An Open Letter to Aerosmith and Steve Tyler

Dear Steve Tyler:

What? I mean… what? Country?

http://abcnews.go.com/video/embed?id=32195621

You don’t know what this is doing to me.

You need to understand that you were the guys who really introduced me to rock and roll. Yes, you were. Ever since I listened to Aerosmith’s Rocks when I was thirteen I’ve wanted to grow my hair long and play guitar.

Yes, there have always been slight credibility problems at times. There’s no question Aerosmith was always intended to be America’s Rolling Stones. Too obvious a match, from the five-man lineup to the big-lipped brunette singer and bad boy persona. But your first three albums were great 70s blues-based rock and roll, and then you released Rocks, which is one of the great rock albums of the 70s, track for track. And as big a joke as the Sgt. Pepper’s film was, your cover of “Come Together” was a high point, alongside Earth, Wind and Fire and Billy Preston, so long as, in the latter case, you shut your eyes and just listened to the music. It went downhill from there — Draw the Line was a sloppier production, but it was still great rock and roll — until it hit a low point when Joe Perry left, but as a band Aerosmith still produced consistently good rock and roll albums from your first album through Night in the Ruts.

We can excuse the 80s, as Joe left for a few years. And I have to admit, Permanent Vacation was a real comeback in the late 80s. Forget the hits. It’s just a good rock album. But then another credibility problem surfaced: tin pan alley writers like Jim Vallance started helping you out, and your band took a distinct commercial turn in the 80s and 90s. I don’t mean to begrudge you your success, but again, you’re getting harder to defend here.

But I’ve always been able to say one thing, especially to my friends who are fans of the Rolling Stones, or who are younger and know you only from the 90s and diss you mercilessly: at least Aerosmith never recorded any disco songs or any country songs. At least.

Until now.

You’re really making things hard, Tyler.

Couldn’t you have gone unplugged and called it “Americana” or something? I’d buy that. Plus, you know, you’d be at least trying to maintain a shred of dignity. At least a teeny little shred?

Dear Aerosmith:

I want you guys to drop Steve Tyler for one album. I want you to bring in Mick Jagger as a guest vocalist and songwriter. And I want you to name the album The Real Thing. You can do that because everyone still respects Joe. They never actually quit respecting Joe no matter what Aerosmith did.

Love,

A voice crying from the 70s.

PS I mean, seriously, guys, what’s next? A Jimmy Page disco album? Robert Plant already had his arse handed to him by a four foot tall fiddle player. The 70s would be dying a horrifying, ignoble death if Neil Young weren’t at least still recording protest music. And, oh yeah, what ever happened to protest music? I mean serious protest music. We need it now more than ever. Thank you, Neil Young. 

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Song du jour: Aerosmith, “Come Together”

My friend and colleague Kellie Donovan-Condron posted the following to Facebook: “The idea is to fill Facebook with music, breaking the monotony of selfies and sensationalism. If you ‘like’ this post you will be assigned a letter which coincides with a musician, band or artist that you will post on your timeline with this text.”

It’s really hard not to get behind this. I was assigned the letter “C,” so here’s my song for the day. If you’re familiar at all with the film Sgt. Pepper’s Lonely Hearts Club Band you’ll know it’s a horrible, embarrassing trainwreck of a film with a few highlights. One of these highlights was Earth, Wind and Fire performing “Got To Get You Into My Life.” Billy Preston’s cover of “Get Back” was really good too, but Dear God what a ridiculous scene. Steve Martin’s scene was also ridiculous, but it was supposed to be, so it’s actually pretty funny. I was assigned the letter “C,” so I’m posting another film highlight: Aerosmith performing “Come Together.” I think it’s on some “worst cover tune” lists out there, but people are mistaking the music for the film, and they’re mistaking 70s Aerosmith for 90s Aerosmith. Musically, they’re almost two different bands. There’s some musical continuity, but 90s Aerosmith is largely a 90s power-pop reinvention of what was a pretty good 70s rock band. They did get their historically best record sales in the 90s, though, so at least it paid off for them then.

Forget the chatter and listen to the music:

Song du jour: A Personal History of Rock

My first exposure to Rock and Roll came through a radio my parents bought me when I was maybe eleven years old. It was a 6″ X 9″ blue radio with a square, silver speaker face that took up most of the front, the whole thing being maybe 2″ thick. It sat there on my dresser like a talking brick, or maybe like the obelisk in 2001: A Space Odyssey. The dials were underneath the speaker. I think it was just an AM radio.

