After coming in through with the attempt titled "Ballbreaker", AC/DC thought it would be hard getting back up there on the spot. I mean, a single called 'Hard As A Rock' isnt exactly gonna get you anywhere. Getting to the issue, 2000 was the new millenium, and everything got better, more efficient and faster. Well, so did the Australian rockers. Stiff Upper Lip was released in early 2000, and it brings you back to the classic essential sound you love from these guys. I call this album Back In Black's cousin. Because the truth is, after Brian's debut, AC/DC tried to go and try new stuff. But this album brings us back to that sound that America heard in April of 80' that got so many fans attracted to the boys. This is also some of the riff carnage you may have heard in album like Powerage once before (Except without the whole Bon part). In other words, this is one starightforward, in your face, and very solid rock n' roll album that takes them back to their true roots.
But then again, some things have changed. But thats in every way a great thing. For one thing, people who skipped 'Ballbreaker' and went straight to this from 'The Razor's Edge', you'll have the opportunity to hear drummer Phil Rudd back on the set. Which is always a great damn listen. He apparently left the band after 'Flick Of The Switch', to become a helicopter pilot. I find it very hard to believe too, but hey, whatever the man wants, he'll get. Brian also makes a huge difference on this album. His voice is different this time around. Hey, it still sounds like he gargles motor oil every morning, but he hits every track with a different approach, thus changing every intro on the album along with him. Its a very interesting change that I really cant explain, you'll have to check it out yourself. And last, the album's sound approaches you as a lot softer and slower than other AC/DC albums. It keeps it's root material in the backround, but everything up front sounds quite lighter than tohers. Well, thats not exactly the matter. Its the new millenium. Things have changed, so has AC/DC just a little bit. But with more rocking solos, great vocals, and one hell of an album cover, this will be one to remember.
Stiff Upper Lip
This album kicks off with one hell of a track, which is also the title track. You'll recognize the difference with Brian the second he starts up on vocals, and that great riff echoes throughout every measure of the verses, as Brian howls out his words about about not giving a damn and going out at life your own way. Like old times, Phil and his trust ol' beat keeps the rythm section thumping its way across the song. Malcolm supplies great back-up material including vocals that repeat at the outro. Now, I'll admit this isnt the most explosive intro to the album, but it is one hell of a song and brings you back to remembering songs like 'Shoot To Thrill' and 'Have A Drink On Me'. Although the guitar-work isnt at it's prime here, Brian takes center-stage with great vocals and will indeed keep it going. 4.5/5
Meltdown
Great guitar-work on this little gem. These lyrics are one among two songs that explain the whole world worrying the so called Y2k on new yer's eve. Brian just keeps going at it, as Angus and Malcolm show their although repetitive, but trustworthy, and suppoertive riff that keeps this song in place. The chorus, along with most of the ones in the album, is the song title being repeated at high volume, or High Voltage if you will, and making the scene show up at it's best. Angus' solo shows that he still hasnt lost it, and Brian repeats the chorus until it fades out into the crashing conclusion. 4/5
House Of Jazz
This is clearly on of the standout tracks on the album. Starts out with the repeating riff that follows Brian's leading vocals. And for one thing, for a song with the word jazz in it, it's misleading. The chorus stands solid, with the title being yelled with great musical potential and then Brian to lead out into the next verse and solo. I like how Phill tries something new here with the set, as he uses a huge amount of crashes as well as speeds it up for choruses. The solo is another to watch out for, as it keeps wailing through until Brian comes into another chorus, and even then, Angus' keeps going at it. Although not the fastest, or the heaviest, this track stands solid as one of the very best."Come into the house of JAZZ" 5/5
Hold Me Back
My god. This is the comeback of the Bon era all over again. That riff just screams out Powerage and Dirty Deeds at you as Brian softly makes his way through the verse. The soft but intensive chorus strikes great resemblance and brings you back to some more of Brians good stuff. The drums later make a better conncetion with the listener as it somehow gets louder and Malcolm switches to different material and Angus takes the solo head on with Cliff also providing strong, solid back-up. The outro is another thing to watch for, as it contains a taste of the solo as well as Malcolm going at the main riff still and Phil taking some crashes into play. Not the best attempt, but it wont hurt to listen in. 3.5/5
Safe In New York City
It will probably be surprising to hear, but this is actually the first song I heard off the album. So maybe it will be biased, but maybe not. The intro consists of a great, creeping riff that gets in your stream of hearing, and Rudd goes at the standard beat harder than ever. This whole song is very, slick sounding, and didnt deal with much of an introduction. The verses fly by and when the time comes, choruses suck up the rest of the want that fans beg for. Actually, let me correct that. The solo sucks up the rest, because along with great rythmic from Malcolm, and Phil and Cliff's thumping, the solo makes a great entrance. The outro is the lyrics from the chorus but on a heavier note, until Brian leads out the song with a howl. Excellent stuff. 5/5
