Being in a band is a lot like being in a marriage—there’s trust, chemistry, and an unspoken understanding that everyone has to pull their weight. For AC/DC, especially in the early days under the leadership of brothers Angus and Malcolm Young, there was no room for dead weight. If someone wasn’t up to the task, they wouldn’t last long.
While AC/DC’s music is often described as straightforward, there’s a precision to their sound that’s easy to overlook. Their signature groove—rooted in tight, swinging rhythms—depends on every member locking in seamlessly. If even one person faltered, the whole thing could fall apart. That’s why Malcolm and Angus took their lineup choices so seriously.
Their first frontman, Dave Evans, had the looks and stage presence, but his glam-rock style clashed with the band’s raw energy. Once Bon Scott took over, the band’s true identity snapped into place. But even as they honed their sound, there was still one member who didn’t quite fit.
Mark Evans, AC/DC’s early bassist, had the skills to hold a rhythm, but he wasn’t the powerhouse the band needed. And according to Malcolm Young, he wasn’t even their choice.
“We had about four bass players [before Evans],” Malcolm recalled. “Mark actually got picked by our manager. We never wanted him, we didn’t think he could play properly.”
The Young brothers accepted Evans at first, but they always knew they’d replace him when they had the chance. That moment finally came after Let There Be Rock, when Cliff Williams took over on bass. His arrival transformed the band’s rhythm section, adding subtle nuances that made their music hit even harder.
While Evans contributed to some classic AC/DC tracks, the difference was undeniable. The title track to Let There Be Rock relied on a steady pulse, but when you compare that to Back in Black, Williams’ playing is far more dynamic. His basslines don’t just follow the root notes; they add depth and groove, making the band’s so-called “simple” sound much more intricate than it seems.
For all the criticism AC/DC gets for their stripped-down approach, their music demands serious precision. As Malcolm and Angus proved time and time again, there was no room for weak links—and Evans, according to Malcolm, should have never been there in the first place.
