A couple of observations about Joe Perry and Punk. Bright Light Fright was his first punk song in 1977. During this era of the Project, they played live versions of the Bo Didley song ‘Pills’ and in the Mach Bell era the Eddie Cochran song ‘Somethin Else’. Joe was a friend of David Johansen of the New York dolls who covered Pills in 1973 and Joe used to blast the Sex Pistols debut in the van and before shows in 82-84. Somethin Else also appeared on the Sex Pistols posthumous ‘great rock and roll swindle’. Im wondering if Joe covered these as punk songs and if so are there any comments from Joe about punk or bands he liked. Heartbreak Hotel was his over main cover in 1980 and its close to the Elvis version (although John Cale ‘reinterpreted’ it in 1975.
"Train Kept A Rollin'" has the best guitar playing among any Aerosmith tracks and also most rock bands. I love Joe and Brad, but Steve Hunter and Dick Wagner kill it like maybe they never did or never would again.
Before we move, wanted to note the odd tour history of NITR, which featured the Crespo/Whitford duo. The album was released in November of 1979 and the band played two gigs in early December, with Tyler collapsing at the second of these shows in Portland, Maine. The rest of the shows were then postponed. The band began touring again in January and February in 1980, playing shows in the South, Midwest, Canada and the East Coast. Again, the tour stopped after Tyler had more issues. The band then went on a club tour on the East Coast playing dates in April, May and June, including June 12 in Harford. Those club dates are documented in the book Babysitting a Band on the Rocks. The band then played a "10-year anniversary" show in Boston in December and that was it for touring behind NITR. In all, they played about two-dozen shows and wouldn't be on stage as Aerosmith until November 1982.
I would like to submit a quick, albeit, belated review of the first Joe Perry Project album... Let the Music Do the Talking- Clearly, this opening number was one of THE songs that Joe held back for his debut solo record and has all of the necessary ingredients of a stellar Aerosmith track. It certainly would've given "Ruts" an entirely different scope of inspiration, given the circumstances at the time. Nevertheless, when Perry, Tyler and Co. reunited in '84/85, this song was given the once over and used for "Done with Mirrors" and rightfully so. Tyler rewrote the lyrics and the band STEAMS on this cut, but I still love Ralph Mormon's take on it and musically, it's killer regardless of whom plays it. 10/10 Conflict of Interest- This is Joe's "I Wanna Know Why" in terms of the lyrical content and is quite the charmer of a follow-up number to start off the album. His vocal is strong and again, musically, the band does an excellent performance which gives the album a serious, sharp and definitive edge. 8/10 Discount Dogs- Continuing a momentum displayed by the opening two numbers, this track has an urgency within its melodic delivery and I love Mormon's vocal as well as the harmonies on its euphoric chorus. Joe's guitar playing is invigorating, the rhythm section cooks and WOW, what a blaze of a number! 8/10 Shooting Star- While this has a really sleazy, bluesy riff and seems to channel some of the more blurrier moments of "Draw the Line" album, it's a bit of a churner instead of a burner. Not terrible, but not a favorite. 5/10 Break Song- This instrumental features some blistering lead work from Joe, but again, we're in mid-way through this record and if it were not for his electrifying guitar work, this number would be considered a tosser, not much of a solid hook here. Obviously that was the intention, even within its title as suggested, but its fairly weak. 4/10 Rockin' Train- I dig this one as a funky, rockin number to help give a balance to the record, but again I think that had this been done by his former bandmates, some interesting things could've manifested with a little more arranging and band chemistry. It's good but not great. 6.5/10 The Mist is Rising- The riff sticks and Joe sings lead on this anomalous song within the record. It's a bit of a drug related creation, which seems to channel addiction and the craving of the opiate, not to get too far deep into the psychology behind the writing of this song, but, I feel like this is the backside answer to "Combination" from "Rocks". In other words, it's the sleeper cut of the record. I find it interesting, if nothing else, for his guitar work and the production of the track which had some backwards tape technique to accentuate the vibe and construction of its composition. 7/10 Ready on the Firing Line- This cut is an agreeable slice of rock, R&B/funk hybrid coming from Ralph's soulful vocals, Joe's excellent guitar work and the awesome rhythm section of David Hull and Ronnie Stewart. The band gets into a groove and while it's not extraordinary, I find it to be solid enough of a track to give the album a little bit more of substance. 6.5/10 Life at a Glance- Again, this number could've benefited from inclusion on "Night in the Ruts" and would've given it that extra push to have elevated it above what transpired, but all the same, within the hands of the "Project", it's a stone solid cut and I find it to be one of the best tracks of the record. There's a steady, but apparent urgency displayed within the group's performance and Joe was able to channel something out on his own without the aid of Tyler into something definitive and original for his own style of what he wanted to project(haha) musically for himself. 9/10 Overall, Joe Perry Project's debut is a 9/10 release. Love it!
