AC/DC @ The Schott: 11/21/08

Make no mistake about it, the sold-out Schott was ready for some good old fashion Rock and Roll on Friday night. Nobody, and I mean nobody, had any false pretensions about what they were about to witness. This was AC/DC, and they are what they are – a full-fledged, full bore hard rock and blues band.

When the lights went down, we were treated to an animated 5-minute video of the band that was, shall we say, a tad risque’ (at least if you consider oral sex and things like that risque’). Anyway, after the video the curtains opened to the sight of a locomotive, complete with smoke and everything else a “Rock and Roll Train” would have on it, sitting at the back of the stage. At that point Angus and the boys came out with a guns blaring version of said song, and they never stopped until the finale 2-hours later.

Angus Young was a whirling, 5’-2” dervish, duck hopping/walking all over the place, mooning the audience, never stopping or slowing down the entire show. And man, can that cat play. He did things with the guitar I’ve never seen before, and I’ve seen a lot. Rolling Stone had him at #96 on their “Top 100 Guitarist’s of All-Time” list, behind the likes of Joe Perry, Lou Reed, and Clarence White of The Byrds. In a word, travesty. I’m telling you I’d never seen anything like it.

As for the rest of the band, Malcolm Young was top-notch, content to stay back and let brother take the lead as always. Brian Johnson was in fine form on lead vocals, belting out song after song at the top of his lungs. It’s a different dynamic with AC/DC, as they basically have two frontmen in Johnson and Angus. They sort of trade off, taking turns in getting out front and leading the show. Rounding out the lineup was drummer Phil Rudd (desperately trying to keep up) and bassist Cliff Williams, who I wouldn’t recognize if he walked in the room right now. Let’s just say Angus and Johnson have a commanding stage presence.

Highlights? Wow, there were almost too many to mention. Was it the nasty, positively evil version of TNT? Maybe, and how they got those pyrotechnics past the Fire Marshalls is beyond me. The watch-the-crowd-go-spastic, blast your eardrums version of “You Shook Me (All Night Long)”? Possibly. The giant bell that was lowered from the ceiling at the intro to “Hell’s Bells”? Could be. Then again, the 3-story tall inflatable stripper that rose above the stage during “Whole Lotta Rosie” was pretty cool. Nah, it had to be the cannon that blasted at the audience during the “For Those About to Rock” encore. Hey, it was Arena Rock at it’s finest – props are a must.

Still, it was the music that did it for me. After 30+ years, these guys can still go better than ever. And hey, it was only until Sunday afternoon that my hearing returned. I hate the OSU-Michigan announcers anyway.

For another take, you can check out Aaron Beck's review in the Columbus Dispatch.

Hang On Sloopy

It is "the" week. Michigan week. Or perhaps I should say this year, Michigan weak. However you choose to categorize this, the greatest of all college football rivalries, one thing is clear - all who call themselves Buckeyes recognize that this week, this game . . . matters. Like the game, the game's music matters. So with all due respect to our valued RHT's readers from that state up north, this week, you people will have to resume surfing your gay porn, cause I'm about to roll on the greatest state rock song of all time - Hang On Sloopy.

Since many of our readers hail from all corners of the globe, perhaps it is best if we introduce Sloopy with a little history. I bet even some Scarlet and Grey's out there didn't know this:

In 1965, The Strangeloves, a rock band who purported to be from Australia, decided to make the song the follow-up to their hit single "I Want Candy", and began performing the song in concert. However, the Dave Clark Five, who they were touring with, told the Strangeloves that they were going to record their own version of the song, copying the Strangeloves' arrangement. The Strangeloves realized that the Dave Clark Five's version would probably outsell their own, but they were still enjoying success with "I Want Candy" and did not want to release a new single yet. So the trio—who were, in reality, three successful writer/producers from Brooklyn, New York--recruited a group from Dayton, Ohio, Rick and the Raiders, to record the song instead. The group's name was changed to The McCoys (to avoid confusion with another popular band of the era, Paul Revere and the Raiders), and their 16-year-old leader, Rick Zehringer, became known as Rick Derringer. The group added vocals and a guitar solo to the already-completed Strangeloves backing track, and the single was released on Bang Records. It entered the chart on August 14, 1965, effectively beating the Dave Clark Five to the charts. The single went on to hit number one on October 2.

