his death, but he’s clearly on the defensive about his involvement that night.
Jesse Fink presents the facts and theories and presents a couple of alternative scenarios for how things ended up that night. It’s possible that Bon Scott had died en route back to Kinnear’s place in Dulwich, leaving him with a nightmarish fait accompli to deal with. Equally it’s possible that he was left to sleep it off – allegedly with Kinnear’s front door key and directions up to his flat – and was forgotten/assumed to be alright while his mates had a toot and crashed out. The author shoots down a couple of distortions that had become ‘established facts’ through repetition over the years – a check with weather records show that it was a mild night, so he didn’t freeze to death or die of exposure, nor did he choke on his own vomit as often reported.
Moving on to the inquest, it’s hard to tell whether this was a swiftly organised cover up prompted by the band’s management to protect their investment, or a simpler tale of an over hasty rubber-stamping of the likeliest explanation – i.e. man with reputation as hard-drinking hellraiser found dead after night out, must be alcohol poisoning. An autopsy is not compulsory, as many people think, and is only required if the inquest suggests there are suspicious circumstances. Back then forensic/drug detection techniques were not as refined as they are now. The post mortem revealed that he had half a bottle of whisky in his stomach – only warming up, by Bon Scott’s usual intake levels, but maybe enough for a coroner to opt for the default verdict.
As always in cases like this there are loose ends and non sequiturs dangling tantalisingly, as to who knew what and when, and how the news of his death spread. What is not in doubt that someone connected with the band gained access to Scott’s rented flat in Victoria and cleaned the place out. Scott’s death is the main focus of the book, but Jesse Fink presents a disturbing afterword here that casts doubt on the integrity of the whole AC/DC operation. Among the items taken from the flat were the notebook containing Scott’s lyrics, jottings and ideas for songs, all pretty much ready to go for when the “Back in Black” recording sessions started. The book’s never been seen since, but Fink presents a convincing case that the lyrics were used or adapted, all or in part, on the album but without being credited to Scott. It’s a serious accusation – and one that isn’t answered in the vague and contradictory answers from the Young brothers over the years.
It didn’t take long while I was reading the book to see that some hardcore AC/DC ultras aren’t at all happy with how their hero is presented here. Serious abuse and threats have been directed at the author online. One such reasoned that Bon was in with Australian “bikies”, who hate heroin and anyone who uses it, so therefore the OD theory can’t be true… Contrary to their protests, the book doesn’t say that Bon Scott was a junkie. It does show him as being as fallible as the rest of us, but thrown into a scene with few rules or limits, would we handle it any better? What it does do is show how few restraints there were in the naïve early pre-AIDS days of the 70’s rock scene – such as the mind-boggling account of Scott and one of his girlfriends regularly consuming 20 or 30 Quaaludes a day! – so that something as dangerous and potentially lethal as taking smack became just another item on the menu.
I’d recommend this book to anyone interested in the late 70’s rock scene – rock’s ‘golden age’ according to the author – the depth of research and commitment to the subject really catch the atmosphere of those heady times.