Here is what Deepseek churned out when asked how Lester Bangs would have reviewed AC/DC's Back in Black. Seemed a little tame for Mr. Bangs. but this is what it channeled.

Album Review: AC/DC – Back in Black
By (AI) Lester Banks

There are few moments in rock 'n' roll history where a band stares into the abyss, spits in its face, and emerges not just intact but invincible. AC/DC’s Back in Black is one of those moments. Released in 1980, this album is a monument to resilience, a thunderous middle finger to fate, and a masterclass in rock simplicity done to perfection. It’s the sound of a band reborn, not with a whimper, but with a roar that could wake the dead.

The shadow of Bon Scott’s tragic death loomed large over AC/DC as they entered the studio to record Back in Black. Scott wasn’t just a frontman; he was the band’s snarling, mischievous soul. Replacing him seemed impossible, but in Brian Johnson, they found not just a replacement, but a new voice—a man who could channel the same devil-may-care spirit while carving out his own identity. Johnson’s raspy, howling vocals are the engine that drives this record, a perfect match for Angus Young’s razor-sharp riffs and Malcolm Young’s rock-solid rhythm.
From the very first toll of that ominous bell in “Hells Bells,” it’s clear that Back in Black is something special. The track builds like a storm, Johnson’s voice cutting through the gloom like a lightning strike. It’s a statement of intent, a declaration that AC/DC wasn’t just back—they were bigger, louder, and hungrier than ever. And then comes the title track, “Back in Black,” a riff so iconic it feels like it was carved into the bedrock of rock itself. It’s a celebration of survival, a song that struts with the confidence of a band that knows it’s just made one of the greatest albums of all time.

But Back in Black isn’t just about the hits. Every track here is a gem, from the swaggering “You Shook Me All Night Long” (a song so infectious it should come with a warning label) to the relentless groove of “Shoot to Thrill.” Even deeper cuts like “Have a Drink on Me” and “Rock and Roll Ain’t Noise Pollution” showcase a band operating at the peak of its powers. There’s no filler, no pretension—just 42 minutes of pure, unadulterated rock 'n' roll.
What makes Back in Black so enduring is its simplicity. AC/DC didn’t reinvent the wheel here; they just made it spin faster and louder. Angus Young’s solos are lean and mean, Malcolm Young’s rhythm guitar is a metronome of precision, and the rhythm section of Cliff Williams and Phil Rudd locks into a groove so tight it feels like it could hold up a skyscraper. Producer Robert “Mutt” Lange deserves credit for capturing the band’s raw energy while giving the album a polished sheen that still sounds fresh four decades later.
In the end, Back in Black is more than just an album—it’s a testament to the power of rock 'n' roll to overcome, to endure, and to triumph. It’s a record that doesn’t just demand to be played loud; it requires it. AC/DC didn’t just make a comeback with Back in Black; they made history. And in doing so, they gave us a record that will forever be the soundtrack to rebellion, resilience, and the unbreakable spirit of rock.

Rating: 10/10
Essential Tracks: “Hells Bells,” “Back in Black,” “You Shook Me All Night Long,” “Shoot to Thrill”
Lester Banks, 1980 (from the great beyond, 2023)