So what's this got to do with the Bucks? Well, some OSU band nerd named John Tatgenhorst loved the song so much that he not only begged the band director to play it, but also arranged the song for the marching band. Long story short, they played it, it killed and now it's played every Saturday afternoon before the fourth quarter. The "O-H-I-O" chant that has become synonymous with the song was originally added by a Columbus-based band, Saving Jane. But oh wait, there's more.

On November 20, 1985 the 116th Ohio General Assembly voted "Hang On Sloopy" the state rock song with an actual resolution (House Concurrent Resolution 16). Check out the wording in this Resolution (I swear, I'm not makin' this up!):

"WHEREAS, "Hang On Sloopy" is of particular relevance to members of the Baby Boom Generation, who were once dismissed as a bunch of long-haired, crazy kids, but who now are old enough and vote in sufficient numbers to be taken quite seriously"
and

"WHEREAS, Adoption of this resolution will not take too long, cost the state anything, or affect the quality of life in this state to any appreciable degree, and if we in the legislature just go ahead and pass the darn thing, we can get on with more important stuff."

OK, now time for the elephant in the room. Who is "Sloopy?" Well, Sloopy refers to a woman named Dorothy Sloop (Heflick), a jazz singer herself, who often used the name Sloopy on stage. Dorothy was born in Steubenville, Ohio (along with porn star Traci Lords - for those of you keeping score - perhaps this is why they said Sloopy "lived in a bad part of town"?). And while I'm at it, what the heck could Sloopy's dad have done in Steubenville that was so awful?
I gotta tell you, I tried like crazy to find a picture of Sloopy to post for this blog, but alas . . no dice. Perhaps its best if Sloopy remains left up to our imagination. I like to picture her in an OSU cheerleader outfit with long flowing hair, letting her hair hang down around her shoulders in the shape of a giant block "O".

So, without further adieu, Hang On Sloopy.

*Editor's note - the chick the McCoy's used for this video is blessed with great milk sacks (In fact, they are so great, the song may be ruined for me now forever.)

*Editor's note - who knew a xylophone could rock??!!

Less provocative, but equally awesome version - Hang On Sloopy

Go Bucks!!!

Stop Burning Bridges, And Drive Off Of Them (Top 10 Breakup Albums.)

In reading the press so far on Kanye West's ambitious, soon to be released 808's And Heartbreak record (due out in December), those who have heard a couple of leaked tracks seem to think that this could be the most heartfelt, intense breakup album ever. I have not been so impressed, but I am very interested, as this album deals with two breakups in one (West not only buried his mother earlier this year, but his soon to be wife broke their engagement shortly after.....talk about a bad year.), and the fact that it's coming from a hip-hop artist could be interesting. Hip-hop isn't always the best arena to show vulnerability, but if anyone can pull it off, he can. But, since I'm ever the romantic, this got me thinking of the greatest breakup albums ever. The albums that really cut to the core of relationships that went horribly wrong. I think the key here is thinking of what YOU would want to listen to with a broken heart. As long as it's something that doesn't make you want to kill yourself, or anyone else (Joy Division might not be a good idea...), I think it's good. It can be painful, but has to have some fun backdrop to it. So, in considering all of this...here's my top 10, all time albums to break up to. I included no Elliot Smith, because that would just be too easy, and it was hard because some albums have classic breakup SONGS (i.e. "The Lengths" by The Black Keys, or "Tell That Mick He Just Made My List Of Things To Do" by Fall Out Boy, or possibly the best "It Makes No Difference" by the Band)...but the albums aren't entirely based around failure of love. Enjoy....and try not to cry.