The first two songs that really stuck with me: CCR’s “Proud Mary”:

And Jethro Tull’s “Bungle in the Jungle”:

And then a friend of my father’s who worked for CBS records let his daughter pick out some albums for me. She was 12, I was 12. She started me out on Elton John’s Goodbye Yellow Brick Road:

So I spent most of 1976 listening to Elton John, Lake, and a 70s band called Seal (not the artist known for “Kiss From A Rose”). Later that year my friend Niall told me to ask my parents for Aerosmith’s Rocks for Christmas. They got it for me. Instantly changed my life — my life’s ambition (for my 12-13 year old self) became to grow my hair long and play guitar, mainly because of this song:

I said earlier that if somehow you don’t understand Rock and Roll, watch Pirate Radio. The film doesn’t explain it, of course. You don’t have to understand Rock any more than you have to understand eating ice cream. The whole point is having fun. But it elevates fun to something that engages all of your senses — your whole body. Rock and Roll is transcendent fun, a fun that pushes your mind and body to its limits. It’s erotic in the ancient Greek sense: sexual but not just sexual. It’s fully bodily, fully sensory. That’s what “Rock and Roll” means, by the way: the term is early twentieth-century African-American slang for sex, but performers like Ted Nugent say it’s better than sex: Rock goes beyond sex while taking sex along with it all of the way.

Rock and Roll is who we are defined by how we feel. That’s why it resists authority. It’s the assertion of feeling over restraint, the demand of the self to be what it is, immediately, right now, to feel what it feels, and to affirm and validate those feelings with every ounce of energy it has. It is the loudest, most passionate cry of the individual at the moment of his or her greatest individuality.

It’s a party that our senses are having until the body transcends itself.

The history of Rock and Roll is the history of our emotional lives. It’s become a business and an industry, like a wife faking orgasms after ten years of marriage (or really far sooner than that), but while this energy may be channeled through precisely defined demographics that yield generally predictable sales, the energy itself can’t be tamed. It couldn’t be repressed (see Pirate Radio), so it was channeled and packaged.

The greatest danger to Rock and Roll today is that it’s polite. It’s accepted and has a place in this world. What saves it? Miley Cyrus offending everyone? That might be it, but I worry that she’s just more packaging: Madonna was an original, so now Miley is probably just one more marketing strategy. Madonna was a marketing strategy too, but she was one that might have failed. That’s the point. There was risk involved.

In Pirate Radio, this energy overwhelmed itself and sank the ship being used to illegally broadcast Rock from off the coast of England. Rock and Roll is the Sex Pistols and Amy Winehouse: one, maybe two bright, raw albums and then you flare out and die.

But now the ship is fully insured and accompanied by a team of handlers to make sure it arrives at its destination safe and on time.

So what’s it going to take? Maybe Bruce Springsteen and Tom Morello writing songs together. Maybe another Marilyn Manson, but Christian baiting isn’t what we need — that plays into another predictable strategy, another line-drawn-in-the-sand-showdown with the usual sides lining themselves up against each other for airtime: another marketing ploy. I’ll make a work of art called Piss Christ if you promise to protest it. See? Everyone’s happy. Anything as mindless and stupid as “Gangnam Style” is a step in the right direction, but that’s so mindless and stupid that it’s no threat to anyone.

Led Zeppelin could rise again if Robert Plant hadn’t been emasculated by a three foot tall girl with a fiddle (okay, yes, they made some great music. I don’t have to be happy about that). Zeppelin needs to relisten to their BBC Sessions album and step back from arena rock, back from heavy metal, back from the late 70s, and produce one more rock album so raw it sounds like punk again. Record it live in the studio. That would be a swan song indeed.

I don’t think Patti Smith cussed even once on her new album.*

Buckcherry has a lot of potential, but they’re so good at this that they don’t have anything to say.

So what’s it going to take?

Intense feelings, a vivid imagination, a good bit of well-placed anger, unselfconscious originality, and an electric guitar.

Then step up to the plate and reinvent this:

*I stand corrected by my friend Sherry. After reading through the lyrics in the album book (an effective work of art in itself), I see that Patti Smith cusses exactly once on the album Banga, at least according to the reprinted lyrics, in the title song.