I really like it. He writes about other bands he worked with, but Aero takes up a good chunk, with a focus on the 80 club tour.
Yes, I believe after Joe left and before Crespo was brought in. Schenker wanted to take over the band, according to some accounts.
Before it's too late.... " Bite The Hand That Feeds Me", !!! Lord have mercy. If nothing ooozes cataclysmic balls to the wall kick ass big badass raunchy American Rock Star Rock like that tune I don't know what.... equally on par with " Back In The Saddle". IMO. Tom Hamilton. Aerosmith's secret weapon. Listen to the bass line Grove.... Doctor! Doctor! Doctor! Listen to the lyrics.... Nasty vivacious super ultra sensational 1978 styled sex & drugs innuendo lyrical graffiti etched in an era of hyperbolic excitement exhibited in pop culture forevermore. The idea that Sex, Drugs, & Rock & Roll, was a slogan above & beyond a simple bumper sticker. But a way of life. Something to look up too. For easily impressed high school dorks with no idea. Still coming out clear. But holy cow, if the vibe didn't hit you like a ton of bricks well I can't imagine how that infectious grooves didn't tickle eardrums up & down the spine instigating an unknown urge to tap your feet, stomp your hands, bust something up. Badass. To the bone. Bite The Hand That Feeds. Killer Diller.
I could've sworn the Night In The Ruts album cover artwork photography was done previously for a different album or project. Just Googled & can't quickly find anything to substantiate my memory. I know what I remember. But don't know where I remember it from. Ugh. Coney Island White Fish Boy is another dynamite example of why we loved Aerosmith. No need to bore everyone with pedantic cliched descriptions explaining why. Highlight of the album. They played it in 1987 when I saw them on the Permanent Vacation tour. Joe Perry did a guitar solo at the end of the show after the encores. We can ALWAYS count on Aerosmith to include at least one or two special supreme Buffett's in their live shows. Regardless of the late '80's to '90's power ballad hit song era. They always rocked a few old school gems. Always.
… on this one, I’m hoping for some explanation of the lyrics to “Three Mile Smile”, in addition to the usual musical analysis.
Huh… interesting- I read something about Aerosmith making fun of him being German speaking bad English at the time- probably on this forum
Thanks for this thread. It's motivated me to revisit Aerosmith after a more than 40-year hiatus, no joke. Growing up in the 70s, my brother and I had Get Your Wings, Toys In The Attic, and (especially) the first album on heavy rotation; however, as they became hugely popular, the hot-mess reputation completely soured me on the band. All we heard about -- and this was pre-internet -- was endless drug and booze binges, trashed hotel rooms, Tyler collapsing during performances, sloppy live shows, bottles and M80s thrown onstage by nutcase fans, etc. By the time Rocks was released, I'd checked out. Live Bootleg only confirmed the impression of an out-of-control band that couldn't be bothered to release a proper (smoothly produced, cleaned up, with overdubs!) double live album. I've been revisiting all of the studio albums as they're discussed here, downloading piles of live shows, and rediscovering the band's brilliance. My preferred era is still the early years, particularly the Paul's Mall and Cincinnati recordings from 1973. Oh well, carry on!
Schenker is a genius guitarist and I love his stuff with UFO. I would be very curious to have heard what him and Tyler might have created - it would sound pretty different is my guess. Crespo gave a much better “facsimile” of the classic Aerosmith guitar sound and style, so was a better “continuity candidate” - not that he continued all that long.
it was going to be used for a single release of "chip away the stone" if thats what you are thinking of?
Yeah, who knows what the truth really is!!!! Here are a couple of references... Did Michael Schenker Reactivate Ailing Aerosmith? Michael Schenker Refutes Charge That He Tried To 'Take Over' Aerosmith
I agree--and I'll have something to comment on him when we do Rock In a Hard Place. I just thought the MS mention was warranted being in that time frame... Also Michael probably did the best thing he could starting MSG...At least to serve his musical ambitions, which created albums many consider classics.
I've Got the Rock'n'Rolls Again From Wikipedia, the free encyclopedia Released 1981 Track listing "East Coast, West Coast" – 3:06 (Charlie Farren) "No Substitute for Arrogance" – 3:25 (Joe Perry, Charlie Farren) "I've Got the Rock 'n' Rolls Again" – 4:34 (Joe Perry, Charlie Farren) "Buzz Buzz" – 3:41 (David Hull, Andrew Resnick, Charlie Karp) "Soldier of Fortune" – 3:05 (Joe Perry) "TV Police" – 4:11 (Joe Perry, Charlie Farren) "Listen to the Rock" – 3:20 (Charlie Farren) "Dirty Little Things" – 3:42 (David Hull) "Play the Game" – 5:20 (Joe Perry, Charlie Farren) "South Station Blues" – 4:10 (Joe Perry) "Listen to the Rock" and "East Coast, West Coast" were written by Charlie Farren and were local hits for his previous band, Balloon. Personnel Joe Perry - guitars, backing vocals, lead vocals on 5 and 10 Charlie Farren - rhythm guitar, lead vocals David Hull - bass, backing vocals, lead vocals on 4 and 8 Ronnie Stewart - drums, percussion
I'm glad nothing came of the idea of having Schenker in Aerosmith. I can't see how that could possibly have worked. Aerosmith is in the great line of bluesy hard rock bands like the Yardbirds, the Stones, and the original Guns 'n Roses. That style of music has very little to do with the blazingly fast, technically precise soloing that Schenker brought to the Scorpions and UFO.
