Customer Reviews

Ballbreaker (Dig)

5 star:		(32)
4 star:		(42)
3 star:		(17)
2 star:		(12)
1 star:		(5)

 

 

I've read reviews of this album where the reviewer said that is is not a good album or that all of their songs sound the same but you should take a listen to the songs. Sure they can't be compared to Back in Black, Highway to Hell, Dirty Deeds or even the new album Stiff Upper Lip but this album has it's many strong points. The album rocks, Angus Young who has to be one of the most underrated guitar players ever, shines on this album. True Brian Johnson's voice is a little weak but what do expect after 20 years screaming over loud guitars. The best songs on this album are Hard as a Rock, Cover you in Oil, The Furor, Burnin' Alive, Hail Caesar, Caught You with your Pants Down, Whiskey on the Rocks, and Ballbreaker. This is a great album that I would reccomed to anyone.

Thank god Rick Rubin stepped in as producer. Thank god Chris Slade, the human (?) drum-machine, was replaced by TRUE AC/DC drummer, Phil Rudd. Thank god the boys got their balls back on Ballbreaker, making it their best album since 1983's Flick of the Switch. Anyone that says that gutless slick pop album, The Razor's Edge, is AC/DC's "comeback" doesn't know what AC/DC is about. True fans love raw, no nonsense albums like Powerage and Flick of the Switch. Ballbreaker is such an album. When songs like "Hard As A Rock" and "Cover You In Oil" are the singles, you know the boys aren't giving a *@#! about moving units (the album broke the Top-Ten despite their efforts). Ballbreaker is so many things. First, it's a big demonic tongue stuck out to those pop-kids that were expecting another "Moneytalks". This album is the antithesis of pop. That's why so many people, even so-called rock fans, put it down. Yeah, Ballbreaker doesn't get much love. That's because there are a lot of watered-down punks who don't keep it real and don't know soul/power from a snappy tune. They knock Ballbreaker for being juvenile and gross. That's what's so great about it! AC/DC prove on Ballbreaker that just because they were now middle-aged, it didn't mean they were going to get all tasteful and *@#!. God, I HATE taste! Nothing can spoil rock & roll more than taste. AC/DC understands this. They also understand the blues, which is the heart of rock & roll. So many people have a misconception about the blues because of these cornyass crackers like Eric Clapton or pick your pseudoass "blues-guitarist" that does a little 12-bar and bottleneck and suddenly thinks he's in the Delta. They want to canonize the blues, make it respectable and put it in a museum. The blues isn't just African-American folk music that expressed hardship; the blues is raw, lascivious and diabolical music. It's Howlin' Wolf growling about "evil". It's Muddy Waters, with some jagged nasty hooks, telling you he's your "hoochie-coochie man". It's John Lee Hooker rumbling about "whiskey and wimmen" over a dirty, funky groove. AC/DC know this and Ballbreaker doesn't just imitate this sprit; it emulates it. Ballbreaker is an EVIL album. Just listen to that breakdown in "Hail Caesar" when Brian Johnson starts singing really low and evil like (similar to the "ladder and snakes" breakdown in "Sin City"). More than any other AC/DC album, Ballbreaker is like their hard blues masterwork, Powerage. Producer Rick Rubin (a true fan) and the return of drummer Phil Rudd help bring that Powerage sound back. The songs aren't as distinct as the ones on Powerage (or as any of the songs from their peak year 1977-1983 albums). But the power and atmosphere is there. Some people knock Ballbreaker for being too mid-tempo; again, they don't get that this is primarily dark evil blues. It's creeping, like. I don't even think of Ballbreaker so much in terms of "songs"; it's more like one giant song that keeps kicking your ass. And finally, the main criticism of Ballbreaker, there's Brian Johnson's voice. Oh man, people are so wrong on this. His voice is AMAZING on Ballbreaker! I don't mean "amazing" as in "good". Brian's voice is like a shrapnel laden limb on this album. It's hardly a voice; it's more of a sound, like another instrument. And that's just the way to go with it. Brian's not trying to fool anyone on Ballbreaker. He's not trying to "sing" per say. Most of those old blues guys didn't either. They did what Brian does on this album: Growl and spit. He just sounds like a bad, grizzly-mouth mofo. You can smell the cigarettes and whiskey on his voice; you can hear the history of rocking out perhaps too hard on Flick of the Switch. You hear a MAN. Yes, a MAN. A primitive, rocking MAN that's squinting and bending over. And he rather implode than not give 100% of his machismo. He totally embraces his ruined voice and uses it for all its ragged worth. Somehow it just makes the album sound meaner, more kick ass. This is the closest AC/DC ever came to sounding like an underground act. There's no pretense here. There's no nonsense. When you hear that primeval riff in "Ballbreaker" you can't help thinking of Angus Young riding a Thunder Lizard. Yeah, a Thunder Lizard right over YOU! And Brian is showing a minister's wife some sinful business in a back alley. Ballbreaker, the album, the song, is the dark monkey pit of Man. And yes, it's a masterwork.

