Hubbry Logo
Let There Be RockLet There Be RockMain
Open search
Let There Be Rock
Community hub
Let There Be Rock
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Let There Be Rock
Let There Be Rock
Let There Be Rock
View on Wikipedia
from Wikipedia

Let There Be Rock
International cover
Studio album by
AC/DC
Released21 March 1977 (1977-03-21)[a]
Recorded
  • January–March 1976[b]
  • January–February 1977[c]
StudioAlbert (Sydney)
Genre
Length40:06 (Australia)
41:01 (international)
Label
Producer
AC/DC chronology
Dirty Deeds Done Dirt Cheap
(1976) 		Let There Be Rock
(1977) 		Powerage
(1978)
Alternative cover art
Original Australian cover
Singles from Let There Be Rock
  1. "Dog Eat Dog"
    Released: 21 March 1977 (Aus)
  2. "Whole Lotta Rosie"
    Released: 20 May 1977 (NL)[2][A]
  3. "Let There Be Rock" / "Problem Child"
    Released: 30 September 1977 (UK)[B]

Let There Be Rock is the fourth studio album by Australian rock band AC/DC. It was originally released on 21 March 1977 in Australasia, through Albert Productions label. A modified international edition was released on 25 July 1977, through Atlantic Records. It was the last AC/DC album to feature Mark Evans on bass.

Background

[edit]

In late 1976 AC/DC were in a slump. "It was very close to being all over", manager Michael Browning said. "Things were progressing very well in London and Europe. We'd been through a whole thing with the Marquee where they broke all the house records. We'd done the 'Lock Up Your Daughters' UK tour and the Reading Festival. It was all shaping up really well." [3] "In the middle of the tour, I get a phone call saying Atlantic Records in America didn't like the Dirty Deeds album", said Browning. "That, in fact, they were going to drop the group from the label. And that's when things got really bad."

"There was always a siege mentality about that band. But once we all found out that Atlantic had knocked us back the attitude was: 'Fuck them! Who the fuck do they think they are?' So from that point onwards it was: 'Fuck, we'll show them!' We were seriously fucking pissed off about it. It didn't need to be discussed. We were going to go in and make that album and shove it up their arse!"

— Mark Evans

Angus Young said, "Our brother George asked us what kind of album we wanted to make and we said it would be great if we could just make a lot of guitar riffs, because we were all fired up after doing all this touring."[4]

Artwork

[edit]

The Australian cover features the fingers of guitarist Chris Turner, from Australian band Buffalo. "There was a bloke called Colin Stead, who was in Buffalo for about ten minutes," Turner recalled. "He was also the centrefold photographer for Playboy. He phoned me up and said he was doing the album cover for Let There Be Rock, but AC/DC were out of town, so could I help out? He wanted a flash guitar run up and down the neck. Apparently, when he saw it, Angus said, 'He's got fat fingers, hasn't he?'"[5]

The cover of the international version, released in July 1977, marked the first appearance of the band's now iconic logo, designed by Gerard Huerta. The photograph used for the international cover was taken at a concert on 19 March 1977 at the Kursaal Ballroom, Southend, Essex, UK, by rock photographer Keith Morris.[6]

Reception

[edit]
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[7]
Classic RockStarStarStarStarHalf star[8]
The Encyclopedia of Popular MusicStarStarStarStar[9]
MusicHound RockStarStarStarStar[10]
The Quietus(favourable)[11]
The Rolling Stone Album GuideStarStarHalf star[12]
Spin Alternative Record Guide5/10[13]

Reception to Let There Be Rock was extremely positive; according to AllMusic, which gave the album a rating of four and a half out of five stars in a retrospective review, AC/DC played "sweaty, dirty, nasty rock" and the band had "rarely done that kind of rock better than they did" on Let There Be Rock.[7] In 2001, Q magazine named Let There Be Rock as one of the 50 Heaviest Albums of All Time.[14]

Cashbox said "Heavy metal is their special forte and there is plenty of voltage displayed on this electrified disc."[15]

Eduardo Rivadavia of AllMusic enthuses, "Let There Be Rock sees AC/DC's religious-like respect for the simple art of making rock & roll brought to its logical conclusion: a veritable gospel to the glory of rock, canonized here in hymn-like worship. The near-epic title track to what is widely regarded as the best Bon Scott-era album, the song is a holy testimony, bringing good news to all those who believe in the healing power of rock & roll -- amen! Oh yeah, it also kicks unholy ass!"[16]

David Fricke of Rolling Stone wrote of the album in a 2008 cover story, "AC/DC's early albums were perfectly frenetic, but inconsistent. Their second U.S. LP was almost all killer. Scott sings 'Bad Boy Boogie' and 'Problem Child' like he's the enfant terrible...Angus' solos are true white heat." In 2006, AC/DC biographer Murray Engleheart wrote that Let There Be Rock "elevated AC/DC to the status of an album band, something that had previously been the exclusive domain of the likes of The Rolling Stones, The Who and Led Zeppelin." In 2000, Angus Young recalled to Guitar World that producer Mutt Lange once told him "of all the many albums we'd done with my brother George and his partner, Harry Vanda, the one Mutt wished he would have done, where he was envious of George, was Let There Be Rock." Band biographer Jesse Fink writes, "Wherever AC/DC ended up in the annals of rock history, this album would stand for all time as an expression of their unrivaled might as a guitar band."[17]

Track listing

[edit]

Australian version

[edit]

All tracks are written by Angus Young, Malcolm Young and Bon Scott.

