Aerosmith
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Aerosmith was one of the most popular hard rock bands of the '70s, setting the style and sound of hard rock and heavy metal for the next two decades with their raunchy, bluesy swagger. The Boston-based quintet found the middle ground between the menace of the Rolling Stones and the campy, sleazy flamboyance of the New York Dolls, developing a lean, dirty riff-oriented boogie that was loose and swinging and as hard as a diamond.
In the meantime, they developed a prototype for power ballads with "Dream On," a piano ballad that was orchestrated with strings and distorted guitars. Aerosmith's ability to pull off both ballads and rock & roll made them extremely popular during the mid-'70s, when they had a string of gold and platinum albums. By the early '80s, the group's audience had declined as the band fell prey to drug and alcohol abuse. However, their career was far from over - in the late '80s, Aerosmith pulled off one of the most remarkable comebacks in rock history, returning to the top of the charts with a group of albums that equalled, if not surpassed, the popularity of their '70s albums.
In 1970, the first incarnation of Aerosmith formed when vocalist Steven Tyler met guitarist Joe Perry while working at a Sunapee, NH, ice-cream parlor. Tyler, who originally was a drummer, and Perry decided to form a power trio with bassist Tom Hamilton. The group soon expanded to a quartet, adding a second guitarist called Ray Tabano; he was quickly replaced by Brad Whitford, a former member of Earth Inc. With the addition of drummer Joey Kramer, Tyler became the full-time lead singer by the end of year. Aerosmith relocated to Boston at the end of 1970.
After playing clubs in the Massachusetts and New York areas for two years, the group landed a record contract with Columbia Records in 1972. Aerosmith's self-titled debut album was released in the fall of 1973, climbing to number 166. "Dream On" was released as the first single and it was a minor hit, reaching number 59. For the next year, the band built a fan base by touring America, supporting groups as diverse as the Kinks, Mahavishnu Orchestra, Sha Na Na, and Mott the Hoople. The performance of Get Your Wings (1974), the group's second album and the first produced by Jack Douglas, benefited from their constant touring, spending a total of 86 weeks on the chart.
Aerosmith's third record, 1975's Toys in the Attic, was their breakthrough album both commercially and artistically. By the time it was recorded, the band's sound had developed into a sleek, hard-driving hard rock powered by simple, almost brutal, blues-based riffs. Many critics at the time labeled the group as punk rockers, and it's easy to see why - instead of adhering to the world-music pretentions of Led Zeppelin or the prolonged gloomy mysticism of Black Sabbath, Aerosmith stripped heavy metal to its basic core, spitting out spare riffs that not only rocked, but rolled. Steven Tyler's lyrics were filled with double entendres and clever jokes and the entire band had a streetwise charisma that separated them from the heavy, lumbering arena rockers of the era. Toys in the Attic captured the essence of the newly invigorated Aerosmith. "Sweet Emotion," the first single from Toys in the Attic, broke into the Top 40 in the summer of 1975, with the album reaching number 11 shortly afterward. Its success prompted the re-release of the power \ballad "Dream On," which shot into the Top Ten in early 1976. Both Aerosmith and Get Your Wings climbed back up the charts in the wake of Toys in the Attic. "Walk This Way," the final single from Toys in the Attic, was released around the time of the group's new 1976 album, Rocks. Although it didn't feature a Top Ten hit like "Walk This Way," Rocks went platinum quickly, peaking at number three.
