There are three things we can take for granted in this life: death, taxes, and the fact that a new AC/DC album will sound like the band has always sounded.
In reviewing a new AC/DC album, it is tempting to respectfully rewrite Pete Townshend’s immortal words from The Who’s Won’t Be Fooled Again: Meet the new AC/DC album, same as the old AC/DC album.
Lead guitarist Angus Young once famously said in an interview: “I’m sick to death of people saying we’ve made eleven albums that sounds exactly the same. In fact, we’ve made twelve albums that sound exactly the same.”
The fact that the band are happy to laugh at themselves, a quality that their iconic 1970s vocalist Bon Scott initially brought to them in spades and they never lost since, just makes them more likeable. And, as much as people can (and will) jest about their lack of change – do they really want them to? Heaven forbid they should try to create artistic statements, introduce new instruments, write conceptual albums, or explore new musical ground… I struggle to think of what that would even sound like. It would almost be a disappointment even if it had been good.
So, this is it, then. The seventeenth AC/DC studio album (including the early ‘Australia only’-releases) called Power Up – sometimes shortened to PWR/UP and stylised as PWRϟUP. It is not the first one not to include founder and rhythm guitarist Malcolm Young, but it is the first album since Malcolm died in November 2017. He is still co-credited as writer on every song, as he and brother Angus created a significant backlog of ideas. As such, all the songs are based on riffs created by the Young brothers. Angus has even said that they can keep releasing albums for quite some time without running out of good riffs and ideas from that bank. That is a very nice thought, but considering the band’s ages (vocalist Brian Johnson is 73, bassist Cliff Williams 70, drummer Phil Rudd 66, guitarist Stevie Young 63, and Angus 65) and their not-too-frequent release frequency, we really can’t take it for granted that there will be more albums.
For now, though, we have this one, featuring what is as close to the band’s classic line-up as we can possibly get. For a while, that was looking very unlikely, making this album a double celebration.
Sometimes the context around an album is as important as the music on it. For a while, the band line-up was in turmoil. In case you missed out on the drama: Stevie Young had replaced Malcolm for the Rock Or Bust (2014) album and tour. Drummer Phil Rudd was facing severe legal issues in New Zealand (where he lives) and was in effect fired after finishing his drum tracks. Vocalist Brian Johnson was forced to leave the band during the following tour due to hearing loss issues, unexpectedly finding his personal equipment and belongings unceremoniously dumped in his driveway. He also found out through the press that he had been replaced by Guns N’ Roses vocalist Axl Rose. Bassist Cliff Williams got disheartened after seeing Malcolm, Rudd, and Johnson disappear the band in short order, letting Angus know he would be retiring after the tour. This left Angus and Stevie Young as the only remaining members from the Rock Or Bust album when the tour ended in 2016.
After a long break, Angus was ready to get back to work. Rather than going at it with three new members, Angus checked in with Johnson and Rudd and found them healthier, able, willing and ready to return. With them on board, Williams agreed to rejoin for a new album and a few shows. Just like the Blues Brothers, the band had been put back together. They were on a mission from Malcolm.
The above is very much a short version of what happened, with fans having strong opinions on anything from Johnson’s treatment, how well (or not) Axl worked, the Rudd situation, etc. All of that was forgotten when fan pictures started circulating of band members having a laugh in the outdoor area of the Warehouse Studio in Vancouver, Canada. Everybody held their breath. Were they really back together? Were they recording a full album? As usual, the band revealed nothing, until 28 September 2020 when their social media accounts dropped a short video clip. It depicted an illumination of a neon light in the shape of the band’s lightning bolt logo, signalling that something was happening. On 30 September, AC/DC officially confirmed the return of Brian Johnson, Phil Rudd and Cliff Williams to the band, alongside Angus and Stevie Young.
Getting that line-up together one more time after everything that happened is almost a victory in itself. Those last six years had been so filled with issues, drama, personnel changes and – from a fan perspective – disappointment about the way it all unravelled. Ultimately, though, looking at the human side of things, there would be triumph and joy. The story has everything you need for a Hollywood movie, including the redemption-filled happy ending that often only movies seem to be able to provide. The joy of just seeing the guys together again after all that happened almost makes you forget that there’s actually a new album to celebrate as well, patiently waiting for the attention to swing in its direction.