10.) Joni Mitchell - Court And Spark:

Blue is a very good record, don't get me wrong. But, I'd take this one over that one, easily. Blue tends to fall into that 'I might jump off of a bridge' category. It's a great listen, just not when you're already down. C&S makes breaking up fun, and a bit jazzy even. I had this record when I was like 15, and just starting to be doomed by relationships, and I always loved how to Mitchell, everything wasn't all gloom and doom. Mitchell always painted (no pun intended....I actually don't mind Joni's forays into art. What I DO mind is her "I hate music" mindset these days, but that's another issue) the best pictures of the most basic things (in "Raised On Robbery", she sings 'You know you ain't bad looking/I like the way you hold your drinks/Come home with me honey/I ain't asking for no full length mink'), which I think is missing lyrically from a lot of music today. I always felt a lot from this album. I recently purchased it on vinyl, and the guy at the record stores asked if I was "ok". Does anything else need to be said?

9.) Marvin Gaye- Here, My Dear:

This is the hilarious heartbreak record. I mean, Marvin Gaye made (made. Marvin Gaye's dead. His father shot him...) some pretty deep, dark soul music, but I think this may be the darkest album in the Motown catalog. It followed his two "sex" albums (Lets Get It On, I Want You), and goes down as probably his last creatively great record (Ummm...unless Midnight Love is your thing...) The best part of this record is that this is a record detailing the breakup between Gaye and Berry Gordy's sister. So, imagine breaking up with your boss' sister, and then making an album about it. Not to mention, Gaye was nearly broke when he was creating this album, and was forced into creating it just to pay Anna Gordy off the royalties from it. So, in setting off to make a lazy, bad album just for the money, Gaye actually tapped into something, and created a double album of introspective music. This is what divorce set to music sounds like. My dad has this record, and is always quick to tell me that upon it's initial release, it was panned by critics and fans alike. It now sits at #462 on Rolling Stone's list of 500 greatest albums ever. Pain ages well.

8.) Bob Dylan - Blood On The Tracks:

Part of me is just including this because I know that I must. But, another part of me actually does like this album for what it is. I just don't think that it's the best ever. I read where Jakob Dylan, in between not living up to musical expectations, said that this album was the sound of his parents talking. A lot of people mention "Idiot Wind", or "If You See Her, Say Hello"....both great songs, but the gem on this record has to be "Lily, Rosemary, And The Jack Of Hearts". I can appreciate a story like that. Not to mention the overuse of cards, and card game lingo. To be honest, I've been hiding a secret from RHT. Here goes... I am just not a big Bob Dylan fan. This is a generous spot for me, as this, next to Empire Burlesque, is my favorite Dylan record. I was raised in a house where Dylan took a distant backseat to Springsteen, and that's just the way it was. But, Springsteen's best album that would fit into break up category (Tunnel Of Love) can't even touch this. So, for once....I give Dylan credit.

7.) Of Montreal - Hissing Fauna, Are You The Destroyer?:

Ok, so. Lead singer/songwriter of Of Montreal, Kevin Barnes is depressed. His wife wants to divorce him. He just had a young daughter. With another woman. Oh, and....he's gay. This album is like Joy Division's Closer if New Order were to make it. It's a downer disguised as a dance party. It's fun and poppy, and you might just be too involved in the groove to catch lyrics like ”Come on mood shift shift back to good again / Come on be a friend”, and ”At least I author my own disaster”. This album is line after line about love gone wrong, and wrestling with self doubt, and finding out about yourself. Plus, the kicker...it's got a 12 minute finale of a song, titled "The Past Is A Grotesque Animal". Come on.

6.) Francis Albert Sinatra- In The Wee Small Hours:

Look, lets face it. Sinatra was the man. THE man. Period. But, Ava Gardner was pretty hot. Like, if she was 25 right now, she'd be the hottest woman alive. Frankie left his wife to marry her, and he somehow messed it up, and out comes possibly the first concept record ever made. The album tracks were mulled over and carefully selected as opposed to just jumbles of his hits. I know I stated that a great breakup album shouldn't be all downers, and yes, this album is filled with basically nothing but ballads about isolation, and loneliness at night. But, look...Ava Gardner was hot. And she left him. And she played the perfect catalyst. Sinatra defined American pop music, and the fact that he maintained a level of masculinity through these 16 ballads about how sad he is that he failed at loving the person that he cared about most is a miracle.

