Landslide has that itchy riff giving it some urgency. No absolute killers but This House Is On Fire and Flick Of The Switch come close. A few recycled riffs here and there ( Badlands seems to borrow heavily from In My Time Of Dying) but it's rock n roll so not unexpected. As perhaps indicated by the record's idiotic original title, the utterly generic I Like to Rock, AC/DC seemed to be running out of ideas at an alarming rate, and their record sales began to reflect that fact." ( AllMusic (opens in new tab)) "While they more or less succeed in terms of the record's sound, and show more energy than on the preceding For Those About to Rock We Salute You, the songs themselves suffer – AC/DC's music has always been simple, but here it sounds underdeveloped and unmemorable. It"s a very enjoyable listen." ( Sputnik Music (opens in new tab))
Flick of the swich Patch#
Sure, it isn"t a patch on Highway to Hell or, arguably, Back In Black, but AC/DC fans should give it a go. "However flawed, this is still a pretty decent little album from AC/DC, especially if we put it in its proper time frame and consider what came immediately before and immediately after this. Flick Of The Switch makes for one hell of a crash course, though." ( Rolling Stone (opens in new tab)) But how can you argue with a Molotov cocktail hour that incudes such crass fun as This House Is on Fire and the whiplash rocker Brain Shake? Sure, if you've heard one AC/DC album, you've heard them all. "Produced by the band, Flick of the Switch isn't quite the monster blowout that 1980's Back in Black was, and the Young's retooling of old riffs for new hits also teeters on self-plagiarism at times. Maybe it was because the songs themselves were unremarkable. But maybe unalloyed audio wasn’t the problem, because a bit of grit never hurt an AC/DC song. This they got, as critics perceived Flick Of The Switch to be thrown together, lacking the Kubrickian craftsmanship of a Mutt Lange production. The Young brothers had wanted something more immediate, less refined, than their last record. “I don’t think that was a good thing to do at all,” Platt later remarked. This was where AC/DC had created Back In Black , but though the new raw tapes sounded reminiscent of their greatest commercial triumph, it was mixed by engineer Tony Platt to impart a different feel. It was recorded at Compass Point Studios in Nassau, the capital city of the Bahamas. To that end, they chose to produce it themselves.įlick Of The Switch is the result of this decision.
After this Michelin-starred philosophy, the Young brothers wanted to take a greasy spoon approach to their next album. What had worked so well with producer Robert John ‘Mutt’ Lange on the preceding two records – crisp tour de force Highway To Hell (1979) and the sans Bon phenomenon Back in Black (1980) – was applying reasonable rigour to making AC/DC sound extremely loud and incredibly close.įor Those About To Rock found Lange questing ever further for sonic perfection, which was a time-consuming process.
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