Side one
No.TitleLength
1."Go Down"5:17
2."Dog Eat Dog"3:35
3."Let There Be Rock"6:06
4."Bad Boy Boogie"4:27
Side two
No.TitleLength
5."Overdose"6:09
6."Crabsody in Blue"4:44
7."Hell Ain't a Bad Place to Be"4:14
8."Whole Lotta Rosie"5:24
Total length:40:06

International version

[edit]
Side one
No.TitleLength
1."Go Down"5:31
2."Dog Eat Dog"3:35
3."Let There Be Rock"6:06
4."Bad Boy Boogie"4:27
Side two
No.TitleLength
5."Problem Child"5:25
6."Overdose"6:09
7."Hell Ain't a Bad Place to Be"4:14
8."Whole Lotta Rosie"5:24
Total length:41:01

Notes

  • For the original Australian vinyl release a different version of "Go Down" was used. This version has an early fade-out, changing the length of the song to only 5:17.
  • Track 5, "Problem Child", was originally released on Dirty Deeds Done Dirt Cheap in 1976. This is a shortened version of the original, missing the reprise coda.
  • For the original vinyl release, in all markets other than the US, Canada and Japan, "Crabsody in Blue" was featured instead of "Problem Child".

Personnel

[edit]

AC/DC

Production

  • Harry Vanda – producer
  • George Young – producer
  • Mark Opitz – engineer
  • Michael Fraser – mastering supervisor
  • Al Quaglieri – mastering supervisor
  • George Marino – mastering
  • Eugene Nastasi – digital assembly
  • Bob Defrin – art direction
  • Richard Ford – artwork
  • Gerard Huerta – cover lettering
  • Murray Engleheart – liner notes

Charts

[edit]
Chart (1977–1981) Peak
position
Australian Albums (Kent Music Report)[18] 19
Dutch Albums (Album Top 100)[19] 10
New Zealand Albums (RMNZ)[20] 42
Swedish Albums (Sverigetopplistan)[21] 29
UK Albums (OCC)[22] 17
US Billboard 200[23] 154
Chart (2003) Peak
position
Norwegian Albums (VG-lista)[24] 37
Chart (2024) Peak
position
German Albums (Offizielle Top 100)[25] 40
Scottish Albums (OCC)[26] 40
Swiss Albums (Schweizer Hitparade)[27] 17

Certifications

[edit]
Region Certification Certified units/sales
Australia (ARIA)[28] 5× Platinum 350,000^
Canada (Music Canada)[29] Gold 50,000‡
France (SNEP)[30] Gold 100,000*
Germany (BVMI)[31] Platinum 500,000^
Spain (Promusicae)[32] Gold 50,000^
United Kingdom (BPI)[33] Gold 100,000*
United States (RIAA)[34] 2× Platinum 2,000,000^

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
‡ Sales+streaming figures based on certification alone.

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Let There Be Rock

View on Grokipedia
from Grokipedia
Let There Be Rock is the fourth studio by the Australian band , first released on 21 March 1977 in through and internationally on 25 July 1977 via . Recorded from January to February 1977 at Albert Studios in , the album was produced by and George Young, who had previously worked with the band on their earlier efforts. It features the classic lineup of vocalist , lead guitarist , rhythm guitarist and backing vocalist , bassist Mark Evans, and drummer . The record runs for approximately 41 minutes and consists of eight original songs, blending bluesy with high-energy riffs that solidified AC/DC's signature sound. The album's title track, "Let There Be Rock," serves as a metaphorical for rock 'n' roll, while other standouts like "," "Dog Eat Dog," and "Bad Boy Boogie" highlight Bon Scott's charismatic lyrics and the Young brothers' guitar interplay. Upon release, Let There Be Rock received positive critical reception for its raw energy and marked a pivotal moment in AC/DC's career, becoming their first album to in the United States, where it peaked at number 154 on the 200. Over time, it achieved commercial success, earning double from the RIAA in the for shipments exceeding two million copies, and has been praised as one of the band's breakthrough works that influenced the genre.