In early 1977, Aerosmith took a break and prepared material for their fifth album. Released late in 1977, Draw the Line was another hit, climbing to number 11 on the U.S. charts, but it showed signs of exhaustion. In addition to another tour in 1978, the band appeared in the movie Sgt. Pepper's Lonely Hearts Club Band, performing "Come Together," which eventually became a number 23 hit. Live! Bootleg appeared late in 1978 and became another success, reaching number 13. Aerosmith recorded Night in the Ruts in 1979, releasing the record at the end of the year. By the time of its release, Joe Perry had left the band to form the Joe Perry Project. Night in the Ruts performed respectably, climbing to number 14 and going gold, yet it was the least successful Aerosmith record to date. Brad Whitford left the group in early 1980, forming the Whitsford-St. Holmes Band with former Ted Nugent guitarist Derek St. Holmes.
As Aerosmith regrouped with new guitarists Jimmy Crespo and Rick Dufay, the band released Aerosmith's Greatest Hits in late 1980; the record would eventually sell over six million copies. The new lineup of Aerosmith released Rock in a Hard Place in 1982. Peaking at number 32, it failed to match the performance of Night in the Ruts. Perry and Whitford returned to the band in 1984 and the group began a reunion tour dubbed Back in the Saddle. Early in the tour, Tyler collapsed on stage, offering proof that the band hadn't conquered their notorious drug and alcohol addictions. The following year, Aerosmith released Done with Mirrors, the original lineup's first record since 1979 and their first for Geffen Records. Although it didn't perform as well as Rock in a Hard Place, the album showed that the band was revitalized.
After the release of Done with Mirrors, Tyler and Perry completed rehabilitation programs. In 1986, the pair appeared on Run D.M.C.'s cover of "Walk This Way," along with appearing in the video. "Walk This Way" became a hit, reaching number four and receiving saturation airplay on MTV. "Walk This Way" set the stage for the band's full-scale comeback effort, the Bruce Fairburn-produced Permanent Vacation (1987). Tyler and Perry collaborated with professional hard rock songwriters like Holly Knight and Desmond Child, resulting in the hits "Dude (Looks Like a Lady)," "Rag Doll" and "Angel." Permanent Vacation peaked at number 11 and sold over three million copies.
Pump, released in 1989, continued the band's winning streak, reaching number five, selling over four million copies, and spawning the Top Ten singles "Love in an Elevator," "Janie's Got a Gun," and "What It Takes." Aerosmith released Get a Grip in 1993. Like Permanent Vacation and Pump, Get a Grip was produced by Bruce Fairburn and featured significant contributions by professional songwriters. The album was as successful as the band's previous two records, featuring the hit singles "Livin' on the Edge," "Cryin'," and "Amazing." In 1994, Aerosmith released Big Ones, a compilation of hits from their Geffen years which fulfilled their contract with the label; it went double platinum shortly after its release.
While Aerosmith was at the height of its revitalized popularity in the early '90s, the group signed a lucrative multi-million dollar contract with Columbia Records, even though they still owed Geffen two albums. It wasn't until 1995 that the band was able to begin working on their first record under the new contract - nearly five years after the contract was signed. The making of Aerosmith albums usually had been difficult affairs, but the recording of Nine Lives was plagued with bad luck. The band went through a number of producers and songwriters before settling on Kevin Shirley in 1996. More damaging, however, was the dismissal of the band's manager Tim Collins, who had been responsible for bringing the band from the brink of addiction. Upon his firing, Collins insinuated that Steven Tyler was using hard drugs again, an allegation that Aerosmith adamantly denied. Under such circumstances, recording became quite difficult, and when Nine Lives finally appeared in the spring of 1997, it was greeted with great anticipation, yet the initial reviews were mixed and even though album debuted at number one, it quickly fell down the charts. The live A Little South of Sanity followed in 1998. Three years later, Aerosmith strutted their stuff on the halftime special on CBS with the likes of Mary J. Blige, Nelly, *N Sync, and Britney Spears, just prior to issuing their heart stomping Just Push Play in March 2001.

