#Mutt Lange

[ungoliantschilde]

“Highway to Hell”, live in Holland 1979.

[aboutoriginality]

🤘

[cbjustmusic]

boygenius covering the Shania Twain hit "You're Still The One". ______________________ You're Still The One Songwriters: Mutt Lange and Shania Twain

When I first saw you, I saw love And the first time you touched me, I felt love And after all this time You're still the one I love Mm, yeah

Looks like we made it Look how far we've come my baby We mighta took the long way We knew we'd get there someday

They said, "I bet they'll never make it" But just look at us holding on We're still together, still going strong

(You're still the one) You're still the one I run to The one that I belong to You're still the one I want for life (You're still the one) You're still the one that I love The only one I dream of You're still the one I kiss goodnight

Ain't nothing better We beat the odds together I'm glad we didn't listen Look at what we would be missing

They said, "I bet they'll never make it" But just look at us holding on We're still together, still going strong

(You're still the one) You're still the one I run to The one that I belong to You're still the one I want for life (You're still the one) You're still the one that I love The only one I dream of You're still the one I kiss goodnight You're still the one

(Yeah, you're still the one) You're still the one I run to The one that I belong to You're still the one I want for life (Ooh, you're still the one) You're still the one that I love The only one I dream of You're still the one I kiss goodnight

I'm so glad we made it Look how far we've come my baby

[metalsongoftheday]

Friday, February 3: AC/DC, “Snowballed”

R.I.P. Malcolm Young (1953-2017)

For Those About to Rock We Salute You was a comedown after Back in Black introduced Brian Johnson and skyrocketed AC/DC to unimaginable heights, and not coincidentally it was the one where Mutt Lange exerted less influence over the recording (which likely explained why he never worked with them again). There was a blunter edge to the songs, as if Angus and Malcolm were less concerned with writing toe tappers and wanted to bash something out quickly. But there was also a strangely lurching quality to the tunes, with “Snowballed” in particular starting out with the band’s trademark energy before surprisingly crashing to a halt during the chorus.  Perhaps even more strangely, it felt like Johnson was doing more of the lifting, pushing the song forward through sheer force of will, and to be fair For Those About to Rock had some of his best vocals (it seemed he was the one still willing to listen to Lange’s suggestions).  The track was one of the livelier numbers on the record, at least during the verses, and AC/DC was such a juggernaut at the time that even something as oddly structured as “Snowballed” had an unstoppable force to it.  But for the first time the guys didn’t sound like they were in complete command of their craft.

[bearfoottruck]

OK, so I was on YouTube today looking for old TAG Body Spray commercials, and I found an old animated commercial from the early 80s for a beauty product called "Limara". I thought the jingle was so bitchin', and after a little digging, I found that it was an adaptation of this song: "Remember My Name" by Stevie Lange, ex-wife of famous producer Robert John "Mutt" Lange.

[rolandrockover]

I Only Love You Loud

I can vividly remember when I heard Unholy (1992) for the first time (1).

My listening habits were more or less anchored in the harbor of Def Leppard and consorts, Pyromania (1983), Hysteria (1987) and Adrenalize (1992) were my albums of the hour. So what I'm saying is that I wasn't exactly prepared for what I heard as a 16 year old when I put Revenge into the CD player and the unexpected heaviness and intensity of Unholy knocked my socks off, as they say.

And that brings me, for today's concern, straight to its refrain. By which I mean just the short but huge gang chorus, where Bob Ezrin must have taken the motto More is More to the ultimate maximum. My first immediate association was that massive dark men's choir from The Elder's (1981) Under the Rose, only with a slightly more klassik rocking attitude. An impression that wasn't all that wrong because was only off by one song, but we'll get to that in a moment.

The first question you might ask is when exactly Kiss started to integrate these kinds of large choruses into their music, because they certainly didn't have anything like that in the 70s. And the male choir in Under the Rose with its enormous volume of sound can only have had a bridging function, if at all.

But the place to look first might be the album where everything (especially the drums) were turned up a few notches, and I think that would be Creatures of the Night (1982). If you could find a song on it that also has a gigantic, characteristic chorus, that should be exactly what we're looking for, right? Alright. And because I Love It Loud is such a wonderful point of identification in terms of attitude for the band, let's just put its gigantic Hey Hey Hey Heyy, Yeeaaahs into our shopping cart and head back to the Elder section to take a closer look.

And as we do so, I gradually realize that I've always enjoyed listening to The Elder, but especially liked Only You, which I think is a rather unusual Kiss song, but none the less extremely familiar to me (2). Now, if only Only You's chorus was compatible with I Love It Loud, we could actually go to the cash register, where Unholy is already beaming joyfully at us, and ready to cash in. My best guess is, this can only be a good sign.

But to express it in all clarity with my thoughts at the time: Def Leppard? Who were Def Leppard again?

Side Note:

(1) If I would get one Euro/Dollar for every entry I started like this… .

(2) Why Only You apparently also has a klassik feel to it, well, I'll get into that another time. Why you can confidently assume that Only You's middle part riff is a precursor to War Machine (1982), on the other hand, can be read right here if you wish.

