The Cavern
Rock & Words
LET THERE BE ROCK (AC/DC, 1977)
Artist: AC/DC (C+)
Recording Dates: Jan – Feb ‘77
Release Date: March 21, 1977, AUS
Record Label: Albert
Rating: 9.5 (MUST HAVE)
Era: Hard Rock (1968-???)
Subgenere: Hard Rock
Best Song: Whole Lotta Rosie.
Tracklist: 1) Go Down; 2) Dog Eat Dog; 3) Let There Be Rock; 4) Bad Boy Boogie; 5) Problem Child; 6) Overdose; 7) Hell Ain't A Bad Place To Be; 8) Whole Lotta Rosie.
In the midst of the punk and disco era, AC/DC declared, "Let there be rock," and there was rock. This is one of those albums that cemented AC/DC's legendary status, finally solidifying their classic sound and propelling them to worldwide stardom. It's a tremendous showcase of attitude, ironic and witty lyrics, catchy melodies, pyrotechnic solos, and above all, breathtaking riffs that follow one after another like a true guitar masterclass. I don't know if they sound so powerful on any other album, and especially if the Young brothers are so in sync.
We leave the band with Dirty Deeds, which they promoted with a European tour that included a long stop in England (where Bon finally got his teeth fixed and achieved his spectacular smile). In Europe, they became minor celebrities thanks to the power of their sound and, above all, their electrifying live performances, to the point that they were ranked the fifth best new band of 1976, ahead of the Sex Pistols, who were already dominating the scene.
However, things didn't go so well for them upon their return to Australia. They had lost fans during their absence, and the tour, called A Giant Dose, didn't go as planned. They couldn't fill the small venues they had previously packed with ease, and some promoters refused to book them, knowing about the brawls and destruction they left in their wake: almost every night ended in fights with fans or rival bands. To make matters worse, several Australian city councils refused to provide additional security at the venues where they were scheduled to perform, or simply denied them permission, causing cancellations. Despite the certain recognition they had in Europe, the United States continued to completely ignore them, focused as it was on soft rock.
So the band decided to get their act together and challenge themselves with a new album to heal their wounded pride. They wanted to make a complete album, one that would resonate in Australia and reclaim their status as kings of the scene, one that would overwhelm critics and fans alike, but above all, one that would represent a step forward for the band itself. Therefore, almost as soon as they unpacked in Sydney after the A Giant Dose tour, Harry Vanda and George Young summoned them to the studio.
Malcolm had learned during his British adventure that some bands and artists, especially those popular in the USA, used longer songs with pyrotechnic and noisy solos. And who had the two most explosive guitars in the world at that time? Why not apply the formula? “The idea was to make an album that would teach the Punks and the Soft Rockers how to make fucking Rock & Roll,” in Angus's own words.
This statement was more than just an intention. At Albert Studios, they crammed all the amplifiers (which were brand new, since Marshall had signed on as a sponsor while they were in England) into a corner of the room, so the guitar sound bled into the vocal and drum mics. This made a perfect recording impossible… if you listen closely, almost every song has some clicks, feedback, or background noise. These aren't production effects, but rather imperfections that nevertheless give the album a special charm.
Almost all the material was composed in the studio. They had little time for the sessions, barely two weeks, but Vanda wasn't worried, as she said spontaneity was key to the album's recording. In reality, the producers' work was never as crucial as on this record, and the former Easybeats seemed more enthusiastic than the band itself. "I guess if we're talking about Rock & Roll without any added bullshit, that's what we meant! Balls! Nothing like the bland Soft Rock that then takes two years to record..." George would add: "We never worried too much about whether things sounded perfectly correct. For us, it was always more important if it had balls and atmosphere. So if we had to choose between a take that had all the heart but with farts, noises, and so on, we chose that one, because we preferred that to the sterile version, perhaps more correct, but boring."