Update: I agree with the comments and have omitted the line about Bruce Fairbairn. I'm older and wiser now and don't think it's cool to make fun of someone's death just because I didn't care for their production style. I do stand by my Chris Slade jab. I'm sure he's a nice enough bloke and a pro and all that, but he's no Phil Rudd. Neither was Simon Wright. And I also stand by my appraisal of Eric Clapton's whiteness and his lack of true bluesy feeling in his playing. And I still think Ballbreaker is a pretty cool album. Masterpiece? Perhaps not. It's not on par with any of the Bon Scott era albums or the first three with Brian Johnson...but it's still a straight-up, raw and tough slab of rock. And it's called Ballbreaker.

Ballbreaker will never be considered AC/DC's best album. That's because it's not. Does that mean its no good? No way! It's a must have for any die-hard AC/DC maniac (such as myself), but it's not exactly the CD you want to loan your wayward, uninitiated friend who's curious about the band (that would be either High Voltag or Back in Black), because it's not the consistently solid effort they are usually known for. Tracks like "Hard as a Rock", "Hail Caesar", and "Love Bomb" are vintage AC/DC, but "Caught with your pants down" (the only song by AC/DC that I truly dislike) is without question the weakest song they've ever recorded. Some tracks I love, some I like, one I'm borderline on, and one I dislike. "Burnin Alive" seems (to me at least) to be a commentary on Bill Clinton's stupidity (already emerging back in 95), to my knowledge, the first time the Young boys have ever commented on current issues. It's still a great album, and still great music, but the resence of the only truly "bad" AC/DC song on it makes it one for only seasoned fans.

After a 4 year hiatus from relentless touring, and an amazing live album from 'The Razor's Edge' tour in '91, AC/DC returned with a fury with 'Ballbreaker.' A clever album that delivers the goods on several different levels. Burned out and depressed from the 'grunge' music of the early 90's, I faithfully bought this CD in hopes of returning to my upbeat heavy-metal arena rock memories. I wasn't disappointed. This album rocks. It also got alot of airplay when it was first released. Yes, it's a bit polished, but that's ok. Produced by Rick Rubin, an experienced producer, this album was a moderate success. The DVD of their live concert in Spain, 'No Bull' is a must for any true AC/DC fan. This was recorded during the 'Ballbreaker' tour.A perfect companion piece to this one. I got to see them twice in CA, and I was 11th row the first time. (I had just finished a bottle of Yukon Jack before the show!) Angus and Brian ran right past us and I was in AC/DC heaven. 'Hail Caesar' is a highlight and so is 'The Furor'. The boys take it easy and just play good blues/rock 'n' roll for this one. They don't have anything to prove. They don't have to churn out an album every year like other poser bands. The comic-book jacket-booklet is very cool. As with all of the re-issued/remasters, the true sound and fury of AC/DC is brought out and it sounds really f-ing great. This is a very good album on its own and was a powerful live performance. It was hard to follow this one, and their 'Stiff Upper Lip' album was also good and bluesy, but it missed a few beats. This album proves that AC/DC is still 'Hard as a Rock' after decades of rocking the living daylights out of its fans.

This album on it's own is a solid piece of rock sleaze. The entire band is back in good form and the remastered edition brings everything out. Brian's vocals sound much improved and more distinguishable, the drums are floor shaking, and the guitars are crisp. Everything is tight as it should be. I'm not even going to compare this to back in black or any of there earlier works. There would be no point. It is a differen't time and the band is older now. Take it for what it is... blues rock n' roll. If you listen to it and your foot doesn't move I'd dare to say you may be lacking some rythym sense. How many bands at there age can put something together with ballsy power, consistency, and focus? Don't think to hard.

