Product Description BACK IN BLACK is the 6th best selling album in US History and has went 19 times platinum. This digitally remastered contains a 16 page booklet with unpublished photos, classic memorabilia, and new liner notes by the Rolling Stone's David Fricke. desertcart.com Most critics complain Back in Black, the album AC/DC recorded after the death of their original lead screamer Bon Scott, is ridiculously juvenile, obvious, snickering, bludgeoning, derivative, single-minded about sex and booze, a big cartoon. All true, of course, and--on rock 'n' ragers like "What Do You Do For Money Honey," "You Shook Me All Night Long," and the title track--all great. As Scott's replacement Brian Johnson reminds us, loud and crunchy, no-holds-barred "rock and roll ain't noise pollution...it makes good, good sense." Never trust anyone who refuses to drink domestic beer, laugh at the Three Stooges, or crank Back in Black. --David Cantwell Review: A must for any ACDC fans... - Great album. Came in a protective sleeve and had no deformities. Album played extremely well. This was a great purchase Review: Are Ya Deaf, Ya Wanna Hear Some More? - February 19 1980. AC/DC's legendary lead singer Bon Scott chokes to death in the back of his car following a typical all-night drinking spree in London. The challenge faced in replacing a band member is always problematic. Replacing a lead singer is hardest of all, because a singer embodies the band's attitude, image and music, and few singers have personified their band's music like Bon did. Angus and Malcolm Young, guitarists and founders of AC/DC, faced a huge task in replacing Bon. It would've been easier to call it a day, but the notoriously dogmatic brothers were not going to back down from a fight. They were never going to try to find a copy of Bon, because it was too hard and would've been the end of their image. They opted for a man with a husky, gritty voice who wouldn't try to completely fill the void, but partially fill it so that Angus, whose stage act was to act convey a possessed, frenzied imp, could expand his role further. That man was Brian Johnson. His onstage persona was simple: he wore a flat workman's cap and blue jeans, put punch and rasp into every word and shuffled around with arthritic grace. He was genuinely the perfect choice. And so they made Back In Black: half a tribute to Bon, half a defiant slam back into the business. Back In Black opens with a lone, eerie church bell, clanging slowly and murkily. After five tolls, Angus stalks in, carrying his slow, menacing Grim Reaper riff. The drums enter, one at a time and slow, like the footsteps in a horror film. This is ‘Hells Bells’-AC/DC’s best song with one of the greatest rock intros ever. The explosive lyrics, Brian says, came to him on a stormy night, and he just didn’t stop or think about him: just wrote them was if he was possessed. He implies that it was Bon, beyond the grave, leaving his legacy to paper by writing some of the best damn lyrics AC/DC would make. It wouldn’t be an AC/DC album without some risqué, unsubtle, single entendre songs, and ‘Givin’ The Dog A Bone’ takes out the title of dirtiest song on Back In Black, followed by the blatantly self-explanatory ‘Let Me Put My Love Into You.’ Both have some delicious riffs, the later in particular with a sinister intro. ‘Shoot To Thrill’, the second song on the album, has its lyrics drowned by some astonishingly precise work by the Youngs. This is the best example of their immaculately locked, in time guitar work: each responds to the work of each other without missing a beat. The title track is one of AC/DC’s most well known songs. My defining memory of it is turning it up as loud as I could, then scurrying for cover as Phil Rudd counted off, sounding like the final few seconds of a bomb timer. The iconic riff then exploded out. It is strutting and bad; it is everything that people love about AC/DC: that small, wicked part in everyone that appreciates straight-up, no fuss rock. ‘You Shook Me All Night Long’, one of five songs ‘Back In Black’ that became radio staples, is about as close as AC/DC ever came to a love song, which is another example of their astonishing ability to doggedly stick to their own style for thirty years, ignoring trends, and remaining successful. It’s a magnificent anthem live, with Angus’s famous, phrased solo and the chant of the chorus ringing out loud and long. The tough bar room ditties ‘Shake A Leg’ and ‘Have A Drink On Me’ are followed by the sneering anthem to AC/DC’s critics, and the critics of all hard music, ‘Rock n Roll Ain’t Noise Pollution,’ with the hazy hangover riff and the thudding chorus, the fifth radio hit off the album. Back In Black is, at the least, one of the most remarkable albums of all time. To recover from the blow that they suffered and deliver their most powerhouse album was an astonishing effort. In doing so, they produce the blueprint for hard rock artists for decades to come: keep it simple and then crank it up.
