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DeBaser community, although I have been visiting the site for several months now, I never found the time, or rather the desire, to write a review; having finally decided to contribute, I have to start with an AC/DC album, those who most embody the purest ideal of rock.
Released in 1981, FTATR is, in some respects, a transitional album: the second album with Brian Johnson, it follows an immortal masterpiece like 'Back in Black' and serves as a bridge in their discography between the masterpieces of the Scott era and the moments of uncertainty that began with the following album, 'Flick of The Switch'. The production, as always an important factor, is entrusted to Robert "Mutt" Lange, who defines a completely different sound compared to previous LPs: compact, powerful, with the vocals and lead guitar slightly underemphasized compared to the band's choral wall of sound. Nothing like the '70s releases, characterized by rougher, harsher, scratching sounds, with Angus's Gibson SG seeming to clash with Bon's warm, genuine, alcohol-fueled vocals. It is perhaps this very "distortion" of AC/DC's sound that led to the lukewarm reception of this album in hindsight.
Many indeed indicate this album as the beginning of the decline, fortunately interrupted after only 3 disappointing albums. Solos decidedly less "showy" than on other occasions? Certainly. Exaggerated high notes? Maybe, de gustibus. But the collection of songs presented is undoubtedly first-class, perhaps not too original, but certainly noteworthy. The opening is entrusted to the historic title track, a great and perhaps the only masterpiece of the album. The choirs, the passionate and rockish chorus, and the cannons have made history, unlike the other excellent songs; this might be the album's only flaw, the lack of memorable tracks. But beware, the tracks are all thrilling, enjoyable, exciting in their anarchy from any intellectual pretension.
Perhaps this is what makes me love AC/DC so unreservedly more than anything else, their total dedication to the most classic and heartfelt rock, at the expense of any innovation or anything else recognized by know-it-all critics as "art." The album contains a succession of great tracks, genuinely hard rock, meaning solid, rapidly gripping blues-based riffs, "goofy" lyrics in grand style, squared-off rhythms, and an excellent vocal performance.
Indeed, old Brian defends himself really well here. Never have his high pitches reached such heights on the scale. Some are accustomed to throwing muck at the former Geordie singer by making an unfeasible comparison with the much-missed Bon; besides the different voices, their roles are precisely opposite. Unlike Bon, Brian is an interpreter, an extraordinary interpreter. He does not contribute to the writing phase as his predecessor did, and he cannot be entirely authentic in singing, as Bon did, a great drinker and womanizer, about spectacular drinking sessions and casual sexual encounters. Brian merely interprets songs, like an excellent session musician, and his vocal performance is indisputable. It is worth mentioning that FTATR is actually the first album of the Johnson era for AC/DC. Upon Scott's death, the tracks of 'Back in Black' were already written; by the time it came to compose this album, Bon's songwriting ability had long been buried. But the result from the Young brothers is equally excellent.
"Put the finger on you", "let's get it up" (extraordinary in available live videos from the era) "snowballed", "C.O.D." are tracks with exceptional energy, which have little to envy from songs composed years earlier. Unfortunately, in FTATR, Angus gives less free rein to his ability in favor of hard and powerful songs like never before, which drag the listener into the idealized world of Australian kangaroos, made of fights, women, alcohol, and rough and loyal friendships.
In the end, an album too often underrated, with a comprehensive delightful and enveloping sound, with the usual charge and skill of the "Aussie" rockers, if you only remember the bangs of the title track, pull it out from the dark recesses of your record collection and let it rock your stereo system. You'll return to a time when rock was art, and for this, it was true.
My score for FTATR is not the highest solely to duly honor previous albums, overflowing with (musical) pieces of history. But if I had to vote thinking about the 5 stars assigned to "new and promising" bands, well, 5 stars would never be enough. Much less than the posers, the posers, and the poor guys that we're sold today as "the next big thing." By now, it's no longer "the next," but for 30 years in the southern hemisphere, a "Big Thing," a historical band, has been shaking rows of Marshalls with real Music.
P.S. Apologies for the duplication, indeed the "triplet" with the review of this album, but I wanted to talk about it, and I didn't find any writings on the site so illuminating as to dissuade me from doing so.