Wow, what can I say. This is Marvellous stuff from the good ole Rockin' lads of AC/DC. This CD came out when I was in my 2nd year of High School & I purchased it the day it was released & took it on over to my friends place on that same very day & blasted the heck out of it. I have been a fan for quite a while now, say around 9 years + own all thier records, a biogrpahy on them, a magazine containg an article on them, a t-shirt which was quite hard to find might I add...etc The only thing missing is thier autographs. I am a University student now just in case you were wondering whether I was still in High school or not. One of the factors that really had me excited about the release of "Ballbrkear" was that it would contain Phil Rudd on Drums again - (Check out the "Highway To Hell" or "Back In Black" CD & you will know what I mean!!). He is one marvellous drummer & quite frankly the best my ears have ever heard & ever will hear. Anyway moving on to put it simply this album Rocks from begining to end. I enjoy all of the songs contained on this unique album & a few a bit more than others which happen to be: "Hard As A Rock", "Cover You In Oil", "The Honey Roll", "Burnin' Alive", "Hail Caesar" "Whiskey On The Rocks", & "Ballbreaker" but it's all good stuff!! Sure you are going to get people that will moan about the sexually anticated lyrics of the world's most electryfying rock n' rollin band but it has never bothered me & why do others let it get to them?? If they don't like it then tough this is not for them in that case!! The fact of the matter is that good music is good music. Well what more can I say. I will end on the note that any AC/DC album one picks up is as good as the next & you will find yourself having this wonderful band in rotation for long periods of time & always making it back in your CD player for more & more rotation at some point or another. Also reading some of the other reviews by fans & comrades all over the globe, it was mentioned that AC/DC makes good Road Trip Music & DARN right it does especially if it's cranked up to the maximum. Well what are you doing still reading this review go & get all thier CD's (especially the one's that have Phil Rudd on Drums, you won't go wrong) to truly appreciate this band & go see them live when you have a chance. Rock on people. ¦¬Þ

A pretty good "comeback" album after 5 years off, the 1980 Back In Black line-up playing up to their musical chops and writing songs that sound like some actual effort was put into their creation. As per normal, the much-loved (or much-hated as there is no middle ground in this debate) sleazy sex-obsessed lyrics are here in full-force (enough so to make Bon Scott smile). Regardless, this album rocked pretty hard during my junior year of high school and is still quite entertaining today. Excellent production by the great knob-twister (take that whichever way you want) Rick Rubin.

This is classic AC/DC, all bluesy rock is here in a pure way that only these guys know how to do, its true that AC/DC is a band that hasn't changed anything from their style and thats great! they remain true to themselves

I for one was disappointed by this record. I know that a band this good is likely to receive negative criticism for any album they release that is anything less than their usual ass-kicking standards. For example, after Back in Black came out, For Those About To Rock and Flick of the Switch both got less-than-spectacular reviews but were a couple of really great albums that a lot of fans and critics were reluctant to listen to without comparing them to past classics. If any other band had released them, they might have been hailed as masterpeices. Fly on the Wall truely wasn't nearly as good as anything before it, but when listened to with an open mind, if you get past Brian's deteriating voice, the worse-than-usual lyrics, the weak production, and only a few really weak songs, that album still contains some classic AC/DC tunes. Ballbreaker, on the other hand, has very strong production, only a few decent songs, worse-than EVER lyrics, and a ton of boring, plodding songs that don't go anywhere. What happened, guys? Blow Up Your Video and the Razor's Edge has a lot of really cool stuff going on in the songs musically, and with the exception of the vocals, they clearly showed signs of musical growth and songwriting progress, even if they didn't "kick ass", per se. I'm sorry to say that Ballbreaker has no kick-ass appeal, nor does it have many interesting licks. It's just bland. I liked it at first, but it became a boring listen. Why? For one, no energy. Well, that's okay, but ALSO no interesting riffs to make up for the lack of vitriol causes this record to fall flat on it's face even when played at full volume. Brian's voice, which is almost completely dead, is something I've gotten used to, so I don't really mind it so much. The problem here is clearly the lousy songwriting. Cover You In Oil, Boogie Man, The Honey Roll, Love Bomb, and Whiskey on the Rocks sound as if they were effortlessly thrown together in minutes. Some of the songs have really cool parts. I've always liked "Hard as a Rock", the title track and a few others. So my message to you, my friend, is that if you're in search of some really good late-period AC/DC, try Stiff Upper Lip. It's got muscle, it's got loud blistering guitars, it's got blues, it's got raw production, good energy, and last but not least, GOOD SONGS!

I'm writing this review after Stiff Upper Lip (henceforth SUL) has come out, because I want to at least voice some opposition to what I see as a general opinion trend - that this album is a bomb and that SUL rocks. For the listener who wants a party song or memorable lyrics, then perhaps SUL is AC/DC's best recent effort. However, the Phil/Cliff/Malcolm rhythm machine drives on this album like a MAC TRUCK with more muscle than anything since Back in Black. Both albums generously feature Angus's trademark searing attack, but in my opinion, SUL only achieves the drive of this album on a handful of tracks; the title track, Satellite, and Give it up. Brian Johnson's voice isn't what it use to be, but he seems to compensate with a growl that is more focused on syncopation and interacting with the rhythm, which works well on this album. Caught With Your Pants Down and Ballbreaker are two of the most intense songs on the album, and demonstrate these points the best. No, this is not a light album. It all depends on why you like AC/DC. I'm a guitarist who worships Angus and the piston-like drumming of Phil Rudd, and I think this album is clearly their best recent effort, better than SUL by far. SUL is a great album, but if you listen to AC/DC for that driving rhythm which propels Angus's raw attack, then this is your album.