By Joe Bonomo
Published in 1979, AC/DC's "Highway To Hell" used to be 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 by means of Misadventure," Scott's death has eternally secured the album's popularity as a partying primer and a bible for deadly habit, branding the album with the thrill chaos of alcoholic extra and its turn part, early demise. the easiest songs on "Highway To Hell" in attaining Sonic Platonism, translating rock &roll's transcendent beliefs in stomping, dual-guitar and eighth-note bass riffing, a Paleolithic drum mattress, and insanely, recklessly ordinary 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 an individual past non-ironic young children? mixing interviews, research, and memoir with a fan's standpoint, "Highway To Hell" dramatizes and celebrates a undying album that one critic acknowledged makes "disaster sound just like the most sensible enjoyable within the world."
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Additional info for AC/DC's Highway to Hell (33 1/3 Series)
Hey! ” Bon barks at the delirious crowd after he bares his chest and for the thousandth time the fellas behind him walk onstage with their gear, plug in to the • 53 • JOE BONOMO giant 350-watt amps, and go to work, dashing through a blistering ﬁve-song set. S. in time to pick up the course through small and large towns, including an appearance at the mammoth “World Series of Rock Festival” in Cleveland, Ohio, on July 28. The tour wrapped up on August 5, following a show at the Spectrum in Philadelphia.
The decision would prove to • 21 • JOE BONOMO be infamously vexing. AC/DC — a notably insular, tightknit outﬁt — bristled at the ousting of their longtime production team of Young and Vanda, not only because Angus and Malcolm would be forced to cut loose their older brother, but because the producers had provided sound musical direction and a supreme level of trust, a bunker mentality forged over a half-decade. Mark Opitz, a successful Australian music producer (INXS, the Divinyls, Hoodoo Gurus), engineered both Let There Be Rock and Powerage, and he became friendly with the fellas outside of the studio.
He’s sporting an ugly mullet and uglier denim, but his baseness and tight-jean arrogance is redeemed entirely by his gum-chewing, half-grin, all-amused countenance. This is pretty hilarious, innit? He’s likely drunk, he certainly can’t dance — he looks like the trashy bachelor uncle rocking out at your family picnic — and his stage moves are limited to snaking the mic cord suggestively and striking poses and pointing at the crowd. But those grinning eyes make it all fun, and even half-innocent.