The Wrights

Author: Unknown

The Easybeats were Australia’s Beatles. Easyfever was Australia’s Beatlemaina. And Stevie Wright was John Lennon downunder. After the group fell apart, Stevie enjoyed a solo career that took in the same highs and lows that he’d experienced with the Easybeats, but once drugs and alcohol took over, they took over with a vengeance, turning the once diminutive, good-looking singer into a bloated caricature of a faded rock star. Last year’s semi warts-and-all biography, Hard Road, by Glenn Goldsmith, shows Stevie these days as a quiet man, living at home with a woman who loves him – Australia’s Syd Barrett. He will almost certainly never sing again. But, thanks to Nic Cester from Australia’s newest international success, Jet, Stevie Wright is back on the charts. Big-time. “Evie”, Wright’s 1974 mega-hit, has been given a new lease of life via the supergroup The Wrights, assembled by Cester after he’d attended the launch of the Glenn Goldsmith biography. The single was released in February, and has been selling up a storm around the country. Proceeds will be directed towards the Salvation Army’s drug and alcohol rehab program, the Red Cross Tsunami appeal, and to Stevie Wright himself. The Wrights’ members are Cester, Kram from Spiderbait, Dave Lane (You Am I and The Pictures), Pat Bourke (Dallas Crane), with Cester providing the vocals on Part I, Powderfinger’s Bernard Fanning (Part II) and Grinspoon’s Phil Jamieson (Part III). Chris Cheney, who contributes some sizzling guitar on Part I, takes time out from his day job with The Living End to talk about the supergroup that just can’t seem to find the time to play together.

Have The Wrights done anything else besides “Evie”?
“No, no, that’s all we’ve done. There’s been a few rehearsal room jam-sessions, but other than that we are a one-hit-wonder (laughs). And we’ve only done three gigs – they just happened to have been really high profile ones. We’d all like to do more, but Nic just had the idea to do the song, and I guess he didn’t know how it was gonna turn out at all, so there wasn’t any long-term thought whatsoever. But the minute we got together we all enjoyed playing together, and after we did the recording we sat back and thought ‘Sounds pretty good, too!’ So it’s something that none of us particularly want to let go, but it seems like it’s a crucial time for everybody at the moment – The Pictures have just done a recording, Jet are, well you know, Jet, Spiderbait are kind of riding high at the moment, and we’re trying to write another album! All those things are priorities I suppose, and it’s be easy to neglect them in a way, and have a bit more fun with The Wrights, but, you know, you have to look after your day job”.

You’ve only played three times (WaveAid, Rove Live and the ARIAs) so is it like the concept is just sitting there, sneering at you, teasing you with the possibilities?
“Yeah, pretty much. And we’ve only done the whole eleven-minute version once, at WaveAid, It was really fun for me because I haven’t really played in any other bands since high school I’ve just been so driven with The Living End thing that I’d forgotten about playing with other musicians, so it’s really healthy just from that point of view – for me, anyway. But I think the other guys all found something in there, too. We’d love to play it more, but there’s no point us all driving to Bundaberg and then playing one song!”

How did it all come together in the first place?
“We toured with Jet last year, and then shortly after we all returned to Australia, Nic had gone to the Hard Road book launch. I think he got the idea from there, that it’d be great to get all these guys together to re-record this song. So I got a call one day from Nic going, ‘I have a plan…’. It was quite weird in a way – and this is no word of a lie- because the week before I’d been down to a record shop on Carlisle Street, and I found a copy of ‘Evie’ there while I was browsing through the 45s, and I remembered it from when I was younger, and so I bought it. So when he called me a week later, I said, ‘It’s really strange that you’re calling me, coz I just bought that!” So I sat down and learnt it and then we got together a couple of weeks afterwards and had a jam on it, and it was really good.”

And Harry Vanda came down to the sessions…
“That was just the ultimate! To be in the studio with him showing me and Davey the right note to play and so on – it was just amazing. Then sitting around drinking beer and listening to AC/DC and hearing the Easybeats story, which was just incredible – one of the highlights of my life, really!”

You can stop now…?
“Yeah, mission accomplished!” (Chris laughs wildly)

The Living End

Author: Ryan Smith

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It’s been far too long since The Living End graced us with our presence. But with a collection of singles and a DVD soon to hit our shelves, the band decided now was as good a time as any to make their triumphant return. And believe me, the fans are looking forward to it.

We also know singer/guitarist Chris Cheney is excited. “I’m really looking forward to the tour,” he gushes. “Some of the shows we’ve been doing overseas have been great, and I just feel we’re playing really well as a band. Better than we ever have before. Plus it’s always good playing your own bloody backyard, particularly because there’s so many more songs people back home know and get into. When you play overseas you sometimes struggle to get people into it. So I’m just looking forward to the usual Aussie craziness that’s usually at our shows.”

It’s true: the band’s shows are notoriously crazy. I have fond memories of punters literally hanging from the rafters of the venue on more than one occasion The Living End have visited our fair city. “It’s hard to explain really,” says Cheney. “It’s like when people come to our shows they just really let themselves go. And it’s quite a sight to behold when you’re up on stage. I don’t do anything else other than play in a band so for me it’s like an enormous release, it’s a great outlet. And I guess people go to our shows for the same reason. A couple of beers in the belly and off they go…”

Over the years The Living End have grown to be quite a big player in the Australian music scene. A lot of bands have come and gone, but The Living End seem to be here for the long haul. Cheney is quick to explain how that feels from a band’s point of view. “It’s weird because lately we’ve been getting a lot of younger people coming to our shows. It’s like there’s a whole new generation of kids who are becoming aware of the band. Maybe their older brothers or someone were playing our albums and they’ve caught on… But while we were in the States, all these American kids were coming up to us and were totally fascinated by the band; they were asking all sorts of questions about why we do this and why we do that. But to some extent we’re just emulating what they invented. Like having a double bass, and our rockabilly influence especially – it was all American so it’s weird to have American kids coming up to us and asking us to tell them all about it,” he laughs. “I just guess there aren’t any bands over there who are doing what we are – they’ll be a fully fledged rockabilly band, but the fact that we’ve always mixed things up makes us different. We still keep the visual aspect and style, but when we record songs, we like to throw it all into the basket and not stick to the one thing.”

