尽管Highway To Hell的歌词乃是关于情爱，封面上Angus Young的恶魔打扮亦不乏吸噱之意，但仍有无数歌迷将“Highway To Hell”这个响当当的名称和LED ZEPPELIN那首Stairway To Heaven相提并论（准确点说是唱对台戏）。如果说后者所歌唱之事和多少“天堂”还有点关系，那前者则不过是AC/DC对男女之事的玩笑称呼而已，完全不是真正意义上的“地狱”。因此我们千万不要自以为是地以为这是一张表现重金属邪恶本质的专辑，AC/DC不过是把恶魔和地狱当作一种有趣的玩笑罢了，所以如果你是个听着黑金属，戴着倒十字架，并发誓要把耶稣打入地狱的撒旦信徒，那么这张Highway To Hell其实倒真是对你的极大讽刺。走题太远，还是说说专辑本身吧。之所以喜欢这张专辑而不是后来的Back In Black，是因为Bon Scott的嗓子。他的嗓音虽然没有后来的Brian那么刺耳有力，但却更原始更歇斯底里，他常会给我一种唱到高音唱不上去但还是全力以赴的感觉，全然不象Brian那么游刃有余。不过这种感觉却显得更亲切，更具有现场感，少了些明星派头。到这张专辑中，Young兄弟的创作能力已经到了颠峰，随便哪首歌中都有精彩的riff和solo，实在是百听不厌，虽然除了主题曲外并无特别之处，但总体上给人感觉是比较舒服自如的，而且比较平均。AC/DC多数专辑中常会有两三处神来之笔，而其他歌曲则相对平庸，因此这张专辑乃是胜在其均好性上，也是AC/DC最具代表性的作品，不可不听。

Highway to Hell一发行马上就成为乐队首张进入英国排行榜头10名的专辑，排位第8；在美国它也打入前29名，排在第17。它甚至排在了澳大利亚排行榜的第24位，这是他们近3年来在澳大利亚的第一张上榜专辑。Highway To Hell被认为绝对是乐队事业又向前迈出的一大步。

这张专辑在滚石杂志选出的500张历代最强专辑中排名第199位。

Of course, Highway to Hell is the final album AC/DC recorded with Bon Scott, the lead singer who provided the group with a fair share of its signature sleaze. Just months after its release, Scott literally partied himself to death, dying of alcohol poisoning after a night of drinking, a rock & roll fatality that took no imagination to predict. In light of his passing, it's hard not to see Highway to Hell as a last testament of sorts, being that it was his last work and all, and if Scott was going to go out in a blaze of glory, this certainly was the way to do it. This is a veritable rogue's gallery of deviance, from cheerfully clumsy sex talk and drinking anthems to general outlandish behavior. It's tempting to say that Scott might have been prescient about his end -- or to see the title track as ominous in the wake of his death -- trying to spill it all out on paper, but it's more accurate to say that the ride had just gotten very fast and very wild for AC/DC, and he was simply flying high. After all, it wasn't just Scott who reached a new peak on Highway to Hell; so did the Young brothers, crafting their monster riffs into full-fledged, undeniable songs. This is their best set of songs yet, from the incessant, intoxicating boogie of "Girls Got Rhythm" to "If You Want Blood (You've Got It)." Some of the credit should also go to Robert John "Mutt" Lange, who gives the album a precision and magnitude that the Vanda & Young LPs lacked in their grimy charm. Filtered through Mutt's mixing board, AC/DC has never sounded so enormous, and they've never had such great songs, and they had never delivered an album as singularly bone-crunching or classic as this until now.