By Joe Bonomo
Published in 1979, AC/DC's "Highway To Hell" was once 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 loss of life has without end secured the album's recognition as a partying primer and a bible for deadly habit, branding the album with the joys chaos of alcoholic extra and its turn aspect, early demise. 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 strange yet enjoyable vocals. Joe Bonomo moves a three-chord essay at the energy of youth, the sturdiness of rock &roll fandom, and the transformative houses of reminiscence. Why does "Highway To Hell" topic to someone past non-ironic young children? mixing interviews, research, and memoir with a fan's viewpoint, "Highway To Hell" dramatizes and celebrates a undying album that one critic stated 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)
From obscure 1950’s R&B singers to Seventies hard rock to daring New Wave through last month’s R&B and Hip Hop: popular music has always made room for gutter thought, memorably expressed. ” Et cetera, et cetera. Guilty even were the tidy Everly Brothers, whose “Wake Up Little Susie,” duly sanitized for Eisenhower’s America, nails the morning-after fears of a teenage couple waking up where they shouldn’t be. Common to these and other grinding songs are reliance on witty metaphors and an understanding that the listener’s in on the (dirty) joke.
The following week, as grade schools and high schools were gearing-up across America and kids were glumly buying pens and pencils, Highway to Hell hit number 50, sandwiched between Billy Thorpe and Elton John. The album leapt KISS’s Dynasty the next week to 42, rested patiently there for a week, rose to 36 the following week (leaving behind the Who and Van Halen II), and held down that spot for another week while ﬁghting off Cheap Trick’s Live at Budokan. On November 10, its twelfth week on the charts, Highway to Hell reached number 17, the highest spot that the album would attain, destined forever to stare up the backsides of, among others, Michael Jackson’s Off the Wall, Kenny Rogers’ Kenny, Foreigner’s Head Games, and — in what must’ve galled Bon Scott — Barry Manilow’s One Voice.
His hair is shoulder-length, and the sweaty mop’s manic in head-banging glory from beginning to end, the guitarist prowling the stage with his favorite Gibson SG guitar in a freak show: part Chuck Berry, part hyperactive tweener, with a bit of Lon Chaney, Jr. thrown in. He’s grimacing, and his skinny, wiry legs are sticking out of his lad shorts, a book bag bouncing up and down on his skinny butt. When he’s not prowling during the verses, he’s relatively still, bopping back and forth on his semi-planted feet in his soon-to-beidentiﬁable groove.