Category Archives: Buyer’s Guide

Rocks In The Attic’s buyer’s guide to….Aerosmith (The Columbia Years)

  – 3 essential albums, an overlooked gem, a wildcard, one to avoid, and the best of the rest –

It used to be easy to categorise the different phases of Aerosmith’s career. By the 1990s, there were two distinct phases – old Aerosmith and new Aerosmith, or – if you knew your stuff – good Aerosmith and bad Aerosmith. But looking back now in 2019, those iffy albums recorded for Geffen between 1985 and 1993 can now been seen as some kind of weird, golden mid-period for the band. Because no matter what you thought of Dude (Looks Like A Lady) or Love In An Elevator, things got far, far worse when the band entered the 21st century.

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As horrific as the band’s newer material is, one thing is for sure: that classic first run of studio albums recorded on the Columbia label between 1973 and 1982 is brilliant. Blistering rock and roll, with each album building on the last until it all started to fall apart in a drug-fuelled blaze of glory. Just like the editions on AC/DC, Led Zeppelin and the Rolling Stones this Buyer’s Guide will take you through the highlights and lowlights of Aerosmith’s first decade.

Start off with: Toys In The Attic (1975, Columbia Records)

Aero2It might include two of the band’s biggest showpieces – Walk This Way and Sweet Emotion – but the brilliance of the their third album is in the space it has to breathe. From the non-stop rock of the title track through to the piano-ballad of You See Me Crying, Aerosmith show that they’re more than just long-haired heavy rockers. The plaintive Uncle Salty shows a band tackling a serious topic, Adam’s Apple proves that Joe Perry can write a sick guitar riff equal to Steven Tyler’s raspy vocals, and Big Ten Inch Record is sure to put a dirty smirk on your face. On the flipside, No More No More might just be the greatest song about touring in a rock and roll band, and Round And Round shows a heavier side of the group. Jack Douglas, given full production duties after co-producing their previous record, manages to capture the essence of a band just as they changed from New England wannabes to national rock stars.

Follow that with: Get Your Wings (1974, Columbia Records)

Aero3There’s a charm to the band’s sophomore release that they only ever got close to recapturing on 1985’s Done With Mirrors, another album which pre-empted bigger things. If their tentative, toe-in-the-water debut proved they can play, the follow-up showed a maturity in their songwriting skills. The band sounds like America’s best-kept secret, and co-producers Jack Douglas and Ray Colcord are struggling to keep a lid on everything. With the same sense of space as its breakthrough follow-up, Get Your Wings finds Aerosmith starting to hit their stride, with Lord Of The Thighs – strangely not picked as a single – serving as the blueprint for the band’s sleazy rock for the rest of the decade.

Then get: Rocks (1976, Columbia Records)

Aero4Public opinion usually places this record as the band’s greatest achievement, but for me it’s a little overcooked. Gone are the nuances of Get Your Wings and Toys In The Attic, and I instead we get 34 minutes of balls-to-the-wall rock and roll, that doesn’t let up for a second. By this time, Aerosmith and Jack Douglas were masters at their game, and the album sounds effortless as a result. But if anything, it’s just too much. Even the now-traditional piano ballad closer Home Tonight is far from subtle; it feels like enjoying a meal too quickly, and burning your mouth as a result.

Criminally overlooked: Night In The Ruts (1979, Columbia Records)

Aero5Joe Perry claimed that by 1978 they had gone from musicians dabbling with drugs, to drug addicts dabbling with music. A year later, things were really starting to come off the rails. Mid-way through recording sessions, Perry literally quit the band over spilt milk (Perry’s wife Elyssa threw a glass of milk over Tom Hamilton’s wife Terri, in a heated argument backstage). With Perry only contributing guitar parts for five songs, the remaining parts were completed by  Brad Whitford, Richie Supa, Neil Thompson, and Jimmy Crespo. Perry-clone Crespo stayed on as the band’s lead guitarist as the album, originally titled Off Your Rocker, was released as Night In The Ruts. It’s an uneven affair but definitely has its moments. Chiquita is perhaps the greatest deep cut the band ever recorded and Cheese Cake, Three Mile Smile and Bone To Bone (Coney Island White Fish Boy) all show the band at their best.

The long-shot: Rock In A Hard Place (1982, Columbia Records)

Aero6The band limped on into the new decade as rhythm guitarist Brad Whitford followed Joe Perry out the door. Replaced by another Perry-clone, Rick Dufay, the new blood revitalised the band into a record that is far stronger than it deserves to be. Costing an estimate $1.5 million to record (a fortune at the time) due to Tyler’s constant drug-fuelled procrastinations, the album reunited them with Jack Douglas. The opening salvo of Jailbait, Lightning Strikes, Bitch’s Brew and Bolivian Ragamuffin feels like the last death-rattle of a band that could really have imploded there and then, had fate not intervened a couple of years later.