Earlier in the year, The Living End treated the United States to a night of amazing Australian music touring with The Vines and Jet. “The Vines headlined every night, thought Jet probably should have,” says Cheney. “It was a funny situation though, because we were going on first. But it was fine actually, because The Vines have sold a lot more albums in the United States than we have, and Jet were starting to get really big there. So when we were offered a spot on the tour, at no time did we think we should’ve been headlining. We just thought ‘okay, we’ll go over there and play to our audience and their audience, and it’ll be a good combination of people in the crowd and we’ll try and win them back and give the other bands a run for their money.’ I mean – we had to. We were the Aussie rock veterans.”

The Living End have earned the rank almost pushing ten years of releasing music as compiled on the forthcoming ‘From Here On In: The Singles 1997-2004’. The CD will coincide with the release of a companion DVD. “It was strange,” admits Cheney. “When the idea for the DVD was first thrown out there, I said we weren’t really the kind of band who shoots a lot of footage of crazy stuff. We don’t get girls to take their tops off, we don’t smash up hotel rooms and film it just for the sake of a DVD. But then I was really surprised when it was all put together and the guy who collated it was saying it was going to be over two hours long and he was chopping a whole heap of stuff out. I think it’s good that it actually tells a story without having to resort to any of those cliche rock ‘n’ roll moments. I just never knew we had that much footage. I seriously don’t remember the camera being around enough to warrant a two-hour documentary.”

“I’d always said that if we ever decided to do something like this, we’d want to do it properly and not just have a half hour of us fucking around. But I guess after so many years you forget just how often stuff was filmed and how much has happened. Some of the stuff that’s on there I’d totally forgotten about. There was some moments where I was wondering if I really wanted to sit and watch it all again anyway… But there’s nothing too embarrassing in there,” Cheney chuckles. “Just a lot of hairspray.”

‘From Here On In’ documents the band’s entire career, from their humble beginnings in the Melbourne suburbs to the present, complete with the appearance of “new” drummer – Adelaide’s own Andy Strachan. When quizzed about how Strachan fit into the dynamic of the band Cheney laughs but is quick to point out he was just what they were looking for. “When Andy joined the band, of course we knew a little bit of his background and stuff. One of the main factors about him was the fact that he’d played in a band called The Runaways when he was sixteen or something, playing drums for a band that played fifties and sixties covers. And it’s funny because at that time we were doing the same thing in Melbourne but we were called The Runaway Boys. Plus, he’d also said that he grew up with a next door neighbour who was always playing Madness and The Stranglers. So he had a love of fifties stuff as well as seventies and eighties new wave stuff, which is the basis for our whole band really.”

“It’s funny though because the press still seem to refer to him as ‘the new guy’. We just do it on the rare occasion when we really want to rev him up,” laughs Cheney. “But i think Brian Johnson from AC/DC is still referred to as ‘the new guy’, and look how long that’s been…”

Chris Cheney – The Living End

Author: Unknown

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Your all-time three favourite Australian Songs?

Girls On The Avenue – Richard Clapton
This always reminds me of our first trips to Sydney staying in the Cross. I was too young when it came out to remember but I think its a classic world class song. I think it sounds like what it must have been like in the late 70s early 80s music scene.

Back In Black – AC/DC
I remember hearing this in Bathurst at the Mount Panorama motorbike races when I was about 9 or 10, I guess. To me it sounded like heavy bikers music and i still think that actually. It is just one of the finest sounding songs in rock ‘n’ roll history.

Just Like Firewood – The Saints
It’s one of those songs that I remember hearing when growing up. For some reason it has a very Australian sound which I love. There is a sparseness to the song which I think gives it an Australian flavour.

If you could record a cover version of any Australian song, what would it be and why?
We’ve had a chuckle at the idea of doing Come Said The Boy by Mondo Rock…

It’s A Living Thing

Author: Craig New

With a new album, a new drummer, and currently in the midst of a huge national tour, The Living End are back, and at their blistering best.

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There’s nothing more frustrating for a music fan than their favourite band taking a leave of absence that lasts for over a year, just when it seems their hard work is finally paying off. It’s even more frustrating for the band themselves when that break is the last thing they expected.

So it was with Melbourne rockers The Living End, who were forced into a hiatus throughout 2002 after vocalist/guitarist Chris Cheney’s well-documented and brutal car accident that nearly cost him his life. But, as the old saying goes, every cloud has a silver lining, and it was during this break that MODERN ARTillery, the band’s third and most accomplished release, was created. Following 2000’s Roll On, it’s more solid songwriting, a return to their roots with a breath of fresh air that highlights the band’s passion.

“It’s really hard to describe how that happened,” laughs Cheney. “We’re so close to it that I don’t really know any more what the bloody thing sounds like! I guess the freshness thing is just to do with Andy [Strachan, drums] being in the band now, and to do with all that we went through, that once we went into the studio to make this album. We were like, this is it, take no prisoners. I think we had a bit of a point to prove with this one, we couldn’t just ease back in. We had to make sure that we had a good bunch of songs and do it properly or we’d risk losing all that we’d built up.

“I think the songs are a lot better than what we had for Roll On. They were more written from the perspective of trying to impress people with the musicianship. With this one it was all about having more simple kind of songs, but still keep the listener’s attention, which is hard to do without a lot of fancy stuff going on. There’s still a little bit of that, but as you can hear, it doesn’t dominate the songs, there’s a good song underneath everything else first.”

And as self-deprecating as Cheney can be at times about his own songwriting abilities, there are fans everywhere around the world who would argue otherwise.

“The good thing now is that I don’t have to worry about [songwriting], and I think that the trick is just letting it come when it comes,” Cheney ponders. “I just don’t think you can force yourself to write a song, let alone a good one, if you’re scratching your head and trying to force things. I don’t know, maybe I’ve just got high standards, but I don’t find it the easiest task in the world – but I probably make it hard for myself because I’m always trying to write the next epic song or something! I’m always wanting it to have lots of hooks and lots of weird chords, I don’t know – just trying to surpass what I’ve done before I suppose.”