5.) Fleetwood Mac- Rumours:

"I know there's nothin' to say/Someone has taken my place"....and with that opening line, Lindsey Buckingham (*ahem*...the REAL talent of the band....) sets us off on a journey of pop heartbreak. Not only is Secondhand News possibly the best track one side one of all time (I rank it as a tie with Jesus and Mary Chain's My Little Underground off of Psychocandy) , but it sets the tone for this record brilliantly. I marvel at the fact that this album was even able to be made. Not just the emotions involved, but the insane amount of cocaine that was probably ingested makes it hard to believe that this album held up so well. Everyone loves a good scandal, and if we can be voyeurs from a musical standpoint, why not? As much as I put down Stevie Nicks' minor contributions to FM, she might have the song on this album that hits the hardest. Silver Springs wasn't included on the original release of the album, but if you get your hands on the re-release, it's sandwiched in there between Songbird, and The Chain. There's not a song on here that doesn't touch somewhere on being heartbroken. Even "Dreams"...the supposed optimist track, is a bit of a downer. This album does it well though, because, as is Buckingham's strength, he (and the band) managed to make the backdrop to these songs kind of fun...."I Don't Wanna Know" is almost uplifting, until you hear the lyrics. And this started a cycle. Buckingham's cocaine-fueled paranoia-filled relationship failure inspired pop continued for years to come (more later...)

4.) Weezer - Pinkerton:

Yeah, we all know that Weezer sucks now. I won't turn this into a "what happened to Rivers Cuomo's songwriting?" thing, rather I'll just recall a time when Weezer was at least decent. I think this album helped to invent what we now know as emo. A bit whiny, but I think it dealt with things that we all feel, or at least felt at that age. Falling for the wrong girl, scared to talk to girls....possibly not the "tired of sex" thing, but the rest of this holds up well. Weezer has only made one good album since, so it is ironic that this album is somewhat responsible for the #3 album....

3.) Taking Back Sunday- Tell All Your Friends:

Again, an album that wastes no time getting to the point (The first lyrics on the record are "So sick of being tired/and oh so tired of being sick/we're both such magnificent liars/so crush me baby, I'm all ears")...and I respect that. Again, this album juggles two breakups. The end of frontman Adam Lazzara's relationship with his then girlfriend, and the band itself struggling to stay together amidst scratching at mainstream success. Lyrically, this might be the angriest, but most clever of all of the albums on this list (Since Reznor's Pretty Hate Machine just missed the cut...), and the list is too long to list them all, but as a sampler:

-In "Great Romances Of The 20th Century", the album's ummm. "high" point, Lazzara shouts, "If it's not keeping you up nights then what’s the point?"

-"Ghost Man On Third" simply ends with 45 or so seconds of screaming "This is what living like this does" (which I understand is one of those "you have to hear it to get it" instances, but trust me...it does the trick.)

-And, my favorite, in "There's No I In Team", theres the infamous line "Everything I know about breaking hearts I learned from you/but it's true I've never done it with the style and grace you have/...But I've made long term plans"

The problem that TBS has run into, as I've said before, is that they've tried to make a career out of angry breakup albums, and it has never worked. Lazzara is an effective, charismatic frontman, and a solid lyricist. But angry for like 8 years? over the same breakup? at what point do you just become a whiny wimp?

Nonetheless, we'll always have this. (TBS' new single, "Catholic Knees" is actually impressive. Their latest effort, New Again drops in January. Hope for the best. For my sake.)

