The Cavern
Rock & Words
HIGH VOLTAGE (AC/DC, 1975)
Artist: AC/DC (C+)
Recording Date: November 1974
Release Date: February 17, 1975, AUS
Record Label: Albert Records
Producer: Harry Vanda & George Young
Rating: 6.5
Era: Hard Rock (1968-???)
Subgenre: Hard Rock
Best Song: Baby Please Don’t Go.
Canciones: 1) Baby Please Don't Go; 2) She's Got Balls; 3) Little Lover; 4) Stick Around; 5) Soul Stripper; 6) You Ain't Got A Hold On Me; 7) Love Song; 8) Show Business.
High Voltage isn't the band's most brilliant album. Some people don't even know it exists, mainly because at the time, it was only released in Australia. But we had to start somewhere. Some bands get off to a great start, and their debut is even their best album because of the time they spent waiting for their opportunity, and when it finally comes, they give it their all. Other bands need more time to mature; their process takes a few albums to reach its full potential, and they sound very immature in their early work. Someone from Faith No More said that debut albums are like baby photos: sometimes they're the cutest, but most of the time they're not. This is the case with AC/DC and High Voltage. As a mitigating factor, the album was recorded in a rush with material that wasn't 100% finished. Most of the tracks were instrumentals by Angus and Malcolm, to which Bon added the lyrics practically in the studio. Perhaps he just added any old lyrics, the first thing that came to mind, and that would shape the band's lyrical destiny and attitude—who knows? Another issue is that they didn't even have a permanent drummer and bassist. The band had experienced a very high turnover in those positions, so much so that during the recording of this album, there were as many as five musicians in those roles. After its release, Marc Evans and Phil Rudd would come in and bring some stability to the band, but initially, the group wasn't fully formed on this debut, and the synergy they displayed on Dirty Deeds Done Dirty Cheap wasn't evident. Thus, High Voltage sounds raw, rushed, and tense, but with the styles of the Young brothers and Scott already taking shape. The AC/DC sound is already noticeable here, and in fact, those who say that the group has been recycling this album over and over again have a point, since they would never change the form of uncompromising, raw, fast, aggressive, fun, party-like, jovial, defiant, and relentless hard rock. Although their other albums would clearly receive more time, attention to detail, and strategic thinking than this one, the formula was essentially the same, and the sound wouldn't change much.
High Voltage catapulted them to Australia as the biggest band in the country, allowing them to sign with Atlantic Records, focus more on their productions, which became much more consistent, and find a permanent bassist (Marc Evans) and drummer (Phil Rudd) for at least a couple of years. Almost without realizing it, they were already the most powerful band in the Southern Hemisphere and were opening for Australian acts like Black Sabbath, Aerosmith, Kiss, and Blue Oyster Cult, even touring with them in Europe. In 1977, the label re-released High Voltage globally (but it was a compilation with a completely different cover and track list, only two songs from the original) and T.N.T., which became an absolute smash hit, selling over 3 million copies. The rest, as you know, is history.
The album kicks off with a bang, with their cover of Big Bill Broonzy's "Baby Please Don't Go". This is the best song on the album, possibly because it was the most polished and refined. It's already a classic for the band. They didn't invent such groovy arrangements; it had been covered countless times before, and perhaps they borrowed many elements, but they definitely perfected it, adding tremendous energy, improving the riffs, and adding some new ones (at least three or four throughout the song). Malcolm drives the main riff, a delight as he flashes across his entire arm with lightning-fast slides. The drum rhythm is raw, but it gives the whole song a bold feel and never lets up. At 1:48, we get some ascending guitar riffs that build to an explosion, before returning to the riff and a false ending. Just when it seems like it's all over, the beat returns accompanied by the celebratory sound of handclaps, and Angus enters with all his guitar mastery. Many claim that this brief solo at 2:40 marks the first time a guitar has ever used tapping, a sound that would become characteristic of AC/DC. To finish, they launch into another impressive crescendo, a final repetition of the riff, and then a sudden stop. The band creates an incredible, high-energy atmosphere that gets everyone jumping, delivering an unbeatable version of this classic blues.
