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The label had picked up AC/DC in 1976, though the feeling in the US office was that the band had little chance of making headway there.
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Founded in 1947 by Turkish-born mogul Ahmet Ertegun, it made its name with R&B, jazz and soul before branching out into rock in the 70s, most notably with Led Zeppelin. “Everything was going great until Atlantic stepped in and fucked it up.”Ītlantic Records was one of music’s great powerhouses. “We didn’t know it yet, but the really hard part had only just begun,” he says of the post- Back In Black period. He had been with them since they’d arrived in the UK in 1976 and was an integral part of the set-up. Ian Jeffery was the band’s tour manager at the time. That’s not how everyone in the AC/DC camp remembers it, however. We were very confident after the success of Back In Black. We never felt any outside pressure, because we didn’t let it in. “You can’t write songs with the intention to sell a million singles or albums.
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“Of course, the label wanted it to sell just like Back In Black did, but we knew damn well that’s not going to happen cos you can’t do that,” Brian Johnson says today. They even had a title for the new album that rang out as both a call to arms and a tribute to the fans who had elevated them to their current position: For Those About To Rock We Salute You. Not only had they managed the seemingly impossible in replacing Scott with Johnson, a 33-year-old journeyman whose only previous brush with success was a sole Top 10 hit with his former band Geordie seven years earlier, but also they had the ultimate team in their corner: top management in the shape of Leber-Krebs, who also handled Aerosmith and Ted Nugent Atlantic Records, the world’s biggest label and, most importantly, producer Mutt Lange, the man who had played such an important part in their rise.
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When the five members of AC/DC – Angus Young and his elder brother, rhythm guitarist and de facto leader Malcolm, plus bassist Cliff Williams, drummer Phil Rudd and new-kid vocalist Brian Johnson – arrived in Paris in the early summer of 1981 to start recording the follow-up to Back In Black, the building blocks for yet more success were solidly in place.