Background and Production

Development and Songwriting

Following the release of their debut Australian album in 1975, AC/DC underwent a transitional phase marked by intensive touring across , which honed their high-energy live performances and influenced the creation of more aggressive, up-tempo material for their next record. These tours, including shows in major cities like and , exposed the band to rowdy crowds that demanded raw power, pushing them to refine songs with relentless riffs and driving rhythms to match the audience's intensity. Bon Scott served as the primary lyricist for Let There Be Rock, infusing the tracks with his signature blend of bluesy swagger and hard rock bravado drawn from influences like Chuck Berry and the raw storytelling of early rock 'n' roll. His lyrics often captured gritty, humorous vignettes of everyday rebellion, reflecting his pre-AC/DC experiences in Australian pub rock bands where he stockpiled ideas for verses. A prime example is the title track "Let There Be Rock," where Scott's words evoke a biblical creation story from Genesis—"Let there be light"—reimagined as the explosive birth of rock music in the 1950s, complete with references to pioneers like Bill Haley and Chuck Berry to celebrate the genre's rebellious origins. Angus and Malcolm Young handled the core development, often emerging from informal sessions that emphasized groove and live viability over polished composition. This collaborative approach, rooted in the brothers' shared admiration for blues-rock forebears, prioritized infectious hooks that could sustain extended live improvisations. Among the album's standout tracks, "Whole Lotta Rosie" stemmed from a real-life encounter Bon Scott had with a woman named Rosie during an early tour stop in Tasmania around 1975. Scott, then scouting nightlife in Hobart, met the voluptuous fan—famously described in the lyrics with measurements of 42-39-56—leading to a passionate night that inspired the song's playful ode to her energetic personality and physical presence. The band later spotted her slimmer figure at another show, but the original anecdote fueled the track's blues-tinged exuberance. Similarly, "Dog Eat Dog" drew from Scott's observations of cutthroat survival, portraying a cynical urban underbelly through lines about blind beggars on the street and opportunistic "kind men" demanding payoffs, echoing the distrustful hustle of street life amid the band's own industry frustrations.

Recording Sessions

The recording sessions for Let There Be Rock took place at Albert Studios in , , beginning in mid-January 1977. The band entered the studio for a compressed two-week period of night work, reflecting the urgency driven by their impending return to extensive touring commitments in the . This tight schedule was necessitated by AC/DC's grueling road obligations, which had already strained the group following disappointing experiences abroad, pushing them to capture the album efficiently before resuming performances. Producers Harry Vanda and George Young adopted a hands-off approach during the sessions, prioritizing the preservation of the band's raw, live performance energy over heavy intervention. Recording techniques emphasized live tracking in the studio's compact yet lively room, utilizing natural acoustics to enhance the immediacy and impact of the sound, with minimal overdubs to maintain authenticity. Equipment included Neve consoles, Studer tape machines, and classic microphones, which contributed to the album's distinctive, unpolished tone. The sessions concluded in February 1977, allowing the band to wrap up just in time for their next tour leg. This rapid timeline, combined with the producers' restraint, underscored the album's spontaneous feel, aligning with AC/DC's ethos of delivering high-voltage rock without excessive studio polish.

Production Team

The production of Let There Be Rock was led by the duo of and George Young, who served as the album's producers. Vanda, a Dutch-Australian musician best known as the lead guitarist of the 1960s the , and Young, the rhythm guitarist and co-songwriter in the same group, had established themselves as a prolific songwriting and production team after the Easybeats' disbandment in 1969. As the older brother of AC/DC guitarists Malcolm and , George Young played a pivotal role in guiding the band's early development, with co-producing AC/DC's first five studio albums, including Let There Be Rock. Their approach emphasized a raw, energetic sound, polishing the band's signature riffs to enhance their intensity while avoiding overproduction, resulting in the album's tougher, unpolished edge compared to later AC/DC works. Mark Opitz handled the engineering duties for Let There Be Rock, with recording taking place at Albert Studios in , , during January and February 1977. As an apprentice to and Young at the studio, Opitz contributed to the mixing process, capturing the album's distinctive crunchy guitar tone through hands-on observation of the producers' techniques. His work helped achieve the raw, dirty guitar sound that defined tracks like "," prioritizing live energy over refined polish. The involvement of Vanda and Young was deeply intertwined with , the independent Australian label that released the album in . As former members who had long collaborated with the Albert —without a formal contract, operating instead on mutual trust—Vanda and Young helped secure AC/DC's initial deal with the label, fostering a close-knit "family" dynamic that supported the band's raw rock aesthetic from within the Australian music scene.

