If you know what you do well and stick to that, I think you can appeal to the different generations. You can strike a chord with them. I've got the brain of a teenager anyway.
I tried a Les Paul when I was a lot younger. I tried the Les Paul, and because of the weight of the thing, it nearly dislocated my hip.
The guitar can go at a scream. It can yell at you.
Riffs are a repeating thing. They come back to you. Some of the things on 'Back in Black' were ideas we had knocked around on tracks before that: 'That bit - maybe we should take a chunk of that and slug it in here.'
I've always been someone who thought it didn't matter where you were playing. I always shot for the best you could get. It never bothered me if it was small or it was big.
It doesn't take much for anyone to pick up anything I play - it's quite simple. I go for a good song. And if you hear a good song, you don't dissect it - you just listen, and every bit seems right.
I can't deny that Eric Clapton's and Eddie Van Halen's lead stuff has influenced a stack of people, but for me, it's the rhythm thing that's way more impressive and important to a band.
In the studio, my brother and I have always used a lot of Marshall amps. We like to keep it pretty basic. We just use a couple of cabinets each - sometimes just one, if we think that's enough. We mainly go for 100-watt and 50-watt heads.
When we grew up, Australia was the land of opportunity; it really was.
In our hands, even the straightest lyric sounded shady.
My part in AC/DC is just adding the color on top.
When we play live, it's always been a do or die effort. And everything we've ever done has always had that approach.
The places we'd play were full of bikers, brawlers, and drinkers coming off a day of work looking for a good time, and all these guys would be looking at me like Hannibal Lecter looking at his next victim.
We never go overboard and above people's heads. We strive to retain that energy, that spirit we've always had. We feel the more simple and original something is, the better.
Australia is the place I know best.
Most people can do what I do - they can do guitar solos - but they can't do a good, hard rhythm guitar and be dedicated to it.
I always liked the double cutaway. It looked like two horns. It's like a red devil. So I went to the guitar shop, saw an SG that was sitting there looking rather lonely, and said, 'Hey, that's for me.'
When we were younger and first starting out in Australia, we found that we sold more records by word of mouth because we were playing the bars, clubs, and small places and building a following. And as we got bigger, we still relied a lot on word of mouth.