2.) Lindsey Buckingham - Go Insane:

All Buckingham did in between Rumours and this record was more of the same. Here's how you can lament failed relationships over and over and not sound like a wimp. Change your angle. On Rumours, he was sarcastic, and sharp. On Tusk, he was arrogant and angry. On his first solo effort, Law and Order, he was optimistic, but careful. And here, he's all of those things rolled into one. Stevie Nicks is no longer the muse, he now takes aim at Carol Ann Harris, who was the latest heartbreak. This is the album that he got closest to touching Pet Sounds and possibly being able to think of being mentioned in the same breath as Brian Wilson. The main difference between Buckingham and Wilson is simply that Wilson is a bit more airy and bright about his darknesses, and Buckingham is straight dark, obsessive, and paranoid...but they both play their personas very well behind lush melodies. Buckingham got inspired by David Byrne on this one as well, and used talkative lyrics in odd combinations with shocking twists. In the album opener, "I Want You", which opens the album with a sharp school bell ring, Buckingham states "I’m a bundle of joy, a pocketful of tears/Got enough of both to last all the years.” What's lost is that in a Songs In The Key Of Life-esque moment, Buckingham plays all of the instruments on this album. The album isn't all about romantic loss though, as it ends with "D.W. Suite"....a three part song to the late Beach Boy Dennis Wilson (who never gets enough credit for his Pacific Ocean Blue album...), which closes out this foray into Buckingham's mind quite well. This album was my number one for years until....

1.) Tegan And Sara- The Con

Ok, so. Tegan and Sara...Canadian lesbian twins. Make a concept album about a failed marriage. First off, although it played no part in the #1 ranking...I love Tegan Quin. I know, I have no shot, as I am, indeed a man. And I also know that yes, they are twins....but Tegan is just the more amazing of the two. She's the talent, and she doesn't have an outrageous haircut 90% of the time, like her twin sister. Anyway...this album does what it should do. When asked about the concept behind the album, Tegan stated "Well, it's because loving someone is a con in and of itself." It starts with the upbeat "I Was Married" with a lush melody, and happy vocals. And it ends with the melancholy of "Call it Off" and the lyrics "Call break it off/Call and break my own heart". And in between, the twins do what they do best, playing with synth melodies, and making you forget that they're sad and they want you to notice. The thing that impresses me a bit about the twins is that they never mention their sexuality, and their songs are virtually genderless ("He" or "She" is simply replaced with "You"), and this takes away the ability to lash out at a specific gender, but instead gives them full ability to lash out at love in general. Again, you forget that this is supposed to be a sad album until the final track (the aforementioned "Call it Off"), which is the ultimate downer. I saw them live in Columbus, and this song moved people to tears. After smiling for an entire album, that leaves quite the impression. As it should have. Most relationships can go from better to worse over time. This one just does it over 12 songs. Teenage lesbians everywhere fell in love with this album upon it's release last year, but it wasn't exclusive to them, as it became T&S' most critically acclaimed record to date.

(Honorable Mention goes to Pretty Hate Machine, and Richard and Linda's Shoot Out The Lights.)

Here's Tegan/Sara performing "Call It Off" on Letterman (Tegan on keyboard....even though Letterman obviously has no clue who they are, and calls her Sara), and also performing "The Con."

The Lost Art of the Mix-Tape, or The Last Bastion of a Dying Era

We’ve all made them. The Mix-Tape. I know, I know, nobody has cassette tapes anymore. Still, I call them Mix-Tapes. Hell, I remember making mixes for people back when I was recording from LPs to 8-Tracks. I’d be willing to bet I’ve made over a thousand mixes in my time, and I’ve taken great pride in “spreading the word” if you will. I’ve had students come up to me with tapes I made for them back in the early 80’s that they still listen to, and that makes me feel really good. I’ve also been asked to make several wedding reception mixes for friends, so you’re talking to a pro here - listen up.

There are several rules I adhere to when considering the Art of the Mix. Grab a pen or pencil and take notes:

