#Robert John Mutt Lange

[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.

[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…

[doyoulikethissong-poll]

Shania Twain - Ka-Ching! 2003

"Ka-Ching!" is a song recorded by Canadian country-pop singer Shania Twain. It was released on February 17, 2003, as the second single to her fourth studio album Up! (2002), exclusively to Europe and Central America. The song was written by Twain and Robert John "Mutt" Lange. Lyrically it centers on greed and consumer culture. "Ka-Ching!" became one of Twain's most successful singles in Europe to date, reaching the top ten in six European countries and topping the Portuguese music charts, which lead to the song peaking at number two on the European Hot 100 Singles, becoming her highest peaking single on the chart. In the UK, it became her sixth consecutive, seventh overall, top ten single.

"Ka-Ching!" remains one of Twain's most genre-diverse songs. The main "Red" version is an upbeat rhythmic song with a Middle Eastern influence. The "Green" version has a country feel, and the "Blue" version is more worldly. Remixes have provided Hip hop, Lounge, and Bhangra versions.

"Ka-Ching!" received a total of 48,6% yes votes.

[diceriadelluntore]

Storia Di Musica #342 - The Corrs, Home, 2005

Le Storie musicali di band di fratelli e sorelle ci portano in Irlanda, per una band che tra fine anni '90 e inizi 2000 fu molto popolare. The Corrs, come suggerisce il nome, sono una band di tre sorelle e un fratello, i Corr appunto. La loro storia è molto particolare e si lega a quella di un film del 1991, divenuto di culto, ambientato a Dublino, da dove provengono i nostri. The Commitments, diretto da Alan Parker, racconta la storia di Jimmy Rabbitte e del suo tentativo di mettere su una band di soul e rhythm'n'blues a Dublino, The Commitments, appunto. Il film, che è anche uno spaccato dell'isola prima della travolgente trasformazione avvenuta negli ultimi decenni, fu trampolino di lancio di una serie di attori\cantanti che dopo il film si lanciarono in carriere musicali. E tra loro c'erano i fratelli Corr. Jim Corr suonava in una band con John Hughes, che curava per Parker le selezioni dei musicisti. Hughes non sapeva che Jim avesse tre sorelle musiciste, Caroline, Sharon e Andrea, con cui si presenta i provini. Andrea ottiene una parte di recitazione con battute (è Sharon, la sorella minore di Jimmy), gli altri tre fanno da comparse, ma Hughes dopo le riprese chiede di poter diventare il loro manager. Diventano una band, dove suonano diversi strumenti, anche quelli tradizionali irlandesi. Il primo grande trampolino di lancio è l'esibizione, nel 1994, per i Mondiali di Calcio di USA 94, seguita due anni dopo per la cerimonia d'Apertuna dei Giochi Olimpici di Atlanta '96. Vanno in tour a supporto di Celine Dion, mentre il loro primo disco, Forgiven, Not Forgotten, che comprende sia brani strumentali di musica tradizionali che canzoni pop rock, svetta nelle classifiche di mezzo mondo, diventando uno dei dischi d'esordio di artisti irlandesi più di successo di ogni tempo. Nel 1997 successo per Talk On Corners, partecipano al Pavarotti And Friends a Modena e ricevono nel 1999 un Brit Award come Miglior Band Internazionale, registrando persino un MTV Unplugged, che vende milioni di copie. Il successivo disco, In Blue, prodotto da Robert John "Mutt" Lange, li consacra star internazionali: il singolo Breathless va in classifica in mezzo mondo, come Radio, l'album è il terzo disco con le maggiori vendita della Storia delle Classifiche musicali d'Irlanda dopo il The Best Of 1980-1990 degli U2 e Be Nere Now degli Oasis. Sono nominati ai Grammy Awards. Registrano un altro disco dal vivo, VH1 Presents: The Coors Live In Dublin, con ospiti Bono che duetta con loro in When The Stars Go Blue di Bryan Adams (un gioiellino) e Summer Wine di Nancy Sinatra e Ronnie Wood dei Rolling Stones che suona la chitarra in Little Wing, cover del classico di Jimi Hendrix e in Ruby Tuesday. Succede però una fatto doloroso: Jean, la madre dei fratelli Corr, muore in attesa di un trapianto di fegato all'ospedale di Newcastle, in Gran Bretagna.