I seem to be there trough the ages to highlight links for these pages:

Unholy (1992)

Only You (1981)

I Love it Loud (1982)

[filosofablogger]

♫ When The Going Gets Tough, The Tough Get Going ♫

When David mentioned this one a few days ago, I was surprised.  For one thing, I barely remembered the song, and for another it didn’t seem like his preferred style of music.  But who am I to question, right?  I listened and then did remember the song quite well, even liked it back in the day.  But, I haven’t heard it in ages! When the Going Gets Tough, the Tough Get Going is a 1985 song…

[edc-blog]

“He's never done a band like us; he’s done a lot of heavy metal. But I thought the two could mix": How AC/DC's producer and synthesisers reinvented The Cars

© Mirrorpix via Getty Images (via LouderSound) “I always wanted our songs to pop and kick,” The Cars’ Ric Ocasek told me in 2005. And on the band’s fifth album, Heartbeat City, they did just that.  You might think of the pop in Pop Art terms: bold colours, sleek lines; bang-vroom choruses, the kick of a lyrical subversion that sneaks up on you, hinting at fragile mental states, with elliptical…

[braindrainindustries]

COMMIE LSD -PEAK COP (Official Video)

"PEAK COP”, the lead single from COMMIE LSD’s upcoming debut album, NIGHT UNTO NIGHT, takes the listener into the a near future dystopia about to be broken by a populace that's had enough. No amount of police, drones or robot-fucking-dogs will be able to stop it. Commie LSD are not advocating violence as much as warning of it; it doesn't have to be this way - but actions get reactions and consequences are inevitable. Quit being a cop and get a respectable job while you still can!

-MARS

Music Video by ‎@braindrainindustries

Bad Ass Hand Scrawled Text by Joanna Marie Beaumont IG: @dontgetheavy

COMMIE LSD ARE:

ZAIKA UDARNIK: Vocals, Drums, Drum Synth

RON LONCAP: Bass, Bass Synth, Synthesizer, Vocals

MARS HOTTENTOT: Rhythm and Lead Guitars, Music

PRODUCED AND ENGINEERED BY CAPTAIN NORLON FOR THE PEOPLE'S COVEN MUSIC DIVISION. ©PEOPLE'S COVEN MUSIC 2023

[spreadtunes22]

AC/DC Discography:

'74 Jailbreak

High Voltage

Dirty Deeds Done Dirt Cheap

Let There Be Rock

Powerage

Highway To Hell

Back In Black

For Those About To Rock(We Salute You)

Flick Of The Switch

Who Made Who

[oneluckygirl]

tell me why I just learned that in the intro to Love Bites apparently Mutt Lange goes “fuck off” 😭😂

[ungoliantschilde]

Highway to Hell, 1979

The American division of Atlantic Records had already told AC/DC that they would not release Dirty Deeds in America back in 1976. After the band’s relentless touring had built a monumental following, Atlantic added insult to injury. They told Malcolm and Angus that they couldn’t work with their older brother, George, and their mate Harry Vanda as producers for their next big album. Atlantic suggested some asshole that worked with Hendrix. That didn’t work. The band found a guy named Robert “Mutt” Lange instead.

They got their first platinum record because of it.

Mutt pushed them to make their most polished record to date. Review sites constantly rate this one higher than Let There Be Rock and Powerage. The sites are wrong, but I get where the idea is coming from. Highway to Hell is the prototype for every AC/DC record from then onward.

The title track is spectacular. It’s arguably AC/DC’s signature song. Those opening chords immediately tell you who’s playing.

“Girls Got Rhythm” is absolutely undeniable. An infectiously danceable hard rock song. Love that track.

“Touch too Much” is another jam.

“Beating around the Bush” might have the best rhythm guitar track of any AC/DC song.

“Shot Down in Flames” is the most ‘Bon Scott-esque’ song ever.

“Get it Hot” might be my favorite on the record.

And “If You Want Blood” is a banger.

“Love Hungry Man” is ok. It’s skippable. Not a bad song, but it’s filler.

“Night Prowler” is forever going to associated with the Nightstalker killings in LA. Someone found an AC/DC hat near one of the crime scenes and it kinda went from there.

Highway to Hell is the prototype for an AC/DC record. 3-4 greats, one absolute icon, and the rest is good but not memorable.

I said in my Powerage post that Bon’s death was not a shock. Everyone saw it coming. Before they went on tour of the UK and Europe in the winter of ‘79-‘80, Bon went home to his folks. His brother recalls seeing empty liquor bottles in every room, every day. He went out on a banger. Highway to Hell was his final statement. It went Platinum and catapulted the band into the stratosphere of music history.

In my opinion, he’s maybe the most perfectly chosen frontman for a band ever. He exemplified AC/DC’s sound. He didn’t have Brian Johnson’s talent, range, or power. But Bonny was THE GUY. Rock in Peace.

[adrenalize-ca]

002 – Joe Elliott’s Voice

☝️ Hit PLAY Now! As the singer, front man, frequent songwriter, and occasional guitarist of Def Leppard, Joe Elliott’s versatile voice plays a key role in the sound of the band. Elliott draws from many influences, especially music of the 60s and 70s – T. Rex, David Bowie, Mott The Hoople, among others. In this episode of the Adrenalize Def Leppard Fan Podcast, we discuss the powerhouse that is…

[wicer1]

Lately, I wake up to this song playing in my head.

[hypodermicfroggy]

[sugarmusicnews]

Bouncy Bouncy Bounce – Lionel Petersen

Bouncy Bouncy Bounce – Lionel Petersen ‘Bouncy Bouncy Bounce’ is one of those gentle dance tracks from the mid-seventies (1975 to be precise). It was at a time when R&B was beginning to start its slow morphing into disco. The beat is decidedly dance oriented while Petersen’s slightly falsetto vocals have a soulful feel to them as do the female backing vocals. The interesting thing on this track…