AEROSMITH's JOE PERRY Announces Three Solo July 2022 Performances with THE JOE PERRY PROJECT “We are gearing up to celebrate the 50th anniversary of the band and will definitely have some incredible forgotten treasures for our fans that we found deep-diving into the vaults and there’s a lot more to come,” he says.
Would be awesome to get the quad of Get Your Wings and Toys In The Attic as part of the 50th anniversary. I have the Toys SACD and it's one of the better multi-channel rock n' albums I have.
It seems the version is only on the quad mix. There is no mention of who the backup vocalists are on the quad mix album cover. Seems like it took some planning to record this version, but the details are non-existent.
First album was 1973. Band actually formed in 1970 according to Wikipedia, so you could argue they're actually late.
Yeah, the pandemic kind of ruined the 2020 mark, so would be smart to recast the 50th anniversary to the first album released in January 1973.
Pump From Wikipedia, the free encyclopedia Released September 12, 1989 Recorded January–June 1989 Studio Little Mountain Sound, Vancouver, Canada Pump is the tenth studio album by American rock band Aerosmith. It was released on September 12, 1989, by Geffen Records. The album peaked at No. 5 on the US charts, and was certified septuple platinum by the RIAA in 1995.[1] The album contains the hit singles "Love in an Elevator", "The Other Side", "What It Takes", "Janie's Got a Gun", which all entered the Top 40 of the Hot 100. It also has certified sales of seven million copies in the U.S. to date, and is tied with its successor Get a Grip as Aerosmith's second best-selling studio album in the U.S. (Toys in the Attic leads with nine million). It produced a variety of successes and "firsts" for the band including their first Grammy Award ("Janie's Got a Gun"). "Love in an Elevator" became the first Aerosmith song to hit number one on the Mainstream Rock Tracks chart. The album was the fourth best-selling album of the year 1990. In the UK, it was the second Aerosmith album to be certified Silver (60,000 units sold) by the British Phonographic Industry, achieving this in September 1989. Pump was the second of three sequentially recorded Aerosmith albums to feature producer Bruce Fairbairn and engineers Mike Fraser and Ken Lomas at Little Mountain Sound Studios. A video documentary on the recording, The Making of Pump, was released in 1990. Production In December 1988, Aerosmith got together at Rik Tinory Productions in Cohasset, Massachusetts to rehearse and compose new songs, as the band members thought the isolated nature of the studio would help their creativity. Over 19 songs were written, split between an "A-list" with songs considered possible hits, such as "Love in an Elevator" and "What It Takes", and the "B-list" having songs yet to be developed such as "Voodoo Medicine Man". Producer Bruce Fairbairn focused on getting as many hooks on the songs as possible. Some songs proposed for the album, though never released, include "Girl's Got Somethin'", "Is Anybody Out There", "Guilty Kilt", "Rubber Bandit", "Sniffin'", and "Sedona Sunrise". Many songs also had alternate titles, for example, "Voodoo Medicine Man" was originally titled "Buried Alive" and "News for Ya Baby". The majority of these songs can be seen in photos of the studio's whiteboard and in footage from The Making of Pump. In January 1989, the band went to Vancouver to again record at Fairbairn's Little Mountain Sound, where the producer had helmed Bon Jovi's Slippery When Wet and New Jersey. "I don't even listen to Bon Jovi," Steven Tyler protested, "so we didn't say, 'Oh, ****, they had a great album,' and go up there." The intention with the album was exploring a rawness that had been glossed over for a commercial sound in Permanent Vacation. Joe Perry declared that "When we went to do this album, we knew what we wanted, we wanted to strip off a little fat we felt on our last one. We didn't say 'We need a drug song or a child abuse song,' but when they fit, we used them. That's Aerosmith: we aren't bound by any rules." This escape from the rules lead to the instrumental interludes between the songs. The interludes were done with the collaboration of musician Randy Raine-Reusch, who was brought to the studio after Perry and Tyler visited his house to search for unusual instruments to employ. Many of the lyrics employ sexual themes, which Tyler