E proprio alla madre, e alla loro terra, è dedicato questo disco, Home, che esce nel 2005. L'album precedente, Borrowed Heaven, già aveva riaperto la strada del folk nella loro musica, che nei dischi di successo internazionale si era un po' persa, ma in questo disco si ritorna alle origini. In scaletta 12 pezzi, divisi tra strumentali tradizionali di musica celtica irlandese, come Haste To The Wedding, che è il brano principe del ballo Céilí, uno scritto da Sharon Corr, Old Hag e due cantati in lingua gaelica dalla bellissima voce di Andrea, Buachaill ón ��irne (che vuol dire Ragazzo di Erne) e Bríd Óg Ní Mháille, Bridget O'Malley, che probabilmente è una riedizione ottocentesca di un antico canto dedicato a santa Brigida d'Irlanda. Ancora più emozionate è la parte di canti tradizionali cantati in inglese: My Lagan Love è uno dei primi traditional scoperti da Joseph Campbell, che agli inizi del 1900 intraprese un percorso di ricerca e traduzione dei canti tradizionali, musicati e riportati sugli spartiti da Herbert Hughes; la meravigliosa Spancil Hill è invece un traditional, probabilmente scozzese, che venne riadattato dai migranti irlandesi in America, dove divenne molto famosa nella zona dei Monti Appalachi: lo spancil era un modo di legare le zampe dei capi di bestiame per non farli scappare durante le fiere. Dolcissime sono Peggy Gordon e la bellissima Black Is the Color, conosciuta anche come Black Is the Color Of My True Love's Hair, brani che raccontano il carattere forte e deciso delle donne di quei posti. The Moorlough Shore è una delle più famose ballate irlandesi: è la storia di un giovane, innamorato della sua terra e di una ragazza, che però rifiuta le sue avances perché ama già un marinaio. Aspetterà il suo vero amore per sette anni. Frustrato, il ragazzo lascia la casa della sua infanzia e salpa, continuando a elogiare la ragazza che ama e che vive a Moorlough Shore. Sulla sua melodia, durante gli anni della Rivoluzione dell'Indipendenza irlandese (negli anni Dieci del 1900) i rivoluzionari cantarono The Foggy Dew, il principe dei brani di libertà irlandese. Completano la scaletta tre cover di brani moderni: Heart Like A Wheel, successo di Kate & Anna McGarrigle, poi ripreso da tanti artisti (la versione più famosa di Linda Ronstand), Old Town del leader dei Thin Lizzy Phil Lynott e un brano, Dimming Of The Day, scritto da Richard e Linda Thompson per un loro disco del 1975, Pour Down Like Silver. La musica è arrangiata con delicatezza, agli strumenti moderni sono affiancati i tin whistle, il Bodhrán (che è il tamburello irlandese) e una sezioni archi, che è sempre stato un marchio di fabbrica della musica Corrs. Spicca la voce, brillante e squillante di Andrea Corr, emozionante in più di un passaggio. Il disco, che non è di successo come i precedenti, ha comunque successo in patria, In Australia e sorprendentemente in Francia, dove vende 100 mila copie.

Andrea Corr, che ha recitato anche in altri film, tra cui Evita con Madonna e da protagonista una semisconosciuta commedia canadese, The Boys From County Clare, tenterà, con scarso successo, anche la carriera solista, con Ten Feet High. I Corrs continuano a suonare e a pubblicare materiale (l'ultimo disco del 2017) ma non hanno più raggiunto il successo dei dischi pop, nè la delicatezza, e la bellezza, del disco di oggi, un bellissimo esempio di variazioni "moderne" ai classici tradizionali della cultura delle isole britanniche, un grande tesoro culturale.

