Tag Archive: Back In Black


Best-Sellers

According to Wikipedia (‘cause ya know, the internet is never wrong…), but also what I’ve heard most of my life, the best-selling album of all time is Thriller by Michael Jackson. Officially, it has sold 42.4 million copies, but some suggest it may have sold as many as 65 million. Following it distantly (more than 10 mil) is the first Eagles’ greatest hits compilation. It sorta makes sense – The Eagles were a singles band. All their albums were basically collections of filler punctuated by 3 or 4 great songs on each one. When you collect all those great songs in one place, you get the 2nd best-selling album of all time.

After that comes the soundtrack to The Bodyguard. Technically, it’s a “various artists” thing, but let’s not kid ourselves – it’s a Whitney Houston record. She sings the first 6 tracks, and Alan Silvestri (who gets credit on the film for “Music by”) only does track 13. The rest is, again, just filler.

Fourth is Rumours by Fleetwood Mac, which again sorta makes sense. Rumours and the story surrounding it are splitting at the seams with human drama. Go to any supermarket checkout line and the tabloids will show you how much we love a messy breakup playing out in public, and one committed to record is no different. It’s the reason Taylor Swift’s music is so popular; she’s gone through the cycle of dating, breaking up and writing a song about the guy she just broke up with about 6 billion times now. Rumours features not 1 but 2 breakups, and to top it all off, band members and songwriters are breaking up with each other! You have Stevie Nicks’ “Dreams,” which is a 2nd-person account of her breakup with Lindsey Buckingham, followed a little later by Buckingham’s own “Go Your Own Way,” a 2nd-person account of his breakup with Nicks! There’s also keyboardist Christine McVie divorcing her husband, bass player John McVie, and writing a hit single about her new lover, “You Make Loving Fun,” forcing John to play it every night. That’s just mean.

Other top sellers include Sgt. Pepper and Abbey Road by The Beatles, and Dark Side of the Moon and The Wall by Pink Floyd, which gives me hope. However, Shania Twain’s Come On Over beats out Led Zeppelin’s IV by half a million. I’ll save my ground-shaking rage at that fact for another time…

And in slot #5, we have Back In Black, AC/DC’s tribute to Bon Scott that not only contains a tip of the hat to Bon, but honors Bon’s memory by being the biggest, baddest, most explosively rocking album AC/DC has ever done or will do. Honestly, I don’t know why AC/DC made more albums after this.

That’s a very good question: why did AC/DC continue? Nothing they did afterwards came even close to the overwhelming, jaw-dropping awesomeness of Back In Black. Hell, only one album in that entire 34-year span even had any hit singles. I don’t know the definitive answer, but consider this. AC/DC made Back In Black in the first place because Bon would have wanted them to continue, so it would be a poor honoring of that to make one album and then call it quits. If they did that, they may as well have not even made Back In Black at all. So under that logic, they’ll have to keep making albums until the day the last AC/DC member dies. And that seems just like the sort of bull-headed rock and roll thing they would do.

Every single song on Back In Black (and indeed every AC/DC song from anywhere in their career) sells itself out completely to the trimming and trappings of loud and overly indulgent rock and roll. This is what AC/DC does – their approach to their music only involves a lead brick on the gas pedal. And while that’s not true of their personal lives anymore since Bon died, they still make their name on their sound being SO huge, SO bombastic and SO overwhelming that there isn’t another band that can withstand them.

This is the only image I could find from the video. You can’t see the mechanical bull, but you get the idea…

“You Shook Me All Night Long” is the first single from Back In Black and also the first AC/DC song I can remember hearing. I was about 7 years old, at the house of a friend of my older sister’s down the street, and we weren’t supposed to be watching MTV, a fact that my sister’s friend’s mom didn’t know. I was kinda blown away – not just by the force and power of the guitars and grittiness of Brian Johnson’s voice, but also by the scantily-clad hotty riding the mechanical bull in the video. The song’s lyrics are simply dripping with innuendo and double entendres which flew way over my 7 year-old head. That mechanical bull stuck with me, though…

“What Do You Do For Money Honey” follows a looooong tradition of songs about prostitutes. Precious few of them take a moral stance. Instead, most of them have an observational tone, letting the listeners come to their own conclusions. AC/DC, like The Rolling Stones before them, perform their hooker song as an ode to the charms and prowess of the woman of the night in question. “What Do You Do For Money Honey” is a pretty direct song concerning its subject matter, but like all hooker songs, never mentions the words “hooker,” “whore” or “prostitute.”

“Shoot to Thrill” is my favorite AC/DC song of all for one simple reason: the final chorus breakdown and “big rock ending” features Brian Johnson throwing himself completely into the song and singing his lungs out. It’s like he’s laying himself on the slab of sacrifice of the altar to the gods of rock and roll. Like Bruce Springsteen did on “Jungleland,” he sings as though he fully believes the world is going to end when the song is done. It’s quite a thing to behold.

