He did play a ton of different guitars live after 1980. He said back in the 80s at one point that he still used his first SG in the studio despite being retired from live use. I wish I could find it again to see what year it was from. Flick did have a different sound from the previous albums, but there are a lot of factors in the chain that affect tone, and don't forget that they dropped Mutt Lange on Flick after he did the last three albums. Production is a big factor. That's why HTH is such a big change from Powerage but not so much from BIB. I will go listen to FOTS back to back with those rehearsals when I get a chance. There were also shows on the Flick tour where Angus was still using batwing SGs: In 1981, he started using this weird SG that I suspect was a one-off reissue made by Gibson for him in that same year. It is possible that he used that for FOTS and FOTW. You can see that on Guns For Hire: Looking through concert photos from that era, he was using it very often in that time, and it first showed up in 1981 at the Rosemont Horizon. Here's the best quality pic I could find: Notice the blocky Gibson logo with the closed B and O. That means it cannot be a real '60s SG. Also, the pickguard tip is too long, like the '70s and 80s SGs. But it has deep beveling and the neck set at the 22nd fret. Unless it was another Jaydee with a Gibson overlay (which I doubt), I think this is an incredibly rare one-off. Probably had Tarbacks in it if I'm right. Which would be the same as the 1980 SG anyway. So I think we can make an educated guess that FOTS is the sound of Tarbacks, probably FOTW, too. By Who Made Who, he had the lightning bolt SG and that quickly became his #1, which had T-Tops. I think most of the following albums were recorded with that. Maybe not TRE... I don't know. I wish Fil (SoloDallas) would dive into the later albums more. I should shoot him an email and see what he knows. As for Mal, he did use that White Falcon on BIB and FTATR. But that still had Filtertrons anyway. The only time he really changed his tone much was on FOTW. He was using almost as much gain as Angus on that album. I would kill to have a cleaned up, properly produced and mastered copy of that album. I agree with most of what you said, but TRE sounds very modern to me. Much like FOTW, having a lot of gain. I loved Ballbreaker for the return to clean, dry vintage tones. The closest to BIB, in my opinion. And of course, Phil's drums just sound immaculate on BB. And Mal's chunky rhythms... I could go on for days, I fucking love the sound on that album!