outoftunes a écrit:Merci, bon elle est nulle à caguer en spray celle là.
Putain c'est pas croyable, pire que vandel et gaume en 2000, il fallait le faire.
caraibes46 a écrit:Cela fait un bail...
Sebastien a écrit:caraibes46 a écrit:Cela fait un bail...
Je rejoins tous tes propos,ceci est tellement dépourvu de magie...
Squatter la devanture des disquaires pour un album ou des billets,posséder quelques pièces qui n’ont de valeur que leur histoire,savourer le délicieux moment où l’on pose le 33 sur la platine en ayant scrupuleusement tout organisé pour cet instant particulier...
Je ne veux pas jouer au vieux rabat-joie mais que cela était bon...
AC/DC en 2020,c’est incroyable, j’en suis heureux,mais le fossé se creuse tellement entre la philosophie originelle et l’état actuel de notre société....
Et puis,et puis...Amazon etc...boycott total !
BIGNOZ a écrit:Une review optimiste de PRW UP sur le magasine allemand ROCKS...
angus a écrit:BIGNOZ a écrit:Une review optimiste de PRW UP sur le magasine allemand ROCKS...
BIGNOZ a écrit:Une review optimiste de PRW UP sur le magasine allemand ROCKS...
It is somewhat comforting that chatterbox Dee Snider doesn't know everything and that AC / DC are still the well-functioning secret society of yore: Older recordings of Malcolm Young cannot be heard on Power Up. Instead, singer Brian Johnson, bassist Cliff Williams and drummer Phil Rudd - and thus three other characters that are hugely important for AC / DC, whose participation seemed just as questionable for very different reasons as any other work by the greatest hard rock band on the planet. One cannot and does not want to believe that it could possibly be their very last: A harder, more coherent, with captivating groove and buxom gang choirs sly AC / DC album without interference was last released in the nineties; because even if traces of Rock Or Bust and Black Ice are difficult to deny, it is the lines between The Razors Edge (1990) and the gnarled Ballbreaker (1994) that tend to blur on Power Up. And that grips firmly. Not just in the choruses. Realize is about the same, whose vibe is roughly comparable to Down On The Border-line: guitar salvos like slapwipes, the bass pumps tightly as loudly, and under all this Phil Rudd puts his god-given drum coolness with which he presents the band steps forward. This is how AC / DC works. Rudd-Swing also has the single “Shot In The Dark”. If you want to, you will find parallels to Still Upper Up in the Gacker-Riff at the beginning, then with Shot Down In Flames it is wired and slowed down in tempo and temperament. It has been decades since the backing vocals on AC / DC sounded fuller and, above all, more casual, in general this is a great quality of Power Up. Through The Mists Of Time fakes one of those Jimmy Barnes numbers that caused discomfort on the last two records, but is then held down by a certain melancholy. It's fantastic how the simple choirs harmonize with the guitar theme, swell and give the song an unbelievable power at the finale, when it is actually long over. Unusually rhythmic is the catchy tune Kick You When You're Down with its ringing riffs, Witch's Spell and Wild Reputation are core meltdowns from Ballbreaker and The Razors Edge that have become clayey. In Demon Fire, Johnson's deep boogie man voice greets you (Joel O'Keeffe has to explain the parallel to Airboume's later recorded, Blood In The Water) before the number shoots off in a manner reminiscent of Safe In New York City - Nur with more song, with more pleasure and a lot more sound. In the last quarter they really crank it up again: No Man's Land will go down in history as the pearl of late AC / DC with its latent Southern Blues vibe - again it's Rudd and these stunningly laid back choirs who really get it . Money Shot: Classic AC / DC fabric with a sharpness that has not been heard for a long time. Someone should say that all AC / DC records sound the same: Such an album was really not to be expected.
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