Published on Nov 17, 1999
I’m somewhat amazed no one’s tackled this album yet here at “The
Daily Vault.” Why? Is it AC/DC’s finest? Is it some groundbreaking
album? Nope. But it was the album that brought AC/DC back to the
forefront and reintroduced them to millions (and millions) of
hormonally-enhanced teenage boys and girls. After years of subpar
albums and controversy, the boys from Aussie land finally crafted
an album that captured most of their attitude. Now, kids could see
why their older brothers swore allegiance to a man dressed in a
school uniform!
Now, that said, I have to say that it suffers from the same
problem as Metallica’s
Master Of Puppets. What does that mean? Simple: Side one of
both of those albums were filled with classic and terrific
material. However, side two flounders and falls with
less-than-stellar material. I’ll explain as we head down.
The album opens with the neo-classic “Thunderstruck.” (By the
way, screw the jackasses of Sprung Monkey for dissin’ this song).
It’s hammer-on heaven for all those metalheads that picked it up.
While the lyrics aren’t really that deep, the song is meant for
quick consumption. I remember seeing the video that goes with this
song and just falling in love with AC/DC. Followed by “Fire Your
Guns” – which follows the trend of great music and okay lyrics –
the one-two punch is quick and merciless. If you take it too
seriously, you are missing the point.
This album contains what was probably AC/DC’s only other hit
besides “You Shook Me All Night Long.” I, of course, refer to
“Moneytalks.” In many ways, that song is perhaps the theme song for
the 1980s. Hell, it
still works! (Isn’t that what every rap star says to all
their womens? “I’m rich! Love me for it!”) The song is a perfect
blend of rock and pop.
Another pop and rock mixture works just as well, but is less
recognized. “Mistress For Christmas” is great and fun. Why it isn’t
a classic, I don’t know. Meanwhile, the low and growling title
track harkens back to the meanness of “Hell’s Bells.” It is one of
the finer tracks in here. I guess the only track that falters on
side one is “Rock Your Heart Out.” It tries to capture that 80s
rock feel and…well…AC/DC was not anything like that.
As for side two, let me be honest. Two, perhaps three, songs are
decent. They are “Are You Ready,” “Got You By The Balls” and “If
You Dare.” The first one is a better example of pop-rock fusion
that “Rock Your Heart Out.” “Got You By The Balls” is somewhat
slow, but has a meanness to it and is rather amusing. (Who says
women can’t take charge?!) “If You Dare” is a toss-up. Either
you’ll like it or you won’t. In any case, it’s one of the shorter
songs – mostly the chorus repeated – and you won’t mind. I do
think, however, that “If You Dare” was not a good choice for an
album closer. (When will bands learn?)
Well, what of the rest of side two? Let’s see, “Shot Of Love”
may have been another attempt to join the late ’80s glam rock
scene, but it’s not AC/DC’s style. “Let’s Make It” is very weak –
could have fit well in one of the late ’80s albums that tried to
make AC/DC something else. As for “Goodbye & Good Riddance To
Bad Luck,” I liked it when I was fifteen, but now, it has lost all
of its flavor. This band can do much, much, better when it wants
to.
The good side of getting mega-producer Bruce Fairbairn (may he
rest in peace) was that he – like “Mutt” Lange ten years before him
– brought out the best sound of the band. Angus Young’s thunderous
leads hadn’t sounded this good in a while. The same went for the
rhythm section, which featured perhaps its strongest drummer in
Chris Slade. While Phil Rudd was an overall better fit for rhythm
guitarist Malcolm Young and bassist Cliff Williams, Slade manages
to match the thunder out of Angus Young’s Gibson SG. The bad side?
Unfortunately, Johnson’s voice does not return to its growling,
sneering best of the early 80s. However, Fairbairn does make it
sound better than it did on
Fly On The Wall or
Blow Up Your Video.
While
The Razor’s Edge brought AC/DC back from its slumber, some
of the material isn’t up to the Aussies’ par. Still, the strong
songs are strong, the pop hooks are on and, you just got to love
those hammer-ons and that chanting!
(Oh-ah-oh-ah-ah-oh-ah-oh-THUNDER!)