AC/DC's Highway to Hell (33 1/3 Series) by Joe Bonomo

By Joe Bonomo

Published in 1979, AC/DC's "Highway To Hell" used to be the notorious final album recorded with singer Bon Scott, who died of alcohol poisoning in London in February of 1980. formally chalked as much as "Death through Misadventure," Scott's death has ceaselessly secured the album's acceptance as a partying primer and a bible for deadly habit, branding the album with the joys chaos of alcoholic extra and its turn facet, early loss of life. the simplest songs on "Highway To Hell" in achieving Sonic Platonism, translating rock &roll's transcendent beliefs in stomping, dual-guitar and eighth-note bass riffing, a Paleolithic drum mattress, and insanely, recklessly bizarre yet enjoyable vocals. Joe Bonomo moves a three-chord essay at the strength of youth, the sturdiness of rock &roll fandom, and the transformative houses of reminiscence. Why does "Highway To Hell" topic to somebody past non-ironic youngsters? mixing interviews, research, and memoir with a fan's point of view, "Highway To Hell" dramatizes and celebrates a undying album that one critic acknowledged makes "disaster sound just like the most sensible enjoyable within the world."

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Extra info for AC/DC's Highway to Hell (33 1/3 Series)

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The final song on the first side, “Beating Around The Bush” sounds as if the band took a quick glance at the clock and discovered that they had little time to let it rip. Fast, riff-driven, the song is an exercise in sweaty delivery and fret dexterity as much as it is another sexual • 41 • JOE BONOMO lamentation from Bon, this time of cunnilingus gone wrong with a girl who’s two-timing him. I think. ” A testimonial to the noise kicked up by a tight, rockin’ band firing off one more before a well-deserved intermission.

It’s not on my iPod. Six years after Highway to Hell was released, Richard Ramirez was apprehended in Los Angeles. A. area, often leaving behind a sick signature of scrawled demonic ciphers, including a pentagram. Los Angeles police stated that Ramirez was a self-described fan of AC/DC, wore AC/DC t-shirts, and at the grisly scene of one of his violent sprees left behind an AC/DC cap. Allegedly, Ramirez’s favorite song was “Night Prowler,” the final track on Highway to Hell. A haunting, haunted slow-blues, the six-and-a-half minute “Night Prowler” is remarkable for a number of reasons, not least of which is the controlled, vivid band performance in which Angus reaches deep into his love of blues-styled playing and offers affecting, evocative playing.

At Lansdowne, known primarily for its large-scale orchestral film scoring, he’d been taught the “correct” way of recording, which was invaluable knowledge, he insists. ” The plan was to record AC/DC live in Roundhouse’s single large room. Angus has claimed that many Powerage tracks were recorded in a single take; just listen to “Up To My Neck In You” on which Angus doesn’t overdub his Berry-on-speed solo, he just steps forward and lays right in from the rhythm track. The hope was that Lange would help to capture a similar spontaneity onto Roundhouse’s twenty-four tracks, with overdubs limited to lead vocals and solos.

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