Avoid like the plague: Classics Live! (1986, Columbia Records)

Aero7After the band reunited and decamped to greener pastures with Geffen Records, their old record label was left with the rights to the material from their first decade. Both Classic Live! and Classics Live II feel like cynical cash-ins, to benefit from the band’s resurgence, but the first volume is particularly bad. Featuring overdubs by stand-in guitarist Jimmy Crespo, and re-touched drum sounds akin to ZZ Top’s re-worked CD remasters of their ‘70s albums, it doesn’t sound like a genuine live album. The album’s only saving grace is the inclusion of a studio outtake, Major Barbra, originally recorded for Get Your Wings.

Best compilation: Gems (1988, Columbia Records)

Aero8After 1980’s Greatest Hits included a couple of singles edited for radio (effectively removing key elements of songs, e.g. Sweet Emotion without the talk-box intro section!), Columbia issued a more representative compilation in 1988. Cashing-in on the band’s Permanent Vacation comeback, with cover-art reminiscent of the Rocks cover, Gems is a heavier album of deep cuts drawing from their first seven studio albums. The cherry on top is the studio version of Richie Supa’s Chip Away The Stone, previously only available as a live version.

Best live album: Live! Bootleg (1978, Columbia Records)

Aero9A sloppy mess of a double-LP live album, Live! Bootleg was released while the band were in no state to record a follow-up to Draw The Line. It was originally intended to be a warts-and-all recording, akin to the bootleg live recordings the cover art suggests. It actually sounds great; the band are just a mess, full of flubbed-guitar lines and incoherent vocals, and I love every minute of it. It’s not all stadium-rock bonanza though – we get a club recording of Last Child, a rehearsal space run-through of Come Together and a 1973 radio broadcast of I Ain’t Got You and Mother Popcorn.

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Yes, Aerosmith might not sail the same seas as the Led Zeppelins and Rolling Stones of the stadium-rock world, but to me they’re essential. I’m so glad this was the first band that really stung me; I’ve always found it easy to look beyond the questionable Geffen years and everything that came after it. Their first decade was brilliant and includes everything I look for in a rock band. For me, there’s simply nothing better than Toys In The Attic blasting out of the stereo on a hot summer’s day.

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Rocks In The Attic’s buyer’s guide to…The Rolling Stones (Part 1 – The Decca Years)

– 3 essential albums, an overlooked gem, a wildcard, one to avoid, and the best of the rest –

A 1962 advertisement in Jazz News by a young guitarist named Brian Jones had consequences the blues purist could never have imagined. Jones’ ad, searching for similarly-minded musicians to play with, led to the formation of undoubtedly the world’s biggest rock band, and twenty two studio albums later they’re still going strong.

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Twenty two studio albums is quite a body of work – there’s a lot of gold amongst those records, but there’s a decent amount of average (and even sub-par) material too. Given there’s just so much to get through, I’ve split this buyer’s guide into two parts – firstly the years between 1964 and 1969, when the Stones’ albums were released on Decca Records (or London Records in the USA), and the second era from 1971 to present, where releases appeared first on their own label, Rolling Stones Records, and then much later on Virgin.

A handy marker to distinguish releases between the two eras is the famous tongue and lips logo, designed by John Pasche. This was introduced in 1971 and appears on the sleeve of Sticky Fingers, their first Rolling Stones Records release, and onwards.

But first, here’s a guide to the first decade of the band – one that started innocently with a group of like-minded individuals paying homage to their Chicago blues heroes, and ended in a double-dose of tragedy.

Start off with: Beggar’s Banquet (1968, Decca)

Stones2Beggar’s Banquet marks the band’s first confident steps away from their former leader, Brian Jones. Up to this point, it was very much Brian’s band. He put the band together, he named the band (after a Muddy Waters song), and he was the driving force behind a lot of their early covers. Mick Jagger and Keith Richards had other ideas though. This album represents a return to what they do best, compared to Their Satanic Majesties Request a year earlier. On that departure of a record they were still very much Beatles copyists, but with Beggar’s Banquet they were setting up their own stall, becoming a rock group rather than a ‘60s beat group. If there’s one Stones album that sets the template for every Stones record to come, it’s this one.