Cheney Reaction

Author: Julian Tompkin

It may have taken an horrific car accident and the departure of mate and drummer Travis Demsey from the band, but Chris Cheney, frontman for The Living End, has finally taken a second to stop and enjoy the success he’s experienced thanks to the only job he’s ever known. But, back with the band’s third longplayer Modern Artillery, it’s also given him a fiery hunger for more. No one could have seen it coming. Cheney had witnessed the band he’d formed with bassist Scott Owen at high school in the mid-’90s turn into big business, with a self-titled debut album that quickly broke all rock records in this country, going five times platinum after its release in 1998. With two record deals ­ Reprise in the US and EMI in Australia ­ The Living End, along with drummer Travis Demsey, soon found its punk/rockabilly songs of disenfranchised youth become the soundtrack for a new generation of rock kids, from the streets of Melbourne, to Berlin and Tokyo. Between world tours the band found time to record the second installment of The Living End story, 2000’s Roll On album. While less immediate than its predecessor, Roll On possessed enough of that iconic neo rockabilly charm that distanced The Living End from its contemporaries to continue the unstoppable momentum of one of Australia’s most successful bands. It was time for album number three but a car crash soon changed everything. Cheney was to spend months in rehab, unable to play guitar while his injuries healed. He cried, he hurt, he drank but mostly he thought ­ he thought a lot. And he suddenly noticed a few important facts he’d managed to evade in his rock-star existence, like the fact he’d never made time to enjoy his success. But, more importantly, he realised he wasn’t getting any younger and the band was yet to make the album that had the potential to really break The Living End internationally. Cheney decided it was time to rectify that. However, during the course of the forced break the other band members also had time to think. Owen was well and truly prepared to execute Cheney’s grand plan, but Demsey wasn’t and he handed in his resignation. Maimed but determined to move on, the band recruited Adelaide lad Andy Strachan, warmed up on the 2003 Big Day Out tour then packed the bags, bound for LA to record under the pomp and polish of Mark Trombino (Blink 182, Sum 41) ­ breaking with a tradition that always saw the band record in Australia. Couped up in a cheap hotel, The Living End toiled for three months, finally completing its most diverse, yet polished work to date. Gone is the customary double bass solo and the half-hearted anarchic catch cries, and in is large melody and lush production. But at the heart of the album is what’s become Cheney’s main impetus behind Modern Artillery, best summed in the evocative Maitland Street: “Will we be remembered? Or lost in history?”. As Cheney says, that’s a question that only time will answer, and he has his doubts. But above all of that he knows he’s finally created the album he’s always dreamed of making, and that, he reckons, is enough. The Living End tours WA in November, concluding with Rock It on Sunday, November 23.

It’s a term often bandied around, but in this case it’s true: It’s been a while between drinks. 
“Yeah, we recorded the damn thing back in February, and started writing it the previous January/February, so it just feels like we should’ve written a movie or something but we didn’t. It’s so crazy; Metallica take that long to write their albums, not The Living End ­ not at this stage of our career.”

Why didn’t it come out earlier? 
“It’s just been one thing after another really. It started obviously with me having the car accident, then Trav leaving. It’s kind of due to no one in particular, it just seems to have been the curse of this album. And then some tapes got lost ­ just everything seems to have taken twice as long, but I think they say good things come to those who wait.”

That meant plenty of time spent at home ­ did that send you mad? 
“Yeah ­ especially this last year, it did get a bit like that; leaning too heavily on things I shouldn’t have been doing. It was extremely frustrating ­ this is all I’ve done since high school, because I finished high school in ’92 and we started the band in ’91, me and Scott, and that’s all we did for like 10 years. Through doing that you do sacrifice a lot of the family stuff, and friends, so when it all came to a grinding halt I was tearing my hair out at home, really frustrated at sitting around and not having all those wonderful things I’d had before, and in a way it was probably good because it forced me to do something else other than the band. But it also made me realise I don’t want to do anything else other than the band (laughs) ­ so then you have an extra beer a day and it just escalates from there I suppose”.

It really has been an eventful, if not life changing, few years since the last album with both your accident and Travis’ departure from the band. It’s a bit of a philosophical question but is The Living End the same band Australia knew a few years back? 
“Well I think we have the same intensity, I would say, and renewed enthusiasm for playing shows but I think we’re a little bit different in our approach. I think we’re a lot more focused now and a lot more direct I suppose. Not that we were ever mucking around but things kind of happened in a natural, organic way. We were very lucky in the sense that it just got bigger and bigger and bigger with the first album, and then we started touring the world, and then the second album everything was sort of turning into gold. And having this break has made us realise that we’re pretty lucky I suppose, and not take it for granted. So I think now we’re a lot more; everything we do we try and do 180 per cent and really make it count and make sure we’re proud of everything that goes out.”

Was there always a burning determination to get back to the stage? 
“It’s been pretty intense, well it was for me. After all that we’ve been through and then to come back with an album that was not quite there I just wanted to make it the best album that we could possibly make and every song I was writing I was putting everything I had into it. I just didn’t want to put up with second best; even like school work and all that sort of stuff was never my forte, it was never my greatest achievement so I figure that I’ve got this opportunity in this band to do something really special and I don’t want to screw it up. So when it comes to songwriting and playing guitar and being in the band we really do try and give it all we’ve got. Scott and I were the same, we never did our homework at school, we weren’t academics by any means but we got through it ­ we just figure we’re good at this so let’s really give it all we can and show different sides of the band and make sure we keep moving in a forward direction.”

How do you do that? 
“Just try and make sure we don’t have any loose ends and trying to enjoy it at the same time. Just trying to be the kind of band that we would want to go and see, that we would be into ­ which is how we started out, trying to form the ultimate band, with double bass and a Gretsch and influenced by punk rock and rockabilly and jazz. All that sort of stuff we were trying to do back then still trying to do now, and I never want to lose sight of that and go “Yep, that’s it. We’re the greatest band ever ­ we can’t improve now”. There’s always room for improvement.”

With all that time off to think there must have come a point where you just totally freaked yourself out? 
“Yeah, that’s the thing. We’d never really stopped to really look around before, and although I was always proud at what we’d achieved, I’d never kind of sat down and counted the gold records (laughs) or anything like that. I thought with this album it’s time we were seen as a band that can write good songs ­ I think people have this preconception, a gimmicky kind of thing with the double bass and it’s pretty energetic and we give it all live, and it’s very visual ­ but that’s only one side to us. I mean most of the people we listen to are really great songwriters, like Elvis Costello and Joe Jackson and You Am I, whoever. So we want to be seen as that too. So that was the plan with this album, was to go “Right ­ these songs are going to be better than any other songs that we’ve written”, and I think they are and I think that’s the strength of the album, it’s not the double bass solo which has just been done to death. I’m happy that the foundation behind every song is a strong one.”

