AC / DC Let There Be Rock CD

2003 remastered reissue of 1977 album packaged in a digipak with 16 page full color booklet containing all original album art, many unpublished photos, classic memorabilia, and liner notes. Epic.

This is a Hyper CD, which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser.
AC/DC: Bon Scott (vocals); Angus Young, Malcolm Young (guitar); Mark Evans (bass); Phil Rudd (drums).
Recorded at Alberts Studio, Sydney, Australia between January & February 1977. Originally released as Atco (36151). Includes liner notes by Murray Engelheart.
This is a Hyper CD, which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser.
Personnel: Bon Scott (vocals); Malcolm Young, Angus Young (guitar); Phil Rudd (drums).
Liner Note Author: Murray Engleheart.
Recording information: Alberts Studio, Sydney, Australia (01/1977-02/1977).
Photographers: Jonathan Postal; Chuck Pulin; Bob Gruen.
Let There Be Rock, the fourth AC/DC album -- and first to see simultaneous international release -- is as lean and mean as the original lineup ever got. Shaved down to the bone -- there are only eight tracks, giving this a lethal efficiency even with a couple of meandering jams -- this is a high-voltage, brutal record, filled with "Bad Boy Boogie." It has a bit of a bluesier edge than other AC/DC records, but this is truly the sound of the band reaching its peak. There's the near majesty of "Let There Be Rock," there's Bon Scott acknowledging with a wink that "Hell Ain't a Bad Place to Be," and then there's the monumental "Whole Lotta Rosie." Which gets down to a key thing about AC/DC. If Led Zeppelin were celebrating a "Whole Lotta Love," AC/DC got down to the grimy details in their leering tribute to the joys of sex with a plus-sized woman. And that's AC/DC's allure in a nutshell -- it's sweaty, dirty, nasty rock, music that is played to the last call and beyond, and they've rarely done that kind of rock better than they did here. ~ Stephen Thomas Erlewine
If possible, AC/DC actually made their sound denser on its sophomore effort, LET THERE BE ROCK. A darker album than its predecessor, HIGH VOLTAGE, this album leans further towards AC/DC's twisted extension in the blues tradition. Which is not to say that the band relented from its three-chord power riffing for one millisecond. The presence of Angus Young's mighty Gibson SG looms over the album like a sheet of lead on a windless day. What has changed is the inclusion of longer songs like "Go Down," "Dog Eat Dog," and the floor rattling "Let There be Rock," all of which feature ripping interplay between Bon Scott's perverse howl and Young's straight for the throat guitar lines.
Where others hint at hormone-driven themes of lust and adolescent rebellion, AC/DC revel in them with abandon. Thus "Bad Boy Boogie" and "Problem Child" are songs your parents are sure to hate with heartfelt passion. The album's highlights are "Hell Ain't a Bad Place to Be," a mighty fist-waver whose references to warmer climates are something that only the most uptight will take seriously and the near classic "Whole Lotta Rosie," which would become one of the band's live staples and show-stoppers.

Q (7/01, p.86) - Included in Q's "50 Heaviest Albums of All Time" - "...This caterwauling collection suggested new levels of lyrical raucousness for AC/DC....suggesting Chuck Berry jamming with a Boeing 747 preparing for take-off..."
Mojo (Publisher) (12/00, p.84) - "...Raw, horny and totally teenage, their blues-boogie mix now had a distinctly metal edge..."