Release and Packaging

Artwork

The artwork for the international edition of AC/DC's Let There Be Rock prominently features a striking visual of a lightning bolt descending upon a of the band performing on stage, symbolizing the electrifying force and raw energy of . This design, under the art direction of Bob Defrin, captures the intensity of a live setting, with the bolt representing a sudden, powerful burst akin to the album's hard-hitting sound. In contrast, the original Australian release features a color photograph of the band performing live on stage, with mid-jump and a partial view of the audience, emphasizing the raw, energetic stage presence without the lightning bolt overlay. The concept ties directly to the album's title, a biblical allusion to "" reimagined as "Let There Be Rock," evoking themes of creation, divine power, and the genesis of rock 'n' roll; it was commissioned by to broaden the band's appeal for global markets. International pressings of the album introduced the band's enduring lightning bolt logo, designed by and inspired by Gothic lettering from the , while Australian versions exhibit subtle variations, such as differing label and the absence of this logo on early editions. The inner sleeve and record labels employ straightforward black-and-white photographs of members, underscoring a gritty, unpolished aesthetic that aligns with AC/DC's straightforward rock ethos.

Track Listing

Let There Be Rock features eight tracks on both its international and Australian editions, composed by Angus Young, Malcolm Young, and Bon Scott, except "Crabsody in Blue" (Australian only) by Bon Scott. The album's structure on vinyl divides the content into two sides, with Side A generally building rhythmic and energetic momentum through its opening tracks leading into the title song, while Side B delivers a series of high-octane closers that maintain the album's raw intensity. This configuration emphasizes the band's hard rock ethos, prioritizing a continuous flow suited to live performance energy. The international version runs for approximately 40 minutes, encompassing a selection that introduced key songs like "Hell Ain't a Bad Place to Be" and "Whole Lotta Rosie" to global audiences. In contrast, the Australian edition totals approximately 39 minutes, omitting "Problem Child" because it had already appeared on the band's prior single release and the local version of Dirty Deeds Done Dirt Cheap. This exclusion allowed for the inclusion of "Crabsody in Blue," a track unique to the home market release. Subsequent reissues, including and remastered vinyl editions, adhere to the standard international track configuration on a single disc or LP, preserving the original 1977 sequencing without significant alterations to side divisions.

Australian Version

The Australian version of Let There Be Rock was the fourth studio by released domestically, marking a pivotal point in the band's rising prominence within their home market. Issued on 21 March 1977 through , the label co-owned by the band's producers George Young and , this edition was tailored specifically for Australasian audiences and preceded the modified international release by several months. The captured the raw, high-energy sound that defined 's early career, emphasizing new compositions written primarily by brothers Angus and , with contributions from vocalist . This version featured eight tracks across two sides of vinyl, clocking in at a total runtime of approximately 39 minutes and focusing exclusively on fresh material not previously issued on the band's prior Australian albums. Unlike the international edition, which substituted one track to align with global distribution preferences, the Australian release included the band's playful interlude "Crabsody in Blue," a Bon Scott-penned evoking a humorous take on infestation woes through simple, riff-driven . The tracklist is as follows:
SideNo.TitleWriter(s)Length
A1"Go Down"A. Young, M. Young, Scott5:17
A2"Dog Eat Dog"A. Young, M. Young, Scott3:30
A3"Let There Be Rock"A. Young, M. Young, Scott6:02
A4"Bad Boy Boogie"A. Young, M. Young, Scott4:18
B1"Overdose"A. Young, M. Young, Scott5:47
B2"Crabsody in Blue"Scott4:39
B3"Hell Ain't a Bad Place to Be"A. Young, M. Young, Scott4:14
B4""A. Young, M. Young, Scott5:09
All tracks produced by at Albert Studios in . The album's packaging and sequencing prioritized a cohesive listening experience for live shows and radio play in , where had built a fervent fanbase through relentless touring. Its emphasis on unpolished, guitar-heavy anthems helped solidify the band's reputation as a cornerstone of Australian rock export.

International Version

The international version of Let There Be Rock was released on 23 June 1977 in the UK and , and 25 July 1977 in the , through . This edition expanded upon the Australian release by incorporating "Problem Child," a track recorded during the band's 1975 T.N.T. sessions, to increase the album's runtime and enhance its appeal for global distribution. The addition replaced "Crabsody in Blue" from the domestic version, with the track order on Side B reordered to begin with "Problem Child" for improved pacing and energy flow. The track listing for the standard international LP is as follows: Side A
  1. "Go Down" – 5:31
  2. "Dog Eat Dog" – 3:35
  3. "Let There Be Rock" – 6:06
  4. "Bad Boy Boogie" – 4:27
Side B
  1. "Problem Child" – 5:08
  2. "Overdose" – 5:43
  3. "Hell Ain't a Bad Place to Be" – 4:21
  4. "Whole Lotta Rosie" – 5:23
Regional variations existed in early pressings; for instance, some initial editions on Atlantic retained the Australian configuration, opening Side B with "Overdose" and including "Crabsody in Blue" instead of "Problem Child." These differences arose from manufacturing decisions during the album's rollout to align with local preferences or availability.