Each song on Modern Artillery is a song in its own right, with its own identity, providing for The Living End’s most diverse album yet. Would you agree? 
“I guess it’s a different album from what we would have made if we hadn’t had that time off ­ that’s obvious. And getting older I suppose, probably a bit more maturity makes you try focusing on your weaknesses perhaps, and I think that’s been a bit of a weakness of ours in the past.”

It’s obviously The Living End, however songs like Jimmy, In The End and The Room are as far away from Prisoner Of Society and Second Solution as the band could get. Are we seeing the real Living End for the first time? 
“I think you’re definitely seeing another side to the band, whether that’s always been there or not and it’s only surfaced now I don’t know. Songs like The Room is something that I’d like to do more of in the future, but again that’s just me being selfish and personal in saying “Well, why can’t I write a song like that? Why are other people allowed to do it and get all this praise?”. It’s kind of like “We’ll show them that we can do that kind of thing too”. I guess I don’t mean that in a negative way, I just mean it like we just want to try and cover as many things within our career as we can. As long as it sounds real and as long as we do it properly. You have to be very careful; there’s nothing worse than a band that tries to do interesting stuff and just doesn’t pull it off.”

The band has broken with tradition here and decided to record this one overseas. What was the premise behind that? 
“Just because we had the opportunity to, I suppose. I’d always wanted to do something like that overseas and it just felt like the right time we should get away from distractions here, really focus. We had Andy on board and we wanted to get him really feeling like part of the team, just go over there and really get our heads down and get on with the job. But in hindsight I don’t think that was the perfect environment because it was just kind of boring a lot of the time, because we were stuck in Burbank at the Holiday Inn for three and a half months ­ it had karaoke every Friday and Saturday night and after we finished recording it was kind of too late to go anywhere so we’d just sit in the bar and listen. It was the same people every week for three months, these same six people who went to the Holiday Inn and got up and sang songs. It was a little bit like Groundhog Day, I thought we were never actually going to ever get back to Australia again. It kept going on and on and on.”

You worked with Mark Trombino, how was that experience? 
“He was pretty good, I wouldn’t say he was the ultimate combination really but I’m not sure whether there ever is. I think one of the things that we originally wanted to work with him for was the fact that he could maybe bring a slickness and maybe a bit of his, I don’t know, give us a big sound and maybe something different to what we’d had before. That if we brought to the table our looseness and roughness that we try and get across live ­ it’s pretty ragged sometimes ­ we figured if we could meet half way; and that’s kind of what we did.”

That slickness was obviously a move that had the international music market in mind? 
“I suppose so, I think it’s a little cleaner than the last album but there comes a time we’ve made lots of trashy EPs and that was one of the challenges, to maybe make a good studio album; get in there and work with overdubs and work with layering. I admire the garage rock revolution but at the same time it’s probably kind of cool that we’re doing our own thing; that we haven’t tried to get on that boat, even though we come from similar backgrounds. We’ll just see what happens. I don’t know what to think about the international thing ­ we’ve given it all we can and we’ve played some pretty big venues and got a bit of a name for ourselves but it’s hard to say whether this will translate. We’re just going to go over there and do what we’ve done before and really give it all ­ it’s probably the last chance we’ll have, so who knows. This is a business in a way that we’ve built up since high school and it would be great to try and take it, I mean we’ve done so well in Australia why can’t it work overseas as well? I couldn’t care less really about the worldwide acclaim or the money, I just think it would be great to be able to tour this band for another few years around the world.”

The Living End

From the Big Day Out Programme 2003

The Living End’s story is already Australian rock & roll folklore. And they only released their debut album in 1998! It’s an inspirational tale of punk ethos, classic songwriting values and road-hardened live energy which has struck a blistering chord with a massive audience, both here and OS. And what makes this band so goddamn sticky? So likable? Well, there’s the tunes, natch. But here’s what singer/guitarist Chris Cheney has to add: “I think people know we do everything ourselves, we do what we think is right and it’s all about the music. We’ve never put that second to anything.” This is a band as much inspired by Midnight Oil and AC/DC as the rockabilly heroes you might think of on first listen. And that shines through for Aussie audiences, who’ve never been able to get enough of this tight-as-they-come trio. No compromise. No prisoners. No worries.

The Living End

Author: Polly Coufos

After a long and enforced lay off The Living End are set to make their way back into the country’s music venues and into your hearts. Perth will see the Melbourne based three piece for the first time in two years when they take their place in the lineup for Big Day Out 2003. It will most likely be the last time for quite a while too for soon after the national tour the band (guitarist Chris Cheney, bassist Scott Owen and new drummer Andy Strachan) head to the US to record their third album, which is scheduled for release later this year. Cheney has always been seen as the band’s designated leader. Rising with the popularity of pop punk The Living End were a typical near-on-10-years-in-the-making overnight success. Fortuitous the timing may have been, there was always much more about this band than their peers. Prisoner Of Society took rockabilly back to a time when the Stray Cats played with edge as well as fire and Cheney’s playing drew praise from all corners, especially The Offspring. Following the release of album number two Roll On, the band spent a lot of time Stateside and had just returned home to spread the word locally when in September 2001 Cheney was involved in a road accident which left him with a badly broken femur. During the time off the band’s then drummer Travis Dempsey left the fold and so it is a slightly new and definitely reinvigorated The Living End which will release new single One Said To Another next Monday, January 20.

Going on a profile from your website it appears all your interests seem to be totally involved with music. Is that true? 
“Yeah, well they kind of are. I don’t know whether I am narrow minded or I just try to bring everything that I like into it, which is probably more to the point, you know as far as I always did art at school and was always interested in that and did a bit of drama and I think being in a band sort of gives you the opportunity to do all that, as far as art work and t-shirts and poetry and lyrics and just expression. It doesn’t get much better I suppose being in a band if you want to do those sort of things so we are pretty lucky really to be able to do that and get paid for it.”

The new single One Said To Another sounds distinctively like The Living End. Is that something consciously planned? 
“I don’t think that it is something that we over think. I think we do want to try and sort of keep things sounding natural and from the heart and that comes down to writing songs I think and also just performing shows and everything. We would never sit down and really analyse our sound, we have never really had to and I am glad that we have never had to get the whiteboard out and try think of how we are going to move into the next stage of our career or whatever. I think it just kind of happens naturally. I think that bringing Andy into the band has probably made a slight difference, but as far as I can tell it’s a good thing, ’cause we are really happy with the way that he plays and I think that as a unit we play better than what we ever have and so it’s a difficult question, I think it is something that people on the outside can probably see more so than us but all reports have been good so far and we just sort of stuck to our guns and do what we do best. But at the same time trying to improve in certain areas, so maybe that will affect the sound.”