And cap track “Rock and Roll Ain’t Noise Pollution” contains AC/DC’s entire musical philosophy boiled down to an easy-to-digest 4 minutes and 26 seconds version. It’s in the title, and in the spoken word intro: “Rock and roll ain’t no riddle, man. To me it makes good, good sense!” And perhaps the most blindingly simple declaration which sums up the whole enchilada is the closing lyric: “Rock and roll is just rock and roll.” Slam the gavel, court is adjourned.

Next: why darkness and despair are such attractive qualities in a girl.

Bang Your Head

There was a guy in college (I don’t remember his name ‘cause we weren’t friends) that I was in a conversation with once. It was at one of those freshman mixers at the beginning of the year. There was a group of us, and he posed a question to the group.

“What is the biggest, heaviest, most monster, melt-your-face-off riff in all of rock and roll, EVER? Don’t answer; just think of it in your head. You got it?”

We said “yeah,” or nodded, or murmured assent.

“Wrong. It’s ‘Back In Black.’”

I piped up in a testy voice. “Isn’t that an impossible question to answer, since music is inherently subjective?”

“No. It’s ‘Back In Black.’”

We all just rolled our eyes and wandered off. Not because “Back In Black” isn’t the most melt-your-face-off riff in all of rock and roll ever (a thing which is impossible to determine), but because none of us liked being told by a relative stranger that we were definitively wrong about something, and in such a brusque tone. And you know what I thought? “’Back In Black’ can go suck my balls. Jerk.”

Quite obviously, this was before my fandom of AC/DC started, which is logical considering this is freshman year of college and my musical world is very small, swirlingly absorbed by Smashing Pumpkins and Genesis. Still, that’s little excuse. While it’s impossible to put guitar riffs on a scale of “this one is so-much-point-so-much better than that one,” “Back In Black” really IS monstrous – head-banging, devil-horning, balls-to-the-wall monstrous.

Every rock fan on the planet, the tall and the small, knows that riff. Every rock guitarist knows how to play that riff. Why? ‘Cause it’s a really easy riff; seriously, it takes a few times through to get the basics down. The only tricky part is the descending note pattern at the end of the 2nd measure. And for whatever reason, it’s one of the riffs that young guitarist learn first.

“Back In Black” is AC/DC’s tribute to their fallen singer, Bon Scott, written by their new singer, Brian Johnson, a man who had never actually met Bon. Admittedly, Brian was just writing what sounded good, going off of what he had heard ad infinitum from his other AC/DC-ers. Angus told him that the lyric needed to not be sad or morbid, but instead to be a celebration. And when Brian wrote the line “I got nine lives, cat’s eyes / Abusing every one of them and running wild,” it fit so perfectly with the man Brian had never met. And now it’s taken on a life of its own, being covered by so many rock bands it’s uncountable.

Lyrically, “Back In Black” is a first-person narrative from a guy who truly believes he is invincible. He’s fully aware of the risks he’s taking and the gorge right below his high wire, but he behaves as if he’s never going to die. Sound familiar? And while this all seems like it’s setting us up for a delicious blow of irony on paper, the music is just as disrespectful to the concept of danger as the song’s protagonist. It’s driving, joyful and full of larger-than-life energy. “Back In Black,” being the tribute song that it is, gives no indication of the tragic fall or hopeless ending that Bon’s life turned out to have. It leaves all of that to “Hells Bells,” the album’s opening song.

“Hells Bells” fulfills what buying a CD or vinyl copy of Back In Black means for the listener. You find it in the record store and it’s all black; the words on the cover are barely readable. From the album’s physicality alone, you get a small sense of doom and dread, not knowing what awaits you when you drop the needle or press play, but fearing that it will be dark and a little disturbing. “Hells Bells” doesn’t disappoint. It opens the album with the lonely and mournful sound of a single church bell, rung several times before an electric guitar plays an equally mournful minor key riff. The absolute weight of the music falls on you as the rest of the band joins in, and you know that this is a different AC/DC than you knew.

Then there’s “Hells Bells” subject matter and main character: Satan himself. In this song, he’s a roaring lion, a savage devourer, and a remorseless consumer of every soul he comes across. The Satan that AC/DC portrays, like that of Black Sabbath and the plethora of bands they inspired, is the simplest and most obvious form of evil. How can anyone look at this evil and want any part of it? How can anyone listen to a song like “Hells Bells” and not see incredibly clearly that, contrary to what Bon previously affirmed, Hell is a VERY BAD place to be?

AC/DC, I think, understands this. They know that there exists a schism between two eternal destinies and that it’s drawn upon moral lines. They realize that there IS good, there IS evil, and that human beings exist somewhere in between, tipping at different times towards one or the other. And I truly believe that AC/DC want to tip towards the good, on the whole. It may not show in much of their music, but it doesn’t have to in order to be true. AC/DC, at their scar tissue-covered heart, are searching for salvation.

