10 AC/DC Songs That Don’t Really Sound Like AC/DC

For a band that has been accused of writing the same record over and over for the better part of 50 years, casual listeners might be surprised to learn that, no, not all AC/DC songs sound the same. While several songwriting and sonic elements have remained similar throughout the decades, there are pretty distinct differences between the Bon Scott and Brian Johnson eras, and both periods feature tunes that break from what many consider the typical tropes heard in tunes like “Highway To Hell,” “Back In Black,” and “Thunderstruck,” among countless others. 

AC/DC recently concluded the North American leg of their “Power Up” world tour, and will hit the road again in Europe later this month. In honor of their ongoing legacy, here are 10 AC/DC tunes that really don’t sound all that much like conventional AC/DC. 

“Love Song” – from the Australian version of “High Voltage” (1975): During their formative years, AC/DC experimented with several sounds that they would soon ditch in favor of what became their signature style. The extended intro to “Love Song” is quite dramatic and wouldn’t sound out of place in a classic Western, but it quickly transitions into a sappy and terrible ballad that sounds about as far removed from AC/DC as it gets. Angus Young even told Vulture in 2020 that it was the most regrettable song of the band’s career. “I remember that song because the guy who worked for us at our record label told us that’s what was on the local radio at the time – very soft music,” Young said. “His thought we should release that song, because it’ll probably get some airplay. I remember thinking, ‘Who in their right mind would want this to go out?’”

“Soul Stripper” – from the Australian version of “High Voltage” (1975) and “74 Jailbreak” (1984): Moody, atmospheric and at times chilling, “Soul Stripper” also came about during AC/DC’s formative years. The cool guitar interplay between Malcolm and Angus Young eventually sets the stage for the story of a murderous and seductive woman who tricks Bon Scott into her trap.

“Little Lover” – from “High Voltage” (1976): “Little Lover” is about as slow and sleazy as it gets with AC/DC, and Bon Scott’s delightfully devilish charm and delivery makes what otherwise might be considered a boring track something unique and special.

“Can I Sit Next To You Girl” – from “High Voltage” (1976): The band’s first-ever single, “Can I Sit Next To You Girl” was originally recorded with vocalist Dave Evans before getting the Bon Scott treatment shortly after. It’s a cool, catchy and fun tune, but it’s a bit different than the power chords and fist-pumping anthems that AC/DC would soon be known for and actually features lead guitar work from Malcolm Young.

“Ride On” – from “Dirty Deeds Done Dirt Cheap” (1976): “Ride On” is a Bon Scott-era AC/DC classic and is about as bluesy and heartfelt as AC/DC has ever sounded. Musically, it’s almost a dead ringer for ZZ Top’s “Jesus Just Left Chicago.” The saving grace of “Ride On” and what makes it a bonafide AC/DC masterpiece, however, is Bon Scott’s down-and-out delivery about loneliness from a failed relationship and a continuous promise to one day change his evil ways. Powerful stuff. 

“Big Balls” – from “Dirty Deeds Done Dirt Cheap” (1976): AC/DC can be pretty juvenile at times, but no tune in their catalog is quite as ridiculous or as funny as “Big Balls.” Bon Scott’s toilet poetry is hilarious both lyrically and in his delivery, but that the song was reportedly only ever played one time live shows that it was a little too off the wall compared to their other material to include in their sets. 

Love Hungry Man – from “Highway To Hell” (1979): “Love Hungry Man” is about as groovy as AC/DC has ever played, and Cliff Williams’ bass line wouldn’t sound out of place on a disco track. The song does eventually end up rocking like all hell, and producer Mutt Lange’s fingerprints, not to mention his backing vocals, are all over what is a pretty special and different AC/DC track. 

“D.T. and Chase The Ace” – from “Who Made Who” (1986): A double instrumental entry to this list, “D.T.” and “Chase The Ace” were recorded as background music for scenes in the Stephen King horror film, “Maximum Overdrive.” They’re both heavy at times, bluesy at others and provide a nice backdrop for the B-movie suspense and carnage of machines coming to life in a murderous rampage against Emilo Estevez and a ragtag bunch of unsuspecting North Carolinians. “D.T.” is also the only song in the AC/DC catalog to feature the band in drop-D tuning.

“Rock ’N Roll Dream” – from “Black Ice” (2008): The last album Brian Johnson wrote lyrics for was 1988’s “Blow Up Your Video.” There are a few reasons floating around about why this came to be including the singer saying he ran out of ideas and/or that he was going through a divorce during the recording of 1990’s “The Razors Edge.” More than likely, it came down to publishing money that the Young brothers didn’t really want to split with the singer. Whatever the reason, Johnson did write lyrics for “Rock ’N Roll Dream” on the spot at the request of producer Brendan O’Brien. A bluesy and soulful outtake likely destined for the cutting room floor, “Rock ’N Roll Dream” took on new life with Johnson’s delivery. What it’s actually about is still anyone’s guess, but it’s definitely an out-of-the-box track for the band a cool addition to what many consider the album that cemented AC/DC’s status as rock icons. 

“Through The Mists Of Time” – from “Power Up” (2020): You don’t get a lot of deep meaning in most modern AC/DC lyrics. Angus Young has taken over just about all of the lyric-writing duties since the passing of his brother, Malcolm, and as mentioned previously, the brothers Young wrote the lyrics as a tandem from 1990’s “The Razors Edge” through 2008’s “Black Ice.” Though not directly implied, “Through The Mists Of Time” comes off as a touching tribute to Malcom and covers themes of mortality. Musically, the track is a mid-tempo, melodic and inspirational tune that is truly unique among the AC/DC canon, and Johnson’s heartfelt delivery makes it perhaps the best track on “Power Up.”