[my-chaos-radio]

Release: March 1, 1990

Lyrics:

It was a rainy night when he came into sight

Standing by the road, no umbrella, no coat

So I pulled up along side and I offered him a ride

He accepted with a smile so we drove for a while

I didn't ask him his name, this lonely boy in the rain

Fate tell me it's right, is this love at first sight

Please don't make it wrong, just stay for the night

All I want to do is make love to you

Say you will you want me too

All I want to do is make love to you

I've got lovin' arms to hold on to

So we found this hotel, it was a place I knew well

We made magic that night. Oh, he did everything right

He brought the woman out of me, so many times, easily

And in the morning when he woke all I left him was a note

I told him I am the flower you are the seed

We walked in the garden we planted a tree

Don't try to find me, please don't you dare

Just live in my memory, you'll always be there

All I want to do is make love to you

One night of love was all we knew

All want to do is make love to you

I've got lovin' arms to hold on to

Oh, oooh, we made love

Love like strangers

All night long

We made love

Then it happened one day, we came round the same way

You can imagine his surprise when he saw his own eyes

I said please, please understand

I'm in love with another man

And what he couldn't give me

was the one little thing that you can

All I want to do is make love to you

One night of love was all we knew

All I want to do is make love to you

Come on, say you will, you want me too

All night long…

All I want to do is make love to you

One night of love was all we knew

All I want to do is make love to you

Say you will, you want me too

Songwriter: Robert John Lange

SongFacts:

"All I Wanna Do Is Make Love to You" is a song by American rock band Heart. It was composed by veteran songwriter and producer Robert John "Mutt" Lange and released as the lead single from the band's tenth studio album, Brigade, in March 1990. The song was first recorded as "All I Want to Do Is Make Love to You" by Dobie Gray in 1979, though with different lyrics. The Heart version tells the story of a woman who sets out to seduce a hitchhiker in order to become pregnant because although there is a man in her life, he is infertile.

The song was a success, spending two weeks at number two on the US Billboard Hot 100, behind "Vogue" by Madonna, peaking at number eight in the UK Singles Chart, (becoming their last top ten in the US and UK), and reaching number one in Canada and Australia. It was also nominated for a Grammy Award for Best Group Pop Vocal Performance, and is the only one of Heart's singles to have been certified Gold by the RIAA. On the Adult Contemporary chart, the song climbed to number six, becoming the third of Heart's four top-ten AC hits (after "These Dreams" and "Alone").

The single was Heart's last pop chart top ten hit in the US to date. The band had one more top ten Adult Contemporary chart hit with the follow-up, "Stranded"; "Stranded" and two singles from 1994's Desire Walks On ("Black on Black II" and "Will You Be There (In The Morning)") were also top 10 Album Rock chart hits.

In the liner notes of Heart's album The Road Home, Ann Wilson commented on the band's dislike for the song, stating, "Actually we had sworn off it because it kind of stood for everything we wanted to get away from. It was a song by 'Mutt' Lange, who we liked, and it was originally written for Don Henley, but there was a lot of pressure on us to do the song at the time." Ann Wilson has made a number of comments on her dislike for the song, calling the song's message "hideous" in an interview with Dan Rather. In that same interview, Ann mentions that she's surprised at how many of their fans, especially in Australia and New Zealand, want to hear the song to this day when Heart plays live. Although Heart does not perform this song any more due to Ann's dislike of it, Ann did eventually perform this song on her 2017 tour, though her version of the song had a few changes.

[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.