Tracklist Lyrics and Videos
04 Inject the Venom (03:32)
No mercy for the bad if they want it
No mercy for the bad if they plead
No mercy for the bad if they need it
No mercy from me
Tell no truth an' tell no lies
Cross your heart and hope to die
Never give what you can't take back
Scratch like a cat
If you inject your venom
It'll be your last attack
No mercy for the bad if they want it
No mercy for the bad if they plead
No mercy for the bad if they need it
V. E. N. O. M.
Got no heart, no feel no pain
Take your soul and leave a stain
Come choose your victim
Take him by surprise
Go in hard and get him
Right between the eyes and
Inject the venom
Inject the venom, c'mon
Inject the venom
Inject it all
Stick it in
Stick it
Inject the venom
Inject the venom
Inject the venom
Get it all
Inject the venom
Inject the venom
Inject it all
Inject the venom
05 Snowballed (03:23)
Crashed out of the market
Out on the floor
Washed up on the shore
Bombed outta the city
Out of the door
Blown up against the wall
Put out of the picture
Axe about to fall
Walk before you crawl
Dragged down to the bottom
Screamin' for air
The shark must get his share
You can see it comin'
Miles and miles away
Women drink and money
Are gonna make you pay
Snowballed, ooh yeah
Snowballed, they done it again
Snowballed, makin' me blind
Snowballed
The howl of the wolf
Snow in his eyes
Waitin' to take you by surprise
Eye of the needle
Heat of the fight
Watch those teeth cause they're ready to bite
You can see it comin'
Miles and miles away
Women drink and money
Are gonna make you pay
You've been
Snowballed, yes you have
Snowballed, you've been fooled again
Snowballed, that's all
Snowballed
Snowballed, snowballed, snowballed, snowballed
Snowballed, snowballed, snowballed, snowballed
You been snowballed
You been snow, you been snow, you been snow
Snowballed, balled balled balled
07 C.O.D. (03:19)
Call of a dog
Cry of a bitch
The cream of a dream is the cause of the itch
Call on the doctor
Cash on demand
If I get enough rope might even hang
C.O.D. - care of the devil
C.O.D. - the devil in me
C.O.D. - care of the devil
Care of the devil in me
The curse of love is the cause of the pain
The crime of the day is when you do it again
Call on the doctor
Cash on demand
If you give them a finger they'll take off your hand
C.O.D. - care of the devil
C.O.D. - the devil in me
C.O.D. - care of the devil
Care of the devil in me
Down to the devil with me
Call of a dog
Cry of a bitch
The sign of the sinners the size of his itch
Cry
C.O.D. - care of the devil
C.O.D. - the devil in me
C.O.D. - care of the devil
C.O.D.
C.O.D. - care of the devil
C.O.D. - the devil in me
C.O.D. - care of the devil
C.O.D. - care of the devil in me
I'm paying
Paying
I'm paying C.O.D.
Care of the devil
Care of the devil in me
It's the curse of love
08 Breaking the Rules (04:23)
Black sheep and a renegade
Hot feet in the cool of the shade
The street jungle and the tough childhoods
Examinations done no good
Got crow bars and hot wired cars
Sneak thieves and cheap cigars
No rebellion, not today
I get my kicks in my own way, right OK
Just keep on breakin' the rules
C'mon get ready to rule
Just keep on breakin' the rules
C'mon get ready to rule
Tough breaks in the neighbourhood
A hard case who's up to no good
Livin' like trash, a society rash
Ready to break and ready to dash
A bad deal and a real rough ride
Ain't doin' time on the other side
No rebellion, not today
I get my kicks in my own way, right OK
Just keep on breakin' the rules
C'mon get ready to rule
Just keep on breakin' the rules
C'mon get ready to rule
Tough breaks
They got the regulation ties, regulation shoes
Those regulation fools with their regulation rules
Just keep on breakin' the rules
C'mon get ready to rule
Just keep on breakin' the rules
C'mon get ready to rule
Just keep on breakin' the rules, breakin' the rules
Get ready
You just keep on breakin' the rules
C'mon get ready, get ready, get ready
Ready to rule
Take off your ties and your regulation shoes
You're nothing but a bunch of regulation fools, yeah
And your damn regulation rules
I'm gonna do things my own way, everyday, everyday, everyday
In every way, I ain't gonna pay no attention to your rules
10 Spellbound (04:29)
Blinded by a bright beam
Shattered by the windscreen
Stunned by the whiplash
I'm a victim of a bad crash
I can do nothing right
I never sleep at night
Can't even start a fight
My feet have left the ground
Spinning round and round
Spellbound, my world keeps a tumbling down
Beaten by a blind man
Wrong way up a dead end
Screaming through a speed trap
As I tear into a tail pipe
I can do nothing right
I never sleep at night
Can't even start a fight
My feet have left the ground
Spinning round and round
Spellbound, my world keeps a tumbling down
I'm slipping down
I got my hands in the fire
I'm sliding on an oil slick
Blinded on a bad trip
Yes and nothing's going to change it
I can do nothing right
Can't even sleep at night
My feet have left the ground
I'm spinning round and round
Spellbound, my world keeps a tumbling down
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Other reviews
By hmgp
"For Those About To Rock (We Salute You) is a sterile, repetitive album... that borders on the banal."
The title track is a CANNONBALL full of energy and became a concert closer.
By tonycool
We are talking about the band that rivals Daft Punk for the most repetitive music.
The album reached number one on the charts as soon as it was released and it was the only one from AC/DC to do so, but its success is due to the momentum of previous hits, certainly not for its actual quality.
