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An item that is used but still in very good condition. No damage to the jewellery case or item cover, no scuffs, scratches, cracks, or holes. The cover art and liner notes are included. The VHS or DVD box is included. The video game instructions and box are included. The teeth of disk holder are undamaged. Minimal wear on the exterior of item. No skipping on CD/DVD. No fuzzy/snowy frames on VHS tape. See the seller’s listing for full details and description of any imperfections.
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ITEM: VINYL 12" LP 33 1/3 RPM
ARTIST: ACDC TITLE: Highway to Hell COUNTRY PRINTED: OZ CAT No: See scan COVER: (Grade at EXCELLENT) LABELS: (Grade at NEAR MINT+) VINYL: (Grade at strong EXCELLENT+ to NEAR MINT-) TRACKS: A1 Highway To Hell 3:26 A2 Girls Got Rhythm 3:23 A3 Walk All Over You 5:08 A4 Touch Too Much 4:24 A5 Beating Around The Bush 3:55 B1 Shot Down In Flames 3:21 B2 Get It Hot 2:24 B3 If You Want Blood (You've Got It) 4:32 B4 Love Hungry Man 4:14 B5 Night Prowler 6:13 REVIEW: Review by Pedro B. A mammoth riff roars into our stereo. No bass, no drums, no vocals, just an all-encopassing guitar chord progression which churns along at start-stop pace. Shortly afterwards the drums join in, playing a simple yet strong beat. The voice then overlaps all of this, singing about life on the road. Finally, in the chorus, the bass comes in and the song is well and truly under way.
Thus beginneth Highway to Hell, probably the greatest album in the history of AC/DC. I know Back In Black often gets referred to rather than this one, but believe me, if you're looking to get into Angus and company, this is the one for you. Heck, that's how I got into them.
Highway To Hell appeared in 1979, at a time when AC/DC (Bon Scott, Phil Rudd, Cliff Williams and the Young brothers) were probably one of the five greatest touring rock outfits. They had finally managed to break through in America, and of course they were more popular than ever in Europe. Singer Bon Scott's distinctive voice, lead guitarist Angus Young's instantly recognizable riffs and the rest of the band's strong backup tracks were a blueprint for rock at the time. Highway To Hell was the album that would both increase that fame and end it.
Recorded under the supervision of "Mutt" Lange, the album sounds a lot crunchier than both previous and latter AC/DC records. The guitars have the requisite bite, the drums are strong and clear-cut, the voice sounds really good and the bass buzzes discreetly on the background. Altogether, this raw-edged, shredding sound only adds to the quality of the album, although it can make it hard for less trained listeners to listen to the whole album in one go.
And then there's the songs. The monster title track is followed up by the lighthearted Girls Got Rhythm, which in turn gives way to the huge intro to Walk All Over You, which in turn leads into Touch Too Much, one of the funniest, most captivating AC/DC singles. The album then takes a downward curve, quality-wise, but there are still good moments, such as Shot Down In Flames and of course the huge closing track, Night Prowler, which put AC/DC in some hot water at the time. Clocking in at 6.13, this is also one of the longest tracks AC/DC ever wrote, Millionaire notwithstanding.
However, let's start at the beginning, shall we? Highway To Hell starts out exactly as described above, then evolves into one heck of a monster solo, which, despite being short, ranks in as one of my all-time favorite solos, if not the favorite. The bass in this song is incredible, simple but strong, and I actually think the group only uses one guitar (Angus's) on this song. Listen attentively behind the chorus and you will notice just that � there's no rhythm guitar, and the bass is doing the accompaniment on its own. All in all, this is a great song, and certainly among the Top 5 AC/DC songs of all time. (6/5).
