AC/DC
The Razors Edge

THE REVIEW

Critics have always labeled AC/DC as a band that—apart from the Bon Scott era—has remained the same, unable to renew itself, producing copycat albums, etc. I believe instead that the solid Hard Rock proposed by the band expresses consistency and tenacity rather than repetitiveness and lack of originality: certainly, an AC/DC track is immediately recognizable from the first notes, but this is exactly what their fans (I count myself among them) want! Let's remember how the supposed monotony of these rockers from Australia has actually produced essential albums like "Let There Be Rock," "Powerage," "Highway to Hell," "Back In Black."

"The Razors Edge" marks a decent step forward compared to the worrying artistic-compositional decline observed after the success of "Back In Black." The '80s are now behind, the Young brothers replace Wright on drums with the powerful Chris Slade, entrust the album's production to Bruce Fairbairn, and deliver an overall good album. The debut, "Thunderstruck," is electrifying. The long crescendo intro brings us to an explosion of rhythm and energy, which is impossible to resist; the violent riffs of Angus and Malcolm, Brian's fiery vocals, and Slade's tremendous drum beats make "Thunderstruck" one of the band's best songs and in general within the entire hard rock scene. After the intense "Fire Your Guns" and "Moneytalks" (another unforgettable episode), here comes the title track: imposing and austere, "The Razors Edge" is perhaps the most unique song written by the band. After these first four tracks, which alone are worth the album's purchase, here come the disappointments: "Mistress For Christmas" leaves no trace, and even "Rock Your Heart Out," after a promising start, slips into oblivion. "Are You Ready" barely passes, but the rest of the album—except for the overly pumped "Shot Of Love"— leaves much to be desired.

"The Razors Edge" is not a masterpiece at all (overflowing tracks like "Thunderstruck" alternate with others—too many—that lack interest, placed just to fill the album), but it lays solid foundations for the subsequent "Ballbreaker" (1995) and "Stiff Upper Lip" (2000).