Album Title
AC/DC
Artist Icon Highway to Hell (1979)
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First Released

Calendar Icon 1979

Genre

Genre Icon Hard Rock

Mood

Mood Icon Energetic

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Style Icon Rock/Pop

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Record Label Release

Speed Icon Atlantic

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Album Description
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Highway to Hell, pubblicato nel 1979 è il sesto album in studio della band australiana AC/DC. Fu uno degli album di più grande successo del gruppo, e l'ultimo pubblicato con il secondo cantante dalla formazione Bon Scott, che sarebbe morto l'anno successivo.
Highway to Hell e il successivo Back in Black rappresentarono l'apice di successo degli AC/DC, e rimangono fra i loro album più apprezzati. Highway vendette in un solo anno un milione di copie, confermandosi poi come long seller (a oggi circa 15 milioni di copie vendute). Nel 2003, l'album venne classificato alla posizione 200 nella classifica dei 500 più grandi album di tutti i tempi della rivista Rolling Stone. La canzone più nota del disco è la title track.

L'album fu il primo album degli AC/DC senza cambiamenti a livello di tracce tra la versione australiana e la versione mondiale.

La particolarità dell'album sta nel fatto che fu prodotta prima la versione mondiale (luglio 1979) e poi quella australiana (novembre 1979) cosa che per gli album precedenti non è avvenuta.

La prima traccia di questo album, ovvero Highway to Hell, è utilizzata nei titoli di coda dell'episodio Brani Biblici della famosa saga de I Simpson.

Il famigerato serial killer Richard Ramirez era un grande fan degli AC/DC, in particolare della canzone Night Prowler presente su Highway to Hell. La stessa polizia ammise che Ramirez indossava una maglietta degli AC/DC il giorno della cattura e che lasciò un cappellino degli AC/DC sulla scena di uno dei suoi tanti crimini.

Nel 2010 la title track viene scelta come colonna sonora nel film Iron man 2, interpretato da Robert Downey Jr.
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User Album Review
Of course, Highway to Hell is the final album AC/DC recorded with Bon Scott, the lead singer who provided the group with a fair share of its signature sleaze. Just months after its release, Scott literally partied himself to death (the official cause cited as acute alcohol poisoning) after a night of drinking, a rock & roll fatality that took no imagination to predict. In light of his passing, it's hard not to see Highway to Hell as a last testament of sorts, being that it was his last work and all, and if Scott was going to go out in a blaze of glory, this certainly was the way to do it. This is a veritable rogue's gallery of deviance, from cheerfully clumsy sex talk and drinking anthems to general outlandish behavior. It's tempting to say that Scott might have been prescient about his end -- or to see the title track as ominous in the wake of his death -- trying to spill it all out on paper, but it's more accurate to say that the ride had just gotten very fast and very wild for AC/DC, and he was simply flying high. After all, it wasn't just Scott who reached a new peak on Highway to Hell; so did the Young brothers, crafting their monster riffs into full-fledged, undeniable songs. This is their best set of songs yet, from the incessant, intoxicating boogie of "Girls Got Rhythm" to "If You Want Blood (You've Got It)." Some of the credit should also go to Robert John "Mutt" Lange, who gives the album a precision and magnitude that the Vanda & Young LPs lacked in their grimy charm. Filtered through Mutt's mixing board, AC/DC has never sounded so enormous, and they've never had such great songs, and they had never delivered an album as singularly bone-crunching or classic as this until now.


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