Credits

Band Personnel

The core lineup of AC/DC for the album Let There Be Rock consisted of vocalist , who provided the raw, energetic lead vocals that defined the band's early sound. Lead guitarist delivered the album's signature high-energy riffs and solos using his 1968 Standard, a cherry red model that became synonymous with his schoolboy stage persona and aggressive playing style. Rhythm guitarist and co-founder anchored the tracks with his precise, percussive chord work on a 1963 Jet Firebird, contributing to the album's tight, driving . Bassist Mark Evans, who joined the band in 1975, played on all tracks, marking his final album with before being replaced; his contributions added a solid low-end foundation to the arrangements. Drummer supplied the steady, powerful beats that propelled the album's blues-based , creating the genre's quintessential backbeat.

Additional Contributors

The production of Let There Be Rock was overseen by and George Young, the Australian duo who served as producers and provided creative direction throughout the album's creation at Albert Studios in . Mark Opitz acted as the recording engineer, handling the technical aspects of capturing the band's sound during the January and February 1977 sessions.

Musical Content

Style and Composition

Let There Be Rock exemplifies rooted in influences, defined by high-energy riffs, steady 4/4 rhythms, and extended guitar solos that propel its tracks forward with unyielding momentum. The album's sound is lean and mean, evolving the blues-rock foundation of AC/DC's earlier releases into a harder, more distinctive form characterized by sweaty, dirty intensity and relentless drive. Central to the composition is the dual guitar interplay between Angus and , which crafts chunky, riff-driven chords that anchor each song, complemented by straightforward bass lines and powerful, no-frills drumming—no synthesizers intrude, preserving the raw, organic power of the . This setup emphasizes high-voltage aggression, with the rhythm section providing a solid backbone for the guitars' explosive energy, as heard in the rolling blues-based rhythms of the opener "Go Down." Innovations in structure mark a departure from the band's prior albums, shifting toward longer compositions that allow for built-up tension and release through prolonged solos, influencing the blueprint of the era. The title track, spanning over six minutes, exemplifies this with its narrative build and fiery guitar work, while "Whole Lotta Rosie" adopts a framework that amplifies the album's manic, streetwise edge. Overall, the record amplifies the aggression beyond , establishing a louder, tighter template for AC/DC's zenith through simple yet hook-laden craftsmanship.

Themes and Lyrics

The lyrics of Let There Be Rock, primarily written by , emphasize themes of rock 'n' roll excess, rebellion, and unapologetic , often drawn from Scott's own experiences in the gritty underbelly of urban life and the . Scott's streetwise, humorous delivery infuses the songs with a raw, conversational tone, frequently employing double entendres and vivid storytelling to celebrate mischief and indulgence without moral judgment. This approach portrays not just as entertainment, but as a liberating force against societal constraints, reflecting the band's Australian working-class roots and Scott's persona as a roguish . Central to the album is the motif of against , evident in tracks like "Problem Child," where Scott embodies the of a defiant troublemaker who thrives on chaos and independence, declaring himself a "wild" force that others should avoid or pay the price for crossing. Similarly, "Dog Eat Dog" captures urban survival in a cutthroat world, highlighting the ruthless reciprocity of life where "every dog has its day," underscoring themes of competition and fleeting fortune in the rock lifestyle. These narratives align with Scott's broader lyrical style, blending bravado with wry observation to evoke the relentless energy of street-level existence. Hedonism dominates the album's portrayal of pleasure-seeking, as seen in "Hell Ain't a Bad Place to Be," a mischievous to a fiery, devilish whose wild antics bring out the protagonist's darker impulses, framing as a thrilling rather than damned pursuit. "Overdose" extends this by likening for a destructive partner to an addictive high, clarifying through its narrative that the "overdose" refers to emotional and physical excess rather than drugs. The closing track, "," exemplifies Scott's exaggerated romance tales, recounting a real-life with a 19-stone Tasmanian in boastful, larger-than-life detail, turning personal into a of carnal exuberance. The title track stands apart with its biblical and mythic allusions, parodying the Genesis creation story—"In the beginning, back in 1955"—to mythologize rock 'n' roll's origins as a divine , complete with references to pioneers like and a sermon-like structure that elevates the genre to sacred status. Scott reportedly crafted these in the studio with a at hand, blending irreverent humor with reverence for the music's revolutionary power. This track encapsulates the album's overarching celebration of rock as a rebellious, hedonistic creed that Scott delivers with infectious charisma.

Reception

Initial Critical Response

Upon its release in 1977, Let There Be Rock received a mixed initial critical response, with praise for its raw energy and rock 'n' roll purity tempered by criticisms of its simplicity and repetitiveness. In the UK, the album was praised in some quarters for elevating the band as a key Australian export to the international rock scene. Conversely, Sounds magazine's Phil Sutcliffe described AC/DC as "a 4-letter word band" with "a bit of a one-track mind," noting the relentless riffing and limited lyrical depth as both a strength and a limitation. These reviews captured the album's polarizing appeal, positioning it as a landmark for hard rock's unpretentious side amid the era's more progressive trends. In the , where the album arrived on July 25, 1977, reception was slower but gradually warmer as built their reputation through relentless touring. Critics acknowledged the record's explosive vitality, though some, like those in Rolling Stone's later assessments, viewed it through the lens of the band's evolving catalog rather than as an immediate breakthrough. The album's promotion was closely tied to extensive live performances, including high-energy shows across , , and , which amplified word-of-mouth buzz and helped solidify despite uneven press. This momentum proved crucial, as the tours showcased tracks like the title song in marathon sets, turning skeptics into converts and foreshadowing the band's global ascent.

