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Track List
01) For Those About to Rock (We Salute You)
02) Put the Finger on You
03) Let's Get It Up
04) Inject the Venom
05) Snowballed
06) Evil Walks
07) C.O.D.
08) Breaking the Rules
09) Night of the Long Knives
10) Spellbound
01) For Those About to Rock (We Salute You)
02) Put the Finger on You
03) Let's Get It Up
04) Inject the Venom
05) Snowballed
06) Evil Walks
07) C.O.D.
08) Breaking the Rules
09) Night of the Long Knives
10) Spellbound
5:44
3:28
3:54
3:32
3:23
4:23
3:19
4:23
3:25
4:29
Data Complete
80%
Total Rating
80%Total Rating
(4 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1981
Hard Rock
Energetic
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
For Those About to Rock We Salute You è il settimo album in studio degli australiani AC/DC, il secondo con Brian Johnson alla voce. Il titolo riprende la frase latina che tradizionalmente si ritiene i gladiatori indirizzassero all'imperatore prima dell'inizio dei giochi nell'arena, ovvero Morituri te salutant. La frase, tradotta in inglese con "For those about to DIE we salute you", è stata trasformata dagli AC/DC in "For those about to ROCK we salute you" e si traduce in italiano con "Coloro che stanno per fare rock vi salutano". La title track è famosa per i cannoni che sparano nella canzone e che nei concerti formano delle scenografie spettacolari.
L'anno successivo al grande successo dell'album Back in Black gli AC/DC, dopo una travagliata registrazione in uno studio mobile di Parigi, ritornano con un disco di fattura abbastanza buona da tenerli in classifica; questo grazie ad alcuni pezzi ottimamente riusciti come la title track, "I Put The Finger On You", "Let's Get It Up", "Inject The Venom" e "C.O.D.". L'album raggiunge la prima posizione nella Billboard 200 per tre settimane, la terza in Australia, la sesta in Norvegia e Nuova Zelanda, la settima in Austria e la nona in Svezia. Questa volta le campane a morto in Hells Bells di Back in Black vengono rimpiazzate con degli spettacolari colpi di cannone che accompagnano le chitarre nella canzone iniziale, ovvero la stessa che dà il nome all'album, la quale viene ricordata come chiusura dei loro concerti. Il 23 marzo dello stesso anno uscì anche la versione americana del disco "Dirty Deeds Done Dirt Cheap" già uscito, prima in versione australiana, e poi in versione europea, nel 1976.
User Album Review
Back in Black turned AC/DC into the undisputed kings of hard rock, especially in the US, where several of Back in Black’s songs became radio staples (for the next two decades). Of course, the record company boys over there suddenly realized the Australian dwarves became a consumer commodity and Dirty Deeds Done Dirt Cheap was released after all (yay). In the meantime, AC/DC got on the road with Johnson (his first ever concert with the band was in Belgium, by the way) and it proved to be one huge triumph. Around 1981, it seemed that AC/DC just couldn’t do anything wrong, as long as they kept the winning formula going. However, no matter how hard they tried to reach the high standard they’d set for themselves with a string of hard rock classics, they wouldn’t succeed in it for another two decades, which is not to say that those decades in between aren’t worth checking out, because they did some good stuff – despite sub-par production jobs, etc. The decline set in with For Those About to Rock We Salute You. While it’s nowhere near the disaster some people claim it is, it’s quite obvious that it’s a lesser sequel to Back in Black.
The hardcore AC/DC-fans out there will probably damn me for the previous statement, but as long as I’m not getting millions paid I can say whatever my conviction is, and For Those About to Rock, more than anything else – despite the same producer, the same sound, the same line-up and the same mid-tempo stomp – lacks memorable songs. Oh sure, the cannon fire in the title track is pretty much recognizable (in fact, those Johnson yells – “FIRE!” – are so silly they’re hilarious, and once the songs gets going it’s quite pleasant, but is there a new “Back in Black,” “Shoot to Thrill” or “You Shook Me All Night Long”? Think about it…. I already thought so. Like I argued above, the basic ingredients are still very much intact, so Johnson’s definitely not to blame – his screeching is still energetic and convincing (“No mercy for the bad if they want it” in “Inject the Venom” even sounds as if he means it). I’ve always had a sort of soft spot for the catchy “I Put the Finger on You” (no, it ain’t a song about morphology): it’s quite unremarkable when seen in its objectivity, but it’s much swifter than the majority of the songs on the album, and Johnson pulls an Ozzy during the chorus (just singin’ along to the guitar melody – although it’s probably the other way around). After “Finger,” it’s waiting for the furious rocker “Snowballad” to save the damage done by “Let’s Get It Up” and “Inject the Venom.” They both have their share of good ideas (they would’ve fit on Back in Black, although they would’ve been the weakest cuts), with especially “Inject the Venom” starting off pretty cool, but once they reach their respective choruses … Jesus Christ already, wake me up when it’s over. Oh yeah, I can’t forget the poetic opening line of “Let’s Get It Up,” either: “Loose lips sink ships.” Figure that out! The remainder of the album continues with an annoying efficiency: “Evil Walks” and album closer “Spellbound” are AC/DC by the books, but I couldn’t find anything that sets them apart, so I guess they’re average AC/DC, nothing more and nothing less. I dislike “C.O.D.” for the simple reason that I can’t stand it when a band explains an abbreviation right after it’s been mentioned. “C.O.D.” not only proves the band thought that the “evil” subject matter fit them well (“Care of the Devil”), it also goes to show they were running out of inspiration, really fast. “Breaking the Rules” has a nice light guitar sound during its verses but the stretched out line “Just keep on breaking the rules” in the chorus is so tediously slow I can read two pages of Ulysses during the same time. There’s also “Night of the Long Knives,” but the only things it reminded me off were Aerosmith and AC/DC. Man, this is one frustrating album. It’s too AC/DC to be a disaster (that makes sense, right?), with a clear sound, good overall performances, etc. It’s just that the memorable riffs and songs are lacking, and that’s kinda sad, considering they once turned in one monster riff after the other.
