The Bad Boys of Boston, the Toxic Twins: Aerosmith. They’ve been around so long that JC was probably humming ‘Dream On’ from his lofty perch and yet are still packing in the crowds. Having kicked off from 1325 Commonwealth Avenue in 1970 their career has had a couple of dizzying peaks and some very seedy* lows. You can neatly slice their output into three decades and almost dismiss the rest, given that since 2000 we’ve had just two proper studio albums and there’s not that many acts out there that have had such success in each.
I’d been mulling over how I’d rank Aerosmith’s albums in my notebook of lists for sometime but John over at 2Loud2Old Music got straight in with both an album by album review series and his own ranking. So I thought it time to sit down and spit out my own Least to Most ranking of Aerosmith’s fifteen studio albums – a number that neatly divides into three – based on nothing scientific other than personal preference.
So let’s get started with the least favourite – and there’s no prizes for guessing that we start with….
Just Push Play
I mean it’s a fucking dog of an album from its cover to its contents. It came after yet another successful decade with plenty of great tunes and the band reaching the dizzying heights of chart-topping with that tosh from Armageddon but Just Push Play was a massive misfire from which they never really recovered. Forget hitting self-destruct with drugs, this time it was self-destruct with an album that relied on computer production, co-writes galore and a huge lack of genuine band interaction.
There were no demos left at the end of this record to be able to say ‘well there are the bones of a good album here’ because everything was plugged into ProTools and layered up like a wedding cake. There’s a song called ‘Trip-Hoppin’ for fuck sake. There’s not a single Tyler / Perry joint on here that isn’t also shared with other song-writers as Tyler, by all accounts, was so desperate for another monster hit that he wouldn’t work alone with Perry. Instead of the rawer power of Nine Lives we got over-glossed balladry and over-produced, gimmicky attempts at rockers that sounded like what it was: a group of blokes in their fifties trying to appeal to a dynamic that wasn’t interested in a group of blokes in their fifties. Instead of playing to their strengths they indulged in the wrong stuff. Thankfully ‘Jaded’ did the business in the charts enough to keep them going and playing the hits to large audiences but this really killed their momentum.
Music From Another Dimension
And, in two hits at the bottom of the list we’ve covered the only albums of original material the band have put out in this millennium. I was really rooting fro Music From Another Dimension when it came out – all the right ingredients were in place: the band were recording in the same room again, Jack Douglas was back on board. Hell, when it came out I really dug it…. for a while. Yet time and comparison to the rest of their catalogue doesn’t do it any favours.
There a lot more better songs on here than on Just Push Play yet there are also some utter howlers. I / you / we couldn’t expect the band to out an album this late into their career that sounded ‘like the old days’ and yet it seems they tried to do that. Only instead of going back to the 70s, say, they went for the kitchen-sink approach of Get A Grip only without the tunes or the edge. For every great riff attack like ‘Out Go The Lights’ there are two turds like ‘What Could Have Been Love’ or ‘Can’t Stop Lovin’ You’ – featuring Carrie Underwood for fuck sake! Why? Probably because Tyler was still thinking that this is how you make a hit.
Here Aerosmith managed to both play to their strengths and their weaknesses in an effort to cover every possible base. Unfortunately there are too many of the weaknesses and a little too much filler to make this the album it could have been – at least the sound is more organic and suited to Aerosmith than it had been in a while.
Rock In A Hard Place
Come back, Joe: all is forgiven. There’s no Joe Perry on Rock In A Hard Place, he’d left to return some video tapes. Brad Whitford also left during the recording of the album. Jimmy Crespo filled in on guitar. ‘Bolivian Ragamuffin’ and ‘Lightning Strike’ bring home the goods and ‘Jailbait’ has got to be one of those songs Perry heard and thought ‘why the fuck am I not on this?’ – it’s a real strong Aerosmith song. There’s not a lot more though.
