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Track List
01) Rising Power
02) This House Is on Fire
03) Flick of the Switch
04) Nervous Shakedown
05) Landslide
06) Guns for Hire
07) Deep in the Hole
08) Bedlam in Belgium
09) Badlands
10) Brain Shake
01) Rising Power
02) This House Is on Fire
03) Flick of the Switch
04) Nervous Shakedown
05) Landslide
06) Guns for Hire
07) Deep in the Hole
08) Bedlam in Belgium
09) Badlands
10) Brain Shake
3:44
3:24
3:14
4:28
3:58
3:25
3:20
3:53
3:39
4:00
Data Complete
100%
Total Rating
100%Total Rating
(2 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1983
Hard Rock
Energetic
Rock/Pop
---
Medium
Album
0 copies
Album Description
Available in:
Flick of the Switch es el noveno álbum de estudio de la banda de Hard rock australiana AC/DC, grabado en Bahamas poco después del tour europeo de principios de 1983. El álbum lo produjeron ellos mismos y llegó al # 4 en el Reino Unido y # 15 en Estados Unidos.
Después de tener algunos problemas con el guitarrista Malcolm Young debido al alcohol, el baterista Phil Rudd fue despedido en mitad de la grabación ya que no soportaba la muerte de Bon Scott, (ex vocalista de este mismo grupo) y se metió en las drogas, aunque ya había terminado de grabar su parte. Se llamó al baterista B.J. Wilson para acabar la grabación, aunque después no se usó nada de lo que grabó. Rudd, al final fue sustituido por el que después sería baterista de Dio, Simon Wright. Wright, además apareció en los videoclips "Flick of the switch" y "Nervous Shakedown".
El álbum fue publicado originalmente en Estados Unidos el 15 de agosto de 1983. Fue relanzado en 2003 como parte de la serie de remasterizaciones de sus álbumes. Este álbum de estudio se iba a llamar I Like To Rock volviendo al sonido primigenio y al Rock and Roll clásico. Pero al final, decidieron tocar riffs duros y reacios, con un álbum llamado Flick Of The Switch. Un álbum demasiado duro para los australianos, esta obra escupe clásicos. Para muchos expertos, la era zénit de Brian Johnson. Fijémonos en la aportación vocal de Brian Johnson y en la del grupo en general. Brian suena lascivo, duro y distante en Rising Power, anárquico en Landslide y esos riffs tan brutales, como el áspero riff de Rising Power y de Landslide, el riff de distorsión ácida de This House Is On Fire y Brain Shake, el espinoso riff de Nervous Shakedown y Bedlam In Belgium o la reacia psicodelia y los riffs más potentes y violentos mostrados en la energética actuación del grupo en Guns For Hire y en la discordia y la artefacta Deep In The Hole que también tiene el tono siniestramente puro y adictivo. Bon Scott había muerto, Phil Rudd no superaba la muerte de Scott y se fue del grupo metiéndose en las drogas, Malcolm tenía un grave problema de alcoholismo que mantenía en secreto y Brian tenía la voz un poco más descarriada, hasta en Fly On The Wall donde su voz no tiene perdón con estrivos de sensatez vocal. Destacan de este álbum las canciones "Flick of the Switch" y "Guns for Hire".
User Album Review
Along with Fly On The Wall, Flick Of The Switch is probably the most maligned AC/DC album. However, for those people who speak ill of this album, I have some startling news: it's good!
Actually, FOTS is my third favorite AC/DC album, right after Highway To Hell and The Razor's Edge. Yes, I do like it better than Back In Black, and that's because it's a more consistent album.
On Flick Of The Switch, AC/DC aimed for a return to their roots, i.e. to the time when they played small clubs and weren't famous at all. Of course, for the biggest touring rock outfit of 1983, this was a difficult task to accomplish, and it wasn't fully achieved. Still, the group deserve merit for the effort, especially since this album follows up the incredibly mediocre For Those About To Rock' We Salute you, released two years previously.
The first thing hardened AC/DC listeners will notice is that Angus and Malcolm's riffs have regained their crunch. While on FTATRWSY the pair had gone for far more melodic approaches, on this one they just let it rip, causing the listener to unrepentantly tap his or her foot on the floor while keeping up with the song. Additionally, Phil Rudd's strong drums add to the catchy factor, making a few of these songs clear 80's-period AC/DC standouts.
One factor, however, is mind-boggling: Angus' solos are incredibly average (except for the one on Rising Power, of course). In many of these songs, it's Malcolm's rhythm guitar that truly shines, keeping strong backbeat riffs that often overpower his younger brother's soloing. Such is the case on Nervous Shakedown, for example, or Guns for Hire.
Another interesting factor is that this was the first time the Young brothers took production in their own hands. However, rather than the drenched-out sound of Fly On The Wall or Blow Up Your Video, the production here is quite decent. Brian's voice is a bit muffled, and the bass is criminally chopped (not that it was ever that important, anyway), but the guitars and drums more than make up for it, sounding absolutely bombastic.
Unfortunately, not all is good on this album. The first six or seven songs are great, but then the album starts to steadily decrease quality. The last three tracks, Bedlam In Belgium, Badlands and Brain Shake are each worse than the previous one, with the latter rating as the low point of the album.. however, by this stage, the album is too far forward for this to matter; we have enjoyed the previous songs so much that we just good-naturedly endure or skip the aforementioned three tracks.
Another low point on this album are Brian's lyrics. Everybody know AC/DC's current singer isn't a patch on Bon Scott, as far as lyrics are concerned. Where the latter wrote socially conscious little stories, with the occasional sex lyric thrown in, the former writes sex lyrics with the occasional socially conscious little story thrown in. Here, most of his lyrics are about hanky-panky, and not always that subtle' c'mon, Guns For Hire' You don't exactly have to be a rocket scientist.
