When casual listeners think of AC/DC’s greatest hits, they often gravitate toward the stadium anthems of the Brian Johnson era (“You Shook Me All Night Long,” “Back in Black”) or the bar-room blues rock of Bon Scott (“Highway to Hell,” “Dirty Deeds”). However, for the dedicated fan, the real gold lies on the second disc of various two-volume compilations—most notably the official 2000 release, AC/DC: The Greatest Hits (Disc 2) .
Arguably the crown jewel of Disc 2. By 1990, AC/DC proved they could still create an anthem that rivals their 70s work. Angus Young’s legendary open-string picking intro is instantly recognizable, making this the definitive "second wind" track of their career. ac dc greatest hits disc 2
It focuses heavily on the band’s "middle era"—the mid-80s to late 90s—a period often dismissed by critics but cherished by the faithful for its relentless, unfiltered riffage. While specific track orders vary slightly by region (Australian releases differ from US/European), the core of Disc 2 typically includes the following heavy hitters: When casual listeners think of AC/DC’s greatest hits,
Representing the Ballbreaker album (produced by Rick Rubin), this track has a dirtier, looser feel than the polished 80s material. It’s a reminder that AC/DC never cleaned up their act. By 1990, AC/DC proved they could still create
This collection is not merely a leftovers bin; it is a masterclass in deep-cut power, showcasing the band’s raw energy, their evolution through the late 80s and 90s, and the often-underrated vocal tenure of Brian Johnson post-1983. Released as part of a double-disc set (often packaged together or sold separately in different territories), Disc 2 was designed to complement the more obvious radio smashes. By the year 2000, AC/DC had already conquered three decades of rock. While Disc 1 featured "Highway to Hell," "Back in Black," and "Hells Bells," Disc 2 was the gift for the fan who bought the T-shirt and stayed for the B-sides.
The title track from the Stephen King film Maximum Overdrive . This song is unique in AC/DC’s catalog for its use of a drum machine and a funky, synth-laced groove. It bridges the gap between the Flick of the Switch rawness and the polished production of The Razors Edge .