AC/DC Drummer Mystery Continues...........

Here we are, a little over a week away from the Grammys, and AC/DC still have not announced who will be sitting at the drum set. The reason for their silence baffles me. I have thought long and hard on why they are keeping silent on the issue. I have also thought about why the contenders have kept quiet as well. It is certainly a mystery.

First, why would the band not say anything about it? I can only think of about 4 real reasons.

Reason 1 – They don’t know who the drummer will be. This is the weakest reason, but plausible. They may have been holding auditions and discussions. Whoever the drummer is going to be, they may have to work under the condition that Phil gets his job back once he is cleaned up and got his life straightened back out. Like I said, this is the weakest reason and probably not the real reason.

Reason 2 – Publicity. AC/DC aren’t the greatest with publicity. It’s just the way they are. You would think that if this was a publicity stunt, they would be hamming it up. Instead, they are dead silent on the issue, as is everyone involved. Chris Slade isn’t saying anything. Simon Wright isn’t saying anything. Phil Rudd has only said that he wants his job back and has said that he will get it back. Now, he’s silent too. The band hasn’t said so much as a peep since Phil said he wanted his job back. There haven’t been any promotional interviews. There haven’t been any interviews of any kind for that matter. It’s "radio blackout". For a band promoting a new album, this isn't normal.

Reason 3 – Respect for Phil. Do you announce a funeral with fanfare? I don’t think this is a happy time for the band, so they are staying quiet. Odds are, they’re going to make this transition as quietly as possible, which is hard for such a popular band. By announcing a new drummer, they may perceive it as something they are proud of, which I just mentioned, I’m sure they are not.  When Phil left the first time, back during “Flick of the Switch”, the band made the change very quietly, but only being 39 years old now and being too young to be into AC/DC at that time (I would have been 7 or 8 years old), I don’t know if it was as quiet as this.

Reason 4 – This is the one that may be most plausible. Phil isn’t fired. It may be hard to believe, but he may not technically be fired. He may be suspended from the band, but if they haven’t said that he’s fired and he hasn’t been removed from the website, odds are, he’s still the official drummer.

How can this be? Well, let’s look at it this way; When Malcolm had an alcohol problem back in ’88, Stevie Young took his place on tour, giving him time to clean his act up. The band may be doing this for Phil. This would explain why Phil has shut his mouth as of recent. It would explain why the band hasn’t said who the replacement is, partly because he hasn’t been fired, and partly out of respect for Phil. Since Phil's "I want my job back!" outburst, everyone associated with the band has been dead silent. It's as if they all came to a mutual agreement to keep their mouths shut.

If Phil really isn't fired, but is taking time off to get his life together, that would mean that they would need a replacement for awhile, and odds are it's going to be Chris Slade. This would explain why Chris has been silent on the issue. He’s not technically AC/DC’s new drummer, but rather, the guy who is going to fill in.

Chris has publicly stated that he regretted leaving the band and has said that he should have stuck it out and the band would have come back to him. Maybe he's hoping Phil won’t clean up and that he will officially get the job? Think of it as the Tommy Thayer approach. Maybe that's his angle? Chris is reported to be a very nice guy so odds are that he probably wants to see Phil clean and healthy, but wants his job nonetheless. Maybe Chris figures that any time behind the set will be worth it, even if only for a little while? I know I would if I were him.

Chris is in the L.A. area and has canceled a meet and greet event at an eye doctor tomorrow. The guy hosting the event said that there will be a change in Chris’s career coming up and that’s why the event got canceled. While Chris has been fairly silent on the issue, a lady who is traveling with him said on January 11^th, that they will be in the United States for a few months. Well, that’s how long AC/DC will be in the states before heading off to Europe to tour. Her Facebook page is the one to watch as I doubt she has been gagged by the band like Chris obviously has.  

Chris’s website is being upgraded. It could be coincidental? He doesn't have any dates coming up for his Chris Slade Timeline as far as I can tell. He’s been absolutely silent. In fact, Chris normally promotes his appearances where he has the opportunity to meet fans and has done so enthusiastically on his Facebook page before. Since the first of the year, he hasn’t said a peep about a gig that he did last night with a cover band, or the canceled meet and greet. That’s very odd for him.

