Aerosmith - Aerosmith (CD 1993)

You know, if I had a nickel for every time a music critic was wrong about a certain band or musical trend, I'd be rolling in the dough right now. When I say critics, I'm not talking about the good folks at Epinions who write honest, detailed reviews that help people decide for themselves what music to buy. I'm talking about the over-paid so-called journalists who tell you almost nothing about the music, but seem to be trying to influence you about what's hip and relevant. Well back in 1973, those same critics had written Aerosmith off as a Rolling Stones rip-off that would never amount to anything. Well guys, if I was wrong in my job as often as you are in yours, I'd have been canned long ago.

Eventually, as everyone knows by now they've become one of the biggest acts on the planet. Making videos using famous Hollywood actresses, scoring songs for big-budget movies, and playing halftime at the 2001 Superbowl, most people wouldn't believe the humble musical beginnings of this band. At the time this album was made, Aerosmith were basically juvenile delinquents making music for juvenile delinquents. Each band member equipped with a trademark sneer, along with an overtly sleazy sexual way of conveying their music to the world at large. These guys were the band your parents loved to hate.

Formed in Sunapee, New Hampshire in 1969, Aerosmith started out the same way as so many other bands, sweating it out in one club gig after another. Their travels up and down the eastern seaboard eventually found them in Boston by 1972. A local theater owner allowed them to rehearse there for free, and also introduced them to the Leber/Krebs management team. Leber/Krebs secured a recording contract for the band with Columbia records which of course led to the release of their debut album Aerosmith in January, 1973.

The musician credits on the album are:
Steven Tyler-Lead Vocals, Harmonica, Wood Flute
Joe Perry-Lead Guitar, Backup Vocals
Brad Whitford-Rhythm Guitar
Tom Hamilton-Bass
Joey Kramer-Drums
additionally
David Woodford-Saxaphone on Mama Kin and Write Me.

From the opening strains of Make It, you can hear the Stones' influence that people were talking about. But, what immediately set this band apart was the most guitar-dynamic riff oriented approach of Perry and Whitford. In other words, they were much heavier. Also clearly obvious was the fact that Tyler's vocal abilities surpassed that of Mick Jagger.

Originally released a B-side to their first single, Somebody featured the very dirty, garage band sounding guitar that appealed to so many of their fans back in the early days. Tyler also does some cool scat-style vocals in the middle of the song.

Here's the A-side to that particular single. The song that butane lighters were invented for, Dream On. To this day, this song elicits the biggest crowd response when it's played live. It's haunting melodies along with Steven's pleading emotional vocal performance, make this still the best power-ballad ever recorded. Oh yeah, try singing along with it and you'll find a new appreciation for his vocal chops.

One Way Street shows off Tyler's other talent, his harmonica playing. This infectious boogie-woogie number has become a favorite among their more dedicated fans. The band really gets a street-wise feel on this tune, not to mention some seriously good soloing from both guitarists. You just can't help slapping a knee or two when this song is playing, which means we're hearing the rhythm section just fine.

Next is another fan-favorite, and in-concert staple Mama Kin. This song probably got the bar rooms 'a jumpin' back in the day. It features some nice sax work from David Woodford, and some very chunky riffing from Mr. Perry.

Write Me really captures the band at it's garbage-band rawest. If you thought the vocals on Smells like Teen Spirit were tough to follow, give these ones a whirl. The song also features more harp & sax work, and that patented Tyler scream toward the end.

My personal favorite on this album is Movin' Out. Tell me who ya know an' I'll tell ya who too, go see my friend and he'll set ya free. Tell me whatcha need an' maybe I can go too, no one knows the way but maybe me. This song best exemplified the street sensibilities of the band during the early days. Probably the most complex musically experimental tune on the album. It starts out sounding like front porch blues, shifts into signature Aerosmith heaviness, and just to keep us on our toes they throw in a spacey sounding bridge. Magnificent!

The song shifts easily into Walkin' The Dog. This boogie-woogie shuffle tune is a cover, written by little known blues-man Rufus Thomas. This song feature Tyler cleverly playing a wood flute of all things. The guitar sound, I suppose can be compared to ice-cream. Thick, smooth and tasty. Nice way to end a great debut album.

Admittedly, the 'Stones' influence can be heard throughout the album. Joe Perry said himself that the band was more likely influenced by the Yardbirds. But, to write them off as copycats is stupid, and short-sighted. Besides, history has told the tale, and in my opinion Aerosmith has influenced many more bands than the Stones ever did. My bottom line on this album is, that despite it's rawness and seemingly rushed production, (all of which would be worked out in their vastly superior follow-up Get Your Wings), it's an honest statement of where the band was at that point in their careers, and captures the street-wise feel that fans would instantly relate to. In other words, mission accomplished.