Then you just don’t get old Jazz, going back to vaudeville. If you did you’d appreciate what it meant to do that song, especially on a hard rock album. And pull it off in spades. Beave But who cares? It doesn’t make one dogs ball of a difference to anything while we’re paying $6.00 for a gallon of gas. Gas Gas, jumpin jack, as in…….. Get it? Of course you don’t. Beave2
Draw the Line...Joe Perry was quoted in the bio, "Walk this Way-the Story of Aerosmith" bio by Stephen Davis that this was their "blackout" record, meaning they didn't really know what was going on what with the excessive drug habits and lifestyle they had succumbed to. He felt that they had lost the plot in terms of direction and focus and while he also mentioned in the same read that with "Rocks" and the recording of that, the drugs were working for them, in tandem, despite what was mounting. Personally, I like "Draw the Line". I don't see it as an equal to "Rocks" and honestly, with an album as nothing short of a peak realized there within listening to it, it would've been difficult to have tried to match it, regardless of outside distractions of the lifestyle and indulgence that came with the success therein. It is a little messy and unfocused overall, but I felt that this release set a benchmark for at least the next 8 years in their existence and output as a band collective within the records made, and for better or worse, I kinda like the tracks like "Sight for Sore Eyes", "Get It Up", "The Hand that Feeds" and "Bright Light Fright" which evoke a more sleazy, dopey, junk sorta vibe that the band(really Joe and Steven) were subjected to at that time as the lyrical subject matter reflects. As some have said, I agree that I have to be "in the mood" for this record, but man, when I get in there, it's an incredible rush. Draw the Line- One of my top favorite cuts ever due to the hyper energy of the song, Joe's metallic slide tone, Steven's immediate vocal delivery and the band is just smokin' overall on this opening cut. 10/10 I Wanna Know Why- This autobiographical confessional lyric from Steven brings forth the pressures from success and it's an open testimonial to the business in terms of producing quality material consistently for the money making machine that the group have now been swallowed up into. Musically, it's just ok, it seems a bit pedestrian or "by numbers" here. There's some good instrumental arrangements done here, but I find it a bit lower in the ranking. 5/10 Critical Mass- This track kinda echoes the previous one, but it's got some interesting twists and turns within its construction and arrangement that lifts it up a bit more, despite the harmonica breaks in between which give a slightly disjointed, uneven feel to its write. "Time and Space is takin' me away..." It's a weird, but interesting track, seems a bit unfinished, perhaps and that's what makes it slightly better and engaging from the former cut. 6.5/10 Get It Up- A very sleazy intro from the likes of Mr. Perry's slide guitar tone and along with the other songs that I mention from the second paragraph, this might not be an anthem for the young, per se lyrically, it's that dark and murky vibe where the writer(Steven) is experiencing the excesses of the rock star lifestyle. Perhaps a cautionery warning? But then it goes into "really have a good time, sucking on the moonshine..."It's a double edged sword here. Not as good as the following songs in this context are. 5.5/10 Bright Light Fright- Lightning speed tempo, an out of control saxophone accompaniment and a Joe Perry lead vocal make this to be something completely "off the wall" and out of character within an Aerosmith record up to this point. The sheer energy from this song exudes and relates to the "punk" explosion of the time period and while it's not a classic, I think this song survies on its on merits as such for the very reasons stated. 6.5/10 Kings and Queens- A "diamond in the rough", perhaps. This number is an anomaly in that nothing has ever matched its quality, charm or dare i say, progressiveness since and it doesn't seems to fit within the tracklist of the record and yet here it sets. Somehow, within the mess that was happening to mire some of the creativity, Steven and band managed to come up with this, truly, exceptional composition. 9.5/10 The Hand that Feeds- The main issue with this song is that it goes all the way down the scope from the majesty of the previous cut, into "sleazeville" again. And while I do champion that ideal as was mentioned above, I feel like there could've been a "buffer" in between. @John Fell mentioned that the cover of Otis Rush's "All Your Love" would've been a nice inclusion on the record and I think this could've worked nicely after "Kings and Queens" , albeit, with a proper studio take. Anyway, "Feeds" is a 7/10 due to the energy and performance... Sight for Sore Eyes- This one encapsulates the gritty, raw and dirty elements of Aerosmith that I've always loved, known and championed for. Steven's scatting, haiku lyrical/vocal style, the guitars of Joe and Brad, the steady, but eclectic rhythm section of Hamilton and Kramer, it's an overlooked number, imo within their discography. I don't deem it within the top five, but definitely a top ten. 7.5/10 Milkcow Blues- Ending with a cover blues song from Kokomo Arnold and using the Kinks' arrangement as a focal point of reference, it's got an amazing energy and drive that really gives the record a strong, but yet anti-climatic descend. Much different from the last two songs from the previous record in that they were "ballad" type numbers. This cover rages from the end as is it began. I like it a lot, but to end a record like this seems to miss the mark a bit. 7/10 "Draw the Line" is a 7.5/10
Rocks- late to the show here but this albums is the harder, darker , funkier side of toys in the attic. unlike toys i still get a kick out of hearing the 2 big singles. the hard funk of "last child" is just groove heaven. the actual best live version released is on a little south of sanity. "get the lead out" also has that funk. two of my all time favorites by the band are on this album and they are deep cuts, "sick as a dog" and "lick and a promise". i still give toys in the attic the edge by a hair but this one is a better ride my picks- "last child", "sick as a dog", "lick and a promise" and "back in the saddle"
There's a great photo book by photographer Robert Landau about Rock Album Billboards on the Sunset Strip. I copied several pics to a Facebook Folder, but can't quickly find it to post. But did a quick Google & ran across this scan of the real 1977 DTL Billboard..... https://www.reddit.com/r/Aerosmith/comments/i2bfn5/billboard/. Even Ron Wood's, " Gimmie Some Neck ", album had a billboard, which is shown in the book. Here's another link to an article about the book.... 12 Great Rock 'n' Roll Billboards Of The Sunset Strip
I wonder why Perry didn't use the Fender Bass VI for "Back In The Saddle" live at that time? He did later (Day At The Green '79 for example) and also when he rejoined the band (he uses a Music Man Silhouette nowadays but it's another variation of the same concept). It sounds a bit thin with the riff going octave higher.
Rocks 4/5 Straight up hard rock album. A bit samey sounding but certainly inspired and it's clear that they put a lot of effort and passion on it. On my Aerosmith playlist : - Back In The Saddle - Last Child - Sick As A Dog - Nobody's Fault Draw The Line 3.5/5 ++ I liked the album as soon as i heard it. I totally dig the edgy crazy rock n roll vibe (i wanna know why, the hand that feeds... most of the album actually). - - "Milk Cow Blues" as an album closer has a "sorry we didn't have anything left" effect on me. "Bright Light Fright" is rocking but a bit weak i guess. On my Aerosmith playlist : - Draw The Line - King And Queens - Chip Away The Stones (From Pandora's Box)
Early Music Man: Joe Perry- 1976 Custom Music Man 130 Amp. Used starting with the “Rocks” Tour. For more information check out the photos below. – Aerosmith Without the badges and with the band logo even Hamilton's Ampeg SVT's look strange. But cool.
Sorry, catching up here… Isn’t it “cept on my big ten inch”? As in a shortening of “except”? Also, isn’t that a glockenspiel making the “bell” sound in Sick as a Dog?
If you perceive a profound artistic significance to this cover being on this album, be my guest, and, hey, let me introduce you to Blink 182’s album-by-album thread. The mundane reality was Tyler was struggling with lyrics, hence they decided to do a cover to fill out the album, grabbing a novelty song a friend had recently played to them, which they were originally going to perform as a straight two guitar rock song before sticking closer to the original jump blues arrangement. You like the song. I don’t. Neither of us are wrong. That simple. My issue with song is … well, that I do get the joke, and it’s a bit of a cringe, but it’s definitely less of a stretch than your gag linking “Jumpin’ Jack Flash” to current gas prices (groan), so you have made me appreciate it’s wit more … (plus, the Stones have “Petrol Blues” for your situation anyways.) In peace and movin on!!
Tyler has always said it’s “ ‘cept “, but I guess why split hairs on this versus “suck” … the song is not a model of subtlety ... we obviously know it’s not a song about a vinyl record.
I drove the same car for twenty years because I'm so loaded, and also somewhat frugal, anyway, glad the new one's a hybrid. We can resume this discussion at Pump.
There's a big difference between hearing this sort of song on a Louis Jordan or Fats Waller album and hearing it on an Aerosmith album. I'm a big jazz and blues head and when I hear "10-inch" on Toys, I don't think, "Oh cool, Aerosmith did an old novelty song." I think, "Oh geez, Aerosmith should have saved that for a b-side or something." Who would have thought at the beginning of this thread that "10-inch" would have been the song generating most of the comments....
Am I going to have to listen to Night In the Ruts and Rock In A Hard Place to stay informed on the next phase of this thread? Or shall I lurk until we get to Done With Mirrors? Decisions, decisions. Ah - the live albums. Those I can talk about.
Night in the Ruts, IMO, is significantly better than it’s reputation. Tyler made some comment that it’s his favorite Aerosmith album, for what it’s worth. I also think it’s more consistent than Draw the Line.
I just listened to the NITR will running some relatively long-distance errands, and will save comment till later in the thread. Spolier: I disagree with Tyler.
I just gave it a re-listen. It may be "'cept," but i'd disagree with the "clearly" part. I've always heard it as suck, and it still sounds that way to me. I went to listen to it just now thinking maybe I was mistaken, but...it still sounds mostly like "suck" to me, though it's hard to tell. Might be a "blue dress/ yellow dress" thing.
How can you disagree with Tyler on what his own favorite album is? Surely only he can know the right answer to that …
Dunno … 3 covers on a 9 song album is getting to Diver Down territory in terms of an absence of creativity - the band was splintering before the album was even complete, so it’s very much a case of snowblind and running on (bong) fumes. This has to be judged as a flawed and inconsistent work. Hence, IMHO, it IS a further notch down from Draw the Line … but retrospectively, if you pay attention, as you clearly have, I’d agree there IS something appealing about the dirty, scuzzy, druggy heart of the album, from “Cheese Cake” through to “Think About It” - these are mean and knotty blues rockers, not immediately accessible, sure, but with serious groove. And the big numbers - “No Surprize”, “Remember (Walking in the Sand)” - deliver as usual, whilst “Mia” is yet another classic Tallarico ballad, back in the days when he wrote ‘em like he meant ‘em. So, inessential unless you’re a fan, in which case lots of deep cuts to get stuck into. Will do a proper review post RRB … we’re still waiting on his breakdowns of “Draw the Line” and “Kings and Queens”, so we’re racing ahead a little too fast.
Draw The Line A bruising A power chord, a cymbal vocalization from ST then right to a low blow E chord. The hook follows and its a simple but great one. A call and response line that uses chromatics like a jazz line. To me it sounds like a Chicago blues horn line. I remember someone asked me what I thought of the horns in the song, and I had to think about it at first. Maybe Satisfaction influenced? Regardless, the low down bass in the mix sounds like a sax to me as well. The verse shifts back and forth between the two coolest guitar chords as well…A and E. Blues deluxe. The rise out chorus at :37 is a hard rock mixolydian line. Blues and hard rock knock heads Aerosmith style. Steve sounds bad ass. The verse returns and the chorus follows and then the riff gets extended before the verse comes back. Another chorus at 1:45 but this one gets extended with a cool re transition. The riff follows and gets up in the arrangement. Spooky guitar floats in and out. The verse returns with another amazing reset by Steven. This time with a spitfire vocal that sounds like a raving rant. The main riff follows the craziness and repeats. Vocals buried on the mix add to the heaviness and barrage of sound. The song fades to its conclusion. A powerhouse of a song for me. Someone already mentioned it, but it does sound like it is in mono. Dense, dark, and raw. No frills here. Some open string chords but they sound like ragged tinsel on the tree and not pretty. Steven adds his usual manic rip snorting style and knows when to change the verse to kick it into high gear. This reminds me of Motorhead’s style. 10/10
Well, I should have said that unlike Tyler, this is not my favorite Aerosmith album. Bad semantics on my part. Of course, given how many drugs Tyler has taken, he may actually be wrong about his own favorite album .
