Tag Archives: Eddie Vedder

Write Moo A Letter (My Top-10 Aerosmith Songs)

A few weeks ago my good friend Moo emailed me out of the blue and asked me to list my top ten Aerosmith songs. I nearly spat out my tea. You see, Moo doesn’t like Aerosmith. In fact, that’s the understatement of the twenty first century. Out of all the bands in the world that Moo likes to pour scorn on, it’s Aerosmith. He doesn’t like to just pour scorn on them though, opting instead to apply the scorn with a high-pressure hose.

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There are plenty of reasons for his disapproval of course. Aerosmith are now a terrible band (Moo would say they always have been), they’ve pissed all over their legacy (he’d ask ‘what legacy?’) and in Steven Tyler the band are fronted by one of the most annoying men in the history of music (no argument there). The main reason he targets them though is that they’re my favourite band. A healthy friendship is all about holding your friend’s loves up to the light. Checks and balances and all that. It provides good banter too.

Of course, when it comes to criticism of Aerosmith, I have a hide as tough as a rhinoceros. I’ve written  about my love for them before, and there’s no stopping that now. I’m too old to change my ways – and anyway, for me the good easily outweighs the bad, even if the ‘bad’ gets progressively more challenging every year. Only the other day I heard that Tyler and co hinted at a farewell tour in 2017. Was I sad to hear the news? No, just like finding out your abusive parent was hit by a bus, it’ll be nice for them to go away to a place where they can’t do any more harm. And anyway, the news of Steven Tyler’s forthcoming country album was the thing that really filled me with dread.

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Moo looks for Aerosmith news in the French newspapers

So Moo was curious I guess, maybe wanting to know what makes me tick, and a woeful list in the Guardian prompted him to ask me for mine. He promised to make a Spotify playlist of the offending tracks, give it a fair listen and report back accordingly.

So the challenge: boil down my love of Aerosmith into just ten songs, and put together a list of tracks that Moo won’t turn up his nose to; an impossible feat. Aerosmith’s songs are in my DNA, my favourites change on a weekly basis, and they’d change drastically depending on who was asking.

I decided from the start to avoid the ‘big three’ – Dream On, Walk This Way and Sweet Emotion. I didn’t want to waste my precious ten choices on songs that everybody knows (even though Moo claimed to have never heard Dream On before). The other important thing for me was to draw heavily from the pre-Geffen years. I can find things I like about the Geffen years and beyond, but I think most true Aerosmith fans know that those years pale in comparison to the magic that was put down to tape in the 1970s.

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First of all, my ten and my reasons behind my choices:

1. Rattlesnake Shake (Live) (Pandora’s Box, 1991 – recording from 1971)

I chose this as it’s a great example of where the band came from. Early Fleetwood Mac extended into a Yardbirds-style jam. The guitar work-out that takes up the second portion of the song is awesome.

2. Lord Of The Thighs (Get Your Wings, 1974)

After the under-produced and somewhat workaday feel of their first album, this is possibly the first real example of the band showing their cards. Of course it helps to have a decent producer on board in the form of ‘sixth-Aero’ Jack Douglas.

3. Seasons Of Wither (Get Your Wings, 1974)

Just bloody lovely. I refuse to classify this as a power ballad – there’s more to it than that – and I would offer that this is the band’s first successful attempt at creating an otherness that is usually absent from their straight-ahead rockers and slower ballads.

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How Joe Perry could see anything at all in the mid-’70s is a complete mystery

4. Adam’s Apple (Toys In The Attic, 1975)

A sick guitar riff. By this time, it feels like Joe Perry could come up with a riff – no matter how backwards it sounds – and the band would just effortlessly bring it to life. The dictionary definition of a deep cut, the song did eventually enjoy a brief moment in the spotlight on 1988’s Gems compilation and an even sicker live version on 1991’s Pandora’s Box.

5. No More No More(Toys In The Attic, 1975)

A sunny tale of life on the road in a rock and roll band, you can almost smell the dusty tour-bus and imagine the crumbling walls of the cheap motels. The band would have been travelling more comfortably and staying at a better class of accommodation after their stratospheric rise in the wake of this album. No matter where I am, no matter what time of day it is, the sun always shines in my mind when I play this song.

6. Last Child (Rocks, 1976)

A great example of the band’s funk-inspired beginnings (drummer Joey Kramer’s gig prior to joining the band was in a Meters-style funk outfit). It definitely sounds like white man’s funk though. You could dance to it, but it might give you a headache if you over-think it.

7. Sick As A Dog (Rocks, 1976)

From the same album, Sick As A Dog is the jewel in the crown on Rocks. This rocker features an instrumental break half way through, giving the band the chance to switch instruments. The song starts off with Joe Perry on bass and Tom Hamilton on rhythm guitar. Then in the break, Steven Tyler takes over on bass while Perry resumes guitar duties for the end solo. Awesome.

