2003年再版时专辑手册里的内容
这张专辑翻译颇费劲，作者用的长难句太多了！
业余翻译，纯属爱好，不妥之处望各位看官指正~
（Sex, snot, sweat and school kids (or: AC/DC are back in town)）性感，下流，甜心还有小屁孩（或者说：AC/DC回来了。）
（QUOTE FROM AC/DC
person to me:"Whenever I meet you you've got your shirt off. Phil". Which on reflection is probably true but there's very obvious reason for it. AC/DC live are the most insanely compulsive heavy rock band I've ever experienced and I get very hot and malodourous listening to them. However, my reactions were the very epitome of cool…）引自AC/DC的话。根据我的经验：“菲尔，我每次看到你的时候你总是没穿上衣。” 仔细想想也没错因为有充分的理由支持他。AC/DC是我经历过的最令人疯狂的重摇滚乐队，而且我听他们的歌的时候有一种燥热感，然而，我表现出来的是很爽的样子……
（…Or to quote Bon Scott at his blood curdlingly best. "Letthereberock!" It's not just a statement. It's a command. In truth, AC/DC's second international album with its mock biblical monicker should have been subtitled "In the beginning..." The reason being it marks in scorched earth terms the point at which the Australians launched hugely successful bid for the title belt as THE world beating rock band complete with a deliciously fresh metallic sheen of a sound. Each song simply tears out of the speaker cones.） ……或者像邦斯科特所说——血液都凝固了。“Letthereberock！” 它不仅仅是一个陈述句。它是一个命令。实话说，AC/DC这张带有嘲弄圣经名字的第二张国际专辑应该加一个副标题"In the beginning..."。原因是它标志着在这片焦土上澳大利亚人把成功得到冠军腰带这样的事和拥有完美的带有新鲜感的金属音色的震撼世界的乐队相提并论。每一首歌就像从喇叭上扯下来的一样。
（RECHARGING FOR MORE LIVE WIRE ACTION）给更多的演唱会供电
（With that gear shift came a more serious "album" orientated approach and the shelving of any novelty type graphic imagery that up until that point had been very much a part of AC/DC's marketing.）伴随着那次进步诞生了一个更加严肃地专辑导向，新奇怪异的图片被搁置，这一点至今是AC/DC重要的市场营销手段。
（At least part of the recording's high octane fuel was drawn from what had occured in the lead up to the recording sessions. The success of the 1976 UK and European engagements dovetailed into "The Giant Dose Of Rock 'n' Roll" tour of Australia through December 1976 and January 1977. However, the homecoming jaunt was marred by cancellations in regional areas by authorities concerned about the band's reputation and perceived association with the "horrors" of punk rock.）专辑中至少一部分高能的东西是已经汲取了先前出版的专辑的经验。1976年英国演唱会的成功使得欧洲的乐迷接着参与了1976年12月和1977年1月在澳大利亚的 "The Giant Dose Of Rock 'n' Roll"巡回演唱会。然而，有些地方政府取消举办这次巡回演唱会，他们担心乐队会带来朋克摇滚的恐怖。
（Accordingly, when AC/DC entered Alberts Studio in Sydney in the middle of January to begin two weeks of night work on the album, the near electrical energy of the tour along with its frustrations were still charging through their systems.）因此，当AC/DC一月中旬准备为新专辑在悉尼的阿尔伯特录音棚开始为期两周的夜晚工作时，周围的的许多演唱会的电力供应还是通过他们的系统。
（There also seemed to be an understanding that more than just a new album was in order. A mission statement, a maifesto of what AC/DC were required and producers Harry Vanda and George Young were again brought in to help deliver the goods.