Next up is “She’s Got Balls”, which, while not a masterpiece, is equally enjoyable. The song is slower, but features a simple yet powerful riff. The melody is somewhat archaic, but it works well with Bon's vocal delivery, stretching out the words. The way they generate tension is outstanding, leaving Bon reciting with the guitars suspended in suspense. The solo at 2:35, while not groundbreaking, is powerful and effective within the atmosphere created by the dense riff. This is a sample of the group's work, which may not be overly complex, but it's clever and has spark, sex appeal. The riff is incredibly simple, but no one can deny that it's tremendous, reminding me a bit of The Doors' "Five To One," but in reverse. Plus, the lyrics are hilarious, a dedication from Bon to his ex.
We continue with "Little Lover". which is an extremely slow song with very generic bluesy vibes. The riff this time isn't very fun, complex, or chemistry-laden. This time, even Bon doesn't seem comfortable singing at such a slow pace. If they're going to make songs this slow, they should add more hooks or a more elaborate riff. It sounds like a song for a good striptease and nothing more.
“Stick Around” has a medium tempo, but it continues more or less in the same vein. The riff is very primitive and fails to ignite. The Youngs still lack the maturity to make their riffs sound like true gems and not become repetitive, clunky, and annoying, as in this track. It's not particularly offensive, but it also has nothing remarkable about it.
The same goes for “Soul Stripper” with the difference that here there are some interesting solos starting with the enormous intro (you even wonder if it's an instrumental) and a more elaborate one at the 4-minute mark. The band tries to create some tension during the verses, but the explosions don't quite come together in the choruses, and it's only in the coda that they manage to truly ignite. Furthermore, it lasts over 6 minutes, which seems a bit excessive; I think it would have been more impressive to leave it as a 4-minute instrumental. The songs have a different mood, but somehow it feels like we've been listening to the same song since “Little Lover.”
We continue with “You Ain't Got A Hold On Me” which has a much cooler riff, well-crafted solos, catchy choruses that work really well, and a great vocal performance from Bon, who creates hooks throughout the entire song. It's not an enduring classic, but it manages to stand out from the average tracks on this album.
Then we return to the pitfall (or abyss) with “Love Song”, which is not only the worst song on the album, but possibly in AC/DC's entire discography. A ballad? Seriously? AC/DC doing a ballad? Yes, even the Young brothers attempt a romantic and dramatic intro, causing, for once, unintentional humor. Then Bon sounds like he's singing in his girlfriend's ear, trying to be sentimental but sounding pathetic. Is this a joke? Sometimes I think it's satire because of the title, but the fact that the band never ventured into ballad territory again makes me believe they recognized a serious mistake with this song. Even the solo at 2:45 sounds faker than a campaign promise. Seriously, if you want to hear saccharine Australian ballads that are at least well done, go with Air Supply, not AC/DC.
The album closes on a low note with “Show Business”, which is a mix of generic blues and one of those thousands of rock and roll songs from the 50s, but with boosted guitars. Nothing new, and even the solos seem uninspired, trying to sound retro but falling short.
A weak, disorganized, inconsistent, chaotic, and sometimes generic debut, but already containing the foundations of what would become the best AC/DC. The band just hadn't yet realized that ballads weren't their forte and that their strength lay in powerful, riff-driven hard rock, like the opening track. To measure a good AC/DC album, the key is the number of good, entertaining riffs, and unfortunately, there's little of that here. It's nothing like the masterpieces Highway to Hell or Back in Black in terms of quality, so it's not the best album to start breaking down any preconceived notions about the band, but for fans (not necessarily hardcore), it's always interesting to learn how this band got its start. With all due respect to the Bee Gees, Crowded House, INXS, Silverchair, Men at Work, and others, AC/DC remains the best band to come out of Australia to date.
By Corvan
Jul/15/2010