Let’s go with Andy for a minute. How has the changeover been? 
“Well, it’s been really great actually, it’s been a breath of fresh air and it probably could have gone either way, especially with a three piece with bringing in an extra member. I don’t think that you can ever tell how it is going to turn out.” 
Especially with Travis, because he was such a visual part of the show as well as obviously playing the drums… 
“Yeah, exactly and I think that Andy knows that he has come into a band where he has probably got big shoes to fill or whatever but it is definitely going in the right direction. There was probably a stage there where we probably thought that this was going to be really difficult, but I don’t know whether it is luck or hard work or what but he is fitting right in really well and he is playing. We have done a couple of gigs, we did some small pub shows just sort of unannounced where we could get up and play the new songs that we had learned that week, and it was great. It was sorta full house and I think he proved to a lot of people who were there to see what would it be like, to prove that he can cut it. I just can’t wait to get out there and do it properly.”

So, I know that you are coming over here for the Big Day Out. Is that going to be the opportunity for most people to see you? 
“Yeah, we are not doing another tour probably until we get back from the States, we are going over there in February to record and then we will probably come back over here and probably do a proper tour of our own. At this stage that is the only chance.”

So who have you lined up as producer? 
“Mark Trombino.” 
He did Blink 182, Jimmy Eat World and a bunch of pop punk… 
“Yeah, and that is not really our cup of tea even though we are likened to those sorts of bands, but I think that without saying anything against them I think we’ve got a bit more to offer as far as versatility and whatever. You know, that is only one part of us is kind of fast punky stuff, but we definitely want to keep moving in a different direction and try lots of different stuff, but you know he has done a range of things and we have spoken a couple of times on the phone but we haven’t actually met him in person yet, but he seems like a really nice guy.” 
Is it a daunting prospect? Is there a point that you can say, like, “two weeks, if there is no sign of life by then, it’s not worth it, not what we thought it would be, we’ll back out,” or is the scheduling so tight that you need to go over and it needs to be done and it needs to be released? 
“Well, the schedule is tight but it is our schedule. I suppose we want to get it out quicker probably than anyone, ’cause we’ve got songs ready and we are all set to go but I suppose if it wasn’t working I would just pull the pin with him ’cause you are stuck together for a while and you have got to get along and more importantly I think he has gotta be there to offer ideas and suggestions when we get stuck. I figure that if we have got our stuff together, as far as what we have got and where we are headed and songs and so forth then the idea of him is to maybe just add a little guidance. I don’t want to rely on him. I think that we can pretty much produce our own albums if we had to, but yeah it’s a risk each time I s’pose, but I figure any of those guys at that level are going to have done enough albums to be pretty easy going I would think and to try and adapt to each band. And he loves the band, he has seen us before and was really excited to do it, so it has gotta be a good thing.”

You only did two shows to promote Roll On in Perth. Your accident put paid to any roadwork for a long while. How much did that hurt the album? 
“Yeah, that’s right. Yeah, so we never really got a chance, we were supposed to come home (to Melbourne) to do a video clip for the Dirty Man single and various other things, and then it obviously all happened and that was it for that album. I also don’t think that it was a very easy listening album. It was difficult in a way but we planned it that way because we wanted it to be a bit of a challenge, and not just this instant throw away pop thing. We have learned that this was a monster after we had created it, as far as reproducing it on stage every night, so it was good in a way because we learned and so with this album we have left it wide open, people don’t know what to expect.”

Have you had periods where you have just cursed your bad luck? 
“Definitely. The bottle always gets you through though (laughs)… Yeah, we have ’cause we, I mean people have bad luck all the time and our bad luck is nothing compared to what some people have. I mean that (the accident) is bad luck, but I don’t know, I think it is something that had to happen in a way ’cause we had been pretty much touring constantly since 1992. Me and Scott formed the band and we had never let up really, it was just a continual thing which just kept going from strength to strength and it was almost like we couldn’t put a foot wrong, every EP sold better than the previous and the album went crazy and we got to tour all over the world and all of a sudden it came to a grinding halt, which I think in a way has been a good thing after all this time. It made us stop and probably think about it a bit more and appreciate it and take a bit of time to really put some good solid work into this album so in hindsight I wouldn’t want to go through it again.”

How is your health? 
“Yeah, it’s pretty good now. Yeah I am sort of all up and about now. You wouldn’t know that anything had happened other than a few scars here and there but otherwise I can’t complain at all.”

While you have been off, you have had a small part in a very successful Australian album, Kasey Chambers’ Barricades And Brickwalls. 
“Oh yeah Crossfire. That was a little country album wasn’t it? Yeah, well that was great doing that, we did that when we were touring with AC/DC, that was how long ago that was ’cause we actually went to the studio after one of the shows with AC/DC that night and did it with Kasey. That was great, we had sort of met her a few times before that and knew that she was a fan and she wanted to do a song. We were rapt ’cause I am a huge country fan anyway and most of my favourite guitar players are all country players from the ’50s and ’60s, so we just went and did that and she wanted us to play as we do, she did not want us to play like a country band or anything, that is the cool thing about her I think. She is willing to move with the times, so to speak and yeah she is an incredible singer. She just nailed it basically on the spot there and then, we only did probably a few takes. We wanted to get a live feel and she sang a live vocal with it. Yeah it was great, it was a great experience and of course it has gone onto sell gazillions.”

You were set to play it together at the 2001 ARIAs weren’t you? 
“Yeah we were. It was all hooked up and we were really sorry that that never happened and then it’s funny because we got over that and then Kasey was here a couple of months ago when she did a big tour and I was going to get up and play at a Melbourne show with her but I had to get the rod taken out of my leg that week so that didn’t happen either, so who knows, maybe in the future. We’d actually love to do an album with her, a full album at some stage. We have talked about it with her ’cause we’ve got so many left over songs and so has she and I think it would be really good just to sort of see the collaboration and show different sides of what we both do. We have spoken about it a bit and it’s just a matter of getting time, ’cause we are just starting to get under way again and I think that she is just winding down again with the new baby and all. You never know.”