Retrospective Reviews

In retrospective assessments, Let There Be Rock is widely regarded as a cornerstone of AC/DC's catalog and a high point of the Bon Scott era, capturing the band's raw energy and blues-infused hard rock at its most visceral. awarded it 4.5 out of 5 stars, praising its relentless drive and the synergy between Scott's charismatic vocals and the Young brothers' guitar assault, which solidified AC/DC's identity as purveyors of unadulterated rock 'n' roll. Similarly, a 2017 anniversary piece in hailed it as the band's "first truly great long player," emphasizing its role in refining their sound from earlier, more fragmented efforts into a cohesive blueprint for future triumphs. Critic rankings underscore its enduring acclaim among hard rock enthusiasts. In Mojo magazine's 2025 ranking of every AC/DC album, Let There Be Rock placed second overall, lauded for its "breakneck propulsion and piss’n’vinegar attitude," with ecstatic solos and muscular riffs on tracks like "Whole Lotta Rosie" and the title song cited by metal icons such as Metallica's Lars Ulrich and Megadeth's Dave Mustaine as the pinnacle of the band's output. Books chronicling AC/DC's ascent, such as Susan Masino's The Story of AC/DC: Let There Be Rock (2006, updated 2020), portray the album as a breakthrough that propelled the band from Australian pub circuits to international arenas, blending high-octane performance with Scott's irreverent lyricism. Academically, the album is recognized for bridging traditions with the emerging heavy metal aesthetic. A conference paper, "Let There Be Rock: The AC/DC Phenomenon," analyzes how its bluesy roots—evident in riff-driven tracks like "Dog Eat Dog"—evolved into a heavier, electrified format that influenced metal's intensity while maintaining rock 'n' roll's primal spirit, contributing to 's sales of over 200 million albums worldwide. Into the 21st century, the album's legacy persists through reissues and media. released a 50th anniversary gold vinyl edition in 2024, highlighting its foundational status with remastered audio and new artwork featuring the band's iconic logo debut. As of 2025, anticipation builds for the project The Kid from Harvest Road, announced for production beginning in early 2025 (as of March 2024), which explores his pre-AC/DC life but underscores the transformative impact of albums like Let There Be Rock on his legacy.

Commercial Performance

Chart Performance

In , Let There Be Rock peaked at number 19 on the albums chart in 1977. The album entered the on 5 November 1977, achieving a peak position of number 17 and spending a total of 5 weeks in the top 75. It re-entered the UK chart in the , following the commercial breakthrough of and renewed interest in AC/DC's catalog. In the United States, Let There Be Rock marked AC/DC's first appearance on the , debuting at number 186 on the dated 13 August 1977 before climbing to a peak of number 154 on 15 October 1977; its slower trajectory reflected the band's emerging radio airplay and grassroots fanbase at the time. The album also charted modestly in other international markets, reaching number 29 on the Swedish in 1977 with 5 weeks total, where the single "" helped drive European visibility through live performances and radio play.

Sales and Certifications

Let There Be Rock has achieved significant commercial success, with worldwide sales estimated at over 6 million units as of 2025. In the United States, the album was certified 2× Platinum by the (RIAA) on December 12, 1997, recognizing shipments of 2,000,000 copies. It received 5× Platinum certification from the (ARIA) for 350,000 units. The (BPI) awarded it Gold certification for 100,000 units sold in the UK. In , it was certified 2× Platinum by for 200,000 units. The 2003 remastered edition, part of AC/DC's comprehensive reissue campaign, renewed interest in the and contributed to ongoing sales accumulation toward these certifications. Recent from the has further bolstered its equivalent album units, though no additional physical certifications have been issued in that period.

Legacy

Cultural Impact

Let There Be Rock significantly contributed to the evolution of by solidifying AC/DC's signature sound of aggressive guitar riffs, pounding rhythms, and unpretentious energy, serving as a foundational blueprint for the genre's emphasis on live-wire performance and . This influence extended to later hard rock acts, with bands like Guns N' Roses drawing inspiration from AC/DC's raw approach during their formative years. The title track gained further prominence in popular culture through its inclusion on the soundtrack for the 2010 superhero film Iron Man 2, where it underscored action sequences and amplified the movie's rock-infused aesthetic for a global audience. The album highlighted Bon Scott's raspy, irreverent vocals and storytelling prowess, contributing to his status as a defining figure in rock history prior to his death in 1980. It is often regarded as a high point of his tenure with AC/DC. Post-2000 tributes underscored the album's enduring resonance, including the 2017 "Salute to Bon" event in , where performers recreated Let There Be Rock in full at the Factory Theatre to honor its 40th anniversary and Scott's contributions. During AC/DC's tour in 2025, the band performed Bon Scott-era songs such as "Jailbreak" for the first time in over three decades, reaffirming the lasting impact of the early albums like Let There Be Rock.