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Breaking down walls with Run DMC

8. Krawhitham(Pandora’s Box, 1991 – recording from 1977)

This one’s an unreleased instrumental track written and played by the ‘other three’ – Joey Kramer, Brad Whitfordand Tom Hamilton – while they were waiting, bored, for Tyler and Perry to turn up to the studio. It’s my jam, to use the common parlance of the time.

9. Chiquita (Night In The Ruts, 1979)

This was being recorded just as Joe Perry walked out of the band in 1979. In his absence, Tyler took what Perry had intended to be a guitar line and turned it into a great horn part, reminiscent of the Who’s 5.15, or the Beatles’ Savoy Truffle.

10. Monkey On My Back (Pump, 1989)

This is the only post-sobriety one I’ve bothered to include. There are good songs from this period, but they’re definitely fewer and farther between. And it doesn’t make sense to include more at the expense of a song from their golden period. The Geffen years weirdly correlate with the advent of compact discs and as a result everything sounds a little too cold and clinical from here on in.

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Vini and Moo singing along to some Aerosmith classics


I flicked off the email to Moo and waited for the criticism to come back. It didn’t take long. Over to Moo…

Rattlesnake Shake

“OK, I suppose. Like a million other early ‘70s bands. Nice Eddie Vedder-ish vocals though. I dispute the awesomeness of the jam at the end. It went on for far too long. At one point I thought it was never going to end.”

Lord Of The Thighs

“This is pretty good, the guitar riff and piano line sound quite sinister. Like something from a gritty ‘70s cop film. Although I’m impressed that they can sing the lyrics without laughing.”

Aero3Seasons Of Wither

“This isn’t too bad. Almost as good as early Boston.”

Adam’s Apple

“This is much better. Although I’d stop short of saying it’s good.”

No More No More

“At this point, I start to think that I just won’t like them. There’s nothing wrong with this exactly, it’s just dull.”

Last Child

“Is it me or does this sound like Hit Me With Your Rhythm Stick? But this is the best so far; really good song.”

Sick As A Dog

“This is not very good.”

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Krawitham

“Not bad, but it feels like a song with the singing missing, which I guess is what it is.”

Chiquita

“This is pretty good. Nice horns as you say. It shows that they had listened to punk and (almost) understood it.”

Monkey On My Back

*listens to the first half then presses skip*

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With the benefit of hindsight, maybe I should have chosen different songs? I did think about including Aerosmith’s live cover of James Brown’s Mother Popcorn from 1978’s Live! Bootleg. It’s a funky gem, but the eleven-minute track includes a ‘hidden’ version of Draw The Line which might have tested his patience even further.

I also toyed with the idea of including the Live! Bootleg version of Walk This Way. Yes, everybody and their grandmother might have heard the song, but this version has Joe Perry playing the main riff through the talk-box effect (famous for its appearance on the intro to Sweet Emotion). It could have been very different if they had applied this guitar effect to all of their songs from this point onwards – Peter Frampton eat your heart out – but hearing it on this track just sounds weirdly out of place; a curio for sure.

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The band should be applauded for sticking with their blind clothes designer

Well, you can’t please all the people all the time, can you? I once gave Moo a spare copy of AC/DC’s Powerage, which turned him onto the mighty ‘DC in a way I could never have imagined. It’s a shame that a similar thing isn’t going to happen here. Perhaps Moo is hardwired to like bad Aerosmith only? I could have easily put together a Top 10 Worst Aerosmith song list, but I wouldn’t want to put him through this. Maybe I should have bought him a copy of Just Push Play and be done with it.

Ah, fuck it. For Moo it really is just a case of No More, No More.

For another ‘alternative best of Aerosmith playlist’ check out this post on the Every Record Tells A Story blog , a great site put together by fellow Aero-head Steve Carr.

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The band take a break in the breakfast nook of the Campbell household

Rocks In The Attic #441: Pearl Jam – ‘Vitalogy’ (1994)

RITA#441.jpgAll I remember about this album when it first came out is an incredible amount of hoo-ha around the size of the CD case it came in (purposefully larger than a standard CD case so that it wouldn’t fit into a CD rack), and the band’s continued boycott against touring with Ticketmaster. One of the biggest bands in the world after just two albums, and people were already discussing things like packaging rather than the music.

Even the band had realised this. “I think we all agreed that it had gotten insane, that it was no longer about the music,” Vedder said after the end of the tour was cancelled due to him suffering from a severe bout of food poisoning.

