on July 17, 2004
For Those About to Rock gets a bad rap. People expected Back in Black 2 and that just wasn't going to happen. What they got, however, was an outstanding follow up to one of the greatest metal albums ever.
This album is much edgier than back in Black, harkening back to the Highway to Hell days. The songs are heavier than Back in Black on the whole and have a much darker feel.
The title track is a staple of AC/DC live shows to this day, unfortunately, because the overwhelming consensus is that this is a 'weaker' album, they don't do as many of the other tracks as they should. The lesser known tracks that are standouts from For Those About to Rock are Evil Walks, C.O.D., and Let's Get it Up.
If you buy this with expectations, you may be disappointed. If you buy it and just take it at face value you will have discovered a gem that is often overlooked.
on January 9, 2003
This album leads off with one of 'DC's greatest songs ever, the title track, a brooding rocker that builds to an awesome cannon-powered climax. The ball keeps rolling with the throbbing "Put The Finger OnYou" and the forgotten classic, "Let's Get It Up". From there, the songs become decidedly more generic. "Inject The Venom", "Snowballed", and "Evil Walks" are all good tunes, but nothing special. "C.O.D." is an obvious attempt to capture the same vibe as "You Shook Me All Night Long", and it isn't nearly as effective. "Breaking The Rules" and "Night Of The Long Knives" regain some ground with a catchy chorus and great riff, respecitvely. "Spellbound" is their typical slow bluesy album closer, but it isn't as memorable as "Night Prowler" or "Rock N Roll Ain't Noise Pollution". Mutt Lange continues the clean production he gave the band on its previous two albums.
In the lengthy back catalog of AC/DC albums, this one ranks firmly in the middle. Nowhere near as good as classics like "Back In Black", "High Voltage" or "Highway To Hell", but certainly better than "Fly On The Wall" or "Blow Up Your Video". If you own more than half a dozen 'DC discs or so, this should be one of them, but it's certainly not the best place to start.
on July 31, 2002
Of course, following up 1980's record breaking "Back in Black" would be quite difficult, whether you make that assumption by sales or by quality. But leave it to AC/DC to carry on the true tradition of classic rock-n-rollers, with 1981's "For Those About to Rock (We Salute You)." Here, the band explores all of their expected territory with epic rock anthems (the classic title track) and the predictably fashioned wine, women, and song scores ('Let's Get it Up,' 'Put the Finger on You'). But in a stunning yet well balanced manner, AC/DC brings listeners to a world on the streets, taking elements of frustration (the excellent 'Spellbound'), distrust (superbly crafted 'Night of the Long Knives') and rebellion ('Breaking the Rules'). 'COD' is classic AC/DC all the way, while the marvelous rockers 'Evil Walks' and 'Snowballed' seem to contradict the quintet's classic subject matter. Lead vocalist Brian Johnson's lyricism and bellows give the album its broad feel, while the guitar playing of Angus & Malcolm Young lead the rhythm section of Cliff Williams and Phil Rudd. Here in its remastered form, "For Those About to Rock" is one of AC/DC's peak accomplishments.
on December 7, 2003
I'd give it 6 stars if I could.
If it wasnt for an album entitled "Back In Black" ... this would have been THE quintessential rock album of all time that bands needed to live up to. It kills me that this album gets little to no respect as its predecessor does because the volume of material here IS IN FACT on par and at times eclipses "Back In Black".
My humble and honest opinion (I refuse to use internet acronyms) is that "For Those About To Rock" came out way too quickly for its own good. The phrase *too many chefs* comes to mind here ... if they wouldve released the "ever too average" Flick Of The Switch BEFORE this release then I think it wouldve faired much better than it did, in sales and elsewhere.
Not too mention that not too long after "Back In Black" came out there was the invasion of the lame glam rock scene. And YES, I myself totally bought into that whole scene and lived it! But after all these years later .... what am I still listening to these days?? "For Those About To Rock" ..... yep .... gimme the great songs entitled, "C.O.D." (always my favorite!!), "Put The Finger On You", "Evil Walks", "Snowballed", "Breaking The Rules"!!!! Hell yea, this album kicks some serious ass!!
on May 23, 2003
If you can find this version of "For those about to rock" you're in good company, because the brownish gold cover is identical to the copy on vinyl that I own, which means it's among the initial pressings.
With Back in Black, AC/DC raised the bar so high that no one could top it, not even themselves. The only way you're not going to like For Those About to Rock is if you compare it to Back in Black, which is understandable, but for me personally I enjoy the album to the same extent as Back In Black.
The title track was inspired by a the saying "For those about to die, we salute you" and the band simply changed a word. The song features cannon noises which build up for a grand finale. It is a concert staple, and justifiably so, but there's plenty more noteworthy tunes, among them are the verse-riff tandem of "Inject the venom", the relentless rocking of "Snowballed", "Night of the long knives" had a Back in Black-style groove, "Breaking the rules" is an anthemic, semi-bounce track. I recommend "For those about to Rock" wholeheartedly.
on July 12, 2002
This album sounds like a rushed follow up and smells like one too. Why did it top the charts (only briefly until word got around that it was no BIB2)? Obvious answer. It rode on the back of two solid, quality albums. It has its moments, but they are few and far between. Title track, Put The Finger On You, Let's Get It Up, good start! .......Hmm, OK maybe COD and Spellbound, or Snowballed. Now I'm reaching. Those are the only listenable fillers worthy of mention. The rest sounds like it was wriiten a few days before it was recorded.
