When you think of The Razors Edge, aside from the title track, it’s only logical to be enamoured by the record’s hit single, “Thunderstruck”. Yet, limiting oneself to the hit singles alone is a detrimental undertaking, as The Razors Edge is an album experience in every sense of the term. Okay, so I may have a generalised dislike for the song “Mistress For Christmas”, and the closing track is far from AC/DC’s strongest, but as an album, The Razors Edge is utterly flawless and can be considered one of their greatest.
Released in 1990, a decade after Back In Black, The Razors Edge would once again show why AC/DC has always been a force to be reckoned with as it saw the Australian rockers rise to the top of the charts, worldwide, with a release that not only enhanced their celebrated discography, but in many respects can be seen as an entry point to the music they’d deliver throughout the rest of the 90s. While sales could never match their 1980 relaunch, following Bon Scott’s passing, The Razors Edge is the band’s third best-selling album, according to BestSellingAlbums.org, with sales exceeding 8.7 million units, representing a significant pickup following the inconsistency of much of their 80s output.
Featuring a stark metallic and red artwork design, The Razors Edge is nothing if not striking and is the perfect counterpart to the blues-based hard rock styling that fans have always held in high regard. With soaring riffs, thunderous rhythms, and Brian Johnson’s gravelly, gut-wrenching vocals, The Razors Edge is a sonic marvel that has to be heard in order to be fully appreciated. AC/DC never followed trends, and their output has been consistently solid, even with a change in production and the inclusion of legendary drummer Chris Slade on this release. Yes, I’ve thoroughly enjoyed Phil Rudd’s drumming throughout the years, and Simon Wright’s era (1985-88), but the attitude, drive, and determination of Slade’s drumming on The Razors Edge is the strongest the band ever had. A controversial perspective, certainly, but Slade’s showmanship, particularly with regard to his drumming style, and his suspended bass drums (gong bass drums) setup, really added a new dynamic to AC/DC where the drummer was seemingly as flamboyant as Angus Young on lead guitar.
As it pertains to the sonic qualities of this particular release, most listeners will be familiar with the 2003 remasters and, to be honest, the angst it receives from some fans is simply unwarranted. Yes, they’re a little loud, but the 2003 AC/DC remasters are far from the unlistenable mess that some will suggest they are. Was the original release more dynamically pleasing? Probably, but in all honesty, I can’t remember, despite living through the era and being a fan at the time. Let’s just say that I’m not listening to the remaster of The Razors Edge and simultaneously questioning the sonic qualities of this timeless release. That is, unless I’m listening to the Hi-Res Lossless Apple Digital Master from Apple Music.
The aim of the Apple Digital Master program is noble, and a step in the right direction to counteract the loudness wars, but not all Apple Digital Masters are created equal, or offer a sonic improvement to the physical or non-Apple Digital Master counterparts. The core problem with the streamed edition is that it sounds as though a sheet has been placed over your speakers. It’s less shrill and clinical, especially in the top end of the audible spectrum, but despite a rounder presentation that is somewhat similar to vinyl, the result is that the stream sounds a little dull and is, therefore, an inferior reproduction when compared to the CD reissue from 2003. It really makes no sense, given both are from the same mastering sessions, but the difference is there nonetheless, and neither is “better” than the other; they’re just “different”. As comparison is the thief of joy, the good news is that if you don’t compare, you (likely) won’t care.
Thunderstruck has one of the most recognisable openings in all of recorded music history. Even if you’re not familiar with this landmark tune, the moment you hear it, it melds with your soul and the tribal rhythm will become so entwined with your senses that you’ll be rocking out with your air guitar for hours afterwards. From the buildup to the lyrical bombardment, “Thunderstruck” is amongst the greatest songs that AC/DC has ever recorded, if not the greatest.
Fire Your Guns is raw, gritty, and a complete contrast to the spit and polish heard on “Thunderstruck”. It will take you back to their 70s-era styling, as well as sounding as if it could have been included on many of their mid-80s releases, but the strength of “Fire Your Guns” is that it doesn’t try to be something it’s not. It’s rock and roll AC/DC style!
Moneytalks is rhythmic gold that will see you toe-tapping and head-bopping throughout. While the headbanging, fist-pumping, energy of “Thunderstruck” is absent, “Moneytalks” is its equal in the appeal that it’s had to fans the world over, for it’s one of the album’s standout tunes and for good reason; it’s blues-based hard rock at its very best.
The Razors Edge is an ideal title track with an incredible composition. The guitar licks are out of this world, the bass and drums are absolutely thumping, and Brian Johnson’s vocals are reserved yet authoritative. Yet, it isn’t amongst the band’s most well-known tunes, nor was it released as a single, but when considering it further, it becomes apparent that “The Razors Edge” forms the backbone for the entire record, thereby making it an essential album-only number.
Mistress For Christmas is the one song from the album where you’ll see me rolling my eyes. While my dislike of Christmas most certainly tarnishes my acceptance of the song, at its most fundamental, it’s a killer tune that sees the band at, arguably, their most comically fun, since Bon Scott confessed to the world that a “Whole Lotta Rosie” was a whole lotta woman.
Rock Your Heart Out is a fast-paced, guitar-driven number that will see you rocking along. It may be an album-only tune, but it’s songs like this that make AC/DC albums so enjoyable, for the energy and drive never cease until the final note is played.
Are You Ready is a stadium-filling number if there ever was one and should have been the opening track for all live performances.
Got You By The Balls is another blues-based masterpiece that can be seen as a precursor to the direction the band would take with Ballbreaker and Stiff Upper Lip.
Shot Of Love sees the band rhythmically charge forward with this highly compelling album-only number.
Let's Make It harkens back in styling to “Mistress For Christmas”, particularly during the song’s opening, but while not a standout, “Let’s Make It” remains thoroughly enjoyable, particularly in the context of the album’s linear structure.
Goodbye And Good Riddance To Bad Luck is a hidden gem, particularly for those who are only aware of AC/DC’s stadium-filling hits. The landmark tunes are great, of course, but sometimes it’s the lesser-known recordings that really stand out, and the guitar solo here is simply exquisite.
If You Dare isn’t the strongest closing track, but once the song gets going, it will compel you to play the record again, for The Razors Edge can seldom be listened to once.
While every AC/DC fan will have their own opinion as to how The Razors Edge fits within AC/DC’s extensive discography, there is no doubt as to the record’s enduring appeal as it’s amongst their greatest releases. For any other band, this album would be akin to a Greatest Hits release, but for AC/DC, no greatest hits is necessary, as their body of work speaks for itself, and The Razors Edge is no exception. Turn it up to 11, rock out, and enjoy what can be best described as an energetic and melodic stroke of musical genius.