Amazon.co.uk Review
This is rock as its most unapologetic: raw, aggressive, basic, full-on metal with more than a touch of schoolboy sexism. 1980's Robert "Mutt" Lange-produced
Back In Black might've been where the Australian band hit it big, but one has to return to the gritty, guttural tones of original singer Bon Scott to appreciate AC/DC at their fiercest. In particular, the garage, almost punk-style production on "Problem Child", the title track and denim classic "Whole Lotta Rosie" showcased the Young brothers' no-nonsense riffing technique at its hardest and most ass-kicking. Metal was built on albums like this:
Black Sabbath's debut,
Led Zeppelin and
Thin Lizzy--no-nonsense screaming coupled with often childish lyrics matched to the most primal of riffs. An unbeatable combination. --
Everett True
CD Description
If possible, AC/DC actually made their sound denser on its sophomore effort, LET THERE BE ROCK. A darker album than itspredecessor, HIGH VOLTAGE, this album leans further towardsAC/DC's twisted extension in the blues tradition. Which is not to say that the band relented from its three-chord powerriffing for one millisecond. The presence of Angus Young's mighty Gibson SG looms over the album like a sheet of lead on a windless day. What has changed is the inclusion of longer songs like "Go Down", "Dog Eat Dog", and the floor rattling "Let There be Rock", all of which feature ripping interplay between Bon Scott's perverse howl and Young's straight forthe throat guitar lines.
Where others hint at hormone-driven themes of lust and adolescent rebellion, AC/DC revel inthem with abandon. Thus "Bad Boy Boogie" and "Problem Child" are songs your parents are sure to hate with heartfelt passion. The album's highlights are "Hell Ain't a Bad Place to Be", a mighty fist-waver whose references to warmer climatesare something that only the most uptight will take seriously and the near classic "Whole Lotta Rosie", which would become one of the band's live staples and show-stoppers.