Loved "Fetch the Bolt Cutters" and wasn't familiar with this one outside of "Criminal". Really dig her loungey/smokey vocals and the songwriting that still sounds fresh and unique after almost 30 years. Very cool.
My first thought was "David Bowie fronts the Pixies" but after a few songs I was surprised. This album is all over the place. By the time "Underwear" started I realized I should have paid closer attention to the lyrics. It could grow on me, possibly...
Already very familiar with the BBoys. Where Paul's Boutique suffers from its somewhat dated juvenile subject matter it makes up for with being the penultimate example of sampling. So goooooood.
I have a weird relationship with "classic" rock. I do like a lot of music influenced by early prog rock, but something about it never lands quite right with me. I've heard Roundabout a thousand times of course, but the second of this album gets pretty good and I would give it another listen.
What's up with the brief classical segment though? It's interesting that they recorded "goof around" tracks like that and "5 percent..." in the era of analog tape...
I'm not an r&b guy, so I'm not qualified to judge this. I'm told it was groundbreaking. Has some interesting lyrics, but I do wonder. Is he in love with Forrest Gump?
Not a big Lennon fan, though I appreciate his contributions to music. This album he sounds tired or depressed through a lot of it? I find it lacks catchy or interesting melodies... Gimme Some Truth is Punk Rock though...
Fantastic. Not as groundbreaking as Paul's Boutique or as varied and jam packed as Hello Nasty, but this one to me seems to mark the point where the Beastie Boys "matured". Sweet jam band interludes, a couple of punk songs, and Sabotage! What's not to like?
Sloppy, angry, earnest. A punk classic.
I'm sure it was unique to its era, but it's hard to get over the fact that almost all the tracks are about the same subjects. Sex, Gang Violence, Drugs, Boasting. I understand they come from a very real place but musically there's little to differentiate most of them.
I thought "Suicidal Thoughts" was great. He drops the machismo for a minute and it feels very honest.
And "Just Playing" was hilarious. I'm off to Google what the "R&B B*****S" of the era thought of that song...
When one speaks of AC/DC's "Back in Black," the mind is often drawn to its iconic riffs, raw energy, and the indomitable spirit of rock 'n' roll. However, beneath its hard-hitting surface lies a tapestry of lyrical brilliance that, when examined closely, reveals parallels with some of the most timeless works of literature and poetry.
At its heart, "Back in Black" is an epic narrative of resilience, rebirth, and defiance in the face of adversity. Much like Homer's "Odyssey," where Odysseus battles insurmountable odds to return home, AC/DC chronicles their own journey of overcoming the loss of their beloved lead singer Bon Scott. The title track, "Back in Black," is an anthem of resurrection, echoing themes of mortality and triumph akin to John Milton's "Paradise Lost," where Satan's indomitable will is encapsulated in the lines, "What though the field be lost? All is not lost—the unconquerable will."
The lyrical craftsmanship of "Back in Black" resonates with the succinct profundity of Emily Dickinson's poetry. Take "Hells Bells," for instance; the opening lines, "I'm a rolling thunder, a pouring rain / I'm coming on like a hurricane," evoke the intensity and elemental force found in Dickinson's verses such as "Because I could not stop for Death, He kindly stopped for me." Both works explore the inevitability and omnipresence of death, yet celebrate the unyielding spirit of human nature.
In "You Shook Me All Night Long," AC/DC weaves a tale of passionate human connection and physicality, reminiscent of the erotic intensity in Shakespeare's "Sonnet 18." Where Shakespeare's sonnet immortalizes his beloved, AC/DC's lyrics capture a fleeting yet profound moment of ecstasy, highlighting the transient beauty of human experience with lines like, "She was a fast machine and she kept her motor clean." The vivid imagery and rhythmic cadence bring to mind the powerful and evocative language of the Bard, celebrating the physical and emotional facets of love.
The themes of rebellion and defiance present in tracks like "Shoot to Thrill" and "What Do You Do for Money Honey" echo the revolutionary fervor of works such as George Orwell's "1984" and the biblical Exodus narrative. These songs challenge societal norms and expectations, much like Winston Smith's rebellion against Big Brother or Moses leading the Israelites out of bondage. The lyrics' raw honesty and confrontational tone provide a critique of materialism and conformity, urging listeners to question authority and live authentically.
Furthermore, the album’s closing track, "Rock and Roll Ain't Noise Pollution," serves as a philosophical manifesto akin to Ralph Waldo Emerson's "Self-Reliance." The song's declaration that rock music is a vital, enduring force mirrors Emerson's advocacy for individualism and the importance of following one's inner voice. The lyrics, "Rock and roll ain't noise pollution / Rock and roll will never die," encapsulate a timeless truth about the power of music and self-expression, much like Emerson's assertion that "to be yourself in a world that is constantly trying to make you something else is the greatest accomplishment."
In conclusion, AC/DC's "Back in Black" is more than a seminal rock album; it is a literary masterpiece that stands shoulder to shoulder with the great works of literature, poetry, and philosophy. Its exploration of themes such as resilience, defiance, love, and authenticity resonates deeply, offering a rich and profound listening experience. Like the enduring works of Homer, Milton, Dickinson, Shakespeare, Orwell, and Emerson, "Back in Black" transcends its genre, offering timeless insights into the human condition and the unbreakable spirit of rock 'n' roll.
Totally uninteresting to me. Slow moving, minimalist, background music. I don't get it.
I see that it's a soundtrack... But surely a list of "must hear" albums would include music that stands up and captivates without the context of a film... Right?
I think my issue is that I simply cannot vibe with dance music. It does not move me in any way.
I like it! Storytelling is good, the incorporation of African melodies and rhythms gives it unique vibes. I just wish for the sake of the drums that it hadn't been recorded in the 80s.
Love this album. Love her voice, the lyrics, the vibe.