• Artwork is a must. See that picture up there? That's a prime example of how not to do it. Show the person receiving the tape (and by tape I now mean CD of course) that you care, that this is important to you. You want them to give a nod of approval and a smile before even listening to a second of the music. I must admit I’ve become lax over the years, even emailing the playlists to people and just scrawling the title on the CD. Blasphemous, and I hate myself for it. I hereby vow never to do it again. Damn, this is cleansing. And oh, NEVER use a computer to design your artwork.
• Sign the mix. You gotta let ‘em know where it came from. Give it a signiture. My mix covers always ended with “A Shoe Archives Collection - Another Black Hole Recording.” Egotistical? Maybe. But be proud of your contribution in spreading the word.
• Start the mix with a kick-ass song. Never, ever start your mix with a ballad or love song. Save that one for at least song #3. You must begin with something that will grab their attention and get their head bobbin’.
• Always have an original tune at the end, something surprising, maybe an obscure live version of a song or an alternative acoustic version of something familiar. This can also be used to see if the listener actually played the mix all the way through. A couple of weeks after giving the mix to your friend, ask what they thought of that last song. If they can’t answer, remove them from your mix gift list. Screw ’em and the Yugo they rode in on.
• Don’t waste a lot of time considering the listener. I know, that sounds cold, but assume that you know more about music than they do, and make a mix that you just know they’ll like if they give it a listen. This doesn’t always work, as when I gave Aunt Ruthie my infamous “Death Metal ’96” tape, but hey, I gave it a shot. My point is that the Mix-Tape should be a foray into the musical unknown for the listener.
• Themes are recommended but not mandatory. There’s something about hearing Dylan and Snoop back-to-back that makes me, well, queasy. But hey, eclecticity is not a bad thing so go nuts if you feel your listener will appreciate it. Still, themed mixes are nice for certain times. My “Outer Banks ‘08 Mix” was, I must say, a classic. Then again, I once made a mix called “Songs About Superman” that a lot of people didn’t quite get. For those interested, the song list includes “O Superman” by Laurie Anderson (great song), “Superman’s Song” by Crash Test Dummies, “Superman’s Ghost” by Don McLean, “Superman” by Five for Fighting, “I Am Superman” by REM, (Wish I Could Fly Like) Superman” by The Kinks, and “Black Superman” by The Kinshasa Band. Oh, and I have a mix with 18 different versions of “Over the Rainbow” but I’m rambling. Just so ya know, I get carried away sometimes.
• Hope for feedback. There’s nothing worse than spending time making someone a mix and not hearing a damn thing about it, ever. Ideally, you want a call in a couple of days with a breakdown of what the listener liked and disliked about the mix. A little respect, fellas.

No discussion of Mix-Tapes would be complete without a quote from Hi Fidelity. This is from Rob, played by Jon Cusack. Read on:

“To me, making a tape is like writing a letter. There's a lot of erasing and rethinking and starting again. A good compilation tape, like breaking up, is hard to do. You've got to kick off with a corker, to hold the attention (I started with "Got to Get You Off My Mind," but then realized that she might not get any further than track one, side one if I delivered what she wanted straightaway, so I buried it in the middle of side two), and then you've got to up it a notch, or cool it a notch, and you can't have white music and black music together, unless the white music sounds like black music, and you can't have two tracks by the same artist side by side, unless you've done the whole thing in pairs and...oh, there are loads of rules.”

I worry that, with the arrival of iPods and digital downloads, that the Art of the Mix-Tape will die a slow, agonizing death. It’s the last bastion of a dying era. Most of my friends will give me CD mixes that I transfer from CD to Laptop to iPod, but I don’t see a lot of young folks doing the same. Years ago Mix-Tapes were the only way anybody shared music. I fear those days may be long gone. Still, we must keep fighting the good fight. Be strong and we will keep the Mix-Tape alive.

One final story. For many years as a teacher I would make an end-of-the-year mix for a select group of students, the ones that “got it” if you will and wanted to expand their musical horizons. Can you say SuperVesey? As with all my mix tapes, I would think of a catchy name for it and do all the artwork by hand, usually on the old Maxell cover. Looking back at some of these, I must say I’m pretty proud at how far ahead I was on the musical curve. OK, OK, I had some misses as well. But hey, who didn’t think Deadeye Dick was going to be huge? Anyway, one year I called a mix “The Ungodly Nuggets” which seemed cool at the time. Probably a year after giving this mix out to maybe 15 kids, I was getting new tires for my car in Chillicothe at a little out of the way garage. The guys taking care of my tires looked like they’d be into Charlie Daniels, so imagine my surprise when an obscure alternative song came on their tape deck. I was a bit amused when the next song up was also one of my favorite new alt bands. It was on song three that I noticed the pattern. These cats were listening to my Mix-Tape from the previous year. I asked one of the grease monkeys who they were listening to and he replied, “It’s some group called the Ungodly Nuggets. We love it." That, my friends, was a highlight. I walked over to their tape player and the cassette case was laying there. Sure enough, it was my mix, but the cover and tape had been copied and redistributed. Lars Ulrich would be so pissed.