Follow that with: Let It Bleed (1969, Decca)

Stones3It’s a major understatement to say that the ‘60s ended badly for the Stones. First, the ousted Brian Jones is found face-down, floating in his swimming pool. Then Jagger watches from the stage at the Altamont festival as a fan is stabbed and beaten to death by the Hells Angels. Let It Bleed was released in between those two events, and the smell of death hangs over the record like a black cloud. ‘Rape, murder, it’s just a shot away’ sings backing vocalist Merry Clayton on Gimme Shelter (the L.A. Times reported that after recording that track, Clayton suffered a miscarriage upon returning home – yet another bad event surrounding this record). Their last record of the ‘60s, the Stones end the decade with the seven and a half minute long You Can’t Always Get What You Want. Taken at face value, it feels like a song about the death of the ‘60s dream, but it’s covered in hope – ‘if you try sometimes, you just might find, you get what you need.’

Then get: Aftermath (1966, Decca)

Stones4To the Stones what A Hard Day’s Night was to the Beatles, Aftermath was the first studio album consisting solely of Jagger / Richards compositions. It’s not their best record, by a long shot, but it shows that they could write a body of work without needing to go digging in the well of Chicago blues songs. The important thing here is that its Mick Jagger and Keith Richards writing the material, not Brian Jones – the first nail in his coffin, perhaps? Amongst the stand-out tracks are Mother’s Little Helper, Lady Jane and Out Of Time (a UK #1 for Chris Farlowe) – but the centre-piece is Under My Thumb, the song that the band was playing when Meredith Hunter was killed at Altamont (the common misconception is that they were playing Sympathy For The Devil at the time).

Criminally overlooked: The Rolling Stones (1964, Decca)

Stones5Their debut record marks out their territory well – edgy, energetic and respectful to their R&B and blues heroes. A cover of Chuck Berry’s Route 66 kicks things off, with Mick spitting out the American towns in Bobby Troup’s lyrics. Thirty three (and a third!) minutes later, a cover of Rufus Thomas’ Walking The Dog closes the album by what the American release would call ‘England’s Newest Hitmakers’. They only managed one original composition – they’d work at this over subsequent releases – but the eleven covers they chose showed which road they were going down.

The long-shot: Their Satanic Majesties Request (1967, Decca)

Stones6Terrible cover. Supposedly the Stones’ worst album. A psychedelic cash-in. Believe what you will, but I don’t think it’s that bad. There are definitely worse Stones albums from this period (more on that in a minute). If you ignore the shameful lack of originality on the cover, and maybe sweep a few of the lengthier trying-too-hard-to-sound-psychedelic-and-out-there songs out of the way, it’s a decent listen. The obvious comparison – due to the cover – would be Sgt. Pepper’s but the Stones sound more like Syd Barrett-era Pink Floyd. Plus you get She’s A Rainbow – a celebration of squirting girls everywhere, with a string arrangement by Led Zeppelin’s John Paul Jones – and 2,000 Light Years From Home, driven by one of Bill Wyman’s best bass riffs. Thankfully they would leave the joss sticks and kaftans behind for their next release – Beggar’s Banquet.

Avoid like the plague: Between The Buttons (1967, Decca)

Stones7Between The Buttons is odd in that each and every Stones album up to this point was a little better than the one before it. Each subsequent Stones album would have more Jagger / Richards compositions on it, culminating on the fully self-written Aftermath in 1966. But with Between The Buttons, their second attempt at this feat, they overreached and produced a boring, snoozefest of an album. Connection is the album’s only glimmer of hope, and even that is just two short minutes of schoolyard rhymes. If anything, it sounds like it was ghost written by the Gimme Some Money-era David St. Hubbins and Nigel Tufnel. Speaking of buttons and schoolyards, I once ingested a button up my nose when I was at infant school. It was a more enjoyable experience than listening to this record.

Best compilation: Through the Past, Darkly (Big Hits Vol. 2) (1969, Decca)

Stones8At the last count, there are about three hundred and nineteen Rolling Stones compilations commercially available, all of varying quality. The band’s second hits collection, with a great octagonal cover, is arguably the better of the two released during the ‘60s. Dedicated to the recently departed Brian Jones, the album contains four white hot Stones singles – Jumpin’ Jack Flash, Let’s Spend The Night Together, Ruby Tuesday and Honky Tonk Women – all available only on 7” up to that point. In fact, it doesn’t matter what the meat of the sandwich is, the very fact that the record opens with Jumpin’ Jack Flash and closes with Honky Tonk Women makes it one of the greatest records ever.

