AC/DC
Powerage (1978)
Perhaps I'm slightly biased, but I've always preferred (by a large margin) the Bon Scott-era AC/DC to the Brian Johnson one. Bon's sheer vocal range, the swagger that dripped from his performances....they were a perfect match for the band's ballsy blues-based riffs. Not to say the Brian Johnson AC/DC hasn't done great work, but it's not quite the same.
Now, my plan has always been to do two Acca Dacca albums, one with Bon and one with Brian. For my Bon one, I wanted to steer away from the albums that are well known, and choose the one Bon album that seems to be largely ignored: 1978's Powerage. Despite its near ignorance to many, it has been cited by no less a musical icon than Keith Richards as his favourite AC/DC record, and it features guitar supergenius Slash's near-favourite song by the band.
Consider this my small attempt to bring this album to people's consciousness, because it bloody well deserves to be.
The Album
Every single possible AC/DC trademark is here - thick riffs that showcase both Young brothers' abilities (at times, the two play different but complimentary riffs), centre-of-attention guitar solos, stunning, attitude-heavy vocals and hedonistic, bullshit-free lyrics. For all intents and purposes it is as AC/DC an album as you can get.
So why is it so comparatively ignored? Well, I respectfully suggest that it's because the album contains no radio staples, no iconic singles or songs that are flogged to death by rock radio. Which is their loss, really, because one or two tracks are as good as anything else that is flogged by rock radio.
Leading the way is Riff Raff, the song that is one of Slash's favourites. To my mind it is the most underrated song in AC/DC's entire catalogue. After a rumbling start, it kicks in with one of the band's finest riffs, ably supported by the bassline....but the star (at least prior to/post Angus Young's fretboard majesty in the middle of the tune) is Bon Scott, who delivers the vocal in that typical he's-screaming-but-it's-in-key-and-sounds-fucking-fantastic style of his. Sin City is almost as good, telling a tale of hedonism as only AC/DC can do, with Bon's swagger and sex appeal dripping in his vocal and another rocking riff. Down Payment Blues is another highlight, with even more kickarse main riffery, a solo that alternates a slow groove with fretboard gymnastics, and a Bon vocal that is part carefree, part desperation.
A few of the songs veer away from the standard AC/DC formula as well, and that may also explain the album's status as largely ignored. Rock 'n' Roll Damnation and What's Next To The Moon eschew large guitar solo sections for a more measured, typical pop song structure (though Damnation has a lead break at the end, it's buried so low in the mix as to be almost indistinguishable from the rest of the soundscape). Gone Shootin' is also very different, as it is more of a blues-rock song. The riff is much more melodic, less abrasive and ballsy, and the guitar solo is pure blues, as Angus Young plays with more groove and feel than usual. The normal fretboard wankery is shelved to fit the song's blues vibe.
The latter three songs tend to suggest that by this time, the group were beginning to get comfortable enough to grow as songwriters and performers, being able to rely less on theatrics and showmanship in their songs and focus instead on crafting whole, well-structured pieces. In short, AC/DC were maturing.
The Verdict
I bloody love Powerage. I've honestly never understood why others didn't, or why it has generally received little to no press. To be honest, I still don't fully understand, but can at least identify possible reasons. It's a cracking album that features some of AC/DC's finest work, as well as some of their most mould-breaking efforts (in that it gets away from their own hard-rocker mould).
Basically, get around it. It deserves more kudos than it gets.
My rating: ****
Standout Tracks
Riff Raff
Down Payment Blues
Gone Shootin'
Sin City
Tomorrow, we return to Girl Pop town, only we take on someone a little more contemporary than ol' Madonna.....
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