How typical of the new material is One Said To Another? Who produced the single? 
“Lindsay Gravina, who did the first album. That came about just because we wanted to try again something that was so totally opposite to Roll On, we wanted to just get back to a three piece sounding song that had all the rawness and everything that we liked about the first album, that perhaps we lost a bit on the second, so we figured who better to do it than Lindsay and we got along so well the first time and it was great ’cause he has got so many good ideas and he does keep it raw and it’s all about the passion and everything which I think that you can sort of forget about if you have got too many options in the studio and too many buttons to push, you can sort of forget about getting the song down and getting the heart into it and he’s really good at keeping you grounded there and keeping the little mistakes and new ones and whatever.”

It sounds like you are down on Roll On. Many people love that record… 
“That’s good. You know I’m probably a bit too negative about it. Maybe in time it’ll grow on me. I mean I wouldn’t know the last time I listened to it. I just think that we have probably tried too hard to distance ourselves from the whole Prisoner Of Society three chord punk rock thing, but in a way I’m really glad that we did do it and we did try and completely outdo ourselves because people really liked it I s’pose and it left this one wide open and we don’t really know what we are going to do or anything including us I s’pose but I just think that maybe some of the rawness of the band is probably lacking a little bit, but that’s alright. I’m glad we did that album and it was still a good experience.”

When The Carnival Comes To Town

Author: Mark Neilsen

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There’s a romantic idea that everyone would come out in force when a carnival rolled into town. People would be wide eyed at the wonders on offer, startled by some strange sights, maybe even scared by some things. Well, there’s something else everyone experiences similar feelings with that they flock to when it pulls into town once a year, and that’s the Big Day Out.

With a circus theme for this year’s festival, we find some of the artists performing dressed in carnival clobber, appearing as if they could almost form their own travelling sideshow. Chris Cheney from The Living End is the ringmaster with his lairy jacket and bow tie. With the addition of a bowler hat and cane he looks like a technicolour version of one of the droogs from A Clockwork Orange. Juanita Stein from Waikiki is a fairy and although angelic looking there’s surely a hint of mischief behind it all. Jon Toogood is decked out as the stereotypical strongman, resplendent in leopard-print, caveman-like outfit with mini handlebar moustache and hair plastered down as it probably was in his year four school photo. It’s quite funny that Jon’s the strongman considering he’s arguably the skinniest man in rock. Then there’s Jesse Dessenberg, aka Kid Kenobi, who’s the sad clown, with the face makeup still on.

Going to the carnival is associated with a fun time, so would the assembled troupe enjoy their Big Day Out experience as much as a carnival? “If you compare it to a kid at a carnival and an adult at the Big Day Out, it’s pretty much the same thing. A carnival/circus for big kids, I guess,” Jesse says. “It definitely has a circus vibe about it, particularly with tents. They even had a big top, haven’t they? It was weird actually, the first time I played the Big Day Out I played in the Hothouse and that was actually in a tent and it was all grass on the dancefloor so it did feel like you were in a circus act almost.”

Chris: “I don’t know whether I’ve ever been to a carnival. I’ve been to a couple of circus things, but I’ve had much more fun at the Big Day Out, that’s for sure, because you can get alcohol at the Big Day Out. You can’t even get it at the circus. Still there’s something about seeing people on a trapeze with their life in their hands. It’s one thing seeing a good gig, but that’s definitely a special moment.”

Jon: “I reckon, without sounding like an arse-licker, it is definitely the best experience for a band because you’ve got at least a day off to recover after every show, and you can party and it’s so social the way it’s all set out back stage. You can’t actually avoid dealing with people, which is good. Everyone gets in each other’s face, It’s really good. And what a great way to play in front of 45,000 kids. It’s the rush, it’s like jumping out of a plane.”

For Juanita, carnivals have negative connotations and hence she hates circuses and the ilk. “i never wanted to go as a kid,” she says. “The idea of training animals scared the shit out of me and you don’t get much more evil than clowns as far as I’m concerned. I think I was scarred when I was about 13. My friends made me watch this movie called IT. My god, how could you ever got to the circus after watching that movie?”

Then again, this whole musical lifestyle that these artists lead would seem like a carnival at times. “Without a doubt,” Jon states. “We were talking about it the other day. It’s the only job in the world where you can abuse yourself and drink copious amounts of alcohol, take as much drugs as you want, as long as you do your job really well when you walk back on stage. If you’re a lighting guy, or a sound guy, it’s the same thing. It’s the only job in the world where it can be a carnival as long as you do your job really well. But still, in saying that I find that doing too much I find my job starts to suffer so at the moment I’m in the medium ground. I’m behaving myself. It means the shows are really good.”

Chris similarly agrees to the carnival nature of rock and roll. “There’s been quite a few bands that have done tours with the circus/sideshow theme, and some more so behind the scenes than the band sometimes. Have you seen the roadcrews of different bands? Even the road crew we used to have, they were a pretty funny looking bunch. There’s definitely a similarity though, isn’t there? Especially in this day and age, the more bizarre you are, the more people turn up to see you,” he says.

Juanita believes music festivals, such as the Big Day Out, are particularly associated with carnivals. “I can’t talk for experience because I’ve never been in the circus but I imagine they’re similar. I think circuses are very rock and roll. Circuses scare me though. That’s one element that’s not in rock and roll. Rock and roll doesn’t scare me. There’s something very dark about circuses. It’s the same with music. It’s a raucous, crazy, electric energy and very, very unpredictable and anything could go wrong and it’s all based on the nature of performance. Very colourful, very alive,” she says.

“It does get pretty crazy,” Jesse admits. “Nothing too outlandish, no great sex, drugs and rock and roll stories, it’s something you get used to after a while. It’s not like a normal nine to five thing.”

Not that any of the acts have felt so strongly about carnivals that they wanted to be adopted by carnies. “I always thought it looked really seedy and dodgy and the thing is in New Zealand we didn’t have many circuses so I never really got to see one. I would have liked to hang out with the animals and stuff but I actually feel really sorry for the fuckers,” Jon says. “It’s very similar. Thinking about it now It’s the whole Gypsy lifestyle of getting in a caravan and driving from town to town,” Juanita adds. “I wasn’t that adventurous. I think I was a bit too much of a sissy,” Jesse laughs.

“I don’t think I was much of a freaky thing,” Chris says. “I always thought that being a musician there’s not much call for that in a circus really, because they just put the needle on the record and off they go. I wasn’t going to get involved in all the theatrics and stuff, it was never a dream of mine. Just to run off with a band.”

The Big Day Out happens Saturday 25 January at Sydney Showground

On The Roll With The Living End

Author: Glenn Fowler

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Prior to catching The Living End at The Garage in Glasgow, I had the opportunity to speak with Chris, Scott & Travis about the current tour, the new album and what they think about being compared to other bands. Among other things.