Everything is leaning in the direction that it’ll be Slade behind the drums, and I for one would welcome the change. I think he made AC/DC sound better. A lot of people talk about Phil’s groove. That’s called laziness and lack of proper technique. Phil has even admitted to the latter. Chris gave the band a tight sound that I liked, and obviously countless others did as well as sales of The Razor’s Edge prove. I wrote a whole piece on why I prefer Slade about a month ago so I won’t go into it here.

There are also a couple of wild cards in the mix that must be discussed.

Simon Wright – He is also in the L.A. area (but he lives there) and has a history of joining bands for awhile and switching. He doesn’t seem to like to stay in one place all that long. It would be perfect should AC/DC want someone to temporarily fill in for Phil as outlined in “Reason 4” above. Simon’s style is closer to Phil’s than Slade’s. While he didn’t leave on a bad note with the band, he didn’t get stellar reviews from the other members the same way Slade did. I wouldn’t be surprised to see Simon get the nod. It would be a good indicator that they intend for Phil to return. It should also be noted that Simon has been tight lipped about the whole ordeal. He has nothing lined up for awhile that I can find online. If he’s not the guy, then why is he silent? Why doesn’t he just say he’s not the guy?

Phil Rudd – I guess it’s not entirely out of the realm of possibility. Phil could show up for the Grammys and fly back in time for court. Meth can help you overcome jet lag! I’m just kidding on that one …….well, kind of. I haven’t heard where Phil has had travel restrictions placed on him, but I wonder if he’d have trouble entering the United States being under charge and awaiting trial for what he is facing? But, if it is Phil, then what can Slade be doing in L.A.? Here’s the real wild card –

Tom Jones - Yes, Slade’s original band-mate. Tom Jones is scheduled to appear on the very same Grammys that AC/DC is. What are the odds that Chris is there to play with Tom Jones? It may be slim, but then again……who knows? I guess at this point we’re all assuming that we’ll see Chris Slade at the Grammys. He might be in Los Angeles for vacation? We just don’t know at this point. Maybe he doesn’t want to admit that he got passed over for AC/DC? He didn’t touch the sticks for three years after he left the last time. Chris has played with everyone from Tom Jones, David Gilmour, Uriah Heep, you name it, but he seems absolutely smitten by AC/DC. It’s the band that he seems to have loved the best. He seems to love the band as much as the Young brothers.

Dark Horse - Yes, there may be someone at the drums that we haven't discussed. Some people think Bob Richards will get the nod because he sat in for the video. I have also read online that Angus Young has said that it won't be Bob, but I haven't seen that with my own eyes. Even though the odds are very slim, we may all be surprised with someone we didn't expect!

Whatever the case may be, the issue of who will sit behind AC/DC’s drum set on February 8^th is frustrating to more than just a few fans of the band. The band claims to care about their fans, but also have a track record of having a “fuck you” attitude towards them as well. We only have a week and a few days at most before we get some much desired answers.


 

Time for Chris Slade's return....

 

I am 39 years old and here I am writing about a band member. I feel foolish for writing about something as silly as who will or who will not play drums for AC/DC. Then, I think about people half again as old as me getting all lathered up over politics, and then I tell myself that I’m not so silly after all!

Phil Rudd has been a mess for some time. When he came back to the band in the mid 1990’s, I at first thought it was cool, until I listened to their “Ballbreaker” album. Other than a few tracks, that album stunk. They tried their hand at some blues, which AC/DC did well with on “Powerage”, but there was something missing this time around. It didn’t take me long to figure it out. It was the drums. Phil’s drumming style has progressively become lazier. If you listen to albums from the 1970’s and listen to the “Ballbreaker” album, tell me that you can’t hear a difference in drums compared to “The Razor’s Edge”.

Drums are the salt of the song. They can either make the song bland and sometimes they can overpower it. And just like salt, the drums are often the most under-appreciated and misunderstood ingredient in music. Just as in cooking, finding the right balance is essential. My palate says Phil Rudd has gone stale, and Chris Slade is a tad salty, but I prefer a tad extra salt over blandness.

“Stiff Upper Lip” wasn’t much better. I didn’t like that album at all. It was more than just drumming that was flat on that album.

“Black Ice” was better. Phil only sounded alive on the song “War Machine”. Other than that, it still had a flat, lazy sound at drums.