Angus set the tone and led the sessions by example during the recording of the rock 'n' roll history lesson that is the album's title track. His amplifier caught fire midway through but under frantic instructions from George he continued playing. By song's end the amp head was a smoldering puddle of wiring and valves and Angus' guitar had absorbed part of his tiny body weight in sweat.）有一种理解是将会有不止一张新专辑准备发行。AC/DC需要一项声明或者说是宣言，于是制作人Harry Vanda和George Young又再次加入团队来帮助制作。安格斯按照在录制专辑主打歌时的例子给歌曲定下了基调和小节。他的放大器中途起火但是在George疯狂的指令下他继续演奏。到歌曲结束的时候他的放大器电线已经和调节旋钮融在一起，而安格斯的吉他已经和他满是汗水的瘦小身体融为一体。
（"Let There Be Rock" is much more than the album's centerpiece. Surrounded on side one on one band by the time count opening of "Go down " and "Dog Eat Dog" and the classic blues bravado "Bad Boy Boogie" on the other, it anchors one of AC/DC's greatest collections of successive body blows.） “Let There Be Rock” 不仅仅是专辑的主题。围绕着它的一方面是以计时形式开始的《Go down》 和《Dog Eat Dog》，另一方面是代表经典蓝调的《Bad Boy Boogie》，这张专辑被认为是AC/DC最伟大的连续的身体动作专辑之一。
（The second side kicks off with a few testing chords to herald "Overdose." Angus and Malcolm then begin to slam down polarised sheets of guitar thunder which finally come together as one like a force of rock 'n' roll nature. From there it's back to the protective head and ear gear with "Hell Ain't A Bad Place To Be" where the guitars of …)第二面以一些测试性的和弦开始以预告 《Overdose》。安格斯和马尔科姆刚开始猛烈地用拨片扫弦，最后节奏合到一起，就像有一种原始的摇滚本能的推动着。在这里回到了有着头套和耳套的《Hell Ain't A Bad Place To Be》，这首歌中……
（…Angus and Malcolm growl as one and Bon details the sort of tale that had set him on the highway to hell.） 安格斯和马尔科姆像一个人一样吼叫着，邦斯科特扮演着他在《地狱公路》中设定的角色。
黄字部分
（AFTER THEIR well-received tour last year this album had to be a stormer. It is.Although they can't possibly catch and the excitement they generate on stage onto vinyi, they make sure the adrenalin level never dies down.Those who were fortunate to see them know exactly what I mean. Pile - driving heavy metal coarse vocals, superb powerhouse bass back - up they creat power and feeling, raw energy without the dyed hair and shock tactics of today's new wave outfits.）在去年他们倍受欢迎的巡回演唱会之后这张专辑成为一股旋风。虽然他们可能无法跟上这股他们在vinyi舞台上带起的旋风，但是他们确信由此而高涨的热情不会消失。那些真正看过他们表演的人就明白我的意思了。堆砌的狂野的重金属吼叫、华丽的贝司表达出他们的能量和感受，没有染色的头发、新浪潮的外衣和高超的演奏技巧展现着原始的力量。
（Then in keeping with the old maxim that it's never over until the fat lady sings (or something) comes "Whole Lotta Roise," the celebrated story of Bon Scott's most infamous sexual conquest, her considerable proportions and the singer's exploits among them. It ends with Angus at the very least rivaling the fiery white noise frenzy of "Let There Be Rock."）然后一直保持着他那永远不会结束的老调子直到一个胖女人（或者别的什么人）唱到《Whole Lotta Roise》，这是一个关于邦斯科特最臭名昭著的性丑闻的故事，她的有相当的比例被歌手运用到这首歌中。安格斯用了炽热的白噪声来结束这首歌。
（Initially there were two versions of "Rosie." The first had the title "Dirty Eyes" which was issued in 1997 as part of the Bonfire boxed set. But it was this version that came up with the required brimstone when it mattered.）最初“Rosie”有两个版本，第一个版本的标题有着"Dirty Eyes" ，这个版本在1997年作为邦斯科特合集的一部分发行，但正是这个版本中出现了那个泼妇。
（In addition to the band's thunderous new sound and perhaps in recognition of their growing popularity, mystique and mythology. Rosie is one of several actual characters (not too surprisely all women) that emerged in Bon Scott's lyrics for the first time in addition to his usual hard…）另外，乐队受到雷鸣般的掌声和人们对他们日益增长的受欢迎程度和神秘度有关。Rosie是第一个出现在邦斯科特歌词中的众多现实生活中的女性之一……
（…won street wisdom. The services of Ruby Lips for example are immortalised in "Go Down" which no doubt raised her local social standing on 21 March when Let There Be Rock was unleashed in Australia.）……这得来于邦斯科特来之不易的街头经验。举例来说，Ruby Lips在“Go Down”这首歌中不可磨灭的印记使她的社会地位在3月21号《 Let There Be Rock》在澳洲发行当天得到了提高。
黄字部分
（CITY KEY TO AC/DC
N. Miami - Welcoming AC/DC to the city of North Miami, Florida, Mayor Michael Colodny presented the band with the Key to the city.