Highway To Hell leads straight into Girls Got Rhythm (with a missing apostrophe on the title), which is a fast-paced, tongue-in-cheek song about, well, you guessed it, sex with girls. Musically, it's built around a very catchy riff, and it features an amazing bass line from Cliff Williams, as well as some very entertaining guitar fills from the Guitar God himself, Angus Young. Good chorus, amusing lyrics, and a very good song overall. (4,5/5)
The song then ends and gives way to one of the hugest intros ever to grace our speakers. With echoes of what would later become Hell's Bells, the intro riff to Walk All Over You is soon joined by some unbelievable drums, before developing into a quite lighter, and also quite faster, riff. The song's minimalistic riffing structure (Bon often sings a capella) makes it insanely catchy, and the chorus,well, the chorus is a cathartic experience that words just cannot describe. All in all, this is an unfairly overlooked AC/DC gem, sure to please even the occasional listener (6/5)
But the goods delivered by this album do not end here. We've barely had time to recover from the greatness of the previous track that Touch Too Much starts playing. A simple, distinctly punkish chord progression, strong bass and drumming, and Bon singing about a sexual experience with a wild woman. Of course, all these ingredients could only add up to a great AC/DC song. The chorus is again huge, and the backing vocals that come up after the solo are particularly amusing. Overall, this album continues to deliver in spades. (5/5)
Unfortunately, just as we are getting ready for more divine rock'n'roll, the album gets weaker. Not that Beating Around The Bush is a bad song, it's just less godly than the previous four. Still, it features a groovy main riff and some good soloing, although the chorus is weak. A nice song to keep us revved up, but by no means a standout in this album. Great double entendre, though.(3,5/5)
Shot Down In Flames ups the ante once again, with nice riffing and equally good soloing from Angus. The chorus is a major improvement on the previous one, although rhyming flame with insane is not exactly Shakespeare, still, a nice, catchy track that's a worthy addition to the AC/DC roster, and which almost manages to stand up to the other four in terms of quality. (4/5)
Unfortunately, then the album gets worse again. Get It Hot, despite its good chorus, is the only distinctive filler track on the album. The thematic is clich'd, the riffing sounds a tad dej'-vu and overall this is interchangeable for any track on Powerage or Let There Be Rock. A track not worthy of the greatness of this album. (3/5)
If You Want Blood (You Got It) is, strangely enough, the title of AC/DC's first live album, released the previous year, and in which this song is not included. Odd, Musically, it's good, but not great, with only the chorus being memorable. Once again, this song could have been on any of the group's previous albums and no one would tell the difference. Good song, though. (3,25/5)
Love Hungry Man is next. Its filler, yes, but it's much better filler than Get It Hot. Its main asset is its chorus, which slows down the tempo considerably and becomes a memorable moment on this album. The rest of the song is more 'blah', but it keeps us hyped up for the album's grand finale. (3,25/5)
And what a finale! Night Prowler is a slow, churning, dragging blues anthem about serial killers that crawl in the night. I imagine the lyrics may have given the occasional 10-year-old nightmares, being genuinely haunting and at times even scary. The musicianship is also excellent, particularly Angus's constant solos. Another aspect of this song, which sadly made it infamous, was the fact that it caused AC/DC to be seen as a violent band. This, together with the album cover (with the horned � or horny? ;) � Angus, which gave the band a reputation of being Satanists, caused AC/DC to not be the best-loved band by parents in the early 80's. Still, this song is awesome and that is that. (5/5)
So, yes , this album is fantastic, possibly AC/DC's finest hour. But its release became encumbered by a looming tragedy , only six months after its release, Bon Scott choked to death in his own vomit, putting an end to a seemingly prosperous career. His replacement, Brian Johnson, who took charge with 1980's Back In Black, veered the band in a different direction, lyric-wise, and has yet to convince some of the fans. However, Bon's legacy remains, and nowhere is it as well-portrayed as in Highway To Hell.
COMMENT: Biography by Stephen Thomas Erlewine AC/DC's mammoth power chord roar became one of the most influential hard rock sounds of the '70s. In its own way, it was a reaction against the pompous art rock and lumbering arena rock of the early '70s. AC/DC's rock was minimalist -- no matter how huge and bludgeoning the guitar chords were, there was a clear sense of space and restraint. Combined with Bon Scott's larynx-shredding vocals, the band spawned countless imitators over the next two decades. AC/DC were formed in 1973 in Australia by guitarist Malcolm Young after his band, the Velvet Underground, collapsed (Young's band has no relation to the seminal American group). With his younger brother Angus as lead guitarist, the band played some gigs around Sydney. Angus was only 15 years old at the time and his sister suggested that he should wear his school uniform on-stage; the look became the band's visual trademark. While still in Sydney, the original lineup featuring singer Dave Evans cut a single called "Can I Sit Next to You," with ex-Easybeats Harry Vanda and George Young (Malcolm and Angus' older brother) producing.