Best live album: Get Yer Ya-Ya’s Out! The Rolling Stones in Concert (1970, Decca)

Stones9Great between-song banter – “I think I bust a button on me trousers, hope they don’t fall down…you don’t want my trousers to fall down now, do you?” – and audience chatter – “Paint It Black, you devil!” – make this a great listen. Those moments are so good, you could almost forgive them for sounding like the sloppiest live band ever to grace a stage. Because that’s the truth of the situation – they might produce the occasional lightning bolt in the studio, but on stage they sound resolutely awful. The very fact that most people don’t notice this is a testament to how good some of their classic material is. Who cares what they sound like, as long as they’re playing Jumpin’ Jack Flash?

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Rocks In The Attic’s buyer’s guide to…AC/DC

  – 3 essential albums, an overlooked gem, a wildcard, one to avoid, and the best of the rest –

“I’m sick to death of people saying we’ve made eleven albums that sounds exactly the same. In fact, we’ve made twelve albums that sound exactly the same.” So says, AC/DC lead guitarist and fifty-nine year old Scottish Australian schoolboy, Angus Young. While other bands have been cursed by following the same formula over and over again (Francis Rossi, please stand up), AC/DC have turned it to their advantage.
ACDC0Over fourteen studio albums, the band have stuck to a blueprint of blues-based heavy rock. 99% of their songs follow the same format – counterpoint guitar riffs from brothers Angus and Malcolm, steady 4/4 drum beats, driving bass lines, soaring vocals and finally, a solo from Angus. There’s no room for piano, no room for strings and the only backing vocals you get are from the rest of the band, who are about as tuneful as an after-hours pub karaoke session.

Lead vocal duties divide the band into two eras – the band’s formative years were helmed by fellow Scottish Australian Bon Scott, but his untimely death in 1980 saw the band enter a more commercial phase under the screams of flat-cap loving Geordie Brian Johnson.

But regardless of what you may have heard, there are differences between their albums. Each of their 1970s albums follow a progressive arc, until they settled on their massive world conquering sound as they entered the 1980s. Albums since that point have struggled to find that same high level of quality, acting mainly as a springboard for the band to go out on the road for yet another world tour.

Start off with: Highway To Hell (1979, Atlantic Records)

ACDC1The album that saw the AC/DC break America was also their swansong with Bon Scott, who would die just months later. Up to this point all the studio albums were produced by former ‘60s Australian beat group stars Harry Vanda and George (older brother of Angus and Malcolm) Young.  For Highway To Hell, the band would enlist the production duties of Robert John “Mutt” Lange – notable amongst other things for producing Def Leppard’s Hysteria, and marrying Shania Twain.

Lange’s production revitalised the band. Overnight they changed from a noisy rock band from the backwaters of Australia into a household-name stadium rock band. Aside from the title track – typically played by the band in their live shows to open their encore – not much else from the album has survived into the band’s live set to this day; but this is probably the most consistent of all their albums.

Follow that with: Back In Black (1980, Atlantic Records)

ACDC2After Bon Scott’s death, the band could have called it a day. Most bands would have, if they’d lost their lead singer. But AC/DC were always more about guitars than vocals. After auditioning half of London for the job (including Gary Holton who would go on to play Wayne in TV’s Auf Wiedersehen, Pet), the band settled on Brian Johnson. The resulting album is a tribute – a relatively sincere one, considering the medium – to their fallen bandmate. Opener Hells Bells sets the scene with a tolling bell, before the band slowly introduce their new banshee vocalist.

Back In Black, also produced by Robert John “Mutt” Lange, is probably AC/DC’s most commercial-sounding record. Singles such as the title track and You Shook Me All Night Long saw the album become the best-selling rock album of the 1980s. It’s currently tied with Pink Floyd’s Dark Side Of The Moon as the second best-selling album of all time (after Michael Jackson’s Thriller).

Just like VHS beat Betamax as the consumer’s choice of video in the 1980s (a fact commonly attributed to the pornography industry selecting the fledgling VHS technology as the way forward), Back In Black outstripped all other contenders in record sales by being purchased by every strip club in America. You Shook Me All Night Long has soundtracked a lot of lapdances – it’s not heavy rock, it’s stripper rock! Def Leppard would achieve the same feat later in the decade with Pour Some Sugar On Me, from their best-selling Hysteria album – a song that sounds like it’s describing a sexual act, but was probably written about their one-armed drummer Rick Allen making a cup of tea.

Oh, and Shoot To Thrill? The best middle-eight instrumental section in rock music, hands down.

Then get: Powerage (1978, Atlantic Records)

ACDC3Powerage is AC/DC’s greatest achievement – the last thing they did before they crossed over into the mainstream. At this point, it’s all still them; there’s no ‘hit-making’ hot-shot producer in the background to claim any credit. The album is no-frills rock ‘n roll from start to finish, although it does come with a celebrity endorsement – Rolling Stone Keith Richards earmarked it as his favourite AC/DC record.