The Aussie rock 'n' roll band, who recently played in the Miami area, are in the midst of their first American tour and have been creating a sensation everywhere they've appeared. Their new Atlantic album, "Let There Be Rock", is also doing extremely well.
All smiles at the ceremony are (l. to r.): AC/DC bassit Cliff Williams; Mayor Colodny; Barry Bergman of Marka Music; AC/DC lead vocalist Bon Scott receiving the key; Michael Browning, group's manager and Phil Rudd, AC/DC drummer. Kneeling in the front are (l. to r.) group members Malcolm Young and Angus Young.） 给AC/DC的城市钥匙 北迈阿密——欢迎AC/DC来到佛罗里达州的北迈阿密市，市长Michael Colodny给这个乐队颁发了城市钥匙。这个在全美进行巡演并最近在迈阿密地区进行演唱会的澳洲乐队在他们所到之处掀起了一股热潮。他们新发行的大西洋的专辑《Let There Be Rock》表现也非常出色。 照片上从左到右的笑脸分别是：AC/DC贝斯手Cliff Williams（手册上他被剪了……），市长Michael Colodny，Marka Music的Barry Bergman，正在接受钥匙的AC/DC的主唱邦·斯科特，乐队经纪人Michael Browning，乐队鼓手Phil Rudd；前面蹲着的人分别是（从左到右）乐队成员马尔科姆·杨和安格斯·杨。
（It was another three months before the album was released in America on 23 June but its rough, road-ready sound and stinging guitar attack made it perfect fodder for the bands first American conquest. Four more months passed before Let There Be Rock was released in the UK on 7 October where it would be AC/DC's firest UK charting album with a peak position of Number 75 and like America a hugely powerful tool with which to further their very, very, loud cause.）距离6月23号专辑在美国发行还有三个月，但是主唱的咆哮声和吉他带刺的鸣叫给AC/DC第一次对美国的征服做好了充分的准备。 《Let There Be Rock》在10月7号在英国发行前又过了四个月，这将是AC/DC在英国第一张进入排行榜第75名的专辑，向美国一样，这张专辑是对乐队很好很好的宣传。
（The UK release came during a year which saw the emergence of the debut albums of all punk's major players, each deperate allegedly to save rock 'n' roll from the boring old guard. The fact is none of them came close to touching the flame and the spirit of that music as powerfully and honestly as Let There Be Rock.）专辑在英国发行后的一年间，有大量的打着朋克旗号的的乐队和专辑出现，每个乐队都以“把摇滚从陈旧的形式中拯救出来”为己任。但事实是没有一张专辑像 《Let There Be Rock》那样真实地接近摇滚的灵魂。
（Let There Be Rock was the brooding sound of AC/DC…）《Let There Be Rock》中AC/DC徘徊不去的声音……
（…putting the worid and particularly their critics on notice that their march had really begun, that they were as serious as a cardiac condition with a megaton og amplification. It simply wasn't possible to make more exciting rock 'n' roll. Twenty six years on that's still the case beyond any reasonable doubt. -Murray Engleheart）……让整个世界还有它的公民们认识到AC/DC的时代真正开始了。 他们就像一个心跳速度的超级放大器一样。似乎不可能去创造比它还有激情的摇滚乐。26年之后，这张专辑依然否定着对它任何的看似有充分理由的质疑。 ——Murray Engleheart）
黄字部分
（Some bands get the audience they deserve
AC/DC
SHEFFIELD
THE BRIGHT spark at WEA who hit on the idea of sending out the Suburban Studs as support to AC/DC is obviously is in the need of a period of unemployment.
Presumably, the person concerned was under the illusion that AC/DC are in some way concerned with the punk movement. "Well, they got this kid guitarist, ain't they? Must be punk, if you ask me".
