Published on Dec 14, 2005
I love this album.
This qualifies as semi-news since I am a 43-year-old father of
three who, if a
Highway To Hell-era Bon Scott were to ring the bell to pick
up my 16-year-old daughter, would answer the door with bared teeth
and a Louisville Slugger.
But, see, I love this album.
Part of the reason is, it’s lived two lives with me. One
happened when the album first came out in 1979. I was, well, 16 at
the time, bowing down before guitar-brandishing greats like Van
Halen and Montrose, and the Young brothers struck me as among the
high priests of the great rock riff. (Clearly, Jack ”
School Of Rock” Black agrees…) The second time
around, repurchasing a bunch of old favorites on CD in my late 30s,
was no less joyful an experience.
Can you tell I love this album?
One way albums make the leap from good to great is by simply
never letting up. In a career that’s seen plenty of greatness, but
also plenty of filler, AC/DC has never issued a more consistent
album than this relentless 10-song slab of ringing, stinging rock
and roll (and yes, I’m including the also-great
Back In Black in that statement). There isn’t a clunker in
the bunch; not even close. And it contains not one, not two, but
three of their best cuts ever, the timeless, iconic title track,
the hilarious, propulsive “Shot Down In Flames” and the thundering,
electric “If You Want Blood (You’ve Got It).”
The music and lyrics, of course, have all the subtlety of a
three-megaton warhead. That’s the point. Yes, the lyrics are full
of giddy double entendres, but it’s cleaner than the average
network sitcom, and twice as funny. Anyone who thinks vocalist Bon
Scott was a loud-mouthed simpleton hasn’t been listening; the guy
put a lot more craft into his lyrics than you’d expect from a
brawling, alcoholic ex-chauffeur. He’s arguably the wittiest cad
ever in the long and storied line of rock and roll hooligans.
Kudos also go to producer Robert John “Mutt” Lange, the future
Mr. Shania Twain, who gave the band’s already big sound even
greater punch and clarity. Angus and Malcom Young’s guitars have
never sounded more muscular and vibrant, and the Cliff
Williams-Phil Rudd rhythm section plays like their hair is on fire.
Surprisingly, though, it’s the little touches I’ve come to
appreciate the most over the years – the little “Woo!” Bon lets out
as “Shot Down In Flames” gets started; the huge background vocals
the boys put up on “Walk All Over You”; the way Rudd crashes the
cymbal every single time Bon sings “blood” in “If You Want Blood
(You’ve Got It).”
Finally, a word about Angus and Malcolm’s playing on this album.
Gargantuan. That’s it.
Highway To Hell is 50 minutes of one of the great riff
machines in history at the top of their game. Any wannabe guitar
player who doesn’t own this album doesn’t really wanna be.
It’s true, you see — I love this album. (Maybe I should have
just stopped there…)