How has the UK tour gone, and what have been your highlights?
Travis:
The tour has been sold out at almost all of the venues almost every night. We’ve been to England before, but this is the first time that we’ve played in Scotland. We haven’t really been promoted that much over here, but people are still showing up at our shows. So all of the hard yards that we are putting in touring and playing is paying off and that is what The Living End do best, we’re not so much a radio band.
Chris: My standout memory would be lack of sleep. No, hang on. That’s every tour!
Travis: The sold out show at the London Astoria is hard to top. – To sell out such a famous rock and roll venue as quickly as we did and a month before we played there was awesome. The Astoria wasn’t just full of Aussies either, the locals had come along to have a listen as well. Up to the Astoria gig we had a few problems with equipment and stuff, so the Astoria was just a killer gig for us.
Scott: The gig with Aerosmith in Munich was pretty memorable. Aerosmith had heard about us somewhere and asked for The Living End to do the support for a warm up show before they went on tour. The Aerosmith guys didn’t play as much rock and roll as we thought they would, more bluesy stuff. But Aerosmith are really good at what they do.

The new album has a lot of variations.
Travis:
We were going to make the album more eclectic, but we made a conscious decision to make it how we have. Each song grows on you rather than being an instant hit and all of the songs sound different. So that way you don’t get sick of the whole album as it all sounds the same and you will still have a favourite song in a months time, but it will be a different song. The next album we hope will be more of everyone’s outside influences.

How do you generally work when writing and recording an album? Do you have a formula that you work to when recording?
Scott:
Last year we started writing and recording Roll On and then we started touring, but the next time we will break it up a bit. Spend some time at home, then back on the road to break up the writing thing. We had heaps of songs for Roll On, so we weren’t suffering from a lack of material and we had heaps and heaps of songs that we had confidence in. But being at home for as long as we were while recording just makes it even harder to be away from home for this long now.
Travis: We haven’t had a holiday for a couple of years and sure we were recording the last album at home, but that meant 4:00 am finishes. Then get up early to have a life, see girlfriends, pay bills etc. and be back in the studio by 12:00 lunchtime and the same process again day after day.
Chris: We did some shows while we were at home, but it didn’t feel like we’d had a break at the end of that and now we are back on the road for this tour.
Travis: We released the album earlier in Australia to get a head start there. Then started shows in November, so we’ve been going for 4 months now.

How do you deal with the Clash and Green Day comparisons?
Travis:
We could be compared to worse bands. But both bands are diverse, so it’s a compliment. The Clash were very eclectic, so that’s a good comparison. And Green Day do their stuff well, but they concentrate more on the style that they play. To be compared to both outfits is almost a contradiction in itself.
Scott: We have a powerful punky element as well, so I think that it’s weak to compare us to Green Day. But if we sound like The Clash, then which point in their career do we sound like because they changed so much and sounded different on each album.
Travis: They have to label you as something. But those bands paved the way to make punk more commercial. Punk is very educated about the world and politcal differences, where rock and roll is just about music, drugs and girls. Punk rock has a message. There are a hell of a lot of differences between the personalities of the Green Day guys and us. I would say that we are more like The Jam than anyone. But all in all we are The Living End.

Roll On is a very guitar oriented album.
Chris:
Hellbound had lots of guitar riffs and lead breaks on it, as does the new one, but I think that we are just playing better now. We are definitely more rock rather than rockabilly these days. So the guitars have come to the forefront more. The songs on Roll On were intended to be more simple and therefore easier to play live. But I don’t think that they came out that way, but there are certain bits that are more straight ahead rock and guitar. Pictures In The Mirror may be more complex but basically it’s a rock song. Where as some of the rockabilly and psychobilly stuff that we’ve done in the past just doesn’t sound big and powerful enough in comparison.

Are there songs that you’ve recorded and you wished that you hadn’t?
Chris:
Yeah, there was a track on the Hellbound EP the ninth track and it’s a daggy sort of song. There were problems with the pressing of the album and 500 copies were pressed wrongly. If you own one of the 500 copies you’re lucky, because they go for big bucks on eBay and I don’t even think I have one!
Travis: I don’t think that we’ve done our best work yet, so there will always be something that we wished we hadn’t done.

How have you been received in the UK and US?
Chris:
I feel that we’ve got more in common with the UK Rock and Roll scene, we probably aren’t gimmicky enough for the US market, but they are still listening to us.
It feels almost like a cult thing, like when we first started in Australia. The people who are showing up at our shows are more fanatical over here and playing smaller venues is refreshing. Don’t get me wrong though, we love playing to 40,000 people as well.
Scott: We are generally treated the same in the US as the UK, but California’s a little bit different, because we get some more radio airplay. So there at least we have more of an audience.

Do you find song writing an easy process?
Chris:
I find song writing very difficult. It’s really fun but lots of work and when it;s finished it’s a big relief. I find that it’s the human factor coming through in the music. The lyrics just come out in my thought process, and now people think that’s our thing but the next album might be totally stupid.
What you want with rock and roll is for people to get lost in your little fantasy world. We always try to have double meanings in our songs, so that if you want to read something into it you can.

You tend to play a lot of covers. Why, when you have so much of your own material?
Travis:
We try to do things a bit left of centre. It would be very obvious if we did a punk rock song. But maybe we should, as we haven’t done one yet. It’s a bit of light heartedness and to have fun. It’s also just so that the audience has fun, cause you just can’t buy fun.
Chris: We used to be a cover band and knew 300 odd songs. It would be cool to throw in a few more now, but we are trying to promote us. We mainly throw in cover versions to try to vary the nightly routine and keep it interesting. Otherwise we would come off stage thinking, ‘Well we played the same thing again.’

The Living End are far from routine or uninteresting and the songs from Roll On are showing a greater maturity in both musicianship and song writing. Thanks to Chris, Scott and Travis for taking the time out to have a chat.

Let There Be Rock!

Author: Jude Winston

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On December 31, 1973, AC/DC played their first gig at Chequers, A Sydney nightclub. Two years and two days later, Chris Cheney, from The Living End, was born. By Jude Winston.