As it was, the Studs (Eddie Zipps, lead vocal and occasional, guitar; Keith Owen, lead guitar; Paul Morton, bass; Steve Paul, drums) were the ones who suffered.） 有些乐队得到了他们应得的观众 华纳将乐队送去充当AC/DC的观众的巧妙想法明显是为适应那段时间的失业潮。据推测，那些人幻想AC/DC的音乐和朋克有关。“那么，他们把这个孩子变成了吉他手，不是吗？如果你问我的话，我肯定会回答肯定是朋克。”正如事实本身，这个乐队（Eddie Zipps，主唱和吉他；偶尔，Keith Owen，主音吉他；Paul Morton，低音；Steve Paul，鼓）很受伤。
业余翻译，纯属爱好，不妥之处望各位看官指正~
（Sex, snot, sweat and school kids (or: AC/DC are back in town)）性感，下流，甜心还有小屁孩（或者说：AC/DC回来了。）
（QUOTE FROM AC/DC
person to me:"Whenever I meet you you've got your shirt off. Phil". Which on reflection is probably true but there's very obvious reason for it. AC/DC live are the most insanely compulsive heavy rock band I've ever experienced and I get very hot and malodourous listening to them. However, my reactions were the very epitome of cool…）引自AC/DC的话。根据我的经验：“菲尔，我每次看到你的时候你总是没穿上衣。” 仔细想想也没错因为有充分的理由支持他。AC/DC是我经历过的最令人疯狂的重摇滚乐队，而且我听他们的歌的时候有一种燥热感，然而，我表现出来的是很爽的样子……
（…Or to quote Bon Scott at his blood curdlingly best. "Letthereberock!" It's not just a statement. It's a command. In truth, AC/DC's second international album with its mock biblical monicker should have been subtitled "In the beginning..." The reason being it marks in scorched earth terms the point at which the Australians launched hugely successful bid for the title belt as THE world beating rock band complete with a deliciously fresh metallic sheen of a sound. Each song simply tears out of the speaker cones.） ……或者像邦斯科特所说——血液都凝固了。“Letthereberock！” 它不仅仅是一个陈述句。它是一个命令。实话说，AC/DC这张带有嘲弄圣经名字的第二张国际专辑应该加一个副标题"In the beginning..."。原因是它标志着在这片焦土上澳大利亚人把成功得到冠军腰带这样的事和拥有完美的带有新鲜感的金属音色的震撼世界的乐队相提并论。每一首歌就像从喇叭上扯下来的一样。
（RECHARGING FOR MORE LIVE WIRE ACTION）给更多的演唱会供电
（With that gear shift came a more serious "album" orientated approach and the shelving of any novelty type graphic imagery that up until that point had been very much a part of AC/DC's marketing.）伴随着那次进步诞生了一个更加严肃地专辑导向，新奇怪异的图片被搁置，这一点至今是AC/DC重要的市场营销手段。
（At least part of the recording's high octane fuel was drawn from what had occured in the lead up to the recording sessions. The success of the 1976 UK and European engagements dovetailed into "The Giant Dose Of Rock 'n' Roll" tour of Australia through December 1976 and January 1977. However, the homecoming jaunt was marred by cancellations in regional areas by authorities concerned about the band's reputation and perceived association with the "horrors" of punk rock.）专辑中至少一部分高能的东西是已经汲取了先前出版的专辑的经验。1976年英国演唱会的成功使得欧洲的乐迷接着参与了1976年12月和1977年1月在澳大利亚的 "The Giant Dose Of Rock 'n' Roll"巡回演唱会。然而，有些地方政府取消举办这次巡回演唱会，他们担心乐队会带来朋克摇滚的恐怖。
（Accordingly, when AC/DC entered Alberts Studio in Sydney in the middle of January to begin two weeks of night work on the album, the near electrical energy of the tour along with its frustrations were still charging through their systems.）因此，当AC/DC一月中旬准备为新专辑在悉尼的阿尔伯特录音棚开始为期两周的夜晚工作时，周围的的许多演唱会的电力供应还是通过他们的系统。
（There also seemed to be an understanding that more than just a new album was in order. A mission statement, a maifesto of what AC/DC were required and producers Harry Vanda and George Young were again brought in to help deliver the goods.