John Brewster, from the Angels, a band that also recorded at Albert Studios, saw them frequently during the sessions. They'd jam for 15 or 20 minutes over a riff, George would yell, "You've got it!" and then hit record. And magic would happen. Brewster would say that AC/DC played in the studio just like they played live. That is, they weren't static or sitting down like most bands, but jumping around all over the place, Rudd was headbanging, and Angus would end up rolling on the floor and spinning on his axis while playing guitar solos. He was there when that legendary scene happened… Bon had just written the lyrics to a song with the help of a Bible, which would end up being the album's title track. At the end of the day, Angus was adding guitar overdubs to the song, and toward the end of the recording, the practically brand-new amplifier started smoking and throwing sparks. George started yelling at him, "Don't stop, don't snooooop!" “I was there as the damn room filled with smoke, Angus was playing like his life depended on it, sparks were flying behind the amp, but he held on until the end, and then it was like he gave up, he made a sound like Blaaaaaaaa, and he melted away.” So “Let There Be Rock” literally emerged from sparks.
For the first time, they used proper names in their songs: Ruby in “Go Down” and Rosie in “Whole Lotta Rosie,” which is an anthem of audacity, narrating Bon's encounter with an extra-large groupie. They also incorporated elements of 1950s rock and roll. The Youngs were heavily influenced by Chuck Berry and Little Richard; they were die-hard fans, and they wanted to incorporate that break-up and start-up style, which gives the album tremendous dynamism.
The band would begin performing it in Sydney a week after recording it. Word quickly spread about AC/DC's new sound, and although they still only drew a tenth of their UK audience, the tour was better than the previous one. In March, they flew to England and stunned the British, as the international version of Dirty Deeds had just been released and they weren't expecting what they heard. The band had made enormous progress that year, and even the Dirty Deeds tracks they were forced to play for marketing reasons now sounded much more punchy and powerful.
On March 11th, they played at the Rainbow in London, where a certain Doug Thaler heard them. He was captivated and insisted on representing them in the USA until they finally agreed, though they were initially skeptical because they never thought Americans would take them seriously. Thaler would prove crucial in changing that.
Ten days later, Let There Be Rock was released in Australia. Since they weren't present, they couldn't contribute much to the cover design, which was quite understated compared to the album's actual sound. Angus would later joke that it was obvious those weren't his fingers because they were so fat. It's true, the Young brothers' fingers have always been slender and agile. In any case, the bombastic cover of the international version of the album more than made up for it, depicting the band playing on a cliff/stage, while the clouds part to illuminate Angus in the throes of a frenzy, and the arms of fans peeking out from below. This version, which is the one I have, replaced "Crabsody in Blue," a song that parodies the title of George Gershwin's "Rhapsody in Blue." "Crab" can mean crab or louse, so the song was similar to "The Jack," dealing with Bon's venereal problems. In the international version, it was replaced by "Problem Child," the same version from Dirty Deeds, which, while full of attitude, isn't one of the band's best. The album established them as the most powerful band on the planet, the greatest representatives of hard rock, while Zeppelin, Sabbath, and Deep Purple were already starting to sound stale and were experiencing their last moments of glory. In fact, they were Sabbath's opening act on the European tour, and at the end, Geezer and Malcolm almost came to blows over a misunderstanding, but it was obvious they were more energizing to the crowd than the headliners. After this tour, Malcolm and Angus were fed up with Mark Evans, with whom they had good chemistry on bass, but not personally. On May 3rd, they kicked him out of the band. Interestingly, an urban legend arose that they tried to recruit Glen Matlock! Yes, the Sex Pistols' bassist, whom they had just dismissed for admitting he liked the Beatles. Matlock would say years later that he saw them almost daily around that time, but there was never any offer. "Anyway, my legs were too stiff for that music." Upon returning to Australia, they recruited Cliff Williams, a seasoned Liverpool native, but one who had barely heard AC/DC and had to learn their entire repertoire in two weeks and cross the world to start another Australian tour.
