(0 users) 
Cover NOT yet available in
Join Patreon for 4K upload/download access
Your Rating (Click a star below)
Track List
01) Hells Bells
02) Shoot to Thrill 
03) What Do You Do for Money Honey
04) Given the Dog a Bone
05) Let Me Put My Love Into You
06) Back in Black
07) You Shook Me All Night Long
08) Have a Drink on Me
09) Shake a Leg
10) Rock and Roll Ain't Noise Pollution
01) Hells Bells
02) Shoot to Thrill
03) What Do You Do for Money Honey
04) Given the Dog a Bone
05) Let Me Put My Love Into You
06) Back in Black
07) You Shook Me All Night Long
08) Have a Drink on Me
09) Shake a Leg
10) Rock and Roll Ain't Noise Pollution
5:12
5:17
3:35
3:31
4:15
4:15
3:30
3:58
4:05
4:26
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
1980
Hard Rock
Energetic
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
Back in Black (engl. für „Zurück in Schwarz“) ist das sechste international veröffentlichte Studioalbum der australischen Hard-Rock-Band AC/DC. Es wurde am 25. Juli 1980 veröffentlicht und war das erste Album mit dem Sänger Brian Johnson, der den fünf Monate zuvor verstorbenen Bon Scott ersetzte. Das Album widmete die Band ihrem verstorbenen ehemaligen Leadsänger. Das Album ist mit über 50 Millionen verkauften Tonträgern nach Michael Jacksons Thriller und Pink Floyds The Dark Side of the Moon das drittmeistverkaufte Album der Welt sowie das erfolgreichste Hardrockalbum bislang.
User Album Review
The first sound on Back in Black is the deep, ominous drone of church bells -- or "Hell's Bells," as it were, opening the album and AC/DC's next era with a fanfare while ringing a fond farewell to Bon Scott, their late lead singer who partied himself straight to hell. But this implies that Back in Black is some kind of tribute to Scott, which may be true on a superficial level -- black is a funeral cover, hell's bells certainly signify death -- but this isn't filled with mournful songs about the departed. It's a more fitting tribute, actually, since AC/DC not only carried on without him, but they delivered a record that to the casual ear sounds like the seamless successor to Highway to Hell, right down to how Brian Johnson's screech is a dead ringer for Scott's growl. Most listeners could be forgiven for thinking that Johnson was Scott, but Johnson is different than Bon. He's driven by the same obsessions -- sex and drink and rock & roll, basically -- but there isn't nearly as much malevolence in his words or attitude as there was with Scott. Bon sounded like a criminal, Brian sounds like a rowdy scamp throughout Back in Black, which helps give it a real party atmosphere. Of course, Johnson shouldn't be given all the credit for Back in Black, since Angus and Malcolm carry on with the song-oriented riffing that made Highway to Hell close to divine. Song for song, they deliver not just mammoth riffs but songs that are anthems, from the greasy "Shoot to Thrill" to the pummeling "Back in Black," which pales only next to "You Shook Me All Night Long," the greatest one-night-stand anthem in rock history. That tawdry celebration of sex is what made AC/DC different from all other metal bands -- there was no sword & sorcery, no darkness, just a rowdy party, and they never held a bigger, better party than they did on Back in Black.
External Album Reviews
None...
User Comments
Available in:
Back in Black (engl. für „Zurück in Schwarz“) ist das sechste international veröffentlichte Studioalbum der australischen Hard-Rock-Band AC/DC. Es wurde am 25. Juli 1980 veröffentlicht und war das erste Album mit dem Sänger Brian Johnson, der den fünf Monate zuvor verstorbenen Bon Scott ersetzte. Das Album widmete die Band ihrem verstorbenen ehemaligen Leadsänger. Das Album ist mit über 50 Millionen verkauften Tonträgern nach Michael Jacksons Thriller und Pink Floyds The Dark Side of the Moon das drittmeistverkaufte Album der Welt sowie das erfolgreichste Hardrockalbum bislang.
User Album Review
The first sound on Back in Black is the deep, ominous drone of church bells -- or "Hell's Bells," as it were, opening the album and AC/DC's next era with a fanfare while ringing a fond farewell to Bon Scott, their late lead singer who partied himself straight to hell. But this implies that Back in Black is some kind of tribute to Scott, which may be true on a superficial level -- black is a funeral cover, hell's bells certainly signify death -- but this isn't filled with mournful songs about the departed. It's a more fitting tribute, actually, since AC/DC not only carried on without him, but they delivered a record that to the casual ear sounds like the seamless successor to Highway to Hell, right down to how Brian Johnson's screech is a dead ringer for Scott's growl. Most listeners could be forgiven for thinking that Johnson was Scott, but Johnson is different than Bon. He's driven by the same obsessions -- sex and drink and rock & roll, basically -- but there isn't nearly as much malevolence in his words or attitude as there was with Scott. Bon sounded like a criminal, Brian sounds like a rowdy scamp throughout Back in Black, which helps give it a real party atmosphere. Of course, Johnson shouldn't be given all the credit for Back in Black, since Angus and Malcolm carry on with the song-oriented riffing that made Highway to Hell close to divine. Song for song, they deliver not just mammoth riffs but songs that are anthems, from the greasy "Shoot to Thrill" to the pummeling "Back in Black," which pales only next to "You Shook Me All Night Long," the greatest one-night-stand anthem in rock history. That tawdry celebration of sex is what made AC/DC different from all other metal bands -- there was no sword & sorcery, no darkness, just a rowdy party, and they never held a bigger, better party than they did on Back in Black.
External Album Reviews
None...
User Comments
No comments yet...
Status
unlockedRank: External Links
