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Track List
01) Realize
02) Rejection
03) Shot in the Dark
04) Through The Mists Of Time
05) Kick You When You're Down
06) Witch's Spell
07) Demon Fire
08) Wild Reputation
09) No Man's Land
10) Systems Down
11) Money Shot
12) Code Red
01) Realize
02) Rejection
03) Shot in the Dark
04) Through The Mists Of Time
05) Kick You When You're Down
06) Witch's Spell
07) Demon Fire
08) Wild Reputation
09) No Man's Land
10) Systems Down
11) Money Shot
12) Code Red
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0:00
3:05
0:00
0:00
0:00
0:00
0:00
0:00
0:00
0:00
0:00
Data Complete 70%
Total Rating
Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2020
Hard Rock
Energetic
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Medium
Album
0 copies
Album Description
Available in:
Power Up, veröffentlicht am 13. November 2020 über Columbia Records, ist das siebzehnte Studioalbum der australischen Rockband AC/DC und das erste seit dem Tod von Gitarrist und Bandmitbegründer Malcolm Young, dem das Album gewidmet ist. Mit zwölf Songs und einer Laufzeit von etwa 41 Minuten kehrt die Band stilistisch zu ihren klassischen Wurzeln zurück und liefert schnörkellosen Hard Rock im typischen AC/DC-Sound. Produziert von Brendan O’Brien und aufgenommen in Vancouver, präsentiert sich die wiedervereinte Besetzung mit Brian Johnson (Gesang), Angus Young (Leadgitarre), Stevie Young (Rhythmusgitarre), Cliff Williams (Bass) und Phil Rudd (Schlagzeug) in bestechender Form. Die Lead-Single „Shot in the Dark“ ist ein Paradebeispiel für den treibenden, riffbetonten Stil der Band, während Tracks wie „Realize“, „Witch’s Spell“ und „Through the Mists of Time“ eine überraschend melodische Seite zeigen. Die Produktion ist druckvoll, klar und modern, ohne den rohen Charakter des Bandsounds zu verwässern. Textlich bleiben AC/DC ihrer Linie treu: Themen wie Rock’n’Roll, Energie und Rebellion stehen im Zentrum. Power Up wurde weltweit gefeiert, erreichte Platz 1 in über 20 Ländern und beweist eindrucksvoll, dass AC/DC auch nach Jahrzehnten nichts von ihrer elektrisierenden Kraft verloren haben.
User Album Review
For decades, AC/DC have defended their devil-horned crown as rock’s most stubborn band. They’ve survived deaths (singer Bon Scott in 1980, guitarist Malcolm Young in 2017) and dirty deeds (drummer Phil Rudd was placed on house arrest after threatening to kill a man). Yet, they remain eternally committed to their core values: rocking out, hailing Satan, and never going within an outback mile of a ballad. Hell, their most transgressive move ever was using the bagpipes on “It’s a Long Way to the Top,” and that was in 1975. That consistency is what their fans love about them and what their critics hate most.
But nothing has ever slowed down AC/DC on their journey down the Highway to Hell. And now they’re back again with Power Up, their umpteenth album of eardrum-shredding guitar terror and odes to raising hell. It’s their best record since 1990’s The Razors Edge, and yet again, they sound the same as they always have. Frontman Brian Johnson, who had to leave their last tour due to deafness, now has a special hearing aid so he can continue to sing, and Malcolm’s nephew, Stevie Young, plays rhythm guitar. Rudd has served his time and plays as steady as ever, and even Angus Young’s schoolboy outfit still fits snugly.
Naturally, there are no real surprises here: Power Up sounds unapologetically like AC/DC, and Angus has likened the LP to a tribute to Malcolm the same way that Back in Black was a back-pew eulogy for Bon Scott. Many of the riffs, which came from Angus and Malcolm’s archive, recall their greatest hits — the sidewinding blooze of “Demon Fire” is a distant relative of “Whole Lotta Rosie”; the throbbing intro to “Witch’s Spell” harks back to “Who Made Who,” the riff on “Code Red” stutters like “Back in Black” — and Johnson’s voice still sounds like angry truck exhaust, whether he’s huffing about tearin’ up the highway on “Code Red,” snarking about “crystal balls” on “Witch’s Spell,” or prescribing sex three times a day (“or as much as you may”) as a depression cure to a woman on “Money Shot.”
Is “Systems Down,” about a furnace “about to blast,” a political metaphor? No way, it’s about a furnace that’s about to blast. Did anyone in the group blanche at the lyric, “If you reject me, I take what I want” on “Rejection”? No, because nobody has ever expected AC/DC to turn progressive. In fact, the crisply Xeroxed familiarity of the rockers’ rawness from album to album is what made them legendary, so there’s no point in intellectualizing it.