attributed to having "making up for the lost time" he spent using drugs instead of having sex in the 1970s. Track listing Side one No. Title Writer(s) Length 1. "Young Lust" Steven Tyler, Joe Perry, Jim Vallance 4:19 2. "F.I.N.E." Tyler, Perry, Desmond Child 4:08 3. "Going Down/Love in an Elevator" Tyler, Perry 5:38 4. "Monkey on My Back" Tyler, Perry 3:56 5. "Water Song/Janie's Got a Gun" Tyler, Tom Hamilton 5:40 Side two No. Title Writer(s) Length 1. "Dulcimer Stomp/The Other Side" Tyler, Vallance, Brian Holland, Lamont Dozier, Eddie Holland[27][28] 4:56 2. "My Girl" Tyler, Perry 3:10 3. "Don't Get Mad, Get Even" Tyler, Perry 4:48 4. "Hoodoo/Voodoo Medicine Man" Tyler, Brad Whitford 4:41 5. "What It Takes" (Includes an instrumental hidden track composed & performed by Randy Raine-Reusch) Tyler, Perry, Child 6:28 Total length: 47:44 Japanese version No. Title Writer(s) Length 11. "Ain't Enough" Tyler, Perry 4:57 Total length: 52:46 Personnel Aerosmith Steven Tyler – lead vocals, guitar, keyboards, harmonica Joe Perry – guitar: second solo on "Love in an Elevator", slide guitar on "Monkey on My Back", backing vocals Brad Whitford – guitar: lead guitar on "Voodoo Medicine Man" and first solo on "Love in an Elevator" Tom Hamilton – bass guitar, backing vocals on "Love in an Elevator" Joey Kramer – drums Additional personnel Bob Dowd – backing vocals on "Love in an Elevator" Catherine Epps – spoken intro (Elevator Operator) on "Going Down" Bruce Fairbairn – trumpet, backing vocals on "Love in an Elevator" The Margarita Horns (Bruce Fairbairn, Henry Christian, Ian Putz, Tom Keenlyside) – brass instruments, saxophones John Webster – keyboards Randy Raine-Reusch – musical interludes (glass harmonica on "Water Song", Appalachian dulcimer on "Dulcimer Stomp", didgeridoo on "Don't Get Mad, Get Even", and Thai khaen on "Hoodoo"), plus naw (gourd mouth organ of the Lahu people of Northern Thailand) starting at 5:19 in the hidden track contained in "What It Takes" Production Producer: Bruce Fairbairn Engineers: Michael Fraser, Ken Lomas Mixing: Mike Fraser Mastering: Greg Fulginiti Mastering Supervisor: David Donnelly Art direction: Kim Champagne, Gabrielle Raumberger Logo design: Andy Engel Photography: Norman Seeff Tattoo art: Mark Ryden John Kalodner: John Kalodner
Pump Young Lust Heavy power chords open the song in a loop progression. Then at :18 the turnaround bluesy chord of E leads to the guitar friendly A chord that anchors the verse. A fine groove on the A chord for most of the verse and then a turnaround in hard rock Mixolydian mode keeping it a little away from pure blues. I like the quasi rockabilly rhythm. The verse repeats and a reference to the summertime blues…..fits just right. The E chord hard turnaround at 1:19 turns into a chorus of sorts in blues style. The intro follows and the verse kicks back in. The rhythm section is on fire. At 2:22 a bridge with some introspection enters “always getting stronger.” A break follows with lots of howling guitars. The rhythm section falls off and the verse gets laid out without the refrain, but the Young Lust is still there. The final verse has Tom going nuts with a rising bassline that cooks to its done. Joey shows off a little to bring the song to a rousing close. Impressive opener. 9/10 F.I.N.E A vocal tick from Steven and a rubbery rising line stuns us into the verse with a cool riff. Another great A boogie riff with snarling guitars using the upper strings to give it a pop sheen. The pre chorus at :34 (I got a Girlfriend) is not a raver, but it is special….first time I can think of chords like those in a Smith song….classical/jazzy diminished and minor 7th chords! A chromatic moving voice going up. It is perfect for me. And the turnaround at :59 is a psychobilly type riff. Brilliant. The riff turns into the chorus at 1:03. The verse returns and everything repeats in perfection. The chorus repeats and Steven adds in a tribute to the Roaring 20s!!!! The bridge is a Stonsey chord progression and works fine…sorry. A little piece of the verse chords and then the chorus comes back quickly. The final verse and chorus follows. The chorus ends abruptly with Steven ranting. Another brutally great song. In your face and foot stomping. 