Cant Stand Still
Another appearance of a great earlier-era AC/DC guitar-work. It's truly great to see it along with some of Brian's vocals. This one flows very nice and shares a more organized arsenal of lyrics and more steady material on bass and drums. The simple chorus is a light dip of effort, but later pays off with the solo that makes up for anything damaged. It doesnt exactly stand out, but it just makes the song complete. Not much to say about the song's second half, except that it has another solo! It leads out with another spaz by Brian and just strikes you with another 'mehh' feeling. Pretty average stuff here, but it should be heard every once in a while. 3/5
Cant Stop Rock N Roll
With a similar title as the predecessor, this song actually pulls through as another of the best the album has to offer. Great introduction by Angus, and leads into some of the best guitar-work on the album. You would expect a song thats called Cant Stop Rock N Roll to have Grade-A guitar. It doesn't, but it comes pretty close. the verses could have used a betetr supply of work, but the chorus features the Young's doing what they do the best, and Brian howls out the song title with glee. The bridge is interesting because Brian howls and Angus mimics with a great rocking solo. This easily stands as one of the best and once again brings you back to the older stuff. 4/5
Satelite Blues
Wow. What a song. Amazing guitar-work here. And for people that got bored of the slower stuff, this heavier rocker makes the comeback of the stuff, and is also the very highest peak of the album. The whole song just screams at you, as Brian makes his way through verses with some more of his new style, and Angus and Malcolm duel with some great guitar-work. As Phil tries out the beat that could also be seen in You Shook Me Al Night Long, the chorus starts up and it just completes it along with the amazing solo. Probably the best on the album, song-wise and solo-wise. Just amazing, and the brave comeback of heavier material. 5/5
Damned
Once again, the song title just screams out that this is another classic. It starts off slower with Brian telling of another catastrophe, and The Young's follow with simple guitars as Phil also snaps with newer material. After a quick rest, Brian sets off the much heavier chorus. And my god, the solo rips open the song with this one. It rips out the backbone and just adds to it. Great stuff, another one of the best guitar-work on the album when it nears to the end, and another great listen that always lays around for you to set it off into another moment of what made AC/DC shine. "Well, Ill Be Damned!"4.5/5
Come And Get It
This is the very sequel of That's The Way I Wanna Rock N Roll, as it features some great guitar-work nearing rhe pre-chorus, but the mellower chorus gets you with the abnormal effects of Cliff and Malcolm's back-up vocals. The vocals themselves are not at the grade-A state here, but still make the song go much further, as always. The solo is backed up by some heavy bass-drum hits as Phil crashes along with Angus with another great solo, and Malcolm comes out with Brian and creates one hell of a breakdown and into the last chorus. Phil is one of the greater highlights here as he backs up the rythmic section perfectly. This song isnt the best effort, once again, but leads into a more explosive closing to the album. 3.5/5
All Screwed Up
Another one of the best. As the other Y2k song, it features a steady line by Cliff and Malcolm while Angus gives his better foundation of the lead, and Phil makes a great appearance and the corus with some great rolls that fuel it as Brian just yells that song title like there's no tomorrow. the solo starts off right away and its just chaos. Wow. What a listen. The bass-drum once again thumps while Angus gives it his all. Then, the last chorus leaves the song with one mark of excellence and the outro lasts it's share of length as the rocking title is screamed out plenty. To later be uncovered once again.... 4.5/5
Give It Up
Perfect song title for the outro to a great album, I'd say. And some of the best the album once again offers the heavier audience. At this point, even if its filler, it wouldn't matter. Because you're so used to that new sound, that you just listen in and are satisfied by that rocking chorus and solo that leaves you in the daze that the album started you off with. Another great appearance by the Youngs here as well as Cliff with a more complex line to add more rythm to the formula, and Brian and Rudd dualing the spot-light as the rest lead the way into the very end of the album. You didn't hear it from me. "Give it up, Give it out"4/5
-----------------------------------------------------------
Pros
+One of Brians best with AC/DC
+The new, more straightforward style
+The "real" comeback of Phil Rudd
+Angus , as always
Cons
-Not the heaviest the band has to offer
-----------------------------------------------------------
AC/DC always stood strong, even if people didn't give them the credit for it. This time around, its proven that they will be around for plenty more time and will supply us with more classics before theyre gone for good. Just as we see some of Bon's stuff rub off into this album, we will see the band itself rub off into a great deal of others in the near future. Bur lastly, I want to point out the concept the album was trying to give the audience. The band is getting old. Losing hair, getting more wrinkles, and losing some abilities that are better to leave undisclosed. But what Stiff Upper Lip means is that you have the nerve to stay in the spotlight and you wont give a damn. They're here to stay for a long time to come, even when they're physically gone.