I must admit that Phil sounded better on “Rock or Bust”. However, he still has a loose sound that I don’t like. Contrast his drumming on “Rock or Bust” with his drumming in the 1970’s, and he sounds tired today. When you see Phil on video, he looks tired. He isn’t smiling. He looks like he ashing his cigarette all over his snare drum head. Hell, he’s starting to look like a crumpled cigarette butt himself. I have read where some people say that it doesn’t matter what he looks like. Wrong. Ask any performer who is anybody, and they’ll tell you that stage presence is very important. There are articles written on the issue. Why should Phil be exempt?

One of the things AC/DC has loved to point out is that in the beginning, they’d get better response from the crowd than bands who were billed higher than them, because as opposed to just standing still and playing, you had Angus running all over the place, and of course, Bon just seethed personality. AC/DC put on a better show than other bands partly based upon the visual aspect of the show. KISS knows this too. That’s why KISS puts on such a visual show. If you have the music and the visual show both kicking ass, it’s hard to go wrong.

One area where AC/DC have been faltering is in the visual part of the show. Bells, trains, cannons, and blow up dolls aside, it’s only Angus that provides the show anymore. Sure, Brian is an excellent front man. He isn’t Bon Scott when it comes to stage presence. Cliff and Malcolm, now Stevie, do their part by taking their positions at drums right and left, then coming out in unison for the chorus, and returning in unison when they’re done singing. They could just as easily put the microphones where they stand, but even the subtlety of their taking a few steps forward and back adds to the stage theatrics.

Then there are the drums. Look at the old footage of Phil Rudd. While he’s always used what I call a closed drum set, meaning that he surrounds himself with drums and cymbals to the point that he’s hard to see, on video, he used to smile and get into the music. He looked happy. That’s not to say that he’s not happy today playing drums, but his stage presence today is abysmal. I don’t give a damn if he is the greatest drummer in the world. He puts on a terrible show visually. Why go to a concert if not for the visual aspect of the show? You could just sit to home and enjoy the band audibly or just wait for another live album if you like the crowd noise and expanded solos. If you want to be around other people enjoying the music at the same time you are, you could go to a bar on a Friday or Saturday night and drop your dollars in the jukebox or just have a party and play the albums. You go to a concert for a whole range of experiences, and Phil looks like shit. He doesn’t add to the visual experience. Sure, there are lots of lights, a big bell, a blow up doll, and other effects, but that’s like using a dildo to satisfy your wife because you can’t cut the mustard anymore.

Contrast this with Chris Slade. “The Razor’s Edge” was the biggest album sales wise for AC/DC since “For Those About to Rock”. It is critically the best received album since as well. Chris Slade made that album sound tight. Some complained that he played too fast. At last check, AC/DC are a rock and roll band. Rock and Roll is supposed to be fast. Do you want a waltz? With the exception of “Love Song” “Crabsody in Blue” and “Ride On”, where is the slow drumming on the older albums? Phil used to keep a fast tempo. Phil used to have a tight sound. When Phil came back from his 12 year absence, he wasn’t the same guy.

Chris has top notch stage presence. In fact, with the loss of Bon Scott, Chris helps add where Brian falls short. Chris uses what I call an open drum set. He sets it up in such a way that you can easily see him while he plays. When Chris plays, he smiles. That’s very important. He gets into the music. He looks like he’s having the best time of his life. He adds tremendously to stage presence. If you watch “Live at Donington”, you’ll see where Chris and Angus play off of each other and make for one hell of a show. I haven’t seen Angus do this with Phil.

Chris is a better drummer than Phil. Some say that Phil is the best drummer for AC/DC. Do you mean a lazy drummer fits AC/DC the best? Some people say nobody hits the drums as hard as Phil. How can you tell the difference in an album? I think people say this cliché stuff because it sounds good, not because it really means anything. When Jimmy Page put together a band called The Firm, who did he turn to? Chris Slade. Think about that for a moment - Jimmy Page, the man who played with arguably one of the best drummers to ever assault a kit, John Bonham, wanted none other than Chris Slade. Chris had even committed to another job that would prevent him from joining The Firm and Jimmy Page decided that he wanted Chris enough that he chose to wait a whole year, just so that he could have Chris Slade play drums for him. That’s how good Chris is. Chris Slade has played with more A-list bands and musicians than Rudd could ever dream of. Not to detract from Rudd’s years with AC/DC, which does account for something – Chris has played with countless musicians and played many different styles. Chris has a deeper repertoire. Chris understands everything about stage presence. When you see Chris playing, whether for The Firm, Manfred Mann, or AC/DC, he puts on a show. Visually, he’s a stunning drummer. Elvis even wanted Chris Slade to play for him. That’s a fact! You don’t get picked by Jimmy Page and Elvis unless you are a top shelf drummer. Chris is a world class drummer. They don't come any better qualified.

