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:
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 .
Written for the Last Action Hero soundtrack, this track was a late addition to the catalog. It features a groovy, almost swing-like rhythm and is notable for being one of the last truly great Brian Johnson performances before the Ballbreaker era.
Wait—wasn't this on Disc 1? In many compilations, this track appears on both discs or serves as the bridge. When placed on Disc 2, it acts as the familiar anchor, reminding you that even the "deep" disc contains one of the greatest rock singles ever written.
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.
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) .
If Disc 1 is the wedding reception, Disc 2 is the afterparty at a dive bar at 2:00 AM. It is messier, louder, and arguably more fun. For anyone who claims AC/DC "only has one song," sit them down with this disc. They will leave bruised, deafened, and converted.
The most overtly pop-oriented song AC/DC ever wrote. With its massive chorus and tongue-in-cheek lyrics about greed, Moneytalks became a top 40 hit in the US. It shows the band’s surprising commercial savvy during the Razors Edge era.
Measure your chest (A) and hips (B) following our indications.
The reference measurement will always be the larger of the two (A or B).
Look in the chart to which size corresponds to that measurement.
| Size | Reference measurements | |
|---|---|---|
| Inches | Centimeters | |
| 2XS | 25.6 – 29.4 | 65 – 74 |
| XS | 29.5 – 32.6 | 75 – 82 |
| S | 32.7 – 36.1 | 83 – 91 |
| M | 36.2 – 39.7 | 92 – 100 |
| L | 39.8 – 42.8 | 101 – 108 |
| XL | 42.9 – 46.3 | 109 – 117 |
| 2XL | 46.4 – 49.9 | 118 – 126 |
| 3XL | 50 – 53 | 127 – 134 |
| 4XL | 53.1 – 55.9 | 135 – 142 |