[rockmusicassoc]

In The Rock 7/27/1979: AC/DC’s ‘Highway To Hell’, drops and finally marks them as a major rock act in US. It’s the band’s last LP with Bon Scott. Produced by Robert John “Mutt” Lange, it remains their second biggest seller. Peaked on the charts at #17. #AcDc #RockHonorRoll

[mymelodic-chapel]

Britney Spears- Oops!…I Did It Again (Dance-Pop, Pop) Released: May 3, 2000 [Jive Records] Producer(s): Barry J. Eastmond, David Kreuger, Eric Foster White, Jake, Kristian Lundin, Max Martin, Larry "Rock" Campbell, Paul Umbach, Per Magnusson, Rami, Robert "Esmail" Jazayeri, Robert John "Mutt" Lange, Darkchild, Steve Lunt, Timmy Allen

[aykutiltertr]

Highway to Hell - AC/DC Rhythm Karaoke Original Traffic (Australia Rock ...  Ayrıcalıklardan yararlanmak için bu kanala katılın ( Join this channel to enjoy privileges.) https://www.youtube.com/channel/UCqm-5vmc2L6oFZ1vo2Fz3JQ/join Şarkının Orijinal Versiyonunu Linkten Dinleyip Ritim Karaokesiyle Çalışabilirsiniz. https://www.youtube.com/watch?v=l482T0yNkeo Aykut ilter Ritim Karaoke Kanalıma Abone Olun Beğenip Paylaşın. Highway to Hell - AC/DC Rhythm Karaoke Original Traffic (Australia Rock Group) [Intro] (G in riff is really G5, A can be played as A5)     F#             B/D# E          B/D# E  B/D# E  B/D# F# e|-----------------------------------------------------------------| B|---2-2-2-----------3-3-3-----------3-3-3---3-3-3---3---2-2-------| G|---2-2-2-----------2-2-0-----------2-2-0---2-2-0---2---2-2-------| D|---2-2-2-----------0-0-0-----------0-0-0---0-0-0---0---2-2-------| x2 A|---0-0-0-----------x-x-x-----------x-x-x---x-x-x---x---0-0-------| E|-------------------2-2-3-----------2-2-3---2-2-3---2-------------|   3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + [Verse 1] F# F# F#         B/D# B/D# E            B/D# B/D# E      Livin' easy,         lovin' free B/D# B/D# E    B/D#   F# F#     Season ticket on a one way ride F# F# F#         B/D# B/D# E            B/D# B/D# E      Askin' nothin',      leave me be B/D# B/D# E  B/D#  F# F#   Takin' everythin' in my stride F# F# F#              B/D# B/D# E                B/D# B/D# E      Don't need reason,        don't need rhyme B/D# B/D# E  B/D#     F# F#    Ain't nothin' I'd rather do F# F# F#        B/D# B/D# E           B/D# B/D# E      Goin' down,         party time B/D# B/D# E      B/D#      C#      My friends are gonna be there too [Chorus]           F#  F#  F# B/F#     E I'm on the highway to hell    B/D#   F#  F#  F# B/F#     E    On the highway to hell    B/D#   F#  F#  F# B/F#     E           Highway to hell    B/D#   F#  F#  F# B/F# I'm on the highway to hell [Verse 2] F# F# F#        B/D# B/D# E           B/D# B/D# E      No stop signs,      speed limit B/D# B/D# E     B/D#  F# F#       Nobody's gonna slow me down F# F# F#          B/D# B/D# E              B/D# B/D# E      Like a wheel,         gonna spin it B/D# B/D# E    B/D# F# F#       Nobody's gonna mess me around F# F# F#        B/D# B/D# E             B/D# B/D# E      Hey Satan,          payin' my dues B/D# B/D# E      B/D# F# F#           Playin' in a rockin' band F# F# F#       B/D# B/D# E          B/D# B/D# E      Hey mama,          look at me B/D# B/D# E    B/D#     C#   I'm on my way to the promised land [Chorus]           F#  F#  F# B/F#     E I'm on the highway to hell    B/D#   F#  F#  F# B/F#     E           Highway to hell    B/D#   F#  F#  F# B/F#     E I'm on the highway to hell    B/D#   F#  F#  F# B/F#           Highway to hell [Bridge] B  Bsus4  B             B  Bsus4  B  Bsus4  B            Don't stop me [Solo] | F#          B/F# |(B/F#)    E  B/D# | x3 | F#          B/F# |(B/F#)    E [Chorus]    B/D#   F#  F#  F# B/F#     E I'm on the highway to hell    B/D#   F#  F#  F# B/F#     E    On the highway to hell    B/D#   F#  F#  F# B/F#     E I'm on the highway to hell    B/D#   F#  F#  F# B/F# N.C. E    On the highway to          hell! B/D#     F#  F#  F# B/F#             E         Highway to hell (I'm on the highway B/D#     F#  F#  F# B/F#  E to hell) Highway to hell (Highway B/D#     F#  F#  F# B/F#  E to hell) Highway to hell (Highway B/D#     F#  F#  F# B/F# to hell) Highway to hell                                         F#                           F# N.C. An' I'm goin' down... all the way... whoa...... on the highway to hell Highway to Hell Tools From Wikipedia, the free encyclopedia This article is about the album. For the song, see Highway to Hell (song). For other uses, see Highway to Hell (disambiguation). This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Highway to Hell" – news · newspapers · books · scholar · JSTOR (July 2022) (Learn how and when to remove this template message) Highway to Hell Original Australian cover Studio album by AC/DC Released 27 July 1979[1] Recorded 24 March – 14 April 1979 Studio Roundhouse (London) Genre Hard rockblues rock[2] Length 41:38 Label AlbertAtlantic Producer Robert John "Mutt" Lange AC/DC chronology If You Want Blood You've Got It (1978) Highway to Hell (1979) Back in Black (1980) Alternative cover art International cover Singles from Highway to Hell "Highway to Hell" Released: 27 July 1979 "Girls Got Rhythm" Released: October 1979 "Touch Too Much" Released: January 1980 (UK) Highway to Hell is the sixth studio album by Australian hard rock band AC/DC, released on 27 July 1979. It is the first of three albums produced by Robert John "Mutt" Lange, and is the last album featuring lead singer Bon Scott, who died on 19 February 1980.

