1024. AC/DC / Let There Be Rock. 1977. 4/5

In a constant method throughout the mid-to-late 1970’s AC/DC managed to keep pumping out albums that grabbed the attention of music lovers all over the world. They might appear simple in rhythm and based as they are in the blues rock that preceded them, but they are undeniably catchy, and as a basis to launch their live act under these directions they were an amazing catchphrase.

The growing success of both albums and singles releases helped to propel the recording and releasing of Let There Be Rock. While there was a steady prevailing popularity of the previous material, apparently it hadn’t caught on in the United States, and the recording of this album was meant to help rescind that. The songs here are generally longer than usual, drawn out by the extended guitar solos and pieces that Angus and Malcolm came up with. In places it still feels even today that the songs go out beyond what is necessary. Still , this is the style of songs that the band had decided on in their efforts to crash the international market even harder 

than they had already achieved.  There is definitely a harder blues based rock in the rolling rhythm throughout most of the songs, highlighted immediately by the opening track “Go Down”, where the blues beat holds together the basis of the song, and allows Bon Scott initially to hold the reins on vocals, before Angus Young comes in to perpetuate his solo piece in the middle of the track. Bon and Angus trading vocals and guitar tweets through the second half of the song draws in the blues roots as well. It does get repetitive towards the end, and though it is a terrific opening track it always feels as though it could have ended a good minute earlier. “Dog Eat Dog” settles into that hard rocking rhythm that Malcolm, Phil Rudd and Mark Evans play so well on these early albums, and again let Bon and Angus do their thing. Both it and “Bad Boy Boogie” again insert the lengthy and stretched out solo sections for the guitars to make their mark, much like the band would do in a live setting, but here in the studio. An interesting change.

Depending on what version of the album you have, on the second side of the album you will either be enjoying a shortened version of “Problem Child” on the International version, which initially was released on Dirty Deeds Done Dirt Cheap, or the song “Crabsody in Blue” which came on the initial and Australian release of the album. I personally like “Problem Child” better, despite its original place on Dirty Deeds Done Dirt Cheap. “Crabsody in Blue” seems to stifle the momentum of the album at its entry point, and is also drowning in the blues which may also be a bone of contention with me. The exchange of these two songs does make the international version of the album a better listen.
“Overdose” and “Hell Ain’t a Bad Place to Be” also run along similar lines and patterns. “Overdose” has a similar pattern to “Live Wire” early on, but builds with its own momentum to reach its crescendo. “Hell Ain’t a Bad Place to Be” has always been one of those underrated AC/DC songs, one that those that only listen to the singles never get to know. It again builds from a slowish start to find its own pace and strength, and it does all the right things for the fans.
The two star attractions of the album are the title track and the closing track. “Let There Be Rock” has been a classic since the album’s release, with Bon’s lyrics espousing the discovery of rock as in a biblical creation. The faster and immediate crash into the song by the band is also a change from most of the other songs on the album, and its effect is immediate. It is still a great song today. So too is “Whole Lotta Rosie” which is still a live favourite today. Focusing on Bon’s meeting with a female acquaintance back in the day, this is a rollicking track that is ecstatically explained by Bon, before Angus takes over and gives an extended solo piece to hold the middle of the song together. It is still one of the great AC/DC songs and it closes the album on a high note.

Many experts consider this the first ‘great’ AC/DC album. It did seems to single a change in the band’s intent, to be more a harder guitar sounding band than they had been too this point. While I appreciate that notion and believe it is a fair enough point, and as much as I think this is a terrific album, one that there is never a bad feeling about when I put it on to listen to, I think that there is better to come.

Rating:  “Wanna tell you story about woman I know, when it comes to lovin' she steals the show”.   4/5