Some have complained that Chris has been relegated to playing in a cover band lately. Bullshit. The Chris Slade Timeline isn’t a cover band because Chris isn’t playing covers. He’s playing songs that he has been involved with personally over the course of his 50 year career. Instead of sitting on his ass and flying helicopters or herding sheep, Chris decided to spend his time continuing his love of music and playing drums.

If Phil honestly is so great, then why didn’t anyone come looking for Phil to come play for them when he left AC/DC in 1983? The only band who obviously wanted him was AC/DC. Chris Slade, on the other hand, frequently plays with other bands. Hell, even Simon Wright has no problem playing with other bands.

Finally, Chris Slade is a gentleman. He has been a tremendous ambassador for AC/DC. He never speaks ill of them. He only builds them up in interviews. His love for AC/DC is evident. I don’t think it has anything to do with money. Phil, on the other hand, has this entitlement mentality when it comes to the band. He brags about how much money he spends on cars and hookers. I can see why he needs to tour and make money. His lifestyle means he needs huge influxes of cash. He put out a solo album and complained that he had to do something because the band wasn’t putting out an album. It doesn’t sound like he consulted with Angus or Malcolm on this. I could be wrong, but that’s the impression I get. Phil is stuck on himself. He’s an asshole to others, including his employees. Unlike every other band member, Phil Rudd isn’t humble. He has obviously been upset that he has had to stay quiet in the band because in interviews he mentions that people think he’s stupid because he doesn’t speak. Geeze, Cliff Williams hasn’t said much either, yet nobody claims that Cliff is stupid. In fact, in the band’s off time, rather than being a dickhead to employees and fornicating with prostitutes, Cliff and Brian did the “Classic Rock Cares” tour in 2007. If you really look at it, Chris Slade’s personality fits better with the other members of AC/DC than Phil Rudd’s. What Phil Rudd has that Chris Slade doesn’t is tenure. Chris Slade admits that the guys in AC/DC are extremely loyal. It sounds like they are loyal to a fault. Truthfully, I think Phil Rudd has done more harm to AC/DC than good these past 20 years.

I don’t know what AC/DC is going to do when it comes to drums. One thing that I do not like about AC/DC is their secretive nature. They’re like the dictatorship of North Korea in that regard. They are so tight lipped about things that it leaves everyone to speculate and be frustrated. That’s not to say that they should air all their dirty laundry out, but obviously, there’s a code in the band that you don’t say anything publicly without permission, and whoever grants that permission is really stingy on what they allow to be said. Even right now, the day after Christmas, Chris Slade on his “Chris Slade Timeline” Facebook page is mum about AC/DC. He doesn't seem to want to touch the subject with a 10 foot pole. He won’t even say if he’s spoken to anyone in the band regarding the situation. It’s uncanny.

They may not even go with Slade. Whatever the case may be, it appears that they’re going to try and make the change as quietly as possible. Guess what? That’s pretty difficult when you’re one of the top bands in the world. That’s like having a top level change in the United States government quietly. People are bound to notice.

Instead, rumors are running rampant on the internet about what the band is going to do about their drumming position. They say they care about the fans, yet they choose to leave them in the dark. Bands like Metallica have perfected the art of keeping their fans informed on what is going on regarding the band. AC/DC could stand to take some notes. This isn’t the 1970’s, 1980’s, or 1990’s anymore. People are connected like never before. People don’t get their information from a month old magazine sitting on a store shelf. Now, people get, and expect their information in near real time. AC/DC must know this, but they don't seem to like it. AC/DC acts like someone who sticks with cassette tapes because they don’t want to switch to CDs. They were one of the last holdouts when it came to selling their music digitally.