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Aerosmith - 1973

Over the years, Aerosmith has voiced dissatisfaction with its 1973 self-titled debut. While the songwriting may not be as exceptional as future releases, and Steven Tyler's singing style wasn't fully developed yet, the album succeeds on the band's raw, loose and bluesy performance. The now legendary quintet was unfairly labeled as a Stones/N.Y. Dolls rip-off at the time, but Aerosmith was more technically proficient at their instruments than the Dolls, and was much more hard rock-based than the Stones (i.e., Led Zeppelin, Yardbirds, etc.). Aerosmith spawned one of the first true rock ballads ever, the reflective "Dream On" (a hit single when re-released in 1976), while the rocking "Mama Kin" was one of the band's best early anthems, receiving further attention after Aero-disciples Guns N' Roses covered it on 1989's G N' R Lies. Other tracks, such as "Make It," "Somebody," "One Way Street," "Write Me," and "Walking the Dog" serve as the perfect snapshot of the young band finding their foothold, while the oft-overlooked, long-and-winding storyteller, "Movin' Out," remains one of Aerosmith's all-time best. Aerosmith is one of their most underrated records. - Greg Prato

1 - (3:42) Make It
2 - (3:46) Somebody
3 - (4:29) Dream On
4 - (7:04) One Way Street
5 - (4:30) Mama Kin
6 - (4:13) Write Me
7 - (5:04) Movin' Out
8 - (3:13) Walkin' The Dog

 

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Get Your Wings - 1974

Due to the commercial underachievement of Aerosmith's 1973 self-titled debut, the young band was nearly dropped by their record label. But a rigorous touring schedule helped strengthen their songwriting and tightened their playing even further, so after Columbia wisely decided to back the band again, the classic, Get Your Wings, was released. It didn't prove to be the sudden commercial breakthrough that Tyler and company hoped for, but it did go gold one year after it's release and set the stage perfectly for 1975's Toys in the Attic, which would propel Aerosmith into the rock & roll stratosphere. Comparing Get Your Wings to the 1973 debut is like night and day; it sounds almost like a completely different band - the playing is more aggressive, the songwriting succinct, and singer Steven Tyler had almost fully perfected his instantly recognizable yowl. But the sleaze and grit remained - "Same Old Song and Dance" combines a nasty blues groove with a tale of a drug deal gone bad, both "S.O.S. (Too Bad)" and "Lord of the Thighs" are straight-up rockers, and "Seasons of Wither" remains the band's most haunting ballad. But the best known song is their cover of "Train Kept a Rollin'," which would soon become a perennial showstopper in concert. Get Your Wings also marked the first time that producer Jack Douglas worked with the band; he would remain on the controls on nearly all of their future '70s hits. - Greg Prato

1 - (3:55) Same Old Song And Dance
2 - (4:16) Lord Of The Thighs
3 - (4:23) Spaced
4 - (5:51) Woman Of The World
5 - (2:52) S.O.S. (Too Bad)
6 - (5:35) The Train Kept A Rollin'
7 - (5:40) Seasons Of Wither
8 - (5:45) Pandora's Box

 

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Toys In The Attic - 1975

After nearly getting off the ground with Get Your Wings, Aerosmith finally perfected their mix of Stonesy raunch and Zeppelin-esque riffing with their third album, Toys in the Attic. The success of the album derives from a combination of an increased sense of songwriting skills and purpose. Not only does Joe Perry turn out indelible riffs like "Walk This Way," "Toys in the Attic," and "Sweet Emotion," but Steven Tyler has fully embraced sleaziness as his artistic muse. Taking his cue from the old dirty blues "Big Ten Inch Record," Tyler writes with a gleeful impishness about sex throughout Toys in the Attic, whether it's the teenage heavy petting of "Walk This Way," the promiscuous "Sweet Emotion," or the double-entendres of "Uncle Salty" and "Adam's Apple." The rest of Aerosmith, led by Perry's dirty, exaggerated riffing, provide an appropriately greasy backing. Before Toys in the Attic, no other hard rock band sounded like this. Sure, Aerosmith cribbed heavily from the records of the Rolling Stones, New York Dolls, and Led Zeppelin, but they didn't have any of the menace of their influences, nor any of their mystique. Aerosmith was a gritty, street-wise hard rock band who played their blues as blooze and were in it for a good time; Toys in the Attic crystalizes that attitude. - Stephen Thomas Erlewine

1 - (3:08) Toys In The Attic
2 - (4:12) Uncle Salty
3 - (4:36) Adam's Apple
4 - (3:42) Walk This Way
5 - (2:15) Big Ten Inch Record
6 - (4:36) Sweet Emotion
7 - (4:36) No More No More
8 - (5:05) Round And Round
9 - (5:13) You See Me Crying

 

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Rocks - 1976

Few albums have been so appropriately named as Aerosmith's 1976 classic, Rocks. Despite hard drug use escalating among it's bandmembers, Aerosmith produced a superb follow-up to their masterwork, Toys in the Attic, nearly topping it in the process. Many Aero-fans will point to Toys as the band' s quintessential album (it contained two radio/concert standards after all, "Walk This Way" and "Sweet Emotion"), but out of all their albums, Rocks did the best job of capturing Aerosmith at their most raw and rocking. Like it's predecessor, a pair of songs have become their most renowned - the menacing, hard-rock, cowboy-stomper "Back in the Saddle," as well as the downright viscous funk groove of "Last Child." Again, even the lesser-known tracks prove essential to the make up of the album, such as the stimulated "Rats in the Cellar" (a response of sorts to "Toys in the Attic"), the Stonesy "Combination," and the forgotten riff-rocker, "Get the Lead Out." Also included is the apocalyptic "Nobody's Fault," the up-and-coming rock star tale of "Lick and a Promise," and the album closing ballad, "Home Tonight." With Rocks, Aerosmith appeared to be indestructible, but this would not prove to be the case for long. - Greg Prato