Despite the fact that they are, literally, a generation apart, AC/DC and the Living End share a spirit that more than bridges the gap. Both stand at the forefront of a great Australian tradition – no-bulls#*t rock & roll.
It might seem an odd scenario at first: one of the greatest straight-down-the-line rock & roll bands ever joining forces with a rockabilly/punk revivalist outfit to play Entertainment Centres throughout Australia. In truth, there is a little irony in the arrangement. When AC/DC first made the move to England, they landed right in the middle of the punk movement. True to their no-bulls#*t image, the Acadaca lads thought the punk thing was a whole load of bollocks, as Malcolm Young explained recently to Mojo magazine.
“We were always saying, ‘We ain’t a punk band, we’re a rock & roll band.’ We were tougher than any of those punks. We used to sit there laughing at these guys who were supposed to be able to bite your head off, thinking, ‘We could just rip the safety pin out of his nose and kick the s#*t out of him.'”
That’s probably fair enough, but despite Malcolm’s disdain for the Johnny Rottens of the world, the situation in 2001 is a little different. Firstly, Chris Cheney from the Living End is a great bloke – which, depending on who you ask, isn’t necessarily true of Mr Rotten. Secondly, for all the Green Day there is in the Living End, there’s also a lot of the Who, Midnight Oil and AC/DC. As Chris explains to Esky, it wasn’t much of a stretch for Malcolm and his little brother (lead guitarist Angus) to see exactly where the Living End are coming from.
“I’ve read things before where Angus has said stuff like, ‘Johnny Rotten is a whingeing prat,’ back when they were playing the Marquee and the Pistols were playing the 100 Club,” explains Chris. “But I guess as much as we’re influenced by the Clash and the whole punk thing, AC/DC can see that we love Little Richard and Chuck Berry as much as they do. They see a little bit of that in us you know – we’ve definitely got that rock & roll vibe as much as our political edge.”

It doesn’t take a degree in musicology to know that AC/DC have had a massive influence on music over the last 27 years, nor to see how that in turn has touched bands like the Living End. From the gritty, blues-based sound of the early years to the more metallic attack of their later material, AC/DC have written and recorded some of the most solid rock tunes of all time. Songs like “You Shook Me All Night Long”, “Back In Black”, “Dirty Deeds Done Dirt Cheap” and “Highway To Hell” have become legendary; as much a part of modern music as the Beatles, black T-shirts and recreational drugs.

Although many people believe AC/DC’s best years were those fronted by legendary maniac Bon Scott (who died in true rock & roll style, choking on his own vomit in January 1980), they are one of the few bands in history to replace a lead singer and continue on to bigger and better things. Brian Johnson took over from Bon for AC/DC’s smash Back In Black, only six months after the original vocalist’s death, and the band never looked back. To date they have sold about 100,000,000 albums. Not bad for a group with three chords and one guitar solo.

AC/DC also have the distinction of being one of the first bands to piss off the moral majority in the US; without a doubt the Marilyn Manson of their day. Their 1979 album Highway To Hell got do-gooder-know-it-all-loud-mouthed Americans foaming at the mouth – apparently lines like “Hey Satan, payed my dues/Playing in a rocking band/Hey Mama, look at me/I’m on my way to the promised land/I’m on the highway to hell” weren’t good for the souls of young children. Of course, AC/DC treated the whole situation as a bit of a joke, and Malcolm recently made the comment: “Some places you would go to play and these people would picket and try to get your show stopped. But in the end we won out. At one point they were telling kids to burn their AC/DC records, and I said I don’t mind because I know one thing – they’re buying them. And if they burnt them then they’ve probably bought them again by now.”

Given the extent of the AC/DC history, it is probably no surprise that for Cheney, their music has been a pretty constant presence throughout his life. In fact, the guitarist claims that Acadaca might very well have been his first taste of music.
“I was in primary school, in about grade two,” reminisces Chris. “There was this time where they decided to have this concert at lunch time. You paid 20 cents to go in and these grade sixers were set up like a band. Now, grade sixers look really big when you’re that small, and they had these cardboard guitars and flannelette shirts and one of them had like this flat cap on. They mimed AC/DC and even though they weren’t playing, that was the first even band experience for me. I’ve never forgotten that and it was worth every cent.”

It’s pretty obvious that this initiation to the world of music has had a lasting effect on Cheney. The Living End’s album Roll On oozes the classic rock spirit that AC/DC played such a big part in developing, and shows that behind the Clash influence and rockabilly trappings there is a very serious dose of rock in the ‘End boys. With songs like “Pictures In The Mirror” and “Roll On”, the Living End prove they are the real McCoy, part of a long and solid line of no-bulls#*t bands.

“Touring the last album we tended to listen to a lot of Rose Tattoo and the Who and AC/DC and stuff and I guess all that had some kind of influence on the direction we wanted to head with Roll On,” explains Chris. “We didn’t really write on the road, but when we stopped touring I guess all that had some influence of the direction we wanted to lead.”

Obviously the AC/DC lads are more aware of the influence they have had on the rock scene – they are without a doubt Australia’s biggest band, and even on a world scale, their influence has been profound. The list of people happy to sing their praises is almost as long as their discography, and the compliments all revolve around one major factor – their honesty.
Maynard James Keenan (Tool and A Perfect Circle) summed up the rock world’s attitude to AC/DC when he spoke to Esky earlier this year. Asked what his favourite Aussie band was, he didn’t even have to think about it.
“AC/DC. They are just so right. There’s not bulls#*t. When you look at some other bands who have tried to do the rock thing – bands like Poison or Motley Cue – there’s just no comparison. All the other bands try too hard. With AC/DC there is no trying, they just do.”
The attitude of AC/DC to this sort of respect is pretty much what you would expect – a shrug of the shoulders, a little grin and a wise crack. When Esky asked Angus how he felt about the influence issue, he was pretty straight up.

“It depends if they call us a good influence or a bad influence,” laughs the guitarist. “But, yeah, I think it’s good. I just hope they pick the good bits out of it, because my influences are people like Chuck Berry, and if they can get that out of it, they can’t go too far wrong.”

Behind all the humility and one-liners (we also asked Angus what he thought AC/DC’s greatest legacy would be and he wheezed, “Getting a leg over.”), the AC/DC story is a lot more than myth. They have proven for almost 30 years that you don’t need to be flashy or phoney, just be yourself. Angus once tried to explain it by saying, “I think we do what we do well, whatever it is that we do.”

But with the benefit of a different perspective, Cheney summed it up well.
“Maybe AC/DC is drinking music, but at the end of the day those guys aren’t stupid. You know the music they play is just stronger than words can describe – it’s just that powerful.”