The band moved to Melbourne the following year, where drummer Phil Rudd (formerly of the Coloured Balls) and bassist Mark Evans joined the band. The band's chauffeur, Bon Scott, became the lead vocalist when singer Dave Evans refused to go on-stage. Previously, Scott had been vocalist for the Australian prog rock bands Fraternity and the Valentines. More importantly, he helped cement the group's image as brutes -- he had several convictions on minor criminal offenses and was rejected by the Australian Army for being "socially maladjusted." And AC/DC were socially maladjusted. Throughout their career they favored crude double entendres and violent imagery, all spiked with a mischievous sense of fun.
The group released two albums -- High Voltage and TNT -- in Australia in 1974 and 1975. Material from the two records comprised the 1976 release High Voltage in the U.S. and U.K.; the group also toured both countries. Dirty Deeds Done Dirt Cheap followed at the end of the year. Mark Evans left the band at the beginning of 1977, with Cliff Williams taking his place. In the fall of 1977, AC/DC released Let There Be Rock, which became their first album to chart in the U.S. Powerage, released in spring of 1978, expanded their audience even further, thanks in no small part to their dynamic live shows (which were captured on 1978's live If You Want Blood You've Got It). What really broke the doors down for the band was the following year's Highway to Hell, which hit number 17 in the U.S. and number eight in the U.K., becoming the group's first million-seller.
AC/DC's train was derailed when Bon Scott died on February 20, 1980. The official coroner's report stated he had "drunk himself to death." In March, the band replaced Scott with Brian Johnson. The following month, the band recorded Back in Black, which would prove to be its biggest album, selling over ten million copies in the U.S. alone. For the next few years, the band was one of the largest rock bands in the world, with For Those About to Rock We Salute You topping the charts in the U.S. In 1982, Rudd left the band; he was replaced by Simon Wright.
After 1983's Flick of the Switch, AC/DC's commercial standing began to slip; they were able to reverse their slide with 1990's The Razor's Edge, which spawned the hit "Thunderstruck." While not the commercial powerhouse they were during the late '70s and early '80s, the '90s saw them maintain their status as a top international concert draw. In the fall of 1995, their 16th album, Ballbreaker, was released. Produced by Rick Rubin, the album received some of the most positive reviews of AC/DC's career. Ballbreaker entered the American charts at number four and sold over a million copies in its first six months of release. Stiff Upper Lip followed in early 2000 with similar results. The group signed a multi-album deal with Sony the following year that resulted in a slew of reissues and DVDs. The band returned to the studio in 2008 for Black Ice, an all-new collection of songs that was followed by the group's first world tour since 2001.
VINYL GRADING SYSTEM
RECORD: New condition with no surface marks or loss of sound quality.
COVER: New condition with no surface marks, creases or wear. NEAR MINT:
RECORD: Barely noticeable surface mark with no loss of sound quality.
COVER: Barely noticeable surface mark/ wear. EXCELLENT:
RECORD: Some signs of being played with extremely little if no loss of sound quality.
COVER: Slight wear or creasing. VERY GOOD:
RECORD: Obviously been played with noticeable surface marks & the occasional light scratches but exhibits no major loss of sound quality.
COVER: Noticeable wear on cover, seam or spine. GOOD:
RECORD: Very obviously been played with very noticeable surface marks & exhibits major loss of sound quality.
COVER: Noticeable folding, scuffing of spine or edges, splits in seams or spine or fading of colour. FAIR: RECORD: Still just playable & exhibits considerable surface noise. COVER: Major tears, wearing, splits & stains. POOR: RECORD: Will not play properly due to scratches etc. COVER: Very badly damaged. +(PLUS)/-(MINUS): Slightly up or down in condition as appears in the comments above. NOTE: Gradings are done visually unless there appears to be a questionable surface mark on the vinyl, it is then put on the turntable to check. A comment describing the outcome will appear if this is the case.
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