I have heard about a dozen or so songs, and, like everyone who grew up in the 70s, Back in Black was your graduation present.
But aside from the big tunes, what do I really know about the Aussie boys?
Let's find out.
AC/DC - Back in Black - 1980 (Buy it)
This is actually a really interesting record. It’s not that it’s better than any that have come before, it’s not. It’s AS good as Let There Be Rock and Powerage (Maybe a little better than Highway) to be sure. But it’s way more accessible. Is it a bad thing to say that Bon Scott was the one thing that was holding the band back? Well, no, because they were already monster successes before Bon died, but, the alchemy of Young, Young and new addition Brian Johnson, combined with Bon’s death, the spectre of which is all over this album, Mutt Lange’s brilliant manipulations and the band’s acceptance of their place as an arena rock spectacle come together to push them over the edge. This is the second best selling album of all time. All time! That’s crazy. And great. Because it’s dynamite from start to finish. TNT, if you will.
One thing I noticed is that it’s much groovier than all the others that came before. It’s sexier, without the lasciviousness. Bon Scott was someone you wouldn’t let near your daughter. Hell, you might not let him near your son or your dog or your mail carrier. He was a scary, dirty motherfucker. Brian Johnson, whose voice is more in line with the epic metal sounds we have come to recognize (Bruce Dickinson, Rob Halford come to mind), he’s a bloke who you want to have a beer with. And, while your drinking, your sister might come in the bar and join you guys. And, before you know it, you’re so drunk that you didn’t notice Brian and your sister leave and when you stumble out to the car and you find him humping her against the wall you know what? You kind of think, what the fuck. He bought the beers, he’s an okay bloke and, well, she’s a big girl. She can take care of herself.
That’s what Brian Johnson brings to AC/DC and it’s THAT element that sells 42 million copies.
How many of those 42 million people do you think ever listened to side one? It’s side two where Back in Black and You Shook Me live. Side one is just great AC/DC, though. Shoot to Thrill? Great. Givin’ the Dog a Bone? Great. What do you do for money honey? Yeah, that’s great, too. Only “Let me Put My Love into You” is a disappointment, both musically and lyrically.
The other thing about this record that struck me is how it DOESN’T sound like Highway to Hell. Highway, as I said before, sounds like everything that is about to come after, all the hair metal bands. But Black doesn’t. It’s unique. It’s classic AC/DC while sounding nothing like any of their other albums. It holds up today, unlike most records released in 1980 and before. The singer is different. The songs are groovier and bigger. It’s different.
And there’s one more thing before we put this to bed:
Brian Johnson, on Back in Black, understands melody in a way that Bon Scott never could. I’m sorry to say that because the journey from Voltage to Highway has been great. Johnson just knows a melody line and how to sing it.
This record is just shy of perfect.
Grade A+
A Side: Duh. You Shook Me All Night Long & Back in Black
Blindside: Shoot to Thrill & Shake a Leg
Downside: Let Me Put My Love Into You
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