This isn’t even a situation like Malcolm’s dementia. While Phil’s battle with whatever it is that’s messing him up may be personal, he has made it public. The previous two paragraphs detail why. In today’s day and age, it doesn’t take much to get yourself in the news, especially if you’re famous. Phil doesn’t seem to have a good grasp of this reality. Chris Slade seems to understand this. I haven’t found any scandals, past or present, surrounding Chris Slade.

The question now becomes, who will be AC/DC’s next drummer? When will the band choose to announce it? Will the change be permanent or temporary?

Phil quit being AC/DC’s best drummer back in the 1980’s. When he came back, he was never the same. Like the fat incarnation Elvis, he has almost been a mockery of his former self. Chris Slade on the other hand has never quit loving the band. He has the right mindset and works as hard as anyone on drums. I’d be surprised if Chris ever did anything to damage the band’s reputation. In 50 years, he hasn't done anything to damage the reputation of any band that he's been in. He is a true professional, and he's humble. While it’s true that he’s no Phil Rudd, even the old, top notch Phil - that doesn't mean that he's subpar to Phil. He's just different. Just as Brian Johnson and Bon Scott are two different people, giving the band two different sounds, AC/DC with Chris Slade at the drum set is every bit as good, albeit different, from the band with Phil at drums. He’s certainly better than Phil in his current condition. Chris has publicly stated in interviews that he loves to tour. Phil has had troubles showing up for recording and promotion. You can't have a concert schedule with someone who you cannot count on to be there. Chris wins over Phil hands down in this respect. If AC/DC were to choose Chris, they wouldn't have to worry about their drummer any more. Reliability has to account for something.

This essay is only valid until AC/DC announces their next drummer. Their choice may even be someone not on the radar today. As of right now, Chris Slade is my first pick as their drummer. It remains to be seen who Angus picks.

It’s time that Angus put Slade back behind the drum kit and leave him there. Even if Phil cleans himself up, he twice put the band in a pinch. Slade has never done that. Slade has been as loyal to AC/DC as AC/DC have been to Phil. It would be refreshing to see AC/DC do right by Slade for all he has done for them over the years.


 

My review of AC/DC’s Rock or Bust

                I am an AC/DC fan going back to 1987 when I first discovered them. I love AC/DC and their style of rock and roll. I also love Led Zeppelin, Black Sabbath, The Rolling Stones, and other similar styles of music. For the record, I also like bluegrass, C&W, heavy metal, and just about anything other than opera.

                I am now old enough that I’m not enamored by AC/DC, meaning that I won’t say that something is good just because it came from a group I like. It’s either good or it’s shit.  Every dog has it’s day, and the question is; Does AC/DC still have it?

                I have long felt that AC/DC have been going downhill since The Razor’s Edge. They weren’t so hot before that album either. I have long felt that Chris Slade was the reason for The Razor’s Edge success. He had a tight sound which helped the aging rockers sound younger and fresher. I love Phil Rudd, but only his earlier work, not his latter. He was really good up through Flick of the Switch, but these modern albums of his are sloppy. It’s also partly visual aesthetics. Phil sits back there and looks lazy on the drums with a cigarette hanging out of his mouth, ashing all over his snare drum head. Chris Slade had an open kit where the crowd could see him, and he looked like he was alive – having a wonderful time!

                I purchased Ballbreaker, Stiff Upper Lip, Black Ice, and now Rock or Bust as soon as I could get my hands on them. In fact, I am still waiting for Rock or Bust to get here, but thanks to the internet, I have heard the new tracks and I am able to write this review.

                Also for the record, my favorite AC/DC albums are their Australian T.N.T, Australian Dirty Deeds, and Powerage. Back in Black is about #6 or #7 on my list and Stiff Upper Lip, Ballbreaker, and Fly on the Wall are at the bottom.

                I will rate the songs on a five star basis.

                1 star songs are songs that are almost unlistenable. These are songs that make you want to flip the record or hit Fast Forward. Rock in Peace off of the Australian Dirty Deeds is a 1 star song. Cyberspace is an example of a 1 star song.

