Most Helpful Customer Reviews
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13 of 13 people found the following review helpful:
5.0 out of 5 stars
Hard-hitting, unusually serious., September 25, 2000
If there's one AC/DC album that aims for respectability, for something more serious than the band's usual feel-good rock about sex, parties and rock n' roll, Flick of the Switch is that album. Though Highway to Hell offers catchier tunes and Back in Black was the commercial behemoth, Flick of the Switch is the band at its most uncompromising, loaded with writhing electric-guitar work, seething energy, groove, and a darker touch. From the bone-rattling power chords of "Rising Power" to the lumbering drive of "Guns for Hire", AC/DC sounds metallic and tough, Brian Johnson taking his ragged vocal style to its limit (before he turned into the hoarse, oddly interesting, yet not-for-all-tastes screech in the '90s). Possibly my favourite of the Brian Johnson AC/DC albums, even if it's less commercial, less anthemic, and less hook-laden than Back in Black.
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19 of 21 people found the following review helpful:
5.0 out of 5 stars
Rising Power! Bedlam In Belgium! A Great CD!, May 17, 2000
After the massive success of BACK IN BLACK and FOR THOSE ABOUT TO ROCK a backlash against AC/DC was inevitable. Unfortunately that backlash came at the expense of one of AC/DC's best albums, FLICK OF THE SWITCH. Much better than the inconsistent FTATR, FLICK really captures AC/DC at their best. With such great songs as "Bedlam In Belguim," "Guns For Hire," and the classic title track, FOTS continues the style of BACK IN BLACK, albeit with a slightly bluesier feel. "Landslide" and "Brain Shake" are a great pair of uptempo, high energy bursts of power, and give the album something most of their recent albums have lacked - diversity in the tempo of the songs, giving it a great flow from one song to the next. There's not a bad (or even weak) song on this album, the last GREAT album from AC/DC. I'ts also the last album that saw Brian Johnson at full strength (before he blew out his voice!). After FOTS it would be a run of several good, but not great, albums. If you don't already own this one, get it now. It is the perfect complement to BACK IN BLACK. --(And if you like this one check out Def Leppard's HIGH N DRY or Krokus' ONE VICE AT A TIME)
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8 of 8 people found the following review helpful:
4.0 out of 5 stars
really solid--doesn't reach classic status, but comes pretty close, September 12, 2005
Originally released in August of 1983, "Flick of the Switch" is a damn fine AC/DC record, and if you love the band, I really can't understand not digging it.
In the liner notes for the 2003 remastered version of "Flick...", Malcolm Young explains that the band wanted to get back-to-basics with this record, which they produced themselves, and you can see what he means--the album has a real live-in-the-studio sound to it, with guitars exploding out of the speakers, plus all but two of the tracks are under 4 minutes, and they've completely ditched the special effects a la the bell tolls on "Hells Bells" or the cannons on "For Those About To Rock (We Salute You)". Also, Brian Johnson's vocals are at their gloriously piercing best throughout.
The liner notes in the 2003 reissue also state that the album is "remarkably varied". Is this a joke or what? One thing that there sure as hell isn't a lot of on this album is variety. The boys do a nice job of mixing up the tempos--you have your slower paced tunes ("Rising Power", "Nervous Shakedown", "Deep In The Hole"), medium-fast tunes (title track, "Guns For Hire", "Bedlam In Belgium"), and fast tunes ("Landslide", "Brain Shake")--but that hardly makes for a "remarkably varied" batch of songs. One thing I won't argue about though is that the album is indeed very consistent.
The album starts off with "Rising Power" which is one of those great AC/DC stompers, with a brilliant sequence of kickass riffs. Likewise, "Nervous Shakedown" has another great sequence of riffs and builds spellbinding tension before breaking into the call-and-response chorus. The title track, with its sly guitar licks, is a ton of fun. The boogying "Landslide" is one of the most wildly exciting rock songs ever--it's a furious, fast-paced thrill ride with an ultra-catchy rapid-fire vocal hook leading into the chorus, and blistering guitar soloing from Angus; if this song doesn't get your heart racing, I don't know what the hell will. Also irresistible are "Deep In The Hole", with its cry-of-desperation chorus; and "Bedlam In Belgium", with its clever almost-but-not-quite-synchronized rhythm guitar parts and its spiritedly malevolent chorus.
As solid as the album is, it's not a bonafide classic. "This House Is On Fire" is a middling rewrite of "Hells Bells". "Guns For Hire" sounds a bit rushed-through and underwritten, although there's no denying that it's got a hell of a main riff. The bluesy "Badlands" lazily recycles the "Bad Boy Boogie" riff, although there is an ear-catching bit in the riff just before the guitar solo. The album closing "Brain Shake" is a really cool tune that seems to borrow some of its riffery straight from the Beatles "Helter Skelter", but the repetitive "joy to ride" 'hook' gets to be a little annoying, as does the heavy repetition of the title.
You've got to be nuts to think that this album marks the beginning of a major artistic decline for AC/DC. If you actually enjoy the watered-down, Foreigner-style arena-rock of songs like "Touch Too Much" and "You Shook Me All Night Long", then it makes sense that you'd find this album disappointing. But the true AC/DC aren't about lame cockrock; they're about ass-kicking hard rock, and "Flick of the Switch" does a very fine job of capturing the true essence of the band--this album is a must for any true AC/DC fan.
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