This is the last Pearl Jam album I remember hearing at the time. I wasn’t a fan, but I still saw the videos and heard the singles. But from here on – after Better Man – they stopped producing hit singles, and slowly turned into an album band. You couldn’t escape Ten and Vs. In fact, if you gave me a pencil and a piece of paper today, I couldn’t even draw what I thought was the cover of the album after this – I just have no idea. After Vitalogy, they just turned into a band for Pearl Jam fans.

A couple of years ago Cameron Crowe’s Pearl Jam Twenty documentary made me reappraise the band, and go back to these first three records. Vitalogy might sound to most like a band growing up; to me it’s the sound of a band sitting on a fence between playing for the mainstream and playing for themselves.

Hit: Better Man

Hidden Gem: Not For You

Rocks In The Attic #310: Stone Temple Pilots – ‘Core’ (1992)

RITA#310I’ve been lucky with finding coloured vinyl copies of STP’s back catalogue. I love coloured vinyl and I love Stone Temple Pilots so it’s nice to have their first three albums on yellow, purple and blue marble vinyl respectively.

Core was the first STP album I bought – in the Boxing Day sale in 1994 if I remember correctly. I also bought the Beatle’s Revolver and Alanis Morissette’s Jagged Little Pill on the same day. Well, two out of three ain’t bad. Those were the days too when I would buy CDs and be able to listen to them almost instantly on the bus ride home on my Discman. I bought the CDs from the original Virgin Megastore on Market Street – the cool building with the cash from the tills going round the building in pneumatic pipes. Core would have found its way into my Discman by the time I had marched back up Market Street to get the 24 or 181 home.

Of the first three STP albums, Core is clearly the best although Purple and Tiny Music… both have their strong points. Core just sounds more cohesive, like they had toured the shit out of these songs before Brendan O’Brien put them down on record. It’s also the heaviest album of the three, with fewer departures into other genres than its successors. While those musical variations characterise the second and third album, it’s the straightforward and no-nonsense approach that sums up the sound on Core.

My first exposure to the band was seeing them perform Plush on some MTV awards – probably in 1993. I immediately disliked them because Weiland came from the Eddie Vedder school of grunty singing. It wasn’t until I heard Vasoline – the second single off their second album – that I started to change my mind. They’re constantly looked at as opportunists, riding the tailcoats of grunge with little in the way of originality but when you take the grunge lens off them they probably have a lot more in common with classic American rock of the 1970s.

Guitarist Dean DeLeo and brother Robert DeLeo on bass are true heroes of mine, and one of their greatest accomplishments is managing to lay down so much great material while dealing with the challenge of Scott Weiland. I’m very lucky to have been able to finally see the band play in the New Zealand in 2011 – before the latest spat in 2013 saw the band fire Weiland and record with another singer.

They played Crackerman – my favourite STP song – only a few songs into that set at the Vector Arena and I could have walked out there and then, a very happy man.

Hit: Plush

Hidden Gem: Crackerman

Rocks In The Attic #265: Pearl Jam – ‘Ten’ (1991)

RITA#265From the early ‘90s and beyond, Pearl Jam were my mortal enemy.

I’ve always felt that your taste in music is just as defined by the bands you don’t listen to, than by the bands you do listen to, and there was no way in hell I was ever going to listen to Pearl Jam.

My reasons were many: their annoying music wasn’t my cup of tea, I had a big problem with their pretty-boy front-man Eddie Vedder and his stupid voice, and their uniform of shorts, boots and flannel shirts not only made the band look idiots, but made their fans looks like hordes of butch lesbians. There was another reason I disliked them…but I seem to have forgotten it over the years…or have I?

I initially disliked all grunge music – or let’s call it alternative rock from Seattle (because the word ‘grunge’ is pretty pointless, isn’t it?) – but repeated exposure to Smells Like Teen Spirit turned me into an reluctant Nirvana fan. Nirvana spoke to the Aerosmith / Sabbath / Zeppelin fan in me, and so I soon became a huge fan. But I just couldn’t be moved on Pearl Jam. In fact, the early rivalry between the two bands probably put me off Pearl Jam even more.

Over the years I’ve always felt the same. I think I’ve even been to festivals where Pearl Jam have been playing, and I’ve simply ignored them. Why would I bother, right? (Although, there was that time I saw Oasis play at Glastonbury simply to see how bad they were – and my distain for Pearl Jam is nothing compared to the love lost between me and Oasis. That’s a whole other story.)

I think the only thing they had done over the years that impressed me was their stance against Ticketmaster in the mid-‘90s. More bands should do things like that – but as far as I know, Ticketmaster still have a huge dominance of the ticket industry so I’m not sure what permanent good their boycott did. In New Zealand at least, ticket sales are pretty much a duopoly between Ticketmaster and Ticketek, and the two companies are just as bad as each other, charging non-sensical booking fees on top of what are already rapidly increasing ticket prices.