| ASIN | B000089RV6 |
| Best Sellers Rank | #216 in CDs & Vinyl ( See Top 100 in CDs & Vinyl ) #2 in Pop Metal (CDs & Vinyl) #3 in Blues Rock (CDs & Vinyl) #3 in Arena Rock (CDs & Vinyl) |
| Customer Reviews | 4.8 4.8 out of 5 stars (16,307) |
| Date First Available | January 2, 2007 |
| Is Discontinued By Manufacturer | No |
| Item model number | VQER6LT |
| Label | Legacy Recordings |
| Language | English |
| Manufacturer | Legacy Recordings |
| Number of discs | 1 |
| Original Release Date | 1980 |
| Product Dimensions | 5.4 x 0.2 x 4.9 inches; 2.4 ounces |
| Run time | 41 minutes |
G**I
A must for any ACDC fans...
Great album. Came in a protective sleeve and had no deformities. Album played extremely well. This was a great purchase
C**E
Are Ya Deaf, Ya Wanna Hear Some More?
February 19 1980. AC/DC's legendary lead singer Bon Scott chokes to death in the back of his car following a typical all-night drinking spree in London. The challenge faced in replacing a band member is always problematic. Replacing a lead singer is hardest of all, because a singer embodies the band's attitude, image and music, and few singers have personified their band's music like Bon did. Angus and Malcolm Young, guitarists and founders of AC/DC, faced a huge task in replacing Bon. It would've been easier to call it a day, but the notoriously dogmatic brothers were not going to back down from a fight. They were never going to try to find a copy of Bon, because it was too hard and would've been the end of their image. They opted for a man with a husky, gritty voice who wouldn't try to completely fill the void, but partially fill it so that Angus, whose stage act was to act convey a possessed, frenzied imp, could expand his role further. That man was Brian Johnson. His onstage persona was simple: he wore a flat workman's cap and blue jeans, put punch and rasp into every word and shuffled around with arthritic grace. He was genuinely the perfect choice. And so they made Back In Black: half a tribute to Bon, half a defiant slam back into the business. Back In Black opens with a lone, eerie church bell, clanging slowly and murkily. After five tolls, Angus stalks in, carrying his slow, menacing Grim Reaper riff. The drums enter, one at a time and slow, like the footsteps in a horror film. This is ‘Hells Bells’-AC/DC’s best song with one of the greatest rock intros ever. The explosive lyrics, Brian says, came to him on a stormy night, and he just didn’t stop or think about him: just wrote them was if he was possessed. He implies that it was Bon, beyond the grave, leaving his legacy to paper by writing some of the best damn lyrics AC/DC would make. It wouldn’t be an AC/DC album without some risqué, unsubtle, single entendre songs, and ‘Givin’ The Dog A Bone’ takes out the title of dirtiest song on Back In Black, followed by the blatantly self-explanatory ‘Let Me Put My Love Into You.’ Both have some delicious riffs, the later in particular with a sinister intro. ‘Shoot To Thrill’, the second song on the album, has its lyrics drowned by some astonishingly precise work by the Youngs. This is the best example of their immaculately locked, in time guitar work: each responds to the work of each other without missing a beat. The title track is one of AC/DC’s most well known songs. My defining memory of it is turning it up as loud as I could, then scurrying for cover as Phil Rudd counted off, sounding like the final few seconds of a bomb timer. The iconic riff then exploded out. It is strutting and bad; it is everything that people love about AC/DC: that small, wicked part in everyone that appreciates straight-up, no fuss rock. ‘You Shook Me All Night Long’, one of five songs ‘Back In Black’ that became radio staples, is about as close as AC/DC ever came to a love song, which is another example of their astonishing ability to doggedly stick to their own style for thirty years, ignoring trends, and remaining successful. It’s a magnificent anthem live, with Angus’s famous, phrased solo and the chant of the chorus ringing out loud and long. The tough bar room ditties ‘Shake A Leg’ and ‘Have A Drink On Me’ are followed by the sneering anthem to AC/DC’s critics, and the critics of all hard music, ‘Rock n Roll Ain’t Noise Pollution,’ with the hazy hangover riff and the thudding chorus, the fifth radio hit off the album. Back In Black is, at the least, one of the most remarkable albums of all time. To recover from the blow that they suffered and deliver their most powerhouse album was an astonishing effort. In doing so, they produce the blueprint for hard rock artists for decades to come: keep it simple and then crank it up.