Reissues and Media Adaptations

The album Let There Be Rock was first released on CD in 1987 by Atlantic Records, marking its transition to digital format with the original tracklist intact. A significant remaster followed in 2003, overseen by engineer George Marino at Sterling Sound from the original master tapes, which enhanced audio clarity, detail, and dynamics while preserving the raw energy of the 1977 recording. Tracks from the album appeared on the 2009 compilation box set Backtracks, which collected studio rarities and live recordings, including a 1981 live version of the title track from the Capital Centre in Landover, Maryland. The 1980 concert film AC/DC: Let There Be Rock, directed by Eric Dionysius and Eric Mistler, captures the band's performance at the Pavillon de Paris on December 9, 1979, during their Highway to Hell tour; it features live renditions of album songs like "Let There Be Rock," "Whole Lotta Rosie," and "Bad Boy Boogie," interspersed with band interviews and fictional vignettes. The title track has been covered by artists including the Foo Fighters, who performed it live in 2017 as a tribute to rhythm guitarist Malcolm Young following his death. It also appears as a playable song in the 2008 video game Rock Band 2, allowing players to experience its extended guitar solo in a rhythm-based format. In 2024, to commemorate the band's 50th anniversary, a limited-edition vinyl reissue was released, featuring the remastered audio on 180-gram pressing with original artwork.