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For Those About to Rock We Salute You è il settimo album in studio degli australiani AC/DC, il secondo con Brian Johnson alla voce. Il titolo riprende la frase latina che tradizionalmente si ritiene i gladiatori indirizzassero all'imperatore prima dell'inizio dei giochi nell'arena, ovvero Morituri te salutant. La frase, tradotta in inglese con "For those about to DIE we salute you", è stata trasformata dagli AC/DC in "For those about to ROCK we salute you" e si traduce in italiano con "Coloro che stanno per fare rock vi salutano". La title track è famosa per i cannoni che sparano nella canzone e che nei concerti formano delle scenografie spettacolari.
L'anno successivo al grande successo dell'album Back in Black gli AC/DC, dopo una travagliata registrazione in uno studio mobile di Parigi, ritornano con un disco di fattura abbastanza buona da tenerli in classifica; questo grazie ad alcuni pezzi ottimamente riusciti come la title track, "I Put The Finger On You", "Let's Get It Up", "Inject The Venom" e "C.O.D.". L'album raggiunge la prima posizione nella Billboard 200 per tre settimane, la terza in Australia, la sesta in Norvegia e Nuova Zelanda, la settima in Austria e la nona in Svezia. Questa volta le campane a morto in Hells Bells di Back in Black vengono rimpiazzate con degli spettacolari colpi di cannone che accompagnano le chitarre nella canzone iniziale, ovvero la stessa che dà il nome all'album, la quale viene ricordata come chiusura dei loro concerti. Il 23 marzo dello stesso anno uscì anche la versione americana del disco "Dirty Deeds Done Dirt Cheap" già uscito, prima in versione australiana, e poi in versione europea, nel 1976.
User Album Review
Back in Black turned AC/DC into the undisputed kings of hard rock, especially in the US, where several of Back in Black’s songs became radio staples (for the next two decades). Of course, the record company boys over there suddenly realized the Australian dwarves became a consumer commodity and Dirty Deeds Done Dirt Cheap was released after all (yay). In the meantime, AC/DC got on the road with Johnson (his first ever concert with the band was in Belgium, by the way) and it proved to be one huge triumph. Around 1981, it seemed that AC/DC just couldn’t do anything wrong, as long as they kept the winning formula going. However, no matter how hard they tried to reach the high standard they’d set for themselves with a string of hard rock classics, they wouldn’t succeed in it for another two decades, which is not to say that those decades in between aren’t worth checking out, because they did some good stuff – despite sub-par production jobs, etc. The decline set in with For Those About to Rock We Salute You. While it’s nowhere near the disaster some people claim it is, it’s quite obvious that it’s a lesser sequel to Back in Black.
The hardcore AC/DC-fans out there will probably damn me for the previous statement, but as long as I’m not getting millions paid I can say whatever my conviction is, and For Those About to Rock, more than anything else – despite the same producer, the same sound, the same line-up and the same mid-tempo stomp – lacks memorable songs. Oh sure, the cannon fire in the title track is pretty much recognizable (in fact, those Johnson yells – “FIRE!” – are so silly they’re hilarious, and once the songs gets going it’s quite pleasant, but is there a new “Back in Black,” “Shoot to Thrill” or “You Shook Me All Night Long”? Think about it…. I already thought so. Like I argued above, the basic ingredients are still very much intact, so Johnson’s definitely not to blame – his screeching is still energetic and convincing (“No mercy for the bad if they want it” in “Inject the Venom” even sounds as if he means it). I’ve always had a sort of soft spot for the catchy “I Put the Finger on You” (no, it ain’t a song about morphology): it’s quite unremarkable when seen in its objectivity, but it’s much swifter than the majority of the songs on the album, and Johnson pulls an Ozzy during the chorus (just singin’ along to the guitar melody – although it’s probably the other way around). After “Finger,” it’s waiting for the furious rocker “Snowballad” to save the damage done by “Let’s Get It Up” and “Inject the Venom.” They both have their share of good ideas (they would’ve fit on Back in Black, although they would’ve been the weakest cuts), with especially “Inject the Venom” starting off pretty cool, but once they reach their respective choruses … Jesus Christ already, wake me up when it’s over. Oh yeah, I can’t forget the poetic opening line of “Let’s Get It Up,” either: “Loose lips sink ships.” Figure that out! The remainder of the album continues with an annoying efficiency: “Evil Walks” and album closer “Spellbound” are AC/DC by the books, but I couldn’t find anything that sets them apart, so I guess they’re average AC/DC, nothing more and nothing less. I dislike “C.O.D.” for the simple reason that I can’t stand it when a band explains an abbreviation right after it’s been mentioned. “C.O.D.” not only proves the band thought that the “evil” subject matter fit them well (“Care of the Devil”), it also goes to show they were running out of inspiration, really fast. “Breaking the Rules” has a nice light guitar sound during its verses but the stretched out line “Just keep on breaking the rules” in the chorus is so tediously slow I can read two pages of Ulysses during the same time. There’s also “Night of the Long Knives,” but the only things it reminded me off were Aerosmith and AC/DC. Man, this is one frustrating album. It’s too AC/DC to be a disaster (that makes sense, right?), with a clear sound, good overall performances, etc. It’s just that the memorable riffs and songs are lacking, and that’s kinda sad, considering they once turned in one monster riff after the other.
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