9/10 Love In An Elevator I will post a full review. Monkey On My Back A slow blues intro leads to a Joey groove and a blues curl riff in E follows. So far so not so great. The verse shifts to the old mixolydian chord progression. Joe’s slide guitar adds some Johnny W. to the mix. The blues curl returns and is the chorus. Yikes. Played well though but where is the beef? The break changes key….thank heavens. The bridge is not so great as well. I better stop while I am a head. A drop from the first two songs. 6/10 Janie’s Got A gun I will post a full review. Dulcimer Stomp/The Other Side Opens with Dulcimer Stomp and to be honest I don’t get why it even entered the mix. Not much to it. Regardless, The Other Side is a decent R and B type song. The chorus opens the song in E minor with horns and other good stuff. Call and response. The chorus does a standard rise out to the verse. The verse is the old mixolydian rock/R and B progression. I like the bassline and Steven does his usual excellent job. The minor key vibe of the chorus comes across stronger when the chorus follows the verse. Not a typical chorus that usually gets sunnier and stronger in a major key. The horns/synth sound fitting and not gratuitous but overpower the guitars at times. The lines are old time boogie. The break has a Joe solo that is Johnny Winter and rockabilly influenced. Clean and mean. The chorus is used to outro the song with horns a blazing and good harmonies. The Tyler vocal ups the ante again. 8/10 My Girl A little bit o’ Motown and Soul in this boogie fest…..not just the name. The guitars really cook along for me. Steven is at home with this kind of vocal. The break is mostly Steven with a vocal line, and it gives the song some contrast. The break is another clean Joe solo with his pitchy bends and rhythmic edged licks. Fits the song in fine fashion. Tom Hamilton piledrives in this one. A keeper for me…..glad to hear that kind of Motown rhythm. 8/10 Don’t Get Mad, Get Even Synthy sounds float around for the intro. Steven on harp sounding like a delta bluesman (close) enters with a bluesy flat melody. The chorus roars for a big lift up a step to B and it hits like a good chorus should. Well, good if you are expecting a by the book chorus but what the heck. The bridge is loaded with soaring harmonies. When the verse returns it gets the cliché’ softening but it does not sound too corny. The bluesy verse is sued to outro the song with Steven adding in vocalizations that start to sound dopey to me. Not the best way to end the song IMO. 7/10 Hoodoo, Voodoo Medicine Man Odd sounding stacked fourth chords with Steven using spoken word lyrics open the song. Percussion and some animal sounds take over. The verse kicks in with a great arpeggio based riff in F # Minor…..not very usual. Brad’s riff is a killer though with quick chord changes and it hits hard and heavy. The chorus goes into hard rock hammer chord sound a la Led Zep. Simple but it really drives the song. Brad’s guitars in the break are not melodic based but add interesting texture to the song. Key changes help give some contrast. The verse comes back and is stripped down….a standard move but it works with this busy sounding song. The outro is wild with thwacking drums and eerie guitars. Steven ends the song with part of the song’s title. Interesting song. 8/10 What It Takes The closer is a variation on the timeless Doo Wop progression. Has it been overused? Maybe but Steven always sounds at home with these types of songs. The chorus changes key and goes through great hard rock based changes that go outside R and B and it provides a terrific contrast and melding of styles…..R and B Power Ballad. IIRC, the song started out sounding more like country….that would have been interesting though. Regardless, IMO it is a decent way to close the album. I guess I could have done without some of the R and B cliché’ stuff in it like the slash chords. The hidden instrumental is another “why” for me, but it is cool to hear the guys play bluegrass music. 8/10 Overall, a great album IMO. A winning combo of hard rock, R and B type ballads, blues and even rockabilly. Some of the references to Glam Metal are puzzling though. The unique guitar hooks do not make a big comeback, but the melodic hooks and arrangement are good enough to make the songs interesting and hooky. Brad’s guitar hook in Hoodoo is another cool one from him. Some of the production traits get overbearing especially in the thick songs but not enough to kill the deal for me. A killer rhythm section helps cement the songs regardless of the goofy 80s effects. I listen to the album every couple of months or so.