References

  1. https://www.discogs.com/master/8572-ACDC-Let-There-Be-Rock
  2. https://ultimateclassicrock.com/acdc-let-there-be-rock/
  3. https://acdc.fandom.com/wiki/Let_There_Be_Rock_%28Album%29
  4. https://shop.acdc.com/products/let-there-be-rock-cd
  5. https://www.allmusic.com/album/let-there-be-rock-mw0000188896
  6. https://www.billboard.com/pro/acdcs-top-10-albums-back-in-black-highway-to-hell-more/
  7. https://bestsellingalbums.org/album/894
  8. https://www.loudersound.com/features/let-there-be-rock-the-album-that-nearly-killed-ac-dc
  9. https://www.loudersound.com/features/acdc-angus-malcolm-young-interview-2003
  10. https://www.songfacts.com/facts/ac-dc/let-there-be-rock
  11. https://ultimateclassicrock.com/acdc-let-there-be-rock-song/
  12. https://www.songfacts.com/facts/ac-dc/whole-lotta-rosie
  13. https://loudwire.com/identity-woman-inspired-ac-dc-whole-lotta-rosie-found/
  14. https://ultimateclassicrock.com/ac-dc-dog-eat-dog-song/
  15. http://albumlinernotes.com/Let_There_Be_Rock.html
  16. https://www.vintagedigital.com.au/studios/albert-studios/
  17. https://www.acdc.com/ac-dc-records-let-there-be-rock-in-1977/
  18. https://www.theguardian.com/music/2017/oct/24/george-young-should-be-remembered-as-the-sonic-architect-of-australian-rock-music
  19. https://www.guitarworld.com/artists/guitarists/the-easybeats-friday-on-my-mind-ac-dc-connection
  20. https://rvm.pm/acdcs-let-rock/
  21. https://jennyvalentish.com/2014/07/jenny-interviews-mark-opitz/
  22. https://www.highwaytoacdc.com/index.php?articleid=1003
  23. https://www.smh.com.au/entertainment/music/albert-productions-the-label-behind-acdc-rocks-up-50-years-20140807-1018kh.html
  24. https://www.abc.net.au/news/2016-07-06/alberts-company-who-launched-acdc-sold-to-bmg/7573380
  25. https://lanateramae.com/2021/03/01/ac-dcs-let-there-be-rock-is-a-solid-rock-album-review/
  26. https://www.discogs.com/release/823472-ACDC-Let-There-Be-Rock
  27. https://english.elpais.com/culture/2024-03-16/acdc-wasnt-fair-to-the-designer-of-the-bands-multimillion-dollar-logo.html
  28. https://www.amazon.com/Let-There-Be-Rock-AC/dp/B00008WT5C
  29. https://www.discogs.com/release/31018801-ACDC-Let-There-Be-Rock
  30. https://open.spotify.com/album/3JwFNl80WWeXPiKEjIFbqa
  31. https://www.discogs.com/release/2918321-ACDC-Problem-Child-Let-There-Be-Rock
  32. https://store.acdc.com/products/acdc-let-there-be-rock-cd
  33. https://musicbrainz.org/release-group/c9673ff0-15b5-394d-a5ec-3d2a27dfce83
  34. https://www.ac-dc.net/discography1/acdc_discography.php?discography_id=31
  35. https://www.discogs.com/release/6864623-ACDC-Let-There-Be-Rock
  36. https://forums.stevehoffman.tv/threads/ac-dc-let-there-be-rock-uk-porky-vinyl.1021590/
  37. https://forums.stevehoffman.tv/threads/ac-dc-first-uk-pressings-bon-scott-era.1055942/
  38. https://faroutmagazine.co.uk/ac-dc-bon-scott-isolated-vocal-let-there-be-rock/
  39. https://www.guitarworld.com/news/what-is-angus-youngs-number-one-gibson-sg
  40. https://equipboard.com/pros/angus-young
  41. https://www.vintageguitar.com/49853/gretsch-malcolm-young-red-beast-signature-jet/
  42. https://www.groundguitar.com/malcolm-young-gear/malcolm-youngs-1963-gretsch-jet-firebird-the-beast/
  43. https://bravewords.com/news/former-ac-dc-bassist-mark-evans-says-let-there-be-rock-was-band-s-first-real-album-that-s-where-the-band-starts-sounding-like-the-band-audio/
  44. https://musicbrainz.org/release/b0edc98d-cae3-4bc8-b512-f6029f7d8790
  45. https://www.smh.com.au/entertainment/music/the-hand-that-rocks-the-radio-20121220-2bof7.html
  46. https://www.metalmusicarchives.com/review/let-there-be-rock/262688
  47. http://www.markprindle.com/acdca.htm
  48. https://www.loudersound.com/reviews/ac-dc-let-there-be-rock-album-review
  49. https://rateyourmusic.com/release/album/ac_dc/let-there-be-rock/reviews/11/
  50. https://www.rollingstone.com/music/music-lists/ac-dc-25-essential-songs-121305/
  51. https://rateyourmusic.com/release/album/ac_dc/let-there-be-rock/reviews/33/
  52. https://en.apoplife.nl/acdc-let-there-be-rock/
  53. https://www.songfacts.com/facts/ac-dc/problem-child
  54. https://www.musixmatch.com/lyrics/AC-DC/Dog-Eat-Dog
  55. https://www.tailem.com/hell-aint-a-bad-place-to-be-song-let-there-be-rock/reviews/ac-dc-artist
  56. https://genius.com/Ac-dc-overdose-lyrics
  57. https://www.loudersound.com/features/fk-you-follow-that-the-electrifying-story-of-acdcs-masterpiece-powerage
  58. https://thequietus.com/opinion-and-essays/anniversary/acdc-let-there-be-rock-review-anniversary/
  59. https://www.mojo4music.com/articles/the-mojo-list/ac-dc-every-album-ranked/
  60. https://www.amazon.com/Story-AC-DC-There-Rock/dp/0825634695
  61. https://www.researchgate.net/publication/332223161_Let_There_Be_Rock_The_ACDC_Phenomenon
  62. https://www.legacyrecordings.com/2024/05/08/power-up-with-the-latest-surge-of-ac-dc-50th-anniversary-vinyl/
  63. https://consequence.net/2024/03/biopic-ac-dc-singer-bon-scott/
  64. https://www.officialcharts.com/albums/acdc-let-there-be-rock/
  65. https://www.iheart.com/content/2021-07-23-22-things-you-might-not-know-about-acdcs-back-in-black/
  66. https://swedishcharts.com/showitem.asp?interpret=AC%2FDC&titel=Let+There+Be+Rock&cat=a
  67. https://chartmasters.org/cspc-ac-dc-popularity-analysis/
  68. https://bestsellingalbums.org/list-of-best-selling-albums-in-australia
  69. https://www.acdc.com/music/iron-man-2/
  70. https://www.youtube.com/watch?v=pcOhz1yATAY
  71. https://consequence.net/2025/11/ac-dc-jailbreak-first-time-34-years/
  72. https://www.discogs.com/release/7934792-ACDC-Let-There-Be-Rock
  73. https://www.discogs.com/release/8865107-ACDC-Let-There-Be-Rock
  74. https://www.ac-dc.net/discography1/acdc_discography.php?discography_id=6
  75. https://www.acdc.com/music/backtracks/
  76. https://www.imdb.com/title/tt0080321/
  77. https://www.amazon.com/AC-DC-Let-There-Rock/dp/B004NJC0B6
  78. https://www.billboard.com/music/rock/foo-fighters-cover-acdc-let-there-be-rock-tribute-malcolm-young-8039597/
  79. https://therockrevival.com/rock-news/ac-dc-announce-50th-anniversary-gold-vinyl-reissues/
  80. https://imusic.co/music/0196588733314/ac-dc-2024-let-there-be-rock-lp
Add your contribution
Related Hubs
User Avatar
No comments yet.