The album kicks off with a bang with "Go Down", which immediately showcases their fascination with sudden stops and starts. Malcolm kicks things off using his sizzling guitar like a massive Harley, revving it deeper and deeper, making us feel the machine warming up, until it hits full speed at :18. From there, the song shifts into a bluesier groove, with the guitars alternating on a simple, crunchy, slightly rusty riff that contrasts with Evans' almost elastic bass. It's very simple; basically, the song is this and Bon's crushing attitude, singing like he's king of the world, recounting his groupies. Ruby Red Lips was the nickname of one of them. It's not the most philosophical lyric, not by a long shot, but it's hilarious: "You got the lips to make a strong man weak," culminating in the chorus that gives us an idea of why she got her nickname. It's not even a double entendre; it's a pretty straightforward lyric, but I insist, hilarious. At 2:30 we get the first solo on the album, with Angus blasting his guitar, and it's easy to picture him doing his signature duck walk or spinning on the floor. The band continues with even more intensity, if that's possible, while the high notes return to a figure similar to the opening riff, and we get a false ending at 3:20 to rebuild the tension from scratch. The band starts almost timidly, with Bon in a more "solemn" tone, which gradually rises as the guitar mirrors him in an incredible dialogue, culminating in a double orgasm that erupts with the entire band in the bridge and a final chorus.
Next we have “Dog Eat Dog”, with a monumental riff, which starts in three descending tones in a row, but immediately changes to a more choppy one, basically put together by Rudd with that monumental handling of the tums and the bass drum, which give a wild and tribal air to the song, and he turns out to be the true protagonist. That extremely menacing air of the music blends perfectly with the lyrics, in which Bon makes a metaphor of a dog to portray cruel human nature. The saying in reality, or at least as I know it, is “Dog does not eat dog”, which implies that man has no qualms about cannibalizing for his own benefit: “Every dog has it's day”. Bon sings full of cynicism, carefree, and again, with a devastating attitude. The melody isn't too strong, but how he sings it is what's important, and at the end the band joins in for backing vocals while Scott howls and barks and everyone goes crazy. The requinto here is simple, shooting notes, but only changing a couple of tones. It is not Angus's best, but it remains in the simplicity of the theme. The best, I insist, is Phil's wild drumming.
Then comes “Let There Be Rock” which gave the album its name. This is a totally unusual track in AC/DC's discography. More than a song, it is a statement of principles, it is the religious elevation of Rock, and perhaps the lyrical and sarcastic pinnacle of Bon Scott as a lyricist. The riff is extravagant and crushing, with the linked guitars creating a chugga-chugga that alternates with powerful gusts that can knock you out of your seat. The Youngs were supposedly playing with the riff as a tribute to Chuck Berry. Bon ran to the nearest bookstore and returned with a Bible, to everyone's astonishment, and began writing in the vocal booth, while the musicians continued playing with the riff. When he left, he brought a lyric that parodies Genesis and it is a delight. It goes until 1955, when Rock did not exist “The white man had the schmaltz, The black man had the blues, No one knew what they were gonna do.” I love these lines. He practically recites the verses, without guitars, supported only by the rhythm section, a great work by Evans with a simple, but very strong line. This is how Tchaikovsky created the sound, the light, the drums, the guitar and ends with the shouted title “Let There Be ROOOCK!” after which Malcolm enters with an almost rusty guitar effect, over which Angus makes an explosive solo, bringing the song to an incredible climax. At 1:45 they stop suddenly, Angus makes some scratches, everything is suspended and only a very sharp “ping” remains that I don't know if it was on purpose or part of those failures that give more character to the album. Then they start again, with Bon continuing his diatribe: “And it came to pass, That rock 'n' roll was born, All across the land, every rockin' band, Was blowin' up a storm” to finish off again with “Hagase el ROOOCK!!”. A new solo, more playful and rock'n'roll, making fun scales, and putting an end to those charming little spiders. The last verse seems to be referring to themselves “One night in the club called the shakin' hand, There was a 42 decibel rockin' band, And the music was good and the music was loud” and this time Bon seems to use up the last bit of oxygen in his lungs as he shouts the title. Angus's solo is even better, in fact, this is the one that counts, and it is understandable why he set the amp on fire, with the band and the guitar sounding more and more powerful and wild, creating more and more tension at a huge speed, until it bursts into an extended treble and shows its speed again in the extended punchline. A gem, a credo for the band, which in any other band would have seemed like a bad joke, but which suited AC/DC perfectly. To round out the work, the band recorded a hilarious video, now without Evans, in what would be Cliff Williams' first appearance as a bassist. Bon appears as a priest and with his teeth aligned. Angus as a kind of angel with a black halo, and the rest as altar boys, I suppose... A delight, which shows all the self-confidence of the band, but when it comes together, it can reach a seismic intensity that makes the 6 minutes go away in nothingness... Rock! Praise Bon!