Zombies

AC/DC/ - Back In Black - 7/21/1980

AC/DC – Back In Black – 7/21/1980

I just saw a short film called Cargo; it was one of the finalists at Tropfest Australia 2013. It’s about a dad who is bit by a zombie (his wife) and is trying to get his baby daughter to safety before he turns. It’s only 6 and a half minutes long and features no dialogue, but it wrecked and ravaged me with its throbbing-heart emotionalism and simple yet gut-punching theme – love conquers all, even zombies.

The main appeal zombies have to me is the rapid change in states of a thing. When water turns to ice or steam, the elemental nature of the thing stays the same – two hydrogen atoms, one oxygen. But we understand and experience the altered-state water in totally new ways.

And with zombies, the very nature of the thing seems to change, though it’s still recognizable as what it used to be. In Cargo, the man’s wife is elementally different, something dangerous and terrifying, even though she is still his wife. And likewise, he knows that he will very soon become very dangerous to his baby daughter. But she will still be his daughter, and he must still protect her, even from himself.

Things drastically changed for AC/DC when Bon Scott suddenly died by aspirating his own vomit, even the nature of AC/DC itself. They never really got over the grief of losing Bon, but they translated it into music. They all decided they had to go on with the band, and that the last thing Bon would have wanted was for AC/DC to die with him. The surviving members even talked it over with Bon’s mother, and with her consent, they started seeking a new lead singer.

Brian Johnson was the first name the Young brothers came up with. He was a someone Bon had told them about while he was alive, and a performance that he had seen of Brian screaming his guts out on every song with his then-band Geordie. On one song, he held a high note, then dropped to the stage floor flailing and convulsing. The roadies had to take him out in a wheelchair. Bon thought, “Now there’s a guy who knows what rock and roll is all about.” Brian later told them it was because he came down with appendicitis that very night.

Bon Scott had only been dead a few weeks when Brian Johnson got a call from the Young brothers asking him to come to London to audition. The first song he sang was “Whole Lotta Rosie,” which is one of the songs I think of when I think, “What would be an impossible song to audition with because it’s so immortally Bon’s?” Brian, though, he smashed it out of the park. After the members of AC/DC finished picking their jaws up off the floor, they jammed some more and then hired Brian a few days later. They never even auditioned anyone else.

Brian Johnson is like a zombie version of Bon Scott. His voice is what Bon’s would sound like if he had come back from the dead, if Hell had spat him back out. Both have a gravely roughness and intensity, but the main difference is that while Bon’s voice gave you a sense of fun debauchery, Brian’s only indicates a downward spiral, hedonism ending where it usually does. And likewise, AC/DC’s music experienced a shift when Bon died, and became a zombie version of itself. It’s much more subtle, and the ironic celebration of sin and bad behavior is still there, but it’s a much more hopeless one. The band went from being carefree Libertines to uncaring Nihilists, and the beginning of it is on Back In Black.

In addition to taking the reins as AC/DC’s new lead vocalist, Brian also took over as main lyricist. His writing involves a level of double-entendres and euphemisms previously unseen in AC/DC’s songs. Bon told stories; he was like the guy in the bar who says “Let me tell you ‘bout this one chick I used to date. Smokin’ hot body. And in bed? Whoo! Every night was like a rodeo!” But Brian relied on the more literary devices of innuendo and implication.

And somehow, this made the dirty jokes that much dirtier. Those who get it don’t need anything else to be said. What Brian says is sometimes very subtle. “Let me cut your cake with my knife.” “She told me to come but I was already there.” “I’ll be guided in, We’ll be ridin’, giving what you got to me.” Do you know what he’s talking about? ‘Cause I do.

But without a doubt, the most suggestive, euphemism-laced and subtly filthy song on Back In Black is “Givin the Dog a Bone.” This song skirts the line between decency and just out-and-out pornographic detail. Nearly every line is a double-entendre, and the whole song stops just short of stating the thing it’s about outright. It shouldn’t take more than the first verse for you to figure it out.

She’s taking down easy, Goin’ down to her knees

Goin’ down to the devil, down-down to ninety degrees

Oh, she’s blowing me crazy ‘til my ammunition is dry

Oh, she’s using her head again

Oh, she’s using her head again

I’m just giving the dog a bone

I’ll give you a hint – it starts with an F and ends with an –ellatio.

While I’m not crazy about its choice in topic, “Givin the Dog a Bone” is an absolutely ingenious song in the way it talks about it. This type of verbage makes the wordsmith in me simply tingle with delight. “Givin the Dog a Bone,” the better part of the Back In Black album, and indeed AC/DC’s post-Bon output on the whole, joins a long tradition in rock and roll that goes all the way back to Robert Johnson when he sang “Squeeze my lemon ‘til the juice runs down my leg!” Even Shakespeare did it with the line in Hamlet about “country matters.” It can be summed up, I think, with a rather current phrase: I see what ‘cha did there… Wink, wink.

Next: A tribute to a fallen friend.