Let’s say I’ve just landed here from Mars, excitedly clutching a sackful of Mojo magazines and the Trouser Press Record Guide, which I ordered through Amazon’s universal browser. Let’s say I have browsed cool rock blogs and read reports of this artist named Robert Wyatt. Let’s say I have not yet heard his music, but I’m tingling with anticipation over the first notes of Marxist, jazzbo, Canterbury whimsy that’s promised on anything from a classic Soft Machine album through one of a half dozen critically acclaimed Wyatt albums. Then I hear something like this.

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Before I begin, let’s get a couple of things straight:

• It can be safely assumed you are a passionate and articulate fan of rock ‘n roll if you’re here in the Hall.
• It can be safely assumed that you are aware of the gulf between The Rolling Stones’ “Honky Tonk Woman” and any song by AC/DC.
• Any possible comparisons between Bon Scott and Brian Johnston will not be considered relevant to the discussion.

OK. So I’ve been listening to AC/DC’s High Voltage over the past week. My friend Seth bought me a couple of AC/DC albums last year as both fine birthday gifts and educational opportunities. He wanted me to hear their albums’ productions and see if there was anything I could learn and better understand when he discussed the sound of our own band’s productions. Since receiving these educational gifts, I listen to these albums every few months. I see what he means about the awesome dry production of the drums and guitars, in particular. It’s the kind of production lovers of dry recording get wet over. Listen to the intro of the opening track, “It’s a Long Way to the Top (If you Wanna Rock ‘n’ Roll)”, if you want to know what floats my boat in terms of dry production. If possible, hit PAUSE at the 29-second mark, right before the vocals enter.
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