So there you have it. So long, and I’m waiting for that next Mix-Tape from you.

AC/DC - Black Ice. (Or, The JoePa of Rock)

We've got a juggernaut on our hands, my friends. In case you've been living in a cave, AC/DC released their first studio album in 8 years last month, and it has peaked at #1 on album charts all over the world except in Japan & The Netherlands (#3 in each respective country, but what do they know?). Wal-Mart has dedicated more floor space to the launch than for any other album (yes, even more than Garth Brooks). Every football game I've watched this season seemingly uses a different track from Black Ice as they cut to commercial during timeouts. AC/DC is everywhere folks. Hannah Montana: pack your bags girlie, or it could get ugly.

The 8-year gap between albums is paying off quite nicely for the Aussies. No longer under the pressure to consistently put out albums (read: sub par albums) the aging Rock Gods have carefully constructed an AC/DC classic with Black Ice. This is a tricky proposition, however. AC/DC's musical style has not changed much, if at all, in 33 years. It's aways been about the blues first & foremost, with Angus & Malcolm Young's crunching guitars, driving bass, thundering drums, and the signature course, screeching vocals by Bon Scott and Brian Johnson driving it home. How much better could they be than they already are? Why not just sit back & maybe throw together a tour once in a while like other aging rock icons? Not sure, but this album's release and the marketing storm that goes with it has been very profitable. Even AC/DC's back catalog has seen incredible sales, with younger audiences picking up the torch and carrying it to the next generation.

Now, I'm probably not the right person to be reviewing an AC/DC album. I'm a casual fan of the band, but not hard-core. I have a healthy respect for their body of work, but I'll admit it has been an acquired taste. Initially as a kid I was scared to death of AC/DC. I used to look through my uncle's albums as a kid, as he was a big AC/DC fan. Their covers scared the crap out of me though, especially their live album If You Want Blood, You Got It. Once I became a teenager I overcame that disturbance & got into them some, especially when Who Made Who came out, which was the soundtrack for Stephen King's Maximum Overdrive. Never really got into the whole Back In Black thing; it was played-out for me before it got started with "You Shook Me All Night Long" & "Back In Black" emanating from every scuzzball's Camaro at school & cruising town on the weekend. I did re-discover the older Bon Scott albums I was initially terrified by later in life though, & I really enjoy them now. They're good fun, kinda raunchy (well, REALLY raunchy actually), and very powerful. AC/DC is the kind of music I'm ready for on a Friday night after work, ready to scream and cut loose.

Black Ice fits the old AC/DC mold better than any in recent history I guess. I make the analogy that listening to AC/DC is kind of like ordering a Big Mac - you know what you're getting every time. Smells the same, tastes the same, & you feel the same after eating one. The Young brothers aren't trying to pull a Coldplay or U2 on us and reinvent themselves for our, er their amusement. It is what it is, and you will have you ass kicked just like you did 30 years ago so just bend over. I will say though, it is mildly creepy to hear Brian Johnson sing about little schoolgirls when he himself has a daughter that is 40 years old, I believe. (Speaking of mildly creepy, check this out.)

Another analogy for Black Ice is octogenarian Joe Paterno. Joe's been written off so many times at Penn State but don't look now, the Nittany Lions are on the doorstep of another national championship. Being at the top is a helluva way to go out, and JoePa and AC/DC are both right there. Of course, I came up with this analogy as I sat & watched my Buckeyes lose to Penn State last week in Columbus (where the opening to "Hells Bells" plays over the PA system when the defense is in a tight spot)...and yup, we were led to every commercial break by The Thunda From Down Unda, AC/DC. Coincidence? You betcha...owwww!!