                2 star songs are filler. They aren’t worthy of playing at a party. They’re songs that you sit through until you get to the next good song. “Love Hungry Man” is a 2 star song. I feel a lot of “Fly on the Wall” and some of the tracks on Stiff Upper Lip and Ballbreaker fall into this category. There aren’t too many 2 star songs on the older albums.

                3 stars will be average. It’s a good AC/DC song and isn’t really filler. It doesn’t have much depth though. It’s just good old AC/DC. “Sink the Pink” would be a 3 star song in my book. So would “Shake a Leg” from Back in Black.

                4 star songs will be great AC/DC songs that have more depth to them. There’s something about the song that makes it a little extra special. “Mistress for Christmas” would be 4 star. Why? It has Christmas Bells and is a memorable song, and it’s a damned good song to boot. A lot of the Razor’s Edge and Powerage albums are 4 star songs.

                5 star songs are top shelf AC/DC. These are songs that are unforgettable. “Thunderstruck” is a 5 star song. It’s intro is emulated by almost every rock and roll oriented teenager starting out on guitar. It the same story with “Hells Bells” and “Highway to Hell”. These are songs that people play when they pick up a guitar in a guitar store.

                That being said, I will now rate Rock or Bust;

1.           Rock or Bust (3 stars - barely). Not a stellar song. It’s par for the course. I almost give this song 2 ½ stars. I’m not sure why they picked this song as the second single other than the title. If the rest of the album were of this quality, I wouldn’t be very happy. Thankfully, this is about as bad as it gets on this album.

2.           Play Ball (3 ½ stars) It has a little more depth than the average AC/DC song in that it has radio airplay written all over it. It’s catchy and I catch myself singing the lyrics from time to time which tells me it’s not too shabby.

3.           Rock the Blues Away (4 stars) Really catchy intro. Brian’s voice fits really well with this song. The lyrics aren’t stellar, but the melody is. The chorus is different than any other AC/DC. It has an 80’s vibe to it. This song must have been sitting on their shelf for some time. I’m glad they dusted it off.  I can see this song being a sleeper that grows on me with time.

4.           Miss Adventure (3 stars) The only thing keeping this song from being less than 3 stars is that it has a nice little guitar breakdown part way through and the chanting and chorus can be a tad catchy, but not much. If it weren’t for the little aforementioned flourishes to the song, it would be 2 star for sure.

5.           Dogs of War (5 stars) I debated on whether to give this song 4 ½ or 5 stars. Already there are people on YouTube emulating this song. It is catchy as hell and is full of depth. It’s a song that won’t be forgotten. I cannot believe they didn’t release this song as a single. This too must have been a song sitting on the shelf since the late 1970’s through 1980’s. This song could actually blend in with anything on Back in Black or For Those About to Rock. The song starts off with a fade in, something relatively rare in modern rock and roll. It reeks of 1970’s rock and roll from the get go. After the intro which has a haunting sound, we’re greeted with a micro-second of silence before the guitar comes in. It starts off simple and mellow, setting the stage for the rest of the song. It is the foundation that this great song will be built upon. The chanting comes in and helps set the mood. It’s not even part of the chorus at this point. Just as the thunder in “Thunderstruck” sets the mood, so does the chanting in “Dogs of War”. The lyrics are stellar. On paper they don’t look the greatest, but they fit the song wonderfully. The riff is terribly catchy. The lyrics and Brian Johnson’s singing are at their best. The chorus is as good as any AC/DC song ever made. In fact, it’s hard to believe that they made this song in 2014. I can only imagine this song taking the place of “Shake a Leg” on Back in Black. This is probably one of my favorite AC/DC songs. The solo is simple and to the point, very much like the Back in Black era. The song also fades out in a manner not heard in many other AC/DC songs. It’s just a kick ass song all around. If nothing else, it feels like it’s shorter than it should be. It leaves you wishing for more. This song could have easily been stretched out to 7 minutes and turned into an epic song without making it go stale. Top notch stuff here. Definitely not like anything they have put out in the past 20 years.

6.           Got Some Rock & Roll Thunder (3 stars) Good song with a catchy riff. Brian does pretty good singing this song. The chorus has an 80’s feel to it again. It’s straight forward AC/DC, with a little extra depth – but not much. I can see this song having been written around the same time as The Razor’s Edge. The only thing holding this song back is Phil Rudd’s sloppy drumming. If Chris Slade were to tighten the song up, it could easily be 4 star. It also fades out at the end which I say again, is something that you just don’t hear much on songs being released today.