H**T
GREAT MUSIC
AC/DC = fun and great music. Love this CD. Love AC/DC.
R**N
Great album
One of the best albums of all time, no doubt, quick shipping, sounds great
A**A
Sounds AMAZING!!
Worth EVERY PENNY!!! 🔥❤️
G**N
Perfect Transaction!
The Compact Disc (CD) I ordered was delivered quickly. Packaged well & arrived with no issues. It is in brand new condition & was still sealed in its factory plastic. Flawless transaction! Great Price & Great Seller. The CD has several good songs on it & brings back a lot of good memories from my youth. Rock On! \m/
C**I
A true rock classic album
This is one of the greatest true rock albums ever released. It is a masterpiece. That being said, I am not a fan of Brian Johnson's voice. That is why I only gave it 4 stars. If Bon Scott was singing it, I would surely give it 5 stars.
J**Z
Rock and roll🤘🤘🤘
The most icónic lp of leyens
M**I
Skromne wydanie, fajne grafiki na wewnętrznej kopercie. Ta tradycyjnie bez folijki. Za to na zewnętrznej okładce kolejnosc utworów jest kompletnie pomylona. No i tłoczenie jednak kiepskie. Początki stron grają ładnie ale końcówki są pełne zniekształceń. Jedna z gorszych reedycji jakie miałem.
S**W
1980 erschien AC/DC's sechste Scheibe unter dem Titel "Back in Black". Ausgehend vom überraschend Tod Bon Scotts musste die Truppe im Lager leicht aufräumen und verpflichtete letzendlich den Ex-Georgie Frontmann Brian Johnson, der der Platte zusätzlich eine harte, herbe und aggressive Note verpasste. Im Vorfeld war man der Scheibe vorausschauend kritisch und skeptisch eingestellt, auch aufgrund dessen, weil sich die hiesige Presse die berechtigte Frage stellte, ob Brian Johnson überhaupt der richtige Sänger für das neue Album war. Auf den Nachfolgescheiben veprasste man mit Johnson meiner Meinung nach dann etwas die zu hohen Erwartungen die nach diesem Meilenstein der Rockmusik - logischerweise - nicht erfüllt werden konnten. Wenngleich sie mit "Flick of the Switch", "Fly on the Wall" und "The Razors Edge" noch drei Klassiker der Folgejahre parat halten konnten, so stark wie hier war die Band in meinen Augen danach auf keinem Album. Jede Taktfolge, jeder Rythmus scheint auf "Back in Black" wie eine monolitische Einheit in der düsteren Rock Welt hervorzuglitzern. Zehn Songs, von denen einige aus dem Live-Set eines jeden Konzertes nicht mehr wegzudenken sind. "Hells Bells" ist gleich der erste große Klassiker. Düstere Glockenschläge ertönen viermal hintereinander, ehe Angus Young seine Gitarrenrythmus ausspielt und Phil Rudd am Schlagzeug mit seinen Hi-Hat Schlägen ganze Arbeit leistet, ehe er nach weiteren zehn Sekunden Bassdrum Schläge in dieses dunkle Metier verknüpft. "Hells Bells" wird - mit sehr wenigen Ausnahmen - auf (fast) jedem Konzert gespielt. "Shoot to Thrill" ist ein brachialer, gitarrentechnisch recht flotter Song, der zum Mitsingen auffordert. Ansonsten recht einfach gehalten, gesanglich setzt Johnson diesem zweiten Klassiker die Krone auf. Großartig! Mit "What do you do for Money Honey" wartet ein weiterer eingängiger Track auf. Geradlinieg geht dieser Parforceritt, straight im Midtempo gehalten, nach vorne. Manchmal etwas filigran wirkend aber dennoch stark, kraftvoll. "Let me put my Love into you" ist dann