It's the first album where weak lyrics become tiresome and so does all this' words to the chorus matching the chorus riff ' stuff . You know : It 's the daa da da daa da, da of the long daaas. This was seldom done before this album, or when it was, it had some catchy lyrics and attitude to it ie. Dirty Deeds, Highway to Hell. The only good points are Brian's voice (completely wasted on these tunes), and the slick production. Back In Black sold this album, and this album killed Filck Of The Switch (most underrated Brian-era album).
on December 21, 2001
I used to bag on this album quite a bit. I always thought of it as one of their most overwrought and aimless records. And if there were only one side to it, meaning the second one, that would be a fair analysis. Remember, kids, that this record hails back to the days of vinyl when albums were big (and in this case embossed!) and had two sides. Man, that's one of the biggest disadvantages to CD's, and I've always thought so. Whatever happened to side A and side B? Far from being an inconvenience as one might think, flipping a record over was (and is) an integral part of the experience. First of all, it breaks up the presentation. A bit of an intermission, if you will. But more than that, each side presents a conceptual medium. Side A can be a set of rockers, whereas side B can be a more exploratory realm, full of more moody and adventurous material. Or, in some cases, it could be the other way around. Depending on what mood you're in, you play either of the two sides. I've always thought the uni-sided nature of the CD experience detracted greatly.
Okay, so here we have AC/DC in the year 1981, the beginning of their twilight years. They had spent the previous ten years in rabid pursuit of "the top", and had found it in a big way with Back In Black. Where to go, then? Presumably, the only place to go from the top is down. And yes, this record does show very distinct signs of a band in decline. It is heavy-handed and grandiose (a 21 gun salute?! Come on, guys!). However, they still manage to weave in a healthy dose of good old AC/DC-style fun, particularly in the obvious standout "Put The Finger On You", a song straight-up about coppin' a feel. Only these guys could pull it off with such finesse, and in a way that is so subtle that you could still play it in front of your mom. If she picked up on it, you could just claim to be oblivious! God knows I was when I was a kid. Hell, I didn't even know what "Let's Get It Up" was about. Gahilk!
on May 9, 2001
I think I must warn you all that say this is not a good AC/DC album. THis is not true. THis, in fact, was the last great AC/DC album, even coming after "BACK IN BLACK". IT has John Mutt Lange production, it has some great rocking tunes, Phil Rudd is still delivering the goods, Johnson could still sing. The album is tight and straight-forwarded. We can see clearly here the decline in the lyrics department ( Brian is no Bon ), the lyrics began to sound so dumb and ridiculous I could not believe. One last thing: if some of you say this album is not good, what about the Simon Wright era albuns ??!! What about "BALLBREAKER" and the recent "STIFF", where Johnson can't even sing, the lyrics are worst than ever and Phil seems to be sleeping ?? The plain truth is: after "FOR THOSE", AC/DC was never the same. It's the same process that happened with Iron Maiden after SEVENTH SON, Metallica after MASTER OF PUPPETS, Black Sabbath after HEAVEN AND HELL, adn so on and on and on...
on April 11, 2001
People bought "Back in Black" with the mindset that it was not going to be anything good because Bon died... everyone thought AC/DC was dead and not coming back. Brian Johnson proved them wrong, giving them the best-selling album of their career. Now, Johnson proved that he could make a fan out of people who had a low opinion of the band. However, with this album, he had to face the pressure of not disappointing his fans. He pulled it off. He did it. This album is the last GREAT album that AC/DC ever did. It kicks off with one of my favorite tunes by them of all time, and continues with the catchy "I Put the Finger On You". In fact, every song up until "Evil Walks" is PURE GOLD! After "Evil Walks", it starts to lose its edge. But it is regained by "Spellbound". Johnson proves that he is an awesome singer. It is about as good a follow-up as can be expected to an album that sells 19 million copies. Props to Johnson on this one.
on August 7, 2000
Ok, you did "Back In Black", now what do you do next? Answer, you have to do a follow-up album that is either better then the one you did before, hype up the production and promote it to death, or progress and do something different, or "just put out an album and see what happens".
AC/DC in November of 1981 released "For Those About To Rock...". It was successful but it wasn't anything "ground-breaking" for it's time. You also gotta remember the time, 1981 was the year that the "New Wave Of British Heavy Metal" movement was on the rise. AC/DC delivered an album that kids can just rock out too, not something complex and progressive. The production on this album is great and you really can't any better then this. Songs like "Let's Get It Up", "title track" and "Spellbound" are just a collection of songs to just rock out too. There's nothing special about this album, but it has the AC/DC magic on here (rocking out).