I’ll say it: I think Pump belongs with Toys and Rocks as one of the three absolutely great Aerosmith albums. The band is firing on all cylinders, the material is of consistently great quality (only “My Girl” song sounds like potential filler to me) and the production, while still in full-on pop mode, rewards multiple listens. I wore this cassette out in high school and listening to it again today, I was pleasantly surprised how well it stands up. It sounds like they took the lessons of Permanent Vacation and did it better on Pump. Someone earlier in the thread mentioned that one of the main differences between “old” Aerosmith and “new” Aerosmith is that riffs aren't prominent. I think that holds true here. I am kind of curious how that happened - whether the band just ran dry, or if it was decided that riffs were “out” and they needed to get past them to score a hit. One of the few discernible out-and-out riffs - “Monkey On My Back” - sounds to me like a copy of AC/DC’s “Given The Dog A Bone.” Maybe because of the lack of riffs, this is definitely Steven’s time to come to the fore. He is all over this album in a way I don’t think he was before. I think his vocals on “F.I.N.E” are one of the highlights of his career up to that point. I think from this point on he could start to jump the shark, but on Pump he hadn’t quite left reality yet. Favorites: “F.I.N.E.” in fact for me is one of Aerosmith’s career highlights as a song. I know it had a helping hand with Desmond Child, but it for me epitomizes the band - dirty but accomplished, humorous and killer with a groove. I don’t even know what part of this song is technically a chorus, but I still find myself singing along to the “Your mama says I’m alllllll-right” sections. “Even Tipper says...” is a such great line. “Love In An Elevator” - actually, for this being a “Steven” song as far as the lyrics, which got a looooot of attention when it first came out, when I listened to it today I thought how much Perry and the rest of the band make this song as good as it is musically. The extended solo and breakdown are a lot better than I remember - Whitford’s solo especially is tasty. The song structure is all over the place as well, in a good way. I totally forgot how many sections there were to this song. I think the music actually help save the song from the lyrics, which after repeated listens kinda become too old a joke. “Monkey On My Back” - After “F.I.N.E.” probably my second favorite song on the record. Also interesting in that this is probably the most personal of all their songs, dealing frankly with drug addiction, but it also rocks pretty hard. Probably Joe’s best use of slide guitar since “Draw The Line.” “The Other Side” - I totally did not realize this was a single until recently. Horns! I can see this song as being undercooked on earlier Geffen-era albums, but for some reason it works here. “What It Takes” - The last of the truly good album-closing slow songs. It already shows the warning signs of what would make later Aeroballads kinda insufferable - highly polished, made for radio. But before all that, this one was enjoyable for what it was. Frankly, the accordion, country-tinge and Perry’s solo lends just enough idiosyncrasies to salvage it for me. I can totally see why people are tired of this song, but I do like it.
I think Pump is their best album since Draw the Line, but although I can see that their success with it has a lot to do with its somewhat poppier sound (on some songs, anyway), the use of song doctors, and the fashionable '80s production from Bruce Fairbairn, it's precisely those qualities that I find disappointing. New-model Aerosmith was hugely successful and definitely had more energy than they'd shown in a while, but there's something not-quite-Aerosmith about it. Maybe it's just that they aren't in their 20s and it isn't the '70s anymore and I'm not a kid anymore. But I wonder what this record would have sounded like with Jack Douglas producing and without the song doctors. Maybe I would have liked it more? But maybe it wouldn't have been half as much of a hit? Who knows.