Angus set the tone and led the sessions by example during the recording of the rock 'n' roll history lesson that is the album's title track. His amplifier caught fire midway through but under frantic instructions from George he continued playing. By song's end the amp head was a smoldering puddle of wiring and valves and Angus' guitar had absorbed part of his tiny body weight in sweat.）有一种理解是将会有不止一张新专辑准备发行。AC/DC需要一项声明或者说是宣言，于是制作人Harry Vanda和George Young又再次加入团队来帮助制作。安格斯按照在录制专辑主打歌时的例子给歌曲定下了基调和小节。他的放大器中途起火但是在George疯狂的指令下他继续演奏。到歌曲结束的时候他的放大器电线已经和调节旋钮融在一起，而安格斯的吉他已经和他满是汗水的瘦小身体融为一体。
（"Let There Be Rock" is much more than the album's centerpiece. Surrounded on side one on one band by the time count opening of "Go down " and "Dog Eat Dog" and the classic blues bravado "Bad Boy Boogie" on the other, it anchors one of AC/DC's greatest collections of successive body blows.） “Let There Be Rock” 不仅仅是专辑的主题。围绕着它的一方面是以计时形式开始的《Go down》 和《Dog Eat Dog》，另一方面是代表经典蓝调的《Bad Boy Boogie》，这张专辑被认为是AC/DC最伟大的连续的身体动作专辑之一。
（The second side kicks off with a few testing chords to herald "Overdose." Angus and Malcolm then begin to slam down polarised sheets of guitar thunder which finally come together as one like a force of rock 'n' roll nature. From there it's back to the protective head and ear gear with "Hell Ain't A Bad Place To Be" where the guitars of …)第二面以一些测试性的和弦开始以预告 《Overdose》。安格斯和马尔科姆刚开始猛烈地用拨片扫弦，最后节奏合到一起，就像有一种原始的摇滚本能的推动着。在这里回到了有着头套和耳套的《Hell Ain't A Bad Place To Be》，这首歌中……
（…Angus and Malcolm growl as one and Bon details the sort of tale that had set him on the highway to hell.） 安格斯和马尔科姆像一个人一样吼叫着，邦斯科特扮演着他在《地狱公路》中设定的角色。
黄字部分
（AFTER THEIR well-received tour last year this album had to be a stormer. It is.Although they can't possibly catch and the excitement they generate on stage onto vinyi, they make sure the adrenalin level never dies down.Those who were fortunate to see them know exactly what I mean. Pile - driving heavy metal coarse vocals, superb powerhouse bass back - up they creat power and feeling, raw energy without the dyed hair and shock tactics of today's new wave outfits.）在去年他们倍受欢迎的巡回演唱会之后这张专辑成为一股旋风。虽然他们可能无法跟上这股他们在vinyi舞台上带起的旋风，但是他们确信由此而高涨的热情不会消失。那些真正看过他们表演的人就明白我的意思了。堆砌的狂野的重金属吼叫、华丽的贝司表达出他们的能量和感受，没有染色的头发、新浪潮的外衣和高超的演奏技巧展现着原始的力量。
（Then in keeping with the old maxim that it's never over until the fat lady sings (or something) comes "Whole Lotta Roise," the celebrated story of Bon Scott's most infamous sexual conquest, her considerable proportions and the singer's exploits among them. It ends with Angus at the very least rivaling the fiery white noise frenzy of "Let There Be Rock."）然后一直保持着他那永远不会结束的老调子直到一个胖女人（或者别的什么人）唱到《Whole Lotta Roise》，这是一个关于邦斯科特最臭名昭著的性丑闻的故事，她的有相当的比例被歌手运用到这首歌中。安格斯用了炽热的白噪声来结束这首歌。
（Initially there were two versions of "Rosie." The first had the title "Dirty Eyes" which was issued in 1997 as part of the Bonfire boxed set. But it was this version that came up with the required brimstone when it mattered.）最初“Rosie”有两个版本，第一个版本的标题有着"Dirty Eyes" ，这个版本在1997年作为邦斯科特合集的一部分发行，但正是这个版本中出现了那个泼妇。
（In addition to the band's thunderous new sound and perhaps in recognition of their growing popularity, mystique and mythology. Rosie is one of several actual characters (not too surprisely all women) that emerged in Bon Scott's lyrics for the first time in addition to his usual hard…）另外，乐队受到雷鸣般的掌声和人们对他们日益增长的受欢迎程度和神秘度有关。Rosie是第一个出现在邦斯科特歌词中的众多现实生活中的女性之一……
（…won street wisdom. The services of Ruby Lips for example are immortalised in "Go Down" which no doubt raised her local social standing on 21 March when Let There Be Rock was unleashed in Australia.）……这得来于邦斯科特来之不易的街头经验。举例来说，Ruby Lips在“Go Down”这首歌中不可磨灭的印记使她的社会地位在3月21号《 Let There Be Rock》在澳洲发行当天得到了提高。
黄字部分
（CITY KEY TO AC/DC
N. Miami - Welcoming AC/DC to the city of North Miami, Florida, Mayor Michael Colodny presented the band with the Key to the city.
