UMUR "Let There Be Rock" is the 4th full-length studio album by Australian hard/heavy rock act AC/DC. The album was originally released in Australia through Albert Productions in March 1977, but saw a modified (different cover artwork and modified tracklist) worldwide release through Atlantic Records in June 1977. The original Australian version featured the track "Crapsody in Blue", but it´s replaced by "Problem Child" on the International version. The latter had been featured on both the original Australian version and the International version of "Dirty Deeds Done Dirt Cheap (1976)".

"Let There Be Rock" is definitely one of the highlights of AC/DC´s seventies discography (and there are quite a few high quality releases to pick from). The music on the album is delivered with such conviction, passion and love for hard rocking and über amplified bluesy rock´n´roll that I have to surrender completely. This is genuine and honest to the bone. Sweaty and hard edged bluesy hard rock riffing, a driving rythm section and Bon Scott´s rusty squall to top it all off. This is classic AC/DC when they are best. "Let There Be Rock" features quite a few excellent rockers in "Go Down", "Let There Be Rock", "Bad Boy Boogie" and "Whole Lotta Rosie" but all tracks on the International version of the album are great (I haven´t heard "Crapsody in Blue" so I can´t comment on the quality of that track).

Packed in a powerful, warm and organic sound production, the music on "Let There Be Rock" is presented in the best possible fashion and it´s actually very hard to find anything negative to say about the release. A 4.5 star (90%) rating is fully deserved.

Time Signature Bad boy boogie...

Genre: Hard rock / boogie rock / heavy metal

On "Let There Be Rock", AC/DC draw less on boogie rock (although there's still boogie aplenty), focusing instead on bluesy hard rock and metallic high energy.

"Go Down" is an all out boogie rocker, while the boogie elements are present in the hard rockers "Bad Boy Boogie" and "Hell Ain't A Bad Place To Be", both of which are evolve around super catchy riffs which the Young brothers excel at creating and performing. "Let There Be Rock" and "Whole Lot of Rosie", which have since then become AC/DC anthems, display a speed and energy and aggressive riffing that would later become epotomics of metal riffing, while "Dog Eat Dog" and "Overdose" are instances of AC/DC style hard rock songs with catchy main riffs.

This album has been described as AC/DCs the start of AC/DC's transition from boogie rock to metal. That may or may not be the case, but it's a fine hard rock album, which I think most hard rock and traditional metal fans will appreciate.

Hagbard Celine Sometime around 1989-1990, the mainstream metal world faced an epidemic of hair bands deciding they could play the blues. In most cases this went horribly wrong, and before entering the recording studio the culprits should have spent more time listening to their late '70s AC/DC records and less time strutting about the spandex stores of West Hollywood.

In contrast, "Let There Be Rock" is an example of blues-based hard rock that has stood the test of time, with songs like the title track showing a deep appreciation for the cultural cross-pollination at the core of much of modern music. AC/DC took basic blues structures, cranked the volume up, and (especially beginning with this album) sped the tempo up to a speed where songs like "Dog Eat Dog" and "Overdose" infectiously swagger into your brain, never losing their groove even for a moment. The album wraps up with one of the greatest odes to fat girls ever written, "Whole Lotta Rosie," matched only by Queen's "Fat Bottomed Girls" in its love for the large and in charge.