Here is the Allmusic review of Pump - They give it 4.5 stars. Where Permanent Vacation seemed a little overwhelmed by its pop concessions, Pump revels in them without ever losing sight of Aerosmith's dirty hard rock core. Which doesn't mean the record is a sellout -- "What It Takes" has more emotion and grit than any of their other power ballads; "Janie's Got a Gun" tackles more complex territory than most previous songs; and "The Other Side" and "Love in an Elevator" rock relentlessly, no matter how many horns and synths fight with the guitars. Such ambition and successful musical eclecticism make Pump rank with Rocks and Toys in the Attic I had this at one time but the only songs I can recall are Love In An Elevator and Janie's Got A Gun.
I know I'm in a minority but when I saw Joe Pet was playing again I wanted to see the full Once A Rocker era band as they've never performed with Joe since, unlike Charlie and David Hull
This reminds me that I went to one of the longest shows in Aerosmith history. On paper, that is. It was a show that started in the 1980s and didn’t end until the 1990s. It was at the Boston Gahden…New Years Eve…and it was wicked awesome. …mic drop…. I’ll see myself out now…
Pump So I was almost 13 when this album came out. I was playing a lot of catch up buying past and present albums from hard rock artists of the time. In 87-89 I was buying new albums from Kiss, Aerosmith, Whitesnake, VH, Crue, etc. Aside from Whitesnake 1987 none of the albums were their best (OU812, Dr. Feelgood, Crazy Nights, etc.) their older albums were excellent so my socks were not getting blown off by any of these new releases at the time. Some killer singles but not an overall album that was a 10 in my book. Then Pump comes along which was released a week after I got Motley Crue's Dr. Feelgood. THIS ALBUM ROCKED MY WORLD. Everything clicks here and it's a perfect 10 just like Rocks was. I get the flack it gets for some of the poppy-ness of Love In An Elevator and the Other Side and maybe some of it has a bit too much of the 80's gloss but that was the time and that is why they were gigantic hits for the band. Despite the gloss the singles were damn good. Anyways for the track by track: Young Lust- This track is a barnstormer. The drums never let up and the down and dirty guitars fit the song so well. Tyler's sleazy lyrics at his age are unapologetic after losing out years of being fried out on drugs to really enjoy ...well lust. He felt like a kid again. FINE- The second song of the one-two punch here kicks in as Tyler conveys almost a Mae West vocal here spewing a bunch of double entendres. Love In An Elevator- I think older fans just hear his song and they don't want to know anything else about this period of Aerosmith as it's not the 70's which is unfair. Yes its poppy but so was Walk This Way. I really don't get the difference. Lyrical themes are about the same but Tyler isn't talking about a teenage girl here. The guitars are monstrous for a "pop" single. Also in the video the band looked really great and healthy. Joe especially looked super cool...and tan! Yes there is a lot of Whoah, yeahs" but the song is so damn good. It made working in an office sound really fun for this almost 13 year old! Monkey On My Back- Joey really shines here and I think this is probably the first time I have said this in this thread In The Making of Pump Tyler really grills him to get the groove right. Love the slide guitar on this as well. Janie's Got A Gun- Again another "pop" song here but how many had rock bands were singing about child abuse at the time- not many. That was left to non-hard rock artists like Suzanne Vega. The solo here is incredible and the big 80's sound actually enhances the song with the drama going on within. The David Lynch video is a thing of art and marries so well the music. Sorry this song shouldn't get any flak for being pop whatsoever. The Other Side- I love seeing how they created this intro on the Making of Pump. Ok this song is super poppy and if they made a bunch of songs like this on Pump it would be a whole other story. I am fine with having a bit of ear candy here to start of Side Two. Another great guitar solo here despite the confection. My Girl- Ok two poppy songs in a row. I can see this