7.           Hard Times (3 stars) Another run of the mill AC/DC song. The lyrics aren’t stellar, but the chorus is catchy. Another song that could have been put on The Razor’s Edge. It is a little more bluesy, Stiff Upper Lip style, but I don’t think it’s that modern.

8.           Baptism by Fire (3 ½ stars) It starts off with the same sound that you’d find on Powerage. However, once the song kicks in, it’s apparent that this isn’t your standard AC/DC song. In fact, it has a Sammy Hagar/ZZ Top twist. This song may grow on me. The pace is fast and instead of the staccato sound that AC/DC has adopted in these later years, you’re delivered a “wall of sound” which is refreshing for AC/DC. I don’t think the VU meters move a whole hell of a lot during the course of the song. This is another song that could grow on me. Brian did a really good job on this song. Again, the drums sound sloppy to me. Too much cymbal that just lingers. It should have been a lot crisper.

9.           Rock the House (4 stars) Solid 4 stars at that. At first listen, I didn’t like this song, but I listened to it again and realized that this is AC/DC with an infusion of Led Zeppelin. The riff is right out of Led Zeppelin’s playbook. The cadence of the lyrics is very “Robert Plant”. The chorus isn’t all that catchy, but the main verses are. The guitar work is top notch. If Led Zeppelin and AC/DC had a baby, this would be the offspring.

10.       Sweet Candy (4 stars) Is Jimi Hendrix in the house? The song starts off with a little Hendrix sounding intro. The rest of the song is just very catchy. It seems plain when you look at the individual parts, but when put together, it makes for a song that will stick in your head. It has some guitar play that is simple, but very catchy. I’m not sure what is keeping this from 5 stars other than it’s drumming again is all cymbals that never seem to end.

11.       Emission Control (3 ½ stars) It’s a fairly catchy tune and I’m not sure why. I don’t particularly like the lyrics. The double entendre here isn’t as good as many other AC/DC songs, but it’s not a wash out. The main riff is very simple and if played any number of ways, it could sound like anything coming from Led Zeppelin to Black Sabbath. The melody is simple and the chorus is as well. I’m still not sure why I give this the extra half a star, but my gut tells me to.

                Conclusion: This album was reportedly made using material that Angus Young and his brother Malcolm had accumulated over the years. It’s apparent in listening to the album that it strays from the direction that AC/DC has been heading since The Razor’s Edge. A lot of the material on this album has 70’s and 80’s rock smeared all over it. The engineering that went into the album complemented the music wonderfully. The fades in and out on some of the songs were a nice change compared to modern techniques in song recording. Again, it harkens back to the age of vinyl and 8-Tracks. Overall, I give this album 4 stars. It has one song of 5 star caliber and one 4 star song that could have been a 5. There were no 2 star songs on this album. Rock or Bust is their weakest track. They released it to the public and the public ate it up. If you like that track, you should love the entire album.

                Finally, while we miss having Malcolm in the band, it’s only in spirit. To our ears, Stevie Young delivers the AC/DC sound perfectly. The videos for “Play Ball” and “Rock or Bust” even show him using a Gretsch guitar with the neck pickup removed like Malcolm. All he needed to do was stuff a sock in there like his uncle! All in all, if you didn’t know any better, you wouldn’t even know there was a switch at rhythm guitar. The drums are sloppy and I’m not sure how much of that is Phil Rudd or poor decision making on the part of Brendan O’Brien. The cymbals are too flourishy and they linger too long. It’s distracting. The snare should have been more pronounced and the sound could have, and should have been tighter. Cliff Williams was the stalwart that he always has been and Angus’s guitar has that old sound back. I read somewhere that Angus use a wireless device that is a replica of one that he used in making Back in Black and that had the effect of giving his guitar that old sound back. Whatever it was, it worked. As for Brian Johnson, he did really good on this album. I assume the band stayed tuned down on this album. It’s hard for me to hear the difference, I’m just taking a wild guess as Brian’s voice doesn’t hit those really high shrill notes he once hit. I for one, however, like it when he sings lower in the range. He really impressed me on this album. It’s an album quite worthy of owning and adding to your collection.