But then again, some things have changed. But thats in every way a great thing. For one thing, people who skipped 'Ballbreaker' and went straight to this from 'The Razor's Edge', you'll have the opportunity to hear drummer Phil Rudd back on the set. Which is always a great damn listen. He apparently left the band after 'Flick Of The Switch', to become a helicopter pilot. I find it very hard to believe too, but hey, whatever the man wants, he'll get. Brian also makes a huge difference on this album. His voice is different this time around. Hey, it still sounds like he gargles motor oil every morning, but he hits every track with a different approach, thus changing every intro on the album along with him. Its a very interesting change that I really cant explain, you'll have to check it out yourself. And last, the album's sound approaches you as a lot softer and slower than other AC/DC albums. It keeps it's root material in the backround, but everything up front sounds quite lighter than tohers. Well, thats not exactly the matter. Its the new millenium. Things have changed, so has AC/DC just a little bit. But with more rocking solos, great vocals, and one hell of an album cover, this will be one to remember.
Stiff Upper Lip
This album kicks off with one hell of a track, which is also the title track. You'll recognize the difference with Brian the second he starts up on vocals, and that great riff echoes throughout every measure of the verses, as Brian howls out his words about about not giving a damn and going out at life your own way. Like old times, Phil and his trust ol' beat keeps the rythm section thumping its way across the song. Malcolm supplies great back-up material including vocals that repeat at the outro. Now, I'll admit this isnt the most explosive intro to the album, but it is one hell of a song and brings you back to remembering songs like 'Shoot To Thrill' and 'Have A Drink On Me'. Although the guitar-work isnt at it's prime here, Brian takes center-stage with great vocals and will indeed keep it going. 4.5/5
Meltdown
Great guitar-work on this little gem. These lyrics are one among two songs that explain the whole world worrying the so called Y2k on new yer's eve. Brian just keeps going at it, as Angus and Malcolm show their although repetitive, but trustworthy, and suppoertive riff that keeps this song in place. The chorus, along with most of the ones in the album, is the song title being repeated at high volume, or High Voltage if you will, and making the scene show up at it's best. Angus' solo shows that he still hasnt lost it, and Brian repeats the chorus until it fades out into the crashing conclusion. 4/5
House Of Jazz
This is clearly on of the standout tracks on the album. Starts out with the repeating riff that follows Brian's leading vocals. And for one thing, for a song with the word jazz in it, it's misleading. The chorus stands solid, with the title being yelled with great musical potential and then Brian to lead out into the next verse and solo. I like how Phill tries something new here with the set, as he uses a huge amount of crashes as well as speeds it up for choruses. The solo is another to watch out for, as it keeps wailing through until Brian comes into another chorus, and even then, Angus' keeps going at it. Although not the fastest, or the heaviest, this track stands solid as one of the very best."Come into the house of JAZZ" 5/5
Hold Me Back
My god. This is the comeback of the Bon era all over again. That riff just screams out Powerage and Dirty Deeds at you as Brian softly makes his way through the verse. The soft but intensive chorus strikes great resemblance and brings you back to some more of Brians good stuff. The drums later make a better conncetion with the listener as it somehow gets louder and Malcolm switches to different material and Angus takes the solo head on with Cliff also providing strong, solid back-up. The outro is another thing to watch for, as it contains a taste of the solo as well as Malcolm going at the main riff still and Phil taking some crashes into play. Not the best attempt, but it wont hurt to listen in. 3.5/5
Safe In New York City
It will probably be surprising to hear, but this is actually the first song I heard off the album. So maybe it will be biased, but maybe not. The intro consists of a great, creeping riff that gets in your stream of hearing, and Rudd goes at the standard beat harder than ever. This whole song is very, slick sounding, and didnt deal with much of an introduction. The verses fly by and when the time comes, choruses suck up the rest of the want that fans beg for. Actually, let me correct that. The solo sucks up the rest, because along with great rythmic from Malcolm, and Phil and Cliff's thumping, the solo makes a great entrance. The outro is the lyrics from the chorus but on a heavier note, until Brian leads out the song with a howl. Excellent stuff. 5/5
Cant Stand Still
Another appearance of a great earlier-era AC/DC guitar-work. It's truly great to see it along with some of Brian's vocals. This one flows very nice and shares a more organized arsenal of lyrics and more steady material on bass and drums. The simple chorus is a light dip of effort, but later pays off with the solo that makes up for anything damaged. It doesnt exactly stand out, but it just makes the song complete. Not much to say about the song's second half, except that it has another solo! It leads out with another spaz by Brian and just strikes you with another 'mehh' feeling. Pretty average stuff here, but it should be heard every once in a while. 3/5