There is a small bit of introspect on the gentle (by AC/DC standards) rocker “Through the Mists of Time,” on which Johnson sings about “dark shadows on the walls.” But soon enough, he’s back yowling about “painted ladies,” and Young is whipping out another high-voltage blues solo. That’s what makes AC/DC great: No matter what they’ve gone through, they can only be themselves.
SOURCE: https://www.rollingstone.com/music/music-album-reviews/ac-dc-keep-riding-the-highway-to-hell-on-power-up-1089089/
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Available in:
Power Up, veröffentlicht am 13. November 2020 über Columbia Records, ist das siebzehnte Studioalbum der australischen Rockband AC/DC und das erste seit dem Tod von Gitarrist und Bandmitbegründer Malcolm Young, dem das Album gewidmet ist. Mit zwölf Songs und einer Laufzeit von etwa 41 Minuten kehrt die Band stilistisch zu ihren klassischen Wurzeln zurück und liefert schnörkellosen Hard Rock im typischen AC/DC-Sound. Produziert von Brendan O’Brien und aufgenommen in Vancouver, präsentiert sich die wiedervereinte Besetzung mit Brian Johnson (Gesang), Angus Young (Leadgitarre), Stevie Young (Rhythmusgitarre), Cliff Williams (Bass) und Phil Rudd (Schlagzeug) in bestechender Form. Die Lead-Single „Shot in the Dark“ ist ein Paradebeispiel für den treibenden, riffbetonten Stil der Band, während Tracks wie „Realize“, „Witch’s Spell“ und „Through the Mists of Time“ eine überraschend melodische Seite zeigen. Die Produktion ist druckvoll, klar und modern, ohne den rohen Charakter des Bandsounds zu verwässern. Textlich bleiben AC/DC ihrer Linie treu: Themen wie Rock’n’Roll, Energie und Rebellion stehen im Zentrum. Power Up wurde weltweit gefeiert, erreichte Platz 1 in über 20 Ländern und beweist eindrucksvoll, dass AC/DC auch nach Jahrzehnten nichts von ihrer elektrisierenden Kraft verloren haben.
User Album Review
For decades, AC/DC have defended their devil-horned crown as rock’s most stubborn band. They’ve survived deaths (singer Bon Scott in 1980, guitarist Malcolm Young in 2017) and dirty deeds (drummer Phil Rudd was placed on house arrest after threatening to kill a man). Yet, they remain eternally committed to their core values: rocking out, hailing Satan, and never going within an outback mile of a ballad. Hell, their most transgressive move ever was using the bagpipes on “It’s a Long Way to the Top,” and that was in 1975. That consistency is what their fans love about them and what their critics hate most.
But nothing has ever slowed down AC/DC on their journey down the Highway to Hell. And now they’re back again with Power Up, their umpteenth album of eardrum-shredding guitar terror and odes to raising hell. It’s their best record since 1990’s The Razors Edge, and yet again, they sound the same as they always have. Frontman Brian Johnson, who had to leave their last tour due to deafness, now has a special hearing aid so he can continue to sing, and Malcolm’s nephew, Stevie Young, plays rhythm guitar. Rudd has served his time and plays as steady as ever, and even Angus Young’s schoolboy outfit still fits snugly.
Naturally, there are no real surprises here: Power Up sounds unapologetically like AC/DC, and Angus has likened the LP to a tribute to Malcolm the same way that Back in Black was a back-pew eulogy for Bon Scott. Many of the riffs, which came from Angus and Malcolm’s archive, recall their greatest hits — the sidewinding blooze of “Demon Fire” is a distant relative of “Whole Lotta Rosie”; the throbbing intro to “Witch’s Spell” harks back to “Who Made Who,” the riff on “Code Red” stutters like “Back in Black” — and Johnson’s voice still sounds like angry truck exhaust, whether he’s huffing about tearin’ up the highway on “Code Red,” snarking about “crystal balls” on “Witch’s Spell,” or prescribing sex three times a day (“or as much as you may”) as a depression cure to a woman on “Money Shot.”
Is “Systems Down,” about a furnace “about to blast,” a political metaphor? No way, it’s about a furnace that’s about to blast. Did anyone in the group blanche at the lyric, “If you reject me, I take what I want” on “Rejection”? No, because nobody has ever expected AC/DC to turn progressive. In fact, the crisply Xeroxed familiarity of the rockers’ rawness from album to album is what made them legendary, so there’s no point in intellectualizing it.
There is a small bit of introspect on the gentle (by AC/DC standards) rocker “Through the Mists of Time,” on which Johnson sings about “dark shadows on the walls.” But soon enough, he’s back yowling about “painted ladies,” and Young is whipping out another high-voltage blues solo. That’s what makes AC/DC great: No matter what they’ve gone through, they can only be themselves.
SOURCE: https://www.rollingstone.com/music/music-album-reviews/ac-dc-keep-riding-the-highway-to-hell-on-power-up-1089089/
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