[radiomaxmusic]

Tuesday, March 19, 2024, 10pm ET: Feature LP: The Cars - Heartbeat City (1984)

Heartbeat City is the fifth studio album by American rock band the Cars, released on March 13, 1984, by Elektra Records. The band produced the album with Robert John “Mutt” Lange. This marks the band’s first album not produced by long-time producer Roy Thomas Baker. It also represented a return to the success of the band’s self-titled debut album, with critic Robert Christgau noting that “the…

[ljaesch]

Album Review: Def Leppard - "Pyromania"

Pyromania is Def Leppard’s third album, which was produced by Robert John “Mutt” Lange, was released on January 20, 1983. Pyromania charted at number two on the Billboard 200 album chart and spawned four singles. The album opens with “Rock! Rock! (Till You Drop),” which was released as a single in Mexico. I love how the music builds up in the intro before launching into the actual song. It’s a…

This week's "Retro Release Review" takes a look back at Def Leppard's 1983 album, Pyromania.

[capsulas]

When the Going Gets Tough, The Tough Get Going Provided to YouTube by SONY BMG Catalog When the Going Gets Tough, The Tough Get Going · Billy Ocean Ultimate 80's Number 1's ℗ 1986 Sony Music Entertainment UK Limited Released on: 2006-06-03 Composer, Lyricist: Barry Eastmond Composer, Lyricist, Producer: Wayne Brathwaite Producer: Barry J. Eastmond Mixing Engineer: Nigel Green Composer, Lyricist: Robert John "Mutt" Lange Auto-generated by YouTube. via YouTube https://www.youtube.com/watch?v=TzOmcr5Y224

[radiomax]

Tuesday, April 25, 2023 10pm ET: Feature LP: Shania Twain - Come On Over (1997)

Come On Over is the third studio album by Canadian country music singer Shania Twain. It was released on November 4, 1997, by Mercury Records. Produced by Robert John “Mutt” Lange, the album became the best-selling country album, the best selling album by a Canadian and is recognized by Guinness World Records as the biggest-selling studio album by a solo female artist, and the best-selling album…

[biglisbonnews]