“Bad Boy Boogie” tells the story of Bon growing up, not exactly as a good kid. The twin guitar riff is spectacular, worthy of a monument to the pair of brothers. We can hear Phil laying down the intro, followed by those explosive power chords. Angus and Malcolm sound like a four-armed monster, crafting that menacing and dark riff, perfectly synchronized, which in a way engages in dialogue with Bon as he narrates his life. From his birth on a rainy day, an ill omen for being the seventh child and born on the seventh day, always going against the grain, always cynical: “Bein' a bad boy ain't that bad, I had me more dirty women than most men ever had.” In the bridge, we have another riff, mirroring Scott's contradictory line, culminating in “I do the bad boy boogie!” For the second half, Angus's final flourish at the two-minute mark is simply heavenly, one of my favorite moments on the album… then they pause, leave a couple of seconds in suspense, and explode with an incendiary guitar solo, another of the album's best, climbing in tone and tension. A masterclass in guitar and pyrotechnics, without being pretentious, but rather sounding quite natural. Can you feel that in your veins? It's called Rock! The band is contagious, makes you want to jump, you can feel how much they enjoy doing this. At 3:20, they use the false ending again and reignite the engines for one last, even wilder half, in which Bon seems to be pushing his lungs out, and it ends abruptly, without warning. A true avalanche that shows how in sync the band was at this point and confirms that they had found a perfect balance in their sound.
One of the details of the international version of the album is that they censored “Crabsody in Blue” and replaced it with “Problem Child”. The song isn't bad, but if it didn't particularly stand out on “Dirty Deeds,” it's even less so here, and it even highlights the evolution they had undergone over the course of a year. At least in terms of attitude and ferocity, it doesn't clash entirely with the rest of the album, and for those experiencing this for the first time with Australia's favorite adopted sons, it wouldn't pose a major problem.
Next comes “Overdose”, with its false start. It begins with a slow, arpeggiated rain with some distortion. Then Rudd's crashes kick in, followed by Malcolm's Power Chords. After a minute, they make a drastic change to another violent, exquisite, dark riff that makes you want to jump and punch someone—perfect for a road trip with the pedal to the metal. The lyrics are about drugs, in a metaphorical way. AC/DC, at least during this period, were heavy drinkers, capable of downing industrial quantities of beer, and Bon was famous for drinking a bottle of whiskey without flinching. The song supposedly refers to a woman as another form of addiction: “Woman you give to me, More 'n I can take, But listen honey, I don't mind, You're a habit I don't wanna break.” However, legend has it that after the recording of Dirty Deeds, Bon had a cocaine incident and was nearly kicked out of the band. He would justify it by saying it was an isolated incident and that the fact it almost killed him had made him vow never to repeat the experience, so they gave him a second chance. Unfortunately, he hadn't counted on alcohol also being lethal in many ways… The riff is devastating, but “Overdose” should be considered a weak point of the album since, strangely, this pair of riffs is the only thing that holds the song together, and it becomes repetitive and extremely long. Angus' solos are remarkable, but they're not enough to give the song sufficient variety.