as the toss-off song but the Motown feel is fun and I don't skip it. Don't Get Mad Get Even- Underrated song here and fun lyrics. Voodoo Medicine Man- What a weird song but I love it. Heavy as hell and everything really chugs along. What It Takes- Sorry but to say this is a sellout - I don't see it. It's practically a country song and a hard rock band trying to be country wasn't the cool thing to do until 15 plus years later when Bon Jovi , Def Leppard, etc were doing it. I think this is a fantastic breakup song. Love the video too. So yes I love this album and I have a lot of found memories of playing this to death without ever getting tired of it- still don't. 5/5
The remixes from Pump: Love In An Elevator - Elevator Mix There a few edits of the track as well taking out the intro and chopping up the guitar but this was the full remix. There was an Elevator Mix edit as well. Both mixes were on promo 12" only Janie's Got A Gun CHR Remix ("she left him out in the pouring rain" instead of "she put a bullet in his brain"- lyric change version) https://www.youtube.com/watch?v=UIGq5HhKQJk What It Takes CHR Edit- aside from the edit of the outro I can't really tell the difference in the mix? Maybe the drums are more clear? https://www.youtube.com/watch?v=RMxAqN7UYM8 The Other Side Club Mix https://www.youtube.com/watch?v=_S2a4DheTIg Honky Tonk Version https://www.youtube.com/watch?v=VkCzQwX2KJs F.I.NE. AOR Mix- another one where I can't tell a difference aside from the clean intro- guitars are cleaner maybe? https://www.youtube.com/watch?v=jDVHo-hn9Kw B-sides from Pump: Ain't Enough (Japan bonus track) https://www.youtube.com/watch?v=pu7d_1q69fU Wayne's World Theme (SNL appearance) https://www.youtube.com/watch?v=yHh6PBF1xaU Official videos from Pump: Elevator https://www.youtube.com/watch?v=h3Yrhv33Zb8 Janie https://www.youtube.com/watch?v=RqQn2ADZE1A Other Side https://www.youtube.com/watch?v=zkGfPrst29Y What It Takes (Version 2) https://www.youtube.com/watch?v=CSnuQcFgvDo Home videos: Things That Go Pump In The Night home video https://www.youtube.com/watch?v=YP0fs8NQBIs Making of Pump home video- must see! https://www.youtube.com/watch?v=sqGscZlY4FE
Like PV I really like Pump, the energy of it is off the charts - this is the sound of a very confident band. And the majority of it written by the band is very cool also. Much like ‘Hangman Jury’, there was a bit of ‘borrowing’ shall we say, for ‘The Other Side’, with the band having to eventually credit ‘Holland, Dozier, Holland’ (who originally wrote ‘Standing In The Shadows Of Love, which has similarities). I always loved the little interlude intros/outros on this album, and had always assumed it was the band, thinking what utterly brilliant musicians they are. Finding out they were performed by one Randy Raine-Reusch was a shock, I wonder did the band play with him? I hope they did. Either way, it was a brilliant idea, keeping the band firmly rooted whilst they were still embracing the late 80’s rock scene. Favourites would be ‘Young Lust, ‘F.I.N.E. (Desmond Child, you are forgiven!), ‘Monkey On My Back’, ‘The Other Side’ (that intro is exquisite), ‘Voodoo Medicine Man’, ‘What It Takes’. I bought the Japan cd for ‘Ain’t Enough’, but I can see why it didn’t make it, and ‘What It Takes’ (with the brilliant outro) is a perfect way to end the album. So yeah, that’s studio album number 10 for Aerosmith, and what a fantastic run of albums in the 70’s and 80’s they gave us. This is where I stop with my collection of their work (bar of course ‘Pandora’s Box’ and the likes of ‘The Road Starts Hear’ being released). I tried to get into the following studio albums, but it’s just not the same band (I actually despised those ‘Get A Grip’ videos/songs - talk about overkill!). So instead of watering down their catalogue of music, I’ve chosen to stop at ‘Pump’ - and I’m usually a ‘buy everything a band releases’ type, but it’s just that I absolutely love everything from the 70’/80’s by this band that I cannot bring myself to listen to what they turned into, so in my little world - those albums don’t exist . This has been a brilliant thread, thank you @Rose River Bear, loved reading every contribution, and I’ll stick around anyway to read other opinions on the following albums.