I also felt very sorry for Pearl Jam for what happened at the Roskilde festival in 2000. It always sucks big time when fans die at festivals (or any kind of shows for that matter), and it must really affect the band who are playing at the time. Nobody gets into music to die at a concert, and nobody gets into playing music to kill people, otherwise you’re somebody like Nicki Minaj – very slowly making your audience dumber and dumber until they start walking into oncoming traffic with vacant smiles on their faces.

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Fast forward twenty years and I eventually catch Cameron Crowe’s documentary, Pearl Jam Twenty, on TV. New Zealand television isn’t great so I always catch music documentaries whenever they’re on, even if I don’t like the band too much. I really enjoyed Twenty, despite my feelings for Pearl Jam. By the end of the film, my staunch attitude to them had started to thaw.

I saw the film a second time a couple of months ago, and enjoyed it just as much, if not more. Oh no, I was turning into a Pearl Jam fan…

I’ve only heard their first three albums so far (Ten is far too poppy, Vs. is excellent and Vitalogy sounds far too much like a band slowly going off the rails – Rolling Stone were right on the money in describing them in 2006 as having “spent much of the past decade deliberately tearing apart their own fame.”).

The band seems to have an issue with Ten sounding far too commercial, blaming the high levels of reverb used. Even though the remixed version of the album goes some way to address this (I have the double vinyl copy which has the original album and the 2009 Redux version), it still sounds way too poppy. I don’t think this is down to the production that much – it’s just that there’s a batch of popular songs on the album that are very well-written, with great, strong melodies.

In retrospect, I actually now think that I liked the wrong grunge band in the early ‘90s. Nirvana have a handful of great songs, and one great album (no, In Utero you fools!), but they’re essentially a punk band and as usual that means their guitarist hides behind a range of distortion pedals to compensate for a lack of ability. Pearl Jam’s Mike McCready is a demon on the guitar – a total Hendrix freak – and really I should have been listening to him, not Cobain, when I was learning to play.

And I still think Eddie Vedder is a bit of a douche. There’s a really cringewrothy moment in Twenty where he recounts singing his vocals (for the demo tape that got him into the band) just after a surf with the sand still on his feet. Ugh (although again, my feelings for him have thawed due to his support of the West Memphis Three). His constant whining throughout Twenty about being too famous is one of the least enjoyable aspects of the film. They seem to be doing everything they can these days to avoid sounding too commercial, but there’s still the odd song (like Daughter from Vs., or Better Man from Vitalogy) that makes me think if you don’t want to appeal to a pop audience, stop fucking writing songs that will appeal to them!

Ten does sound pretty dated now. I still don’t like the fact that the song titles are mostly single words – like they were paying by the word for the printing of the sleeve. Thankfully the horrible hue of pink / crimson / vomit on the cover has been replaced by a much less offensive beige for the Redux re-release, and I guess I can just ignore what the band are wearing on the cover.

It’s funny that when I first encountered the band, I was really annoyed with Mike McCready’s clothes – a duster coat and a hat just like Clint Eastwood’s Man With No Name. Now, I admire him for wearing that get-up while the rest of the band wore their butch lesbian-inspired uniform.

Some time after I watched Twenty for the second time, and finally admitted that yes, I was a Pearl Jam fan, I watched a couple of their early music videos. Eventually I stumbled on that last remaining reason why I had such a passion to dislike them back in the early ‘90s – the video to Even Flow! This opens on Vedder telling his lighting man to turn the stage lights off, shouting like a spoilt child. I still recoil when I think about it.

So, there you have it. I may be twenty years too late, but better late than never. And there’s still no way I’ll ever change my mind about fucking Green Day. That band really are the scourge of the universe.

Hit: Jeremy

Hidden Gem: Release

Rocks In The Attic #18: Stone Temple Pilots – ‘Purple’ (1994)

 

I was always very anti-Nirvana when I was getting into music, in the early nineties. I’m never one to follow hype, and everybody loved them. The band for me at that time – at least the American band for me – was Stone Temple Pilots.

I remember seeing Weiland singing one of the big songs from Core (1992) – probably Plush – on an MTV Awards show, and not being terribly impressed. Yet another vocalist, singing in the style of Cobain and Vedder, I had probably thought. Then when Purple came out and I heard the single Vaseline, I was hooked. I went out and bought the single (the MTV video was in heavy rotation), and probably the album not long after.

Due to Weiland’s drug problems putting the band into hiatus upon the release of their (very underrated) third album, I was never able to see them play back in the 90s. I saw them play in New Zealand last year though (their first time in this country), and they rocked, playing my favourite song from PurpleStill Remains – along with their great cover of Zeppelin’s Dancing Days.

This is one of many coloured vinyls I have in my collection. Needless to say, it’s purple.

Hit: Interstate Love Song

Hidden Gem: Still Remains