Still, 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. Sure, it isn't a patch on Highway to Hell or, arguably, Back In Black, but AC/DC fans should give it a go. It's a very enjoyable listen.
External Album Reviews
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User Comments
Available in:
Flick of the Switch es el noveno álbum de estudio de la banda de Hard rock australiana AC/DC, grabado en Bahamas poco después del tour europeo de principios de 1983. El álbum lo produjeron ellos mismos y llegó al # 4 en el Reino Unido y # 15 en Estados Unidos.
Después de tener algunos problemas con el guitarrista Malcolm Young debido al alcohol, el baterista Phil Rudd fue despedido en mitad de la grabación ya que no soportaba la muerte de Bon Scott, (ex vocalista de este mismo grupo) y se metió en las drogas, aunque ya había terminado de grabar su parte. Se llamó al baterista B.J. Wilson para acabar la grabación, aunque después no se usó nada de lo que grabó. Rudd, al final fue sustituido por el que después sería baterista de Dio, Simon Wright. Wright, además apareció en los videoclips "Flick of the switch" y "Nervous Shakedown".
El álbum fue publicado originalmente en Estados Unidos el 15 de agosto de 1983. Fue relanzado en 2003 como parte de la serie de remasterizaciones de sus álbumes. Este álbum de estudio se iba a llamar I Like To Rock volviendo al sonido primigenio y al Rock and Roll clásico. Pero al final, decidieron tocar riffs duros y reacios, con un álbum llamado Flick Of The Switch. Un álbum demasiado duro para los australianos, esta obra escupe clásicos. Para muchos expertos, la era zénit de Brian Johnson. Fijémonos en la aportación vocal de Brian Johnson y en la del grupo en general. Brian suena lascivo, duro y distante en Rising Power, anárquico en Landslide y esos riffs tan brutales, como el áspero riff de Rising Power y de Landslide, el riff de distorsión ácida de This House Is On Fire y Brain Shake, el espinoso riff de Nervous Shakedown y Bedlam In Belgium o la reacia psicodelia y los riffs más potentes y violentos mostrados en la energética actuación del grupo en Guns For Hire y en la discordia y la artefacta Deep In The Hole que también tiene el tono siniestramente puro y adictivo. Bon Scott había muerto, Phil Rudd no superaba la muerte de Scott y se fue del grupo metiéndose en las drogas, Malcolm tenía un grave problema de alcoholismo que mantenía en secreto y Brian tenía la voz un poco más descarriada, hasta en Fly On The Wall donde su voz no tiene perdón con estrivos de sensatez vocal. Destacan de este álbum las canciones "Flick of the Switch" y "Guns for Hire".
User Album Review
Along with Fly On The Wall, Flick Of The Switch is probably the most maligned AC/DC album. However, for those people who speak ill of this album, I have some startling news: it's good!
Actually, FOTS is my third favorite AC/DC album, right after Highway To Hell and The Razor's Edge. Yes, I do like it better than Back In Black, and that's because it's a more consistent album.
On Flick Of The Switch, AC/DC aimed for a return to their roots, i.e. to the time when they played small clubs and weren't famous at all. Of course, for the biggest touring rock outfit of 1983, this was a difficult task to accomplish, and it wasn't fully achieved. Still, the group deserve merit for the effort, especially since this album follows up the incredibly mediocre For Those About To Rock' We Salute you, released two years previously.
The first thing hardened AC/DC listeners will notice is that Angus and Malcolm's riffs have regained their crunch. While on FTATRWSY the pair had gone for far more melodic approaches, on this one they just let it rip, causing the listener to unrepentantly tap his or her foot on the floor while keeping up with the song. Additionally, Phil Rudd's strong drums add to the catchy factor, making a few of these songs clear 80's-period AC/DC standouts.
One factor, however, is mind-boggling: Angus' solos are incredibly average (except for the one on Rising Power, of course). In many of these songs, it's Malcolm's rhythm guitar that truly shines, keeping strong backbeat riffs that often overpower his younger brother's soloing. Such is the case on Nervous Shakedown, for example, or Guns for Hire.
Another interesting factor is that this was the first time the Young brothers took production in their own hands. However, rather than the drenched-out sound of Fly On The Wall or Blow Up Your Video, the production here is quite decent. Brian's voice is a bit muffled, and the bass is criminally chopped (not that it was ever that important, anyway), but the guitars and drums more than make up for it, sounding absolutely bombastic.
Unfortunately, not all is good on this album. The first six or seven songs are great, but then the album starts to steadily decrease quality. The last three tracks, Bedlam In Belgium, Badlands and Brain Shake are each worse than the previous one, with the latter rating as the low point of the album.. however, by this stage, the album is too far forward for this to matter; we have enjoyed the previous songs so much that we just good-naturedly endure or skip the aforementioned three tracks.
Another low point on this album are Brian's lyrics. Everybody know AC/DC's current singer isn't a patch on Bon Scott, as far as lyrics are concerned. Where the latter wrote socially conscious little stories, with the occasional sex lyric thrown in, the former writes sex lyrics with the occasional socially conscious little story thrown in. Here, most of his lyrics are about hanky-panky, and not always that subtle' c'mon, Guns For Hire' You don't exactly have to be a rocket scientist.
Still, 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. Sure, it isn't a patch on Highway to Hell or, arguably, Back In Black, but AC/DC fans should give it a go. It's a very enjoyable listen.
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