The Aussie rock 'n' roll band, who recently played in the Miami area, are in the midst of their first American tour and have been creating a sensation everywhere they've appeared. Their new Atlantic album, "Let There Be Rock", is also doing extremely well.
All smiles at the ceremony are (l. to r.): AC/DC bassit Cliff Williams; Mayor Colodny; Barry Bergman of Marka Music; AC/DC lead vocalist Bon Scott receiving the key; Michael Browning, group's manager and Phil Rudd, AC/DC drummer. Kneeling in the front are (l. to r.) group members Malcolm Young and Angus Young.） 给AC/DC的城市钥匙 北迈阿密——欢迎AC/DC来到佛罗里达州的北迈阿密市，市长Michael Colodny给这个乐队颁发了城市钥匙。这个在全美进行巡演并最近在迈阿密地区进行演唱会的澳洲乐队在他们所到之处掀起了一股热潮。他们新发行的大西洋的专辑《Let There Be Rock》表现也非常出色。 照片上从左到右的笑脸分别是：AC/DC贝斯手Cliff Williams（手册上他被剪了……），市长Michael Colodny，Marka Music的Barry Bergman，正在接受钥匙的AC/DC的主唱邦·斯科特，乐队经纪人Michael Browning，乐队鼓手Phil Rudd；前面蹲着的人分别是（从左到右）乐队成员马尔科姆·杨和安格斯·杨。
（It was another three months before the album was released in America on 23 June but its rough, road-ready sound and stinging guitar attack made it perfect fodder for the bands first American conquest. Four more months passed before Let There Be Rock was released in the UK on 7 October where it would be AC/DC's firest UK charting album with a peak position of Number 75 and like America a hugely powerful tool with which to further their very, very, loud cause.）距离6月23号专辑在美国发行还有三个月，但是主唱的咆哮声和吉他带刺的鸣叫给AC/DC第一次对美国的征服做好了充分的准备。 《Let There Be Rock》在10月7号在英国发行前又过了四个月，这将是AC/DC在英国第一张进入排行榜第75名的专辑，向美国一样，这张专辑是对乐队很好很好的宣传。
（The UK release came during a year which saw the emergence of the debut albums of all punk's major players, each deperate allegedly to save rock 'n' roll from the boring old guard. The fact is none of them came close to touching the flame and the spirit of that music as powerfully and honestly as Let There Be Rock.）专辑在英国发行后的一年间，有大量的打着朋克旗号的的乐队和专辑出现，每个乐队都以“把摇滚从陈旧的形式中拯救出来”为己任。但事实是没有一张专辑像 《Let There Be Rock》那样真实地接近摇滚的灵魂。
（Let There Be Rock was the brooding sound of AC/DC…）《Let There Be Rock》中AC/DC徘徊不去的声音……
（…putting the worid and particularly their critics on notice that their march had really begun, that they were as serious as a cardiac condition with a megaton og amplification. It simply wasn't possible to make more exciting rock 'n' roll. Twenty six years on that's still the case beyond any reasonable doubt. -Murray Engleheart）……让整个世界还有它的公民们认识到AC/DC的时代真正开始了。 他们就像一个心跳速度的超级放大器一样。似乎不可能去创造比它还有激情的摇滚乐。26年之后，这张专辑依然否定着对它任何的看似有充分理由的质疑。 ——Murray Engleheart）
黄字部分
（Some bands get the audience they deserve
AC/DC
SHEFFIELD
THE BRIGHT spark at WEA who hit on the idea of sending out the Suburban Studs as support to AC/DC is obviously is in the need of a period of unemployment.
Presumably, the person concerned was under the illusion that AC/DC are in some way concerned with the punk movement. "Well, they got this kid guitarist, ain't they? Must be punk, if you ask me".
As it was, the Studs (Eddie Zipps, lead vocal and occasional, guitar; Keith Owen, lead guitar; Paul Morton, bass; Steve Paul, drums) were the ones who suffered.） 有些乐队得到了他们应得的观众 华纳将乐队送去充当AC/DC的观众的巧妙想法明显是为适应那段时间的失业潮。据推测，那些人幻想AC/DC的音乐和朋克有关。“那么，他们把这个孩子变成了吉他手，不是吗？如果你问我的话，我肯定会回答肯定是朋克。”正如事实本身，这个乐队（Eddie Zipps，主唱和吉他；偶尔，Keith Owen，主音吉他；Paul Morton，低音；Steve Paul，鼓）很受伤。