We Almost Got a Collaborative Prince and Shania Twain Album It's hard to replicate the complicated emotions displayed on Fleetwood Mac's iconic 1977 album Rumours. The original album, painted with the emotions that come with drug use, infidelity and drugs, remains one of the most career (and genre)-defining records in history. However, Prince and Shania Twain could've gotten close.In a surprise anecdote shared with Zane Lowe on Apple Music 1, Twain recalled getting a surprise call from the legend looking to make the collaboration of a lifetime:”I missed out on that because Prince called me when I got divorced. We’re on the phone and he said, ‘Shania, why don’t you come to Paisley Park? I want to make the next Rumours album with you.’ And that was the weirdest thing he could have ever have said, because his standard of what he thought, where I could live as a standard was that album, Rumours album. And he said that to me. So when Prince said that to me, I’m like, oh man, I’m not even divorced yet. I’m just like, I’ve been dumped, but I’m not, obviously, divorced yet. I’m like, this is way too ironic what you’re saying. Right? And I’m such a major Prince fan. And then on top of it, I hadn’t found my voice yet, I was still working on it. I was so far from finding it still. I was writing, but I was too insecure to go and get with Prince in the studio. I was too insecure, in every way.”Related | Prince: The Profane and the ProfoundTwain is referring to her divorce from Robert John "Mutt" Lange. After nearly 15 years of marriage, Lange had an affair with Twain's best friend. Very Rumours-y if you ask me, and Prince seemed to think the same. As for not finding her voice yet, the pop country singer was referring to being diagnosed with Lyme disease and dysphonia, both of which impacted her singing. As if all that wasn't enough, Twain shared another interesting reason why she didn't want to work with Prince, and it had to do with her potty mouth. "Plus, I’m on the phone with him and I’m swearing like I always do," she recalled. He said to me, ‘Well, if you do decide to come to Paisley Park, there’s no swearing allowed here.’ So that was another strike. I’m like, oh no, I love you so much, but I don’t think I could get through writing and recording an album without swearing, somewhere along the way! What are you going to do to me if I swear? I might have to stand in the corner or something. I wasn’t sure about that. I don’t think I was ready for what all that was going to mean for me. I didn’t give up on it or anything, but then he died."While we respect Twain for asserting her boundaries, we can't help but wonder what could've been.Photos courtesy of Kevin Winter/Getty Images and Jason Sean Weiss/BFA https://www.papermag.com/prince-shania-twain-2659365824.html

[classicrockblog1]

Producer Robert John "Mutt" Lange wanted to hear every music idea guitarist Mick Jones had recorded on tape, no matter how embarrassing. One of these ideas was the opening riff for what would become "Urgent". “I had the riff starting out," Jones recalled. "And I said, 'That’s like an experimental instrumental thing that I’m working on.’ He said, ‘No, it isn’t anymore – let’s take that one, because that’s got a lot of potential.’ There wasn’t even a song with it.” He also said, “‘Urgent’ … was a bit of a hybrid. It was a soul song, really – a quirky kind of rock and soul combination. That album had a bunch of different departures on it from the album that preceded it, Head Games. … It was just like a musical journey.”[2] In fact, "Urgent" was recorded with Mick Jones playing lead and rhythm guitar, including a line originally composed for Ian McDonald, who left the band in 1980.

��Urgent” is a #song by the #rock #band Foreigner, and the first #single from their hit album 4 released on June 22 , 1981.

[metalsongoftheday]

Friday, February 11: AC/DC, “Shake a Leg”

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

What separated the AC/DC records produced by Robert John “Mutt” Lange from the rest of their discography wasn’t just the production and songwriting (though both were clearly beyond top-flight), but also the arrangements and dynamics: even after 40+ years ingesting these albums, one marvels at just how much is going on within the songs, even though they stubbornly hewed to the Young brothers’ original template.  With “Shake a Leg”, there was a sparse and spacious intro interrupted by stop-start drumming that gave way to straight marauding, and while all of the above was natural to AC/DC, it was the combination of these elements and the way they were put together that brought everything to another level.  It was all fundamental stuff, but the band sounded purposeful and vigorous in a whole new way, and at just the right time given the circumstances behind Back in Black.