Realize is immediately recognisable as AC/DC and a genuinely good opener. “I got the power to electrify” sings Brian Johnson, and that’s exactly what he and the band does. Angus drips lead licks all over the song, but it’s comfortably tucked away in the background, providing spice rather than demanding attention. The backing vocals in the pre-chorus feel anthemic, and the song itself is going to sound huge… if live shows ever become a thing again in the band’s lifetime.
The fact that the riffs and core ideas still stem from the Young brothers brings a continuity in both style and quality. The latter is important – even with a non-changing style over the years, there has been both hits and misses – or should we say, just a few “going through the motions” moments. AC/DC are rarely bad – their established style and punishing work ethic will carry them through just about anything, but there have been moments when they had to settle for a result rather than knocking it out of the park.
On this album, the band sounds inspired. Not in the way that they come charging out of the gate like rabid dogs finally let loose, but they have a swagger, a glint in the eye, that translates to songs of any tempo and ilk. We can hear that some of the members are delighted that they are back, while others are delighted that the band is complete again. At this stage, I cannot imagine anyone taking their spot in the band – or the band itself – for granted. They sound – and look, in the video glimpses shared – thrilled to be back and to be doing this again. That aspect was perhaps missed for me on previous album Rock Or Bust, and maybe at the end of the day there was a purpose to everything that the band went through, that they would emerge on the other side with a genuine appreciation and a fire in their bellies. Johnson sound particularly revived, having the attitude and snark back in his delivery. On a song like Rejection, he snarls and bites with the vigor of a man half his age.
The single Shot In the Dark is well-produced and effective. It was the right song to release for several reasons: it is one of the more classic-sounding songs on the album – the tempo, the guitar tone, the solo. It is also not the best song on the album, and having something extra up your sleeve is good. The song instantly feels better in context of the full album. I enjoy it a lot more as part of the package than I did as a standalone single. Seeing the band perform it in the video definitely did not hurt either.
One of the more interesting tracks is the anthemic Through the Mists of Time. While it sounds like AC/DC, it may be something as rare as a song that pushes the envelope a bit. This is a slightly gentler, more melodic piece of introspective reflection on vanity and age.
“See dark shadows on the walls / See the pictures / Some hang, some fall” sings Johnson in this self-aware song, possibly touching on longevity of his band, those who have gone before, and those who in the future will look at his band in a similar way. A bit of tongue in cheek still cannot be avoided, as the pre-chorus section adds “And the painted ladies / Yeah, the painted ladies.” They just cannot avoid being themselves, even in the somewhat more poignant moments.
Interestingly, the overall pace of the album is a little slower than normal, despite a few faster paced tracks. That is hardly a problem – the band has been brooding several times in the past as well, but it is good to see them mix it up a little bit. One of the quicker tracks on offer is also one of the stand-outs. Demon Fire features a sharp, straight Phil Rudd beat driving the song forward. The riff is genuinely poisonous and vital. The entire song is filled with dusty, sunburnt blues-boogie, which is perhaps also a touch unusual for AC/DC, but it really does sounds great.
Eventually the album ends as Code Red comes to a satisfying end. Twelve concise songs, all of them between three and four minutes long (one slightly under, one slightly over). Not a single fade-out – they all have classic AC/DC endings. It sounds like business as usual, but it feels more special than that. The panache is back, and despite this album featuring the exact same line-up as the previous album, it feels like two different bands. Certainly we are talking about two completely different situations. When Rock Or Bust was released, the band had started falling apart. This time, the band unity and joy to be there is on a totally different level. And we can hear this in the music.
The audiences seem to agree. The album has sold well, shooting up to #1 on official album charts in the UK (their fourth chart topper ever), Norway, Sweden, France, Germany, Ireland, Italy, the US, and Australia on its first week of release. In the UK, it sold more copies than the rest of the top 5 combined, making it the fastest selling album of 2020.
The trend is similar elsewhere, with the entire stock of CD copies quickly disappearing. My local record store contact heard from the distributor that the album has pretty much sold out all over Europe, with every remaining outlet requesting more copies (which are being pressed slower than the demand). Clearly nobody were prepared for the enthusiasm that the band would be met with upon their return.
It was devastating to lose Malcolm, and downright disheartening to see Rudd, Johnson, and Williamson leave one by one. Angus could have packed it in after Rock Or Bust. The fact that they got back together in the manner that they did is incredibly joyful. The fact that they delivered a great and interesting album is pure victory lap stuff. Is it the best AC/DC album ever? Get out of here. But this is a genuinely good effort – an album with its own character, a lot of personality – and painted ladies!
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