The first sound on
Back in Black is the deep, ominous drone of church bells -- or "Hell's Bells," as it were, opening the album and
AC/DC's next era with a fanfare while ringing a fond farewell to
Bon Scott, their late lead singer who partied himself straight to hell. But this implies that
Back in Black is some kind of tribute to
Scott, which may be true on a superficial level -- black is a funeral cover, hell's bells certainly signify death -- but this isn't filled with mournful songs about the departed. It's a more fitting tribute, actually, since
AC/DC not only carried on without him, but they delivered a record that to the casual ear sounds like the seamless successor to
Highway to Hell, right down to how
Brian Johnson's screech is a dead ringer for
Scott's growl. Most listeners could be forgiven for thinking that
Johnson was
Scott, but
Johnson is different than
Bon. He's driven by the same obsessions -- sex and drink and rock & roll, basically -- but there isn't nearly as much malevolence in his words or attitude as there was with
Scott.
Bon sounded like a criminal,
Brian sounds like a rowdy scamp throughout
Back in Black, which helps give it a real party atmosphere. Of course,
Johnson shouldn't be given all the credit for
Back in Black, since
Angus and
Malcolm carry on with the song-oriented riffing that made
Highway to Hell close to divine. Song for song, they deliver not just mammoth riffs but songs that are anthems, from the greasy "Shoot to Thrill" to the pummeling "Back in Black," which pales only next to "You Shook Me All Night Long," the greatest one-night-stand anthem in rock history. That tawdry celebration of sex is what made
AC/DC different from all other metal bands -- there was no sword & sorcery, no darkness, just a rowdy party, and they never held a bigger, better party than they did on
Back in Black.