After this slight dip, the closing track is colossal, with “Hell Ain't A Bad Place To Be”, another catalog of riffs where the band once again demonstrates their synergy, unleashing a perfect inferno. They kick things off with a sequence of guitar riffs to get the engine running. A brief pause follows, and then they launch into a devilish, dynamite-laden, raw, yet perfectly calculated riff, over which Bon begins his verses. In the bridge, they slow the tempo similarly to the beginning, creating a brief pause where Scott spits out the title a cappella in a roar. The lyrics are about a girl who makes his life miserable, but whom he can't get away from… perhaps the same girl from “Overdose”? Sarcastic and hilarious: “Spends my money, Drinks my booze, Stays out every night…” But at night he remembers why he’s with her: “Late at night, Turns down the light, Closes up on me, Opens my heart, Tears me apart, Brings out the devil in me!” Now we understand why hell isn’t so bad, ha! The solo at 2:35 isn’t that fast, but it blends beautifully with the powerful lead guitar, and as Angus climbs the notes, the intensity increases. Another pause to take us to the bridge/chorus. Notice how perfectly they’ve mastered those stops and starts, making them sound natural when it’s devilishly difficult to do so without it sounding clumsy or forced? Towards the end, the guitar riffs return, gradually slowing down, and just when we think it’s all over, Rudd closes with a brief drum roll. A massive track, with an epic riff and immense power. The title would cause them problems with more conservative sectors, since, like Sabbath, they were labeled satanic without even a glance at the rest of the lyrics.
The grand finale is "Whole Lotta Rosie", perhaps the album's best-known song and one of the band's most representative. At this point, talking about the greatness of the album's riffs is somewhat repetitive. But those in this track are superlative. Starting as a tribute to 1950s rock and roll, Bon begins by recounting his anecdote…
“Wanna tell you story
About woman I know
When it comes to lovin'
She steals the show
She ain't exactly pretty
Ain't exactly small
Fourt'two thirt'nine fiftysix
You could say she's got it all”
The funniest thing about it all, like most of his songs, is that it was based on a true story, back when they were on tour in Tasmania. After a concert, a huge girl—HUGE—approached him in a bar and promised him the best night of his life, telling him that she'd already slept with 28 celebrities that month. Anyone else would have laughed and left with a prettier groupie, but not Bon, who saw it as a challenge, and would admit it was unforgettable. The next morning, Rosie, before leaving, muttered, "Now that makes 29." Only Scott can do things like this, put them in a song, and sing them with such nonchalance. The Youngs, for their part, create a wall of sound with blistering guitars, seemingly propelling Angus to unleash one of his best solos, showcasing blistering speed at 2:20, accelerating ever more until he pauses and alternates with Malcolm for the main riff, a bit sharper and more choppy, before exploding again. It truly deserves at least a spot in Angus's top 10 best solos, a climactic moment for rock. Rudd is relentless, also driving the band forward with drums and crashes in the chorus, flawlessly executing the tempo changes from medium to fast before returning to the verses. Bon goes wild after the final chorus, and Young launches into an even more unrestrained and impetuous solo to close the song, in which we can almost imagine him writhing and spinning on the floor, for a pyrotechnic finale that would have left everyone drooling in 1977.
In short, more than just an album, it's a reinvention of rock music. It goes without saying that the album was a global smash hit, elevating AC/DC to the level of the hard rock legends of the early 1970s. AC/DC ceased to be a singles band and became an album band, and this was the missing piece they needed to conquer the United States and the rest of the world. On the other hand, and this is something that's often overlooked, this album not only opened the doors of the world to AC/DC but also paved the way for the new wave of bands that were about to emerge. I don't know how much success Van Halen would have had the following year, or the wave of hair metal bands that were emerging, without the force with which this album opened and kicked down the doors.
The album is incredibly powerful and adrenaline-fueled from beginning to end. Perhaps it's surpassed in perfection by Highway to Hell or Back in Black, but this is their most guitar-driven album and the one that best defines their sound: more challenging, more raw, almost as if they were playing live. The songs are catchy, every single one has tremendous riffs, we have some of Angus's best solos, the connection with Malcolm is almost telepathic, and the rhythm section sounds phenomenal, with that wonderful swing from Phil. Above all, you can tell they had a blast recording it, and that mood is contagious, something that the more "perfect" albums lack, to use George's words, each one with a different emotional resonance. To be honest, I find myself listening to this album more often than any other AC/DC album.
By Corvan
Mar/11/2016