1 - (4:41) Back In The Saddle
2 - (3:27) Last Child
3 - (4:08) Rats In The Cellar
4 - (3:42) Combination
5 - (4:12) Sick As A Dog
6 - (4:27) Nobody's Fault
7 - (3:43) Get The Lead Out
8 - (3:06) Lick And A Promise
9 - (3:17) Home Tonight

 

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Draw The Line - 1977

Renting out an abandoned convent on the outskirts of New York City to record the follow-up to the hellacious Rocks may not have been the best idea, but 1977's Draw the Line still managed to be another down and dirty Aerosmith release. While it wasn't as awe inspiring as their last two albums - the members have said that the music suddenly got "cloudy" around this time (due to in-band fighting/ego-clashes, excessive living, etc.), Draw the Line catches fire more times than not. Unlike their most recent album successes, the band shies away from studio experimentry and dabbling in different styles; instead they return to simple, straight-ahead, hard rock. The album-opening title track features a gloriously abrasive Joe Perry slide guitar riff and has been featured in concert ever since, while the punk-esque "Bright Light Fright" featured Perry's first ever lead vocal spot on an Aerosmith record. Other highlights include a re-working of the blues obscurity, "Milk Cow Blues," which Perry's pre-Aerosmith group, the Jam Band, played live, as well as "I Wanna Know Why," "Critical Mass," "Get It Up," "Kings and Queens," and "Sight for Sore Eyes." Draw the Line would turn out to be the last true studio album from Aerosmith's original line-up for nearly a decade. - Greg Prato

1 - (3:25) Draw The Line
2 - (3:10) I Wanna Know Why
3 - (4:54) Critical Mass
4 - (4:04) Get It Up
5 - (2:21) Bright Light Fright
6 - (4:56) Kings And Queens
7 - (4:24) The Hand That Feeds
8 - (3:57) Sight For Sore Eyes
9 - (4:15) Milk Cow Blues

 

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Live Bootleg - 1978

Since Aerosmith had become one of America's premier rock & roll concert attractions by 1978, it was only natural that an in-concert collection was issued that year, the double album, Live Bootleg. Unlike other live albums at the time, it's obvious that not a lot of overdubbing was involved to fix up the tracks, which results in a refreshingly authentic representation of Aerosmith at the group's most drugged-out and rocking. All of the performances were taken from Tyler and company's 1977-78 U.S. tour (with the exception of a couple from 1973), while the album's packaging and title were a joke on all the poor-sounding, unauthorized live recordings that were in circulation at the time. Just about every classic is included - "Back in the Saddle," "Sweet Emotion," "Walk this Way," "Come Together," "Last Child," "Mama Kin," "Train Kept a' Rollin," etc. - as well as key album tracks ("Sick as a Dog," "S.O.S.," etc.). But the album's highpoint has to be the aforementioned pair of long-lost tracks from 1973 - loose and groovy covers of the Yardbirds' "I Ain't Got You" and James Brown's "Mother Popcorn." Although the performances may lack the fire of the shorter Classics Live II set from 1988, Live Bootleg is an excellent representation of one of rock & roll's elite live acts. Note: to tie in with the careless bootleg theme of the album, the track "Draw the Line" is unlisted. - Greg Prato

01 - (4:27) Back In The Saddle [Live]
02 - (4:44) Sweet Emotion [Live]
03 - (7:19) Lord Of The Thighs [Live]
04 - (3:46) Toys In The Attic [Live]
05 - (3:15) Last Child [Live]
06 - (4:52) Come Together [Live]
07 - (3:47) Walk This Way [Live]
08 - (4:43) Sick As A Dog [Live]
09 - (4:33) Dream On [Live]
10 - (4:14) Chip Away The Stone [Live]
11 - (3:18) Sight For Sore Eyes [Live]
12 - (3:45) Mama Kin [Live]
13 - (2:47) S.O.S. (Too Bad) [Live]
14 - (3:58) I Ain't Got You [Live]
15 - (11:39) Mother Popcorn [Live]
16 - (4:52) The Train Kept A Rollin' [Live]