vergleichsweise schwächer, aber immer noch stark genug, erhabenere Stücke von vorangegangenen Alben in den Sack zu stopfen. Kein Klassiker, aber doch recht gut. "Back in Black" bietet dann den groben Hard Rock Hammer. Meines Wissens spielt Angus Young das Mainriff "Powerchordtechnisch" in einer harten Manier, dazwischen fügt Phil Rudd seine Schlagzeuggefilde ein. Massiver Einstand! Mit "You Shook me all Night Long" wird der nächste sich sehr herauskristallisierende Klassiker bereit gehalten. Ziemlich einfach gestrickte Strukturierung dieses Hard Rock-Epos, dennoch packend und krafvoll. Live entfaltet dieser Song seine volle Wirkung, in der Studioversion geht man in meinen Augen gezähmter zu Werke. Trotzdem ist dieser Track absolut raumgreifend und transparent. "Have a Drink on me" fesselt, man lauscht sofort gebannt den schwergewichtigen Gitarren der Young Gebrüder. Fordert im Refrain zum Mitgröhlen auf, insgesamt erachte ich diesen Parforceritt als eine komprimierte Version vorangegegangener Songs (und Alben). "Shake a Leg" wirkt wie eine brettharte Symbiose, die zu Beginn nur von Phil Rudd's Schlagzeugspiel zu leben scheint, ehe sich nach wenigen Sekunden auch Gitarre und Gesang in dieses leicht seicht wirkende Metier wunderbar einfügen. Mit "Rock and Roll ain't Noise Pollution" wagte man sich als Intro zurück zu Blues Wurzeln, wohl eine (gelungene) Reminiszenz an das kongeniale "Powerage", ehe das fetteste AC/DC Riff der gesamten Historie einsetzt. Der Refrain wirkt eher deplaziert und hätte gut auf "For Those About to Rock (We Salute You)" gepasst. Trotz dessen ein sehr gelungener Abschluss der den ewigen Kreis schließt. Mittlerweile wurde "Back in Black" neu aufgelegt in noch dynamischerem Klanggewand und zusätzlichem, ausführlichem Booklet mit Hintergrundinformationen, die selbst mir als eingefleischtem Fan noch nicht bekannt waren. Fazit: Der endgültige internationale Durchbruch...
C**U
Casi 50 millones de copias vendidas de esta obra maestra avalan la calidad de esta edicion en vinilo celebrando su 30 aniversario. Afortunadamente poseo las 2 ediciones en vinilo: la original y esta nueva edición y debo reconocer que la novedad de esta edicion supera a la oriunda de los 80, tanto en calidad de sonido como en calidad del propio vinilo al ser éste de 180 gramos y el LP de los 80 eran de aquellos de 100 gramos que tanta moda adquirieron por aquella decada. Obra maestra envuelta en obra maestra. Imprescindible más al precio que se oferta (ojo que desde que empezó en Amazon ha ido subiendo paulatinamente de precio. Desde aprox 7.99 euros hasta los 8,99 por los que lo adquirí yo en octubre 2012 y los casi 11 actuales. No obstante, es un regalo y joya por los 11 que hay que desembolsar a fecha de hoy 11 del 12 del 12. Adquirirlo que tan solo por tener ese grueso vinilo entre vuestras manos sera satisfaccion mas que suficiente para no arrepentiros jamas de la compra que habeis realizado. Actualización a 13 de diciembre de 2012: Pues ya está a casi 15 euros... La cosa sube como la inmobiliaria en sus buenos años...
H**U
Very good experience
S**I
... einfach nur schön. Wenn man es als Bandana bindet, ist die Schrift an der richtigen Stelle.
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