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AC/DC – No Bull: The Director’s Cut (originally 1996, DVD 2008 Sony) The Plaza de Toro in Madrid is an incredible looking venue. “Nice place you got here!” understates Brian Johnson. To film a concert video here seems an easy decision. A crane and giant wrecking ball dominate the scene.

The ball swings and bowls over the backdrop! Enter: Angus Young!

“Back in Black” * is a natural opener: Everybody knows it, and the groove is impossible to ignore. Johnson’s voice is ragged and weak compared to the old days, although I think Brian sounds better in general today. A pre-crystal meth Phil Rudd dons spectacles, and hammers out the beat that, truthfully, he invented and does best. Having Phil back for that period of the band was a coup. It’s back to the Bon Scott years then, with “Shot Down in Flames”. Now Brian sounds more in his element, somehow seeming more in control on a Bon song.

As if it took them one song to warm up, everything feels in gear now. Then, “Thunderstruck” is an interesting take, because Phil didn’t play this song before. Chris Slade was in the band at that time, and Phil doesn’t even try to imitate his style. He plays “Thunderstruck” his own way, which is fine. There’s a live version, with Slade, on AC/DC Live.

With Phil on the kit, “Thunderstruck” is no longer filled with nervous energy, but is more in the pocket. It’s an interesting evolution.

It is defiant and distinctive -- in some senses a precursor of bands such as,, and, and in other ways in a class all its own. It's not the self-indulgent, 'I-gotta-get-mine' rap-rock of the late '90s, as it's loaded with social criticism. It's a blue-collar metal record made by rough-shod, tattooed, fighting men. The album's highlight is 'Punishment,' a hard-charging anthem with a surprisingly melodic chorus.

Contrast this with any live video of the current lineup playing the song with Slade today. “Girls Got Rhythm” is an easy classic, which warms the crowd up with a newbie: “Hard as a Rock” *, the single from Ballbreaker. All but instantly, it sounds like a familiar classic. This is high quality rock, with Johnson’s voice in full shred.

Colourful lights illuminate the stage, but only Brian and Angus are really mobile. Cliff Williams and Malcolm Young rock steadily, sticking to their respective sides, and stepping up to the mic for the big chorus. The crowd goes nuts when Angus himself speaks. The stage is huge, but Brian Johnson runs across every inch, interacting with the massive crowd as a veteran frontman can. Then AC/DC knock ’em down (down down) easily on “Shoot to Thrill”.

There is a rock and roll purity to this show: A bunch of guys in jeans (Angus excepted), playing hard rock and roll, but contrasted with that is the massive stage. AC/DC can do it because people love the personalities of the band.

Angus doesn’t miss a note, no matter where he’s running off to next. Phil smokes a cigarette during the blues number “Boogie Man”. Starting sluggishly, “Boogie Man” nails it as soon as Brian gets screaming. I’m sure AC/DC can play this kind of thing in their sleep! Angus has an extended solo during which he gets the crowd riled up and ready with his strip-tease moment.

When he finally drops his drawers, his undies have the Spanish flag on them. Madrid eats every bit of it up. AC/DC clustered a bunch of new songs close to each other at this point, and “Hail Caesar” ** is next. It’s time for a heavy prowler, and Caesar brings it on. When the bell tolls, you know what’s happening. “Hell’s Bells”!

Songs like this, “Dog Eat Dog” ** and “The Jack” require no commentary. The sight of Johnson descending from a giant iron bell is pretty cool. Last newbie of the night is “Ballbreaker” * itself, a blast of “shut the fuck up and listen t0 this” right in the face. This time, Brian is swinging from the wrecking ball, singing the whole time, kicking his feet in the air.

AC/DC have crushed itbut there’s still lots more to go. “Rock and Roll Ain’t Noise Pollution”, “Dirty Deeds”, “You Shook Me All Night Long” **, “Rosie” *, “T.N.T.”it’s all a good time, and you know them all.

Newborn: 0 to 2 mm/hr Neonatal to puberty: 3 to 13 mm/hr Age 20 55 90 Men 95% are less than 12 13 19 Women 95% are less than 18 21 23 Adults (Westergren method): Men under 50 years old: less than 15 mm/hr. Esr v 30 pro.

The only real critique is there is a gap in the setlist, with no songs from 1983-1988 appearing anywhere. “Let There Be Rock” is, as usual, extended to epic length with Angus’ brilliant solo. First of all, it’s incredible that Angus still has this much energy after playing and stomping through a show this long. What’s really amazing is that everybody in the band is fully fueled for this full-speed song. Malcolm sips from a water bottle — that’s the key, folks. The cool part here is when Angus departs the stage (band playing on), to re-emerge atop the massive shoulders of a bodyguard and taken to a flying platform in the middle of the crowd! Many thrills later, Brian says goodnight, but you know he’s teasing.

“Highway to Hell” commences with explosions, flames and Angus’ devil horns. And then, finally,the cannons” “For Those About to Rock” is the salute to Madrid, who witnessed an absolutely incredible AC/DC concert.