Crespo and, later, Rick Duffay may have tried to inject some new momentum into the band but with addiction sucking the life and creativity out of Tyler, Rock In A Hard Place feels like a plaster over a gaping wound rather than an attempt at real damage control – management pushing for another album and to keep the thing rolling as long as they could rather than taking a much-needed pause. If Night In The Ruts was sounding like the beginning of the end, Rock In A Hard Place sounds like the batteries have run dry.
There are a few pleasant surprises and what remained of the band could sting bring the power but the overall feeling is of a rudderless ship. They even put bloody Stone Henge on the cover to give Spinal Tap plenty of ammo.
Night In The Ruts
And here we go – a band running out of steam. More appropriate this is a band falling apart. Night In The Ruts was started early in 1979 with Jack Douglas and a full band. It was finished late in 1979 with Gary Lyons. In between was a lot of conflict, a lot of stalling and a whole fucking lot of drugs.
With basic tracks laid down Tyler couldn’t come up with lyrics. For months. During which time Perry discovered he owed $80,000 in room service bills (that’s a lot peanuts and cable porn, Joe) and was encouraged to cut a solo album to pay it off. The band’s management, desperate to get another hit as Draw The Line hadn’t cut the sales figures they wanted – and to get the band back on the road – and their pockets lined fuller, decided Jack Douglas couldn’t control the band and fired him. It was true; he couldn’t. But then nobody could. Substance abuse had control. This was the blow-up point for Aerosmith and by the time the album came out Perry wasn’t in the band anymore and Brad Whitford was sauntering slowly toward the exit.
But for all that – Night In The Ruts has it’s fair share of good cuts. ‘Cheese Cake’, ‘Bone to Bone (Coney Island White Fish Boy)’ have all the right moves and ‘No Surprize’ is an outright Aerosmith classic. Unfortunately – and telling of Tyler’s issue with lyrics – three of the album’s nine tracks are covers, though both ‘Reefer Head Woman’ and ‘Remember (Walking in the Sand)’ are both worth tuning in for. Night In The Ruts may be Aerosmith’s worst of their first decade but the good stuff here is still really good, giving it the riffs even as it all falls down around them.
Honkin’ On Bobo
The start of ‘the naughties’** were a weird time for Aerosmith. After serendipity lead them to the sweet spot in each of the previous three, it was eluding them in this decade. With the taste of disappointment from Just Push Play lingering even after judicious application of topical cream attempts to get back into the studio for a new Aerosmith album were failing.
Instead we got another compilation with ‘new’ songs – one of which was so bad and obviously cloying attempt at a hit the rest of the band refused to be in the video for it – and soundtrack contributions. There was talk of an album made up of previously discarded tracks (I’ve got a feeling some of them ended up on Music From Another Dimension), Tyler wouldn’t write alone with Perry. Perry didn’t want to be tied to writing with Steven’s ever-present co-writer Marti Frederikson who, like Tyler, wanted to make more attempts at pop hits. Somehow the idea of a ‘blues’ covers album was floated and jumped on. Tyler wouldn’t have to worry about writing lyrics and a sense of letting off steam can be heard in the finished result.
Jack Douglas was back on board and the sound here is a welcome step away from the polish of Just Push Play. It was never going to be a blues album proper – Aerosmith always leaned to blues rock vs pure blues so no Blue and Lonesome revelations here, just Aerosmith giving it some juice to eleven covers and one pretty tepid original. The band are tighter than a duck’s arse and while there are no big surprises on the track listing, they’ve come up trumps here.
Why doesn’t it sit higher? It’s a covers album, essentially. The sole original track doesn’t quite hit the sweet spot and sounds a little contrived in the company of those that it’s clearly aping and the album feels a little overdone still in the way that they seem to have become stuck in. A blues album should’ve been the opportunity to loosen up a little, feel free to roughen up the sound and production a little and get raw, but they didn’t subscribe to that notion.
*I’m not going to go into it but convincing your under-age girlfriend’s parents to give you legal guardianship so you can take her on tour, get her addicted to drugs, pregnant and into an abortion clinic is pretty fucking seedy, Steven.
**I fucking hate that phrase too