Cant Stop Rock N Roll
With a similar title as the predecessor, this song actually pulls through as another of the best the album has to offer. Great introduction by Angus, and leads into some of the best guitar-work on the album. You would expect a song thats called Cant Stop Rock N Roll to have Grade-A guitar. It doesn't, but it comes pretty close. the verses could have used a betetr supply of work, but the chorus features the Young's doing what they do the best, and Brian howls out the song title with glee. The bridge is interesting because Brian howls and Angus mimics with a great rocking solo. This easily stands as one of the best and once again brings you back to the older stuff. 4/5
Satelite Blues
Wow. What a song. Amazing guitar-work here. And for people that got bored of the slower stuff, this heavier rocker makes the comeback of the stuff, and is also the very highest peak of the album. The whole song just screams at you, as Brian makes his way through verses with some more of his new style, and Angus and Malcolm duel with some great guitar-work. As Phil tries out the beat that could also be seen in You Shook Me Al Night Long, the chorus starts up and it just completes it along with the amazing solo. Probably the best on the album, song-wise and solo-wise. Just amazing, and the brave comeback of heavier material. 5/5
Damned
Once again, the song title just screams out that this is another classic. It starts off slower with Brian telling of another catastrophe, and The Young's follow with simple guitars as Phil also snaps with newer material. After a quick rest, Brian sets off the much heavier chorus. And my god, the solo rips open the song with this one. It rips out the backbone and just adds to it. Great stuff, another one of the best guitar-work on the album when it nears to the end, and another great listen that always lays around for you to set it off into another moment of what made AC/DC shine. "Well, Ill Be Damned!"4.5/5
Come And Get It
This is the very sequel of That's The Way I Wanna Rock N Roll, as it features some great guitar-work nearing rhe pre-chorus, but the mellower chorus gets you with the abnormal effects of Cliff and Malcolm's back-up vocals. The vocals themselves are not at the grade-A state here, but still make the song go much further, as always. The solo is backed up by some heavy bass-drum hits as Phil crashes along with Angus with another great solo, and Malcolm comes out with Brian and creates one hell of a breakdown and into the last chorus. Phil is one of the greater highlights here as he backs up the rythmic section perfectly. This song isnt the best effort, once again, but leads into a more explosive closing to the album. 3.5/5
All Screwed Up
Another one of the best. As the other Y2k song, it features a steady line by Cliff and Malcolm while Angus gives his better foundation of the lead, and Phil makes a great appearance and the corus with some great rolls that fuel it as Brian just yells that song title like there's no tomorrow. the solo starts off right away and its just chaos. Wow. What a listen. The bass-drum once again thumps while Angus gives it his all. Then, the last chorus leaves the song with one mark of excellence and the outro lasts it's share of length as the rocking title is screamed out plenty. To later be uncovered once again.... 4.5/5
Give It Up
Perfect song title for the outro to a great album, I'd say. And some of the best the album once again offers the heavier audience. At this point, even if its filler, it wouldn't matter. Because you're so used to that new sound, that you just listen in and are satisfied by that rocking chorus and solo that leaves you in the daze that the album started you off with. Another great appearance by the Youngs here as well as Cliff with a more complex line to add more rythm to the formula, and Brian and Rudd dualing the spot-light as the rest lead the way into the very end of the album. You didn't hear it from me. "Give it up, Give it out"4/5
-----------------------------------------------------------
Pros
+One of Brians best with AC/DC
+The new, more straightforward style
+The "real" comeback of Phil Rudd
+Angus , as always
Cons
-Not the heaviest the band has to offer
-----------------------------------------------------------
AC/DC always stood strong, even if people didn't give them the credit for it. This time around, its proven that they will be around for plenty more time and will supply us with more classics before theyre gone for good. Just as we see some of Bon's stuff rub off into this album, we will see the band itself rub off into a great deal of others in the near future. Bur lastly, I want to point out the concept the album was trying to give the audience. The band is getting old. Losing hair, getting more wrinkles, and losing some abilities that are better to leave undisclosed. But what Stiff Upper Lip means is that you have the nerve to stay in the spotlight and you wont give a damn. They're here to stay for a long time to come, even when they're physically gone.