I’ve Got The Rock and Rolls Again East Coast, West Coast I will post a detailed review of this fave of mine. No Substitute for Arrogance Opens with a Stonsey riff that gets mixed up rhythmically and then settles in. The lyrics are from the blues…..old man young man thing. The riff is a fine one that slides A-D-G in chord fragments. The chorus at :36 is simple but effective. The bridge at 1:20 gets quieter and a grindy JP lead follows from his Chuck Berry vocab. CF ties to sound arrogant in the second chorus. The bridge follows and gets treated with a thematic JP riff with double notes. Great contrast and helps build tension for the final verse with no chorus but instead ends with a surprise chord. 8/10 I’ve Got The Rock and Rolls Again A time honored blues riff kicks the song off but not a hard kick. Joe ramps the song up with a lowdown open E string boogie riff. There have been lots of them from rock bands some good some not so good, but I like this one. Shifts between E and A in blues fashion. CF comes in with the verse and he gives it a cream on the top sound, but the riff gets reduced to just the chords. The chorus follows and the riff comes back to life. The break at first uses different chords in Zep style but then the riff returns, and Joe gets to solo over it. Not flashy but right for the song. The verse follows and everything repeats, and the song comes to a slow feedback laden ending. 8/10 Buzz, Buzz Boogie tune that has just a little sound of Glam to me. Not exactly T-Rex though. Some Stones Rip This Joint as well. Joe’s solo in the break is sloppy glory with shades of Alvin Lee to boot. Cool snotty song. Nothing complicated and gets to the point. 7/10 Soldier Of Fortune Punk inspired tune. The chorus is simple but who needs a complicated chorus? The break at 1:30 has more Joe double stops with some whammy bar dips that mimic gunfire. Joes fills in the outro are pure Chuck Berry/Johnny Thunders inspired. Fits the song well. Not exactly a background for a soaring melodic solo or fills. 7/10 TV Police An effected guitar creeps in and the lowdown E riff that follows is OK but not very memorable. The verse is a call and response with the riff. The chorus vocal gets pitchy but that adds to the flavor. The harmonies are OK enough. Joe’s “solo” is humorous and sounds like it is fighting with its internal conflicts. Watching the Detectives inspired in the lyrics. 7/10 Listen To The Rock Originally done by Charlie’s band Balloon. A blues rocker with a rising riff that is by the numbers the way it rises but heck lots of songs are like that. Overall, a decent song and the chorus is a rouser. Joe’s fills have some phase shift on them and other effects. The rhythm is jumpy but rocks. 7/10 Dirty Little Things I have heard a riff similar to the opening riff elsewhere, but I can’t think of it. The riff is sued to anchor the vocal melody and it works for me. Boy, Joe reminds me of Johnny Thunders with the fills and the song reminds me of the Dolls as well. So, you know that makes it a winner with me. 8/10 Play The Game A pitchy oblique riff on this one starts it off. I like riffs that that. Some LZ/Queen influence in the verse with its minor based chords with 7ths and moving inner voices. The chorus uses the intro riff with vocalizations from CF. JP gets off fine lines in the break keeping with the somber mode. The song is a little more derivative than the ballads that Steve came up with but heck….I give JPP an atta boy for trying it and making it acceptable. 8/10 South Station Blues Like a previous tune, this flows in with a trad sounding blues line and then morphs into a full blown rock boogie. LZ influenced especially in the break with Joe’s solo where he gets Pagey. The main hook reminds me of the verse riff in Walk This Way but different enough for me to dig it. The song gradually fades with the hook. A great closer with nifty percussion and Joe does a respectable job on the vocals. Not exactly a bluesman but everything else makes up for any implied deficiencies. 9/10 OVERALL, I love this album. I did not give every song big marks but still I listen to this album quite a bit and nothing below 7 for me. I like it more than the first JPP album. Charlie Farren is not a powerhouse singer, but he really gets into the songs as much as his voice can allow him. Another album with Joe where he does not go for any solos that standout, but he plays just what is needed in the songs IMO. A winner from JP and the boys for me. You probably don't know anyone who listens to this album as much as I do.
You beat me to it and encapsulated his style better than I would have posted. Can't imagine how he would have fit in with Steven's songwriting style and the rest of the guys styles overall.