Aside from Sin City, not much else from the record has survived into the band’s live set to this day. Still, opener Rock ‘N Roll Damnation is almost the quintessential AC/DC song, and Riff Raff has one of the band’s longest intros, building up for over a minute and finally released when Angus Young bends an open D-chord that sounds as sick as anything.

But it’s the slow-burn of songs like Down Payment Blues that really wins people over, on Powerage, the most introspective of their records.

Criminally overlooked: The Razor’s Edge (1990, Atco Records)

ACDC4In March 1990, Aerosmith’s Joe Perry mentioned to Guitar World magazine that ‘people put us down for [using outside songwriters], but I wonder how an AC/DC record would sound if they’d pull somebody like Jim Vallance into the songwriting process. Would they get another one-song record with Heatseeker, or would you get a whole album that was that cool?”

At the time, AC/DC were actually in the process of doing something along these lines. While that September’s The Razor’s Edge was written in its entirety by Angus and Malcolm Young, it was produced by Bruce Fairbairn – the man who had produced Aerosmith’s successful comeback albums, Permanent Vacation (1987) and Pump (1989).

It’s almost a cliché to disregard any of the post-Back In Black albums as cannon-fodder (pun very much intended); but The Razor’s Edge saw the end of a run of ‘80s albums where the band had very much lost their way. From this point on, with albums produced by the likes of Rick Rubin and Brendan O’Brien, they spent a bit more time and effort on their studio output.

The album’s opener, Thunderstruck, is another contender for the quintessential AC/DC song and concrete proof that they were still as relevant to ‘90s rock music as they were in the ‘70s and ‘80s.

The long-shot: For Those About to Rock (We Salute You) (1981, Atlantic Records)

ACDC5The third and final album produced by Robert John “Mutt” Lange fails to match the quality of its two predecessors, but it does have its moments. It’s so close to Back In Black and Highway To Hell in its chronology that you can almost hear some of the magic of those records in its grooves. Of course, on the other side of the coin, the album’s other next-door neighbour is 1983’s Flick Of The Switch, where their mid-‘80s rot really set in.

The album-opening title trackremains a firm live fixture – they’ve closed their sets with the track for the last thirty three years – and the track serves as the true peak of their creative accomplishments. It was all steadily downhill from this point on.

Avoid like the plague: ’74 Jailbreak (1984, Atlantic Records)

ACDC6An EP – usually priced as a full-length album – containing just twenty four minutes of material, ’74 Jailbreak is a cynical cash-in release on the behalf of Atlantic Records. It’s essentially a small collection of leftover songs that didn’t make the international releases at the start of the band’s career (several of these early albums were combinations of songs from more than one Australian release, with some omissions made in the interests of running time).

This really is what you buy only when you have all of the other AC/DC albums, even the questionable mid-‘80s ones.

Best compilation: Iron Man 2 (O.S.T.) (2010)

ACDC7AC/DC must be one of the only major bands in the world without an official ‘greatest hits’ compilation. Sure, there are box-sets – Bonfire (1997) and BackTracks (2009) – but these aren’t compilations in the true sense of the word. The band has avoided issuing a simple collection of their singles – something I really respect them for.

Of the two soundtracks they have released – 1986’s Who Made Who (the soundtrack to Stephen King’s Maximum Overdrive) and 2010’s Iron Man 2 – it is the later release that stands as the nearest thing to a ‘greatest hits’ release, split roughly 50/50 between the Bon Scott and Brian Johnson eras.

It’s just a shame the film is so boring!

Best live album: AC/DC Live (1992, Atco Records)

ACDC81978’s If You Want Blood You’ve Got It captured the live sound of the Bon Scott era, but its raw energy was plagued by a muddy Vanda / Young production. 1992’s AC/DC Live doesn’t suffer from that problem. Taken from 1991’s The Razor’s Edge tour, the album offered an authentic live recording of the band. Bruce Fairbairn had got close to capturing that sound on record (on The Razor’s Edge) and was invited back to produce the live record.

Live At Donington, the album’s companion piece video, is also worth checking out. Recording during their third headlining appearance at the British rock festival, it’s essentially the same set as can be found on the AC/DC Live record (and on every subsequent tour for that matter). One nice little bonus extra on the DVD / Blu Ray version is a commentary track comprised of an interview with the Young brothers as they